Latest / Unsigned518 / Unsigned518 - Episode 122 - Scott Womer of SongCity

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Unsigned518 - Episode 122 - Scott Womer of SongCity · Unsigned518

• 0:01
  Speaker A: He was born on a Saturday in 73 he loves park rock music beside him on the beach guitar with a short whip radio back his motherfucking Andy scolding look at motherfucker cause here he.
• 0:21
  Speaker B: Comes Andy scrolling, wearing his own welcome to unsigned 518. I am here with Scott Womer of Song City. How's it going, man?
• 0:33
  Speaker C: It is great. Great.
• 0:35
  Speaker B: So we. I mean, we had met. It was at Jive Hive, I believe. Yeah, we met briefly, and I honestly can't even remember what it was there for. But that's the joy of jive Hive. It's just, who cares what event it was? But I do remember it was at Jive Hive when we met. And then, like, what happened so many times with booking this show and, you know, having a day job and people with day jobs, this is. I think we rescheduled two or three times.
• 1:08
  Speaker C: I think it's been at least three.
• 1:09
  Speaker B: Yeah, I think it was three times. And last weekend it was because I forgot about the fucking eddies. I was like, dude, I am so sorry I forgot about that.
• 1:21
  Speaker C: Just the small things.
• 1:22
  Speaker B: Yeah, yeah. So I had to go to the eddies instead, but here we are. We made it happen. So, you know, we were talking before we got rolling that you have several things to talk about. Developments within Song City, kind of new extensions of. And there's a lot of things to talk about. But I guess first thing is, I want to talk about where song City came from, where the idea came from, you know, like, kind of how long you've had the idea in your head before it manifested. And, you know, I guess the. The origin story of Song City, because I think it's a great thing that you're doing for the artist.
• 2:03
  Speaker C: No, I appreciate that. Yeah, it's definitely got a couple chapters, I think, that have kind of led to where we are at this point anyway. And I'm sure there's a bunch more chapters coming. Grew up in a really musical family. My father was a director of music and churches, and he worked for a school district teaching music, and my mother was super involved, and so we were. That's what we did. I didn't play sports. I didn't do anything. I just played music, you know? And so, yeah, he spent a lot of time working in churches and kind of helping. We lived out in the country, so it was kind of helping these churches that don't have much to kind of get good music for their congregation and that kind of thing. And so I kind of grew up in that kind of environment, and as, as life went on, and I became an adult. I started doing kind of the same thing. I was running kind of the arts programs at different churches that were trying to really engage the artists that they had. Some of these newer churches that had musicians, and they had an art gallery, and they had filmmakers, and they had graphic designers, and they were looking for someone that kind of knew that. And I happily worked kind of within that community to kind of help those artists kind of find a place, you know, in there. At some point decided to do like a lot of musicians do here, and we've got multiple ones right now doing it. And did the move to Nashville just to get some experience. I'd had some friends go down there, and I think they expected that they were going to be, you know, as big as they were in Albany, in Nashville, and got there and was kind.
• 3:43
  Speaker B: Of like, oh, it's a humble, it's a humbling experience.
• 3:47
  Speaker C: I'm sure it's like a thousand people that do exactly what you do, except better.
• 3:52
  Speaker B: And, like, the concentration of it in, you know, like, it was funny, like, that Nashville's coming up, and me and my wife were talking about it today, like, about visit. You know, she's like, oh, I want to visit, you know, sometime. And then she's like, but, like, I hate crowds like that. Like, and I'm like, man. And she's like, but it's never slow there. It's like, you know, the amount of music happening, it's like every building has multiple floors with bands playing.
• 4:20
  Speaker C: Yeah, you walk down Broadway and all you see is the backs of drummers for a mile. What do you see?
• 4:26
  Speaker B: Yeah, it's so much.
• 4:28
  Speaker C: Yeah.
• 4:28
  Speaker B: So even just the sheer numbers alone, it's gotta be a humbling experience.
