SNL’s Jared Scharff Talks New Season, Jamming With Dave Grohl, New Solo Music, And Much More

Saturday Night Live's Jared Scharff

Playing in the Saturday Night Live band for 10 years, and on his off-time playing at the New York Rangers games is a huge musical feat in itself, but guitarist Jared Scharff also takes the time to impress us with his solo work, as Pear Lion. Set for release later this year. Pearl Lion’s double EP explores Scharff’s complex and awe-inspiring guitar work, with The Light EP taking you through melody, emotion and atmosphere in the spirit of Bon Iver, Explosions in the Sky, Sigur Ros and Daniel Lanois. And, the Dark EP serving an onslaught of crushing riffs and modern beats, a la Justice, Rattatat and Jack White.

In our new interview, Scharff discusses the thrill of getting the SNL gig, the upcoming season, his forthcoming solo EPs, jamming with Mick Jagger, and Dave Grohl, and more!

What’s on the horizon for you playing at the Rangers games?

Nothing, it’s just a fun little thing that I somehow got into. I’ve [always] been a huge hockey fan and I just started learning how to play hockey a couple of years ago, and then I was at one of the games with one of the SNL drummers and he knew the organ player who does the organ at the stadium. We went up into the little perch where all that stuff is and I met some of the guys there. I told them about my Unnecessary Shredding video where I’m ice-skating and shredding to New York, New York and I was wearing a Rangers jersey. I sent that to them [and] they were super into it and were like, “why don’t you come play guest at a game,” and I was like, “alright cool.” So I ended up doing a few during the season and then I ended up playing every home game for the playoffs, which is great [because] I was there.

Yeah, that’s awesome. You got a front row seat.

Yeah, it was really cool. It was really fun, and now everyone’s into it and we’re building onto the momentum of that. And we’re gonna do, I think even more home games this year. Whenever I’m around and in town when they’re playing I think we’re just gonna rock out.

I would think that’s kinda hard, because you probably travel quite a bit too.

Well, I mostly travel to LA because I have a studio space that I share there for music. I have family there, a lot of my friends are there, and a lot of the music stuff I do outside of the show lives in L.A., so I try to spend as much time as I can there. That’s where I go a lot.

It’s pretty nice out there. I heard they finally had some rain yesterday too, which is pretty rare for the sunny state.

Yeah it rained this past year for like, a week straight or something. Everybody was miserable but it was… it like completely fixed the drought situation. It’s kinda nuts.

That’s good, that’s been happening a lot. We got I’m pretty sure what was the most recorded rain that we’ve ever gotten here this year.

Aw man that’s crazy, I’ve never been to Canada.

You’ve gotta make a trip.

I know. I’d like to go at some point… from what I hear though, Vancouver is kind of L.A. in terms of the sunshine and the ocean.

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It’s similar. The same as how Newfoundland is compared to Ireland because they’re both on the coast.

Yeah exactly. But L.A. is cool. It’s a very interesting place, really diverse. People go and I think they expect this Hollywood world and there is that, that’s actually the part of it that I try to avoid the most, but outside of that there’s whole different cultures. Like West L.A. and East L.A. where people just have normal lives and normal jobs. It’s kind of interesting, [with] Chinatown, Koreatown, Little Tokyo, and all these neighborhoods. There’s more than that too, there are just a few that are really close within L.A. proper. That’s without going 30-45 minutes outside of L.A. and you get all these amazing places that are filled with… are completely just neighborhoods that [make] you feel like you’re in another part of the world. It’s wild.

It’s interesting because I do interviews with people like you and talk to a lot of people who are in L.A. for Hollywood reasons and then I’ve got my aunt out in Pasadena who, when she went there, she was in L.A., but now she’s out in Pasadena and she lives her life with her little mandarin trees and stuff like that, with a normal job. It’s funny to see the contrast. It’s so close together, but they’re such different lives.

Yup, that’s the bigness of L.A. and you can really, I mean, they have normal people who live there. Someone’s gonna have to be a dentist, and a lawyer, and work in the offices. But it is a lot of the creative field, obviously, but it’s cool. Personally, I love going to all [of] the different neighborhoods and eating authentic, local food. You know, like going to Koreatown and going to multiple different places and getting the real deal Korean food, versus just some restaurant somewhere up in Philly that thinks they’re a good Korean spot. This is actually the real deal. They have all that kind of stuff there.

The music scene is great because it’s the affordability of L.A. you know, all the musicians are out there. Like I just saw… the last night I was in L.A. before I came back to New York for this trip, I went to this bar really late to see this incredible guitar player named Dylan Day, and Blake Mills ended up sitting in with him for like the whole set. He jumped in and the rhythm section was amazing and one of those guys, the drummer plays with like Daniel Lanois and all these really cool people. It’s just kinda like, you only get that in Los Angeles these days. People who are just so good and they play with everybody and everybody’s just around and they’re doing cool shit.