• 4:32
  Speaker C: Yeah, exactly. So I tried to prep myself going into it and just know, okay, I'm not gonna think that just because I was doing something important here that I'm gonna find something super important there to do. Go into it. Like, I just want to grow. I just want to be around amazing artists and just kind of watch and see what happens. And it worked out. It worked out great. You know, I just. I became friends with a lot of musicians that kind of had some experience, and we just kind of hung out there for five or six years and just kind of got to know people. And I think that one of the greatest things that happened while I was there was visiting a place called the Bluebird Cafe. Bluebird cafe is a monumental place. It's to Nashville.
• 5:20
  Speaker D: What?
• 5:20
  Speaker C: Cafe Lena is here. Gotcha. You know, it's the place where people gather and you just know you're gonna hear great songwriters all night, and they do it in the round. They do a true song circle in that it's kind of in the center of the room. Four artists facing each other, playing songs. Most of these people that were playing were not necessarily, um, performing artists. They were writers, right. And they were. They were, you know, people that were spending their days in the basement of some of these publishing companies, and they were just writing hit songs one after another.
• 5:56
  Speaker B: Now, for those that don't know, you know, I mean, obviously, a song circle, like you were saying that there's several even in this area here, which I say, you know, that's great. Like, the more. The more the marriage. It's one of those things. But for those that don't know, I guess, just explain the general concept of what a song circle is.
• 6:17
  Speaker C: Yeah, absolutely. So, traditionally, what happens is you've got four songwriters facing each other, almost like we're doing right now, and each one would go around, they would talk about a song that they had written, tell the story behind the song, circumstances that led to writing the song, and then play the song, and it would tend to be mostly vocalists and acoustic guitar players on a player, and then go to the next person, and they would do the same thing, and you would tend to do maybe two, three, four rotations around. So by the end, everyone's played, you know, maybe four songs, three songs, something like that. So you're kind of getting a variety of songwriters, you know? And most of these people were writing for the big artists that were in. That were in Nashville. So the fun of that was, you'd be listening and you wouldn't know who this guy is. I mean, you've never seen him before. It's just some middle aged white guy that writes music, but then he'd start playing, and you'd realize, like, oh, that's the Shania Twain song.
• 7:19
  Speaker B: Right.
• 7:20
  Speaker C: The Tim McGraw song that he wrote. Right. And he's telling the story from his point of view of what led to it. That's what was really cool about it, was hearing the stories behind it. Over time, though, I started getting a little bored because the genre was just the same. You know what I mean? It was a country town, so this is kind of. This is early two thousands. So this was before, like, Jack White came into town, and, you know, people that kind of started stirring things up. At that point, it was a pretty strict country in folk town, bluegrass town. So, you know, after a couple rotations, you're like, all right, I get it. I get it. You know, this is cool. But that was kind of my frustration with, you know, what that was. But in general, it was such a great learning experience just being around all those writers. And after five or six years, you know, moved back to the Albany area and then.
• 8:15
  Speaker B: So, like, you brought, like, that idea because I'm assuming, like, in Nashville, the song circle is something that you can. I mean, if you can find several of them in this market, like, how many song circles could you find out natural on any given night, right?
• 8:31
  Speaker C: On every block, probably, right? Like.
• 8:33
  Speaker B: Cause it is a really cool. Like, I remember even on. I don't know if it was MTV or vh one, like, I'm dating myself, but the storytellers, when it would be, you know, they would. And I used to be like, man, that is the coolest fucking idea. You know, not knowing, you know, growing up in a small town in Vermont, not realizing that, oh, no, that shit happens in all the time. You know what I mean? Vh fucking one didn't invent this, but you have, like, kind of a different take, I guess, on a song, so. Because, like, you were saying, like, it was a genre thing where it's typically up, you know, one person and a guitar or a piano, but you're thinking kind of expanding on that a little, I guess.
• 9:22
  Speaker C: Yeah. You know, I think. I think I used my. My boredom in kind of the vanilla feeling that I was getting in Nashville, which has grown since then, but that was just kind of the place that they were in at that time, in those decades. And I just thought, but those people can't be the only good songwriters out there, you know, the kind of the traditional singer songwriter genre. And I thought, why isn't, like, why isn't this jazz artist in one of these song circles?
• 9:55
  Speaker B: And, like, hip hop artists are amazing fucking song. Like, amazing songwriters are probably.
• 10:01
  Speaker C: Hip hop artists are probably our finest songwriters right now, honestly. Why are they not in song circles? You know what I mean? And that's kind of what drew me to both. A mixture of wanting those artists to know, like, that's right, I'm a songwriter. You know, I can remember artists in the area that. That I'm in awe of that are unbelievable artists that would say to me, I didn't even consider myself a songwriter until you asked me to do this. And I'm thinking, how could you say that? Like, you're one of the best people I've ever met in my life, you know? So part of it was I wanted to make sure the songwriters realized, oh, this is, you know, I'm a songwriter. Yeah, I can pursue this like a songwriter even if I'm an avant garde piano player or whatever, you know? And at the same time, I wanted the audience to realize that there's a lot of songs out there from different genres. So when they come to song city and they see the circle for that night and they realize, oh, you know, it's the punk rock girl and it's the hip hop artist, and it's the avant garde sax player and it's the, you know, folk artists.
• 11:16
  Speaker B: I love, like, the idea of multi genre stuff because me, like, personally, and especially as I get older, like, you know, I'm gonna be 51 in, like, a couple weeks or whatever. And, like, when I was, like, in my, like, early twenties, you know, it wasn't cool to, like, this kind of music or wasn't cool to, like that kind of music. And it, like, blocked me off from, like, a lot of stuff that, like, I probably would have loved because of social circumstances. Like, you know, like. But, like, being open in, like, you know, the last several decades to absorbing all kinds of music. Like, I like so much stuff that sometimes I don't want to go see four bands that are innocent, you know, like, everybody, a lot of the times, will stack a bill in trying to get everything so similar.
• 12:04
  Speaker C: Right, right.
• 12:05
  Speaker B: What band is gonna work with what band? What brand is gonna work with what band? But I love the idea of what band will not work with. You know, what band is gonna make this. These fans be exposed to this other music?
• 12:21
  Speaker C: Absolutely.
• 12:22
  Speaker B: Vice versa. And, like, because ideally or not ideally, but, like, realistically, in a scene like this, it's not really about what type of music you're playing. It's about the people.
• 12:33
  Speaker C: Right.
• 12:34
  Speaker B: You know? So, like, the people are gonna mingle and get to know each other and then. Oh, which band are you here to see? Oh, well, I'm here to see the death metal band. Oh, well, I'm here to see the hip hop artists and, like, you know. Well, cool. Let's check out both of them together.
• 12:50
  Speaker C: Yeah, no, I completely agree. I think it's good for all of us to be exposed to things, but in a setting that is not overwhelming.
• 13:01
  Speaker B: Right.
• 13:01
  Speaker C: You know, for someone to go to song City and hear JB, aka Dirty Moses, play like he did this past year is different than going to a club somewhere where it's just a hip hop show, where they might feel like, boy, this isn't really me.
• 13:18
  Speaker B: Right.
• 13:18
  Speaker C: You know, or the same with a rock show or a bluegrass show, whatever.
• 13:22
  Speaker B: And I mean, even as, like, a aging punk rocker, like, you know, some of the, like, the harder shows, like, the more hardcore shows at the clubs are, I'm intimidated by, you know. Cause, like, I'm fucking old, dude. I'm like, I can't. I can't be. I can't be making love with those young kids anymore. I'll break a fucking head.
• 13:41
  Speaker C: Don't say you're an old dude. Cause if you're an old dude, then I'm an old dude.