It’s kind of like a collective out there, I find.

Yeah, exactly. And again, just the food situation and the culture, there’s all kinds of styles out there too. I was at this show with some other guitar players who are more in the guitar shred, more rock, metal-ish guitar shredder community… like this guy like Tosin Abasi from Animals As Leaders. They’re amazing, but it’s completely the opposite of what we were all watching. It was really interesting to be there with such different styles and categories of players, you know?

Speaking of L.A. – you got the news about landing the SNL gig while you were about to embark on a trip to Napa Valley and you said that you figured it’d be the best vacation or the worst. Which did it end up being, and what was it like for you when you realized that you were actually going to solidify a spot on the show?

Good detective work. It was either going to be the best or the worst depending on that phone call and the phone call was that I landed the job, so it became the best. Let’s just say I definitely bought a few extra bottles of wine on the trip versus not, [laughing] because I knew I was actually going to have a paycheck. Which would’ve been odd at that time for me, considering I was struggling in music for years and years and years trying to make it.

I was in a band that was signed for a while to RCA Records and I thought that was going to be the thing, then it wasn’t really quite working out and I wasn’t really happy, so I left. Then I was doing my own projects and that was cool, but [it’s] very challenging to try [to] build a band by yourself. Especially at that time, with the era of Myspace and social media not being what it is today. You’re not able to post flyers on everything, like on your Instagram and your Facebook or whatever. So it was challenging back then, you know? I remember I would get on my chair in my room and I had friends on Myspace that were friends of other bands that I felt were in the same world of what we did and I’d be there for days just trying to get more people to check out what I was doing, and it’s tough. I’d literally spend three days before a gig Myspace mailing like 300-400 people personally, inviting them to shows. I mean, woof, it’s brutal.

It was definitely a lot more work back then.

Yeah, it certainly was very challenging and more time-consuming. Having a band and making music and getting people to go is always time-consuming and it will never not be time consuming, but I don’t know, I think now it’s… I’d much rather post a couple of advertisements or whatever on my Facebook or Instagram just like, “I’m playing a show,” and not stress out too much about it. If people come, they come. I don’t have time to spend three days trying [to] get an extra 10, 20 people at a show. There’s so much going on now, it’s just too much to do. Who’s got the time for that shit anymore?

On the note of being busy, you’ve been incredibly busy with your solo project, your side musical project with the New York Rangers, everything, as well as remaining the lead guitarist on Saturday Night Live. Where do you find time for yourself amidst all that?

Well the best part about the SNL gig is that for the most part we just show up on Saturdays, the band. Obviously the show is up and running six days a week or whatever, but we just show up on the Saturdays. I’m on call Thursday and Fridays [but] I don’t always have to come in, so I can get a lot of work done during the week and I’m basically free to do the stuff I want to do. There’s only 21 shows a year, so it’s almost like a teacher’s schedule. Mid September, early December sometimes, depending on the year, to mid May. So there’s a lot of time to focus on other stuff. That’s why it’s been a really great gig for me, because I just have so many other interests that it’s been really open to letting me do that with my time and that’s been really fantastic.

But the solo project, the Pearl Lion stuff – I mean I’ve been working on that for years and years and years. That’s something that’s been a dream I’ve wanted to make a reality for a long time and now I have three videos out. They’re out in the world so that’s cool. Then I’ve got two more videos that will come out at some point, then I have a double EP that will come out. I’m pausing [it] a little bit because I just signed a publishing deal with Warner/Chappell and Ross Golan, his company, and that’s like a joint venture kind of thing. That’s kind of a big deal, so I’m starting to get people involved and get everyone up to speed. We’re all starting to put our heads together to figure out a bigger and better plan for the project.

While you may be pushing it aside a bit, the releases of the Light and Dark EP’s are a pretty huge step for you in the solo world. Can you tell me a bit about what that means to you on a personal and professional level?

You know, I created them [and] finished them so long ago that at this point it’s almost [like] I’ve let go of that feeling of, “oh my god I did this.” That’s so far in the past, you know what I mean? I’m already recording… I’m on my eighth song of keepers [for] the next album. I’m already so far in the future.

Oh wow.

Yeah, it’ll be amazing once they come out, but it’s also kind of like, if you just put stuff out these days it doesn’t really matter. Unless people pay attention you’re just putting something up on a cloud of internet information, you know? If no one’s going to pay attention or no one’s going to listen to it, what’s even the point? So what’s the point of really being that involved with it? Just put it up and whatever happens, happens.