• 13:45
  Speaker B: Like, when I. In my twenties, I'd be in the mosh bin. Now I'm like, can't get too close. I'll get sucked in.
• 13:51
  Speaker C: Yeah, yeah, yeah, yeah. It really becomes. I don't know. For me, it really becomes kind of a curating of a program. I liken it a lot to, like, preparing a meal for somebody. You know, where it's like, you're not gonna want just four of the same thing, you know? But you're not just trying to shock people by having different genres you've got to think through. And I get really particular about it, I admit it, that you really think through, like, okay, what genre is the best genre to open a show with or to close a show with? What genre naturally moves into another genre? Well, or a personality or a story that, you know, is happening there. So, yeah, there's a lot of thought put into exactly what those four artists are going to be.
• 14:39
  Speaker B: And the way you do it, you. You were saying it's like, you know, they do a song and then it moves on to the next artist.
• 14:46
  Speaker C: Yes. Yep. So they each play three, ultimately, so it's three rotations. So it's about 90 minutes or so.
• 14:51
  Speaker B: Right. A twelve song with a story.
• 14:54
  Speaker C: Exactly. Is the whole show, right?
• 14:56
  Speaker B: Yeah. And, I mean, that's, again, such a cool way to do it where it's not like somebody just puts it all out and then. And especially, like, as an artist, like, it's cool to be able to feed off other artists, you know, rather than if it's a lineup where it's, like, one band, then the other than the other, and then done. Like, you don't get to feed off the band that goes after you.
• 15:20
  Speaker C: Right.
• 15:20
  Speaker B: You know, but in this situation, you're like, oh, wow, that was great. Now I'm gonna come in with this energy and, you know.
• 15:27
  Speaker C: Yeah. And they've really begun to actually have, like, pretty great conversations amongst the artists, and I really didn't plan it that way. It just kind of happened where someone would play something and then the next artist in line before they introduced their stuff would say, wait a minute, though. You know, you introduced the song this way and tell me more about that. You know? And so it becomes these really great conversations. One of the best ones I can remember is one particular night back in season one. Joseph Biss, who I think you know him. Great, great Adirondack folk eye was right before Ozy, one of our great hip hop artists in the area. And I can remember Ozzy saying after Joseph played, and he was like, I didn't even know what folk music was. That's folk music. And by the end of the night, they were talking about collaborating.
• 16:19
  Speaker B: And Joseph's style of playing is so fucking good.
• 16:25
  Speaker C: Oh, it's amazing.
• 16:25
  Speaker B: And a lot of the times I'm like, how? You know what I mean? How is he doing that? How is he doing that? And then the vocal pattern will be off or different enough, you know, where it's not just a strumming and singing with the strum. He's doing some crazy shit.
• 16:44
  Speaker C: And I know, like, some of these artists, they just are so, so their personalities are just so taking that. It doesn't matter what you came to see.
• 16:55
  Speaker B: Right.
• 16:55
  Speaker C: You're gonna love. You know what I mean? I mean, someone like Katie Gallagher, everybody is gonna love that no matter where you're coming from. Someone like buggy Jive, a perfect example of someone that you. You might have come for someone else, but by the end of the night.
• 17:10
  Speaker B: Yeah. That's all you're saying with the multi, you know, where you get to get new information or new artists and not just, you know, a couple bands that you may already be familiar with?
• 17:22
  Speaker C: Right, right, yeah.
• 17:24
  Speaker B: And would you say, like, namely maybe a. I don't know, a couple standouts.
• 17:28
  Speaker C: Like, of the last, oh, my gosh. Moments that I remember? The Joseph Biss Ozzie moment was a perfect moment. Kavanaugh playing. Because Deb always loves to do sing alongs, and she gets the entire audience singing, and it's amazing each time. Hailey Boehner from Lady Bird, really great. Buggy was amazing. Caitlin Barker from Kendi ambulance standing. It was funny when she played because normally they're just sitting in chairs facing each other. And she said to me before the show, she said, is it all right if I play electric instead? And I said, yeah, absolutely. You know, go for it. She said, but I'm playing my flying v, so I can't sit and play it. I'm gonna have to stand. And I know you don't normally do that. I said, no, whatever you want. Whatever you want. So to see this crowd in a song circle and to just see her standing there with a flying v, it gives me chills almost thinking about it, you know what I mean?
• 18:22
  Speaker B: She's one of my favorites. And I've said that, like, it's gone on record. Like, my favorite interview, probably even, you know, this deep into the show. It was her. Because I was a candy ambulance fan.
• 18:34
  Speaker C: Yeah.
• 18:35
  Speaker B: For years.
• 18:36
  Speaker C: Right.
• 18:36
  Speaker B: And then, like, when I started this, so, like, to be able to, like, sit down, like, have her telling me these stories of these songs and, like, you know, that was a really, really cool thing.
• 18:47
  Speaker C: Yeah. Yeah. Sawyer Fredericks. Unbelievable. Just incredible artist, you know, and he.
• 18:53
  Speaker B: How long? Because I don't remember him doing one.
• 18:56
  Speaker C: He did it. He was the. Actually, this season two, he was in the opening show. So he was in September of this past year.
• 19:04
  Speaker B: How did I miss that? Because, I mean, we were talking before we got rolling and like, I was. I was pretty good with my song city knowledge about who had played.
• 19:12
  Speaker C: Yeah, he was one of the artists for the opening show for season two. Yeah. Yeah.
• 19:15
  Speaker B: He's awesome. So, I mean, we have been talking, talking for a while. We still have a shitload more to get to, but should we maybe take a little break and listen to a song of, I guess, a song city alumni artist?
• 19:30
  Speaker C: Yeah, I think we should listen to buggy Jive.
• 19:32
  Speaker B: Yeah, I'm totally down.
• 19:33
  Speaker C: I would love that.
• 19:34
  Speaker B: Which one you want to do?
• 19:35
  Speaker C: Day job?
• 19:35
  Speaker B: Yeah. All right, so let's listen to don't quit your day job, buggy jive. And they'll be right back to talk some more with Scott Wolmer.
• 19:47
  Speaker A: I'm just another singer oh, my friends every year this time is saying ain't you coming into time and dance? Try to hover also not hard enough maybe I should pray to God help me shoot my shot shoot my shot hearing everything I got the law said do not quit your day job I'm just another songwriter thinks you ever going matter before me circumstance follow me surely ain't four more times better is it more enough for time and dance try to hide but also not hard enough maybe I should pray to God help me shoot my shot shoot my shot give it everything I've got for love say do not quit your day job the Lord give and take it away and take it away and let it be his name be your name this is what the Lord says.
• 22:03
  Speaker D: Check check mic check one mic check check buggy check your wiggle behind that tiny desk got the nerves compare your day job to joe with the stress regret sucks when it comes to success you wanna retire a new poll of 500 join that vibe gang but beware and go bearing libertarian contrary seeking immunity from everything seeking access to that consequence acting in the community equality and equity and equal opportunity they called the dreams of a king without bail cause they ain't never heard no letter from no burning jails act the fool like atticus Mac jews seeking Tom Robinson's a quill fuckin paid $15 million a year to tell niggas to shut up and dribble stand your.
• 22:47
  Speaker A: Ass up, summon your ancestors fortitude put.
• 22:53
  Speaker D: Your back in your own ass to do this baby still got work to do.
• 23:18
  Speaker A: So I'm shouting up weapons I ain't trying to betray God I'm shining up the weapons trying to swing out turning up to laughing the Lord got sleek goes for his sleep quantity shout down his 11th commandment thou shalt not.
• 23:38
  Speaker D: Quit thy day job.
• 23:55
  Speaker A: I got too much, too much time giving everything I got to my shine.