My point is [that] it’s just putting information [up] for people to find. If you do it yourself and release it, whatever, maybe some people will hear it, maybe they won’t. But [with] the amount of information that’s out there right now, it doesn’t really make a blip unless you have a big push behind it. So if I put it out tomorrow, would I be satisfied that it’s out? Yeah, I would be happy and excited, but I wouldn’t be able to really do as much with it as I’d like to unless I have people trying to work it. You know what I mean? Now you have to do that or else things get lost because Spotify puts new shit out every Friday. It’s so fast now, and then considering, I finished these and made these videos and I’ve been sitting on this for like a year and a half, almost two years. The music’s been finished, it’s just all that time to get videos and figure out [the] PR situation and all this stuff so, you know, I’ve kind of just moved on already. I’m on to the next [project].

Obviously I want it, I love it, I’m super proud of it. I want people to hear it, so I’m trying to really take the time and figure out the best way to get people to hear it, because I do love it and do believe in it. So that’s what I’m trying to figure out now. Hopefully with Warren/Chappell involved and all that, we can make that happen and then like I said, I’m already pretty deep into album two, so hopefully it won’t be super long before that.

To actually listen to it from cover to cover is extremely rare. Vinyl made a comeback but I think it was more fashionable than it was people actually listening. What do you think about that?

Yeah. I mean I don’t listen to records the same way I grew up listening to records. I still remember back in the day, even as much as like maybe like 10 years ago. I remember listening to that stuff and loving it so much and listening to an [entire] album. I had an iPod, [but] I would still listen to albums. Eventually the iPod killed the album for me and it became more about the shuffle. Then, shuffle, I was doing that, and then Spotify was the thing after that and then that killed the album for me as well… continued the killing of the album. I don’t listen to full albums that much anymore. But every once in awhile it’ll be like that new album that came out, I will listen to that front to back over and over again, but there’s maybe two albums a year I listen to like that.

Interesting that you say that. It really does come back down to the iPod. Steve Jobs killed the album.

Yeah, but it was so exciting to be able to listen to all the music that you like. It was like you had a robot DJ at your disposal all the time of only stuff that you like. It was like, oh, what am I going to hear next? That was exciting. The Spotify thing, you can listen to albums, but it’s like you’re connected to everything in the world musically and I think once that happens… I’m ADD so I probably get overwhelmed, I just don’t know what to listen to and then I don’t listen to anything.

I’m the same kind of way. I get lost and then I just let it go.

It’s better when you have… here are my CD booklets of like 50 CDs in each one, right? Here’s what I have to listen to, I’ll choose this one. That was better.

It’s always fun on road trips with that kind of thing because a lot of people get upset when you don’t have an aux cord, but I’ve got this big booklet of all my old CDs and it’s really interesting because you don’t see that anymore. So many people just put on Spotify and then for the rest of the ride you may not even know the songs that are coming on. You kind of get to go back in time when you go on the road with CDs like that.

Yeah, I recently went to Vegas with a friend of mine and we couldn’t get our Spotify, his Bluetooth wasn’t working in his car, but he’s also a DJ so he loves vinyl so [he] always has CDs in his car. He’s just into that, so he brought all these CDs and we listened to the CDs. A lot of them I didn’t even know or really wasn’t a fan of and I was like, goddammit, you couldn’t bring more like shit that I like? Right? But it was kind of interesting because it was like, alright, we have to make use of what we have. Like what could I possibly like? I’m like well what is this album like? You just start talking about it instead of everyone just sitting on Spotify songs and random artists.

Can you think of any CDs that you would bring if you were going into his car?

Well he’s one of my good friends so he always knows to have a Smashing Pumpkins CD. So as long as he has Siamese DreamLull, or the Mellon Collie (and the Infinite Sadness) I’ll be fine. I mean, obviously Siamese Dream is one of my favorites. That’s the best.

I kind of went back into that era last night too. I was listening to Bowling for Soup. I don’t think I’ve heard that since like 1999.

That’s crazy. I never got into them.

I never really got into them either, but I remember all the songs and it was funny because I never truly listened to this one song, it’s called “High School Never Ends”. The lyrics, it’s really relatable. It’s obviously not 100% accurate, but it’s a funny song.

I think that’s more true now than ever before with Instagram and social media. That song is probably more appropriate now than it even was back then, because now you have the whole popularity thing on Instagram. It’s basically like a glorified high school popularity thing and it makes you feel the same way you felt in high school. If you’re not popular or part of the popular kids it’s like, ok… I only have 10k followers as the guitar player on SNL but there’s all these other guitar players that have 40k, 100k, 200k and it’s like holy shit, no one cares about me or knows about me, you know? Same thing. I mean it’s fine, it doesn’t really bother me that much, but there is a bit of that.