• 24:12
  Speaker B: All right, so that was don't quit your day job buggy jive. And here was Scott womer. And Scott, we were talking earlier, or at least I mentioned that there are extensions of Song City. It's not just the song city in the round, but there's other things happening in the world of Song City. So I guess give us a peek at some of that.
• 24:35
  Speaker C: Yeah, absolutely. Like I said, song City, as a showcase is really serving two audiences. It's serving the artists themselves, and it's serving the audience that comes. That's getting a lot out of it. But honestly, if I had to put all my marbles in one bag, it would be towards the artist. I just think that really investing into these local artists that we have is super important. And I'll credit, really my time working for some of those churches as much as I don't necessarily agree with some of those things. But what I do think was done well was there was a community of artists there that knew that they belonged and had people investing into them and giving them opportunities. That's what I loved about it, you know what I mean? Beyond anything else, and that's what I really love about this, about song city in general, is having. Being able to invest into artists and give them opportunities and that kind of thing. One of the ways that we do that is through something called the open floor. Open floor really began as an open mic night. It was something when we were at the ruck and they were coming out of COVID and they were like, well, maybe we could bring in some concerts. Maybe we could do an open mic, something like that. I said, sure, that'd be great. I would love that. I don't really love open mics, to be honest with you. I think that there's a few types of people that open mics are great for, but I know, at least for myself, when I go to an open mic, my whole purpose is I just want to get up and play my song, and then I'm going to leave. So a lot of open mics, unfortunately, are just filled with a crowd of people that are only thinking one thing, which is, I just want to get. I'm just going to talk to my friends, and then I'm going to go play my song, and then I'm going to go to another open mic or go home or something like that. And I always just felt bad, like, you know, these people could be staying and listening to all these other songwriters. It would be so helpful and how much better it would be for the songwriter to look out and see all these people that are actually other songwriters that are interested in what they're doing and really make a community out of that. So that's what I've been attempting to do with the open floor. And we do that on the fourth Tuesday of every month, and we meet together. Sometimes it's 20 people, sometimes it's 45 people. You never quite know. A lot of them are artists. So a lot of times they're at rehearsals and they're at gigs and they're coming late after that or something like that. And those nights are really separated into two different portions. First part of the night is just, anyone can come up, play an original song. A lot of times they're playing something, maybe they're just wrote or they're kind of working on or hadn't played in a while, something like that. And it's just this great, attentive audience because they're all there for the same reason, and they just kind of begun to know each other and really care about each other as artists. So the first half is just playing an original that you're working on, and then the second half is what we call the song challenge. A lot of places would call it a song prompt is a normal way of also talking about it. And that happens on the first day of every month. I will post on the Instagram site for song City. I will post a phrase. For instance, last month, the phrase was care killed the cat. So that was the phrase. And then they have the rest of the month to write a song using that phrase somewhere in the song. So the second half of the night is 20 different songwriters getting up and all playing songs using carrot, caild the cat, or whatever the phrase is in their own way, whatever twist they put on it, whatever style they play, and it's just so fun to just kind of hear how everyone's using it, and it's just become a really, really just a supportive place. They're beginning to talk now amongst themselves of, like, can we get together other times and just kind of have a beer and talk about songwriting and, you know, and just kind of grow that way together also. I'm like, of course, you know, that would be. That would be amazing. So that's. That's what the open floor is cool.
• 29:00
  Speaker B: And so that's, you know, one of the extensions. And, you know, you said you've been doing it at the rock. Is that gonna be the same going forward, or.
• 29:11
  Speaker C: Well, we are actually. It's funny that you say that, because we are actually at a. At kind of a big jumping off point right now. Like, when you're leaving home and you're getting your first apartment, you know, and we are getting ready to move in May, May 14 for the next song city. We are moving from the ruck to a location kind of more downtown that's going to give us a little bit more space. I can't say enough about the ruck and Dave Gardelle and how much they have invested time and effort and money and all these different things for Song City to begin. It probably would not have begun if it was not for their support in that, but it's kind of a good point right now as we're growing and as we've kind of come out of COVID and things are kind of picking up for them. Also, we're going to move to a large space that's right off of Franklin Alley, right down by no fun and twisted fiddler and 518 craft, and all the music venues almost becoming like a little music district down there. And we're going to move there in May. It's a slightly larger place. It's going to give us a little bit more room to kind of grow and kind of be in and amongst the downtown.
• 30:24
  Speaker B: Yeah, right in the thick of it.
• 30:26
  Speaker C: So both open floor and song City will both be moving there on the second and fourth Tuesdays of the month, respectively.
• 30:34
  Speaker B: Cool. And so do we want to maybe play another song from an artist that stood out?
• 30:43
  Speaker C: Yeah, absolutely. There's an artist by the name of John Glenn. He goes by like the astronaut, which is brilliant. He played it at this last at April's song city, along with Kate McDonnell and Ewan Rashad and our buddy TJ Foster. And he just blew my mind. He's just such a great singer, great player, great songwriter. Why don't we listen to maid time like the astronaut?
• 31:09
  Speaker B: Cool. So let's listen to maid time like the astronaut. Then we'll be right back to wrap it up with Scott.
• 31:15
  Speaker A: Hi, Topher. It's mom. Just call me. It's very urgent. You don't have to call me? Quietly we fall please don't check on me hate not so well? You don't have to keep these things from me? Running on a face now you're showing up? Where's that from? Maybe coming down tonight is like the one in life? I made it on the road? Counting down the days trying all the ways to make more time? Putting on a face now you're showing up? Where's that from? Time I'm coming out tonight it's like someone? It's like I made this time? How callous we've become it's life so what? It's like I made this time? It's been on the road yes.
• 33:29
  Speaker B: All right. That was made time like the astronaut and, scott, I want to thank you so much for taking time out of your day for coming out here and talk with me. It was, like, super cool to learn about what's going on with song City. Obviously, I've been very familiar with it. I pay attention to a lot of local music, and a lot of great artists have been coming through there. I really dig the focus on the artists, I guess, because it is important that all the artists have a voice and have a community and bounce ideas off each other. It's a cool thing that you're doing. But before we go, like I do with all my guests, I just want to give you a chance to say what I refer to as your gratitude. So, microphone's all yours.
• 34:17
  Speaker C: Yeah, absolutely. You know what I mean? This sounds so obvious, but I'm just so thankful for and to the artists in this area that allow you and I to get to do what we do, which, you know, if we were trying to do this in another city somewhere, probably wouldn't happen. Pretty short podcast. You know, it's amazing that there's so much great music and so many great artists that it's just nonstop. And I'm really thankful to those artists for just digging in and becoming better and better and better and pursuing things. And even if that means going to Nashville, they're pursuing their dreams. So I'm so thankful to them for doing that and allowing us to kind of work alongside with them and the venues, too. I really want to thank those venues that are out there, because I think that that's what's making. I know, at least in Troy, boy, to have that many great places like 518 Craft and Twisted Fiddler and the ruck and no fun and the Troy Music hall, it goes on and on and on. And, you know, we know that these artists aren't making anything on these streams. You know, it's the live shows and the merch and the physical copies of their music. Those are the things. So if we're really going to support our artists, we need those venues and places to be doing that. So I'm super thankful that we've got so many of them that are. That are in it for the right reasons, you know?
• 35:47
  Speaker B: Fantastic. I appreciate it. All right, so, Scott Womer of Song City. I am Andy Scullen. This is unsigned 518, and I'll see you on the road. Unsigned 518 is produced and hosted by me, Andy Scullen. New episodes are available every week wherever you stream podcasts. If you'd like to help support the show, please like and subscribe wherever you are listening. Or you could buy me a coffee@buymeacoffee.com. Unsigned 518, if you would like to advertise on the show, send me an email at unsigned five one eight at gmail dot com. And to be a guest on the show, reach out to me through Instagram at unsigned five one eight. Take care of one another, and I'll see you next week.