For sure, it’s an underlying thing in society. I was thinking about that when I was listening to the song too. It is a lot more relevant now than it was then.

Yeah, It’s shitty.

It is.

Shitty way to be. I really dislike social media and I’d personally get rid of it if I could.

What it was that inspired you to go with the light and dark theme and to release them together?

Once I started making all this music… I’m trying to think like the time of day, the exact light… but I was making music. I started recording and maybe had three or four or five songs in the works. Somewhere this more riff-based, edgy stuff [started coming out] and I had this random idea, like I want to keep them in separate worlds. So I made these two EPs and one’s light and lives in this emotional pool and one’s dark. I personally like sometimes when an album stays in a vibe and you can [stay in] this emotional zone. When it’s jumping all around all the time it’s hard to feel that. You just have to repeat a song, like when you just put on a song to feel a certain way or just to feel something. You end up just putting it on repeat and it puts you in a place emotionally. I kind of wanted to do that with the whole EP, so I did that with Light. That’s lighter, emotional, hopeful, [and] sometime melancholy. Just in that zone of emotion. Then the Dark EP, I wanted stuff to hype people up before they go out or something. Running around or working out. I wanted to explore both of those things.

I find it really interesting that you say that because I did it backwards. That the Dark EP is what I listened to over and over. “Robert Paulson”, I could not get enough of that track.

The saxophone had a pretty specific effect. Was there any reason for implementing that in that song?

I mean it’s a very weird song, obviously. It’s definitely the craziest and strangest of the whole project. It has the most amount of different musical sections, the end gets insane. I just wanted to do something really like, holy shit this is fucking wild. I wanted to get Lenny Pickett on something. You know, Lenny being the head of music for SNL and being probably the best saxophone player like in the world, especially for soul and rock and basically everything except Jazz, although he can do that too. I just wanted to get his signature Lenny Pickett sound on the song and I had him do a solo, [we did] a couple takes and then I put some stuff together. When we did the mixing, I wanted to make it sound like Kanye West’s voice sounded two albums ago, where there was that distorted low octave below his voice. I wanted to go for something like that, so I told the mixer that’s what I’m looking for and he did something and I was like “yeah, that sounds great,” and that was it.

It kind of throws you off a cliff at the end of it too.

[Laughs] Yeah, it’s a nice surprise. If you make it to the end, you get a little surprise. That one gives off a fun rock element. That’s the kitchen sink song.

Yeah it really combines everything.

You might as well just go for it. Why not? My brother-in-law played bass on it… There’s me playing drums on that too. There’s just a whole lot of shit.

You started off on drums, right? What made you decide to go into guitar instead?

Yes. You’ve done your homework. I was playing drums in the fourth grade in school, in public school. My parents had approached me about taking private lessons, so I chose every instrument that they offered in the private lesson conversation and they kept saying no until I got to the last one, which was guitar, and they said yes. So, I was like, alright. I don’t really think I had an interest up until that moment either. I didn’t really care. But I was like alright, sure, I’ll try.

That can go one of two ways, right?

Yeah. I think it was my dad like trying to have me become a guitar player because he loves guitar players and he had his guitar.

So he got what he wanted I guess.

[laughing] Yeah, I guess it worked out.

The EP’s take you through an emotional journey of their own when you listen to them and this question goes back to what we were saying about when you listen to something back to back, it’s even a totally different journey that’s left up to the listener. When you were writing them, did you implement anything specific in search of emotionally provocative elements?

No. Not at all. Honestly, I don’t think like that. I don’t look for a target and write for something, or try to find something that will be [a certain way]. If I feel it when I’m writing, if I’m feeling that emotion and if it’s straight from me emotionally, then I know that it’s going to affect someone the same way. You know what I mean?

Even if it’s going on in their own minds, yeah.

Yeah. So, if I’m playing a guitar riff and it’s making me feel some kind of way, then I’m transported and I’m in that place. That’s what I look for. I look for those feelings. If I find those feelings, there’s a good shot that someone else is going feel that way. It’s a simple equation. If I feel that way about it, somebody else will feel that way about it. That’s how I look at it. If it does nothing for me… and sometimes you go down the path of production, where you’re producing it and you start to lose some of that emotional feeling and you have to catch yourself. Like “this is not pulling me like it used to.” Then you have to figure out why. Maybe you got to take some shit out or you got to get back to the roots of what the thing was and let that speak, or you just gotta just figure it out, but, for me that’s the puzzle of producing, but the whole point is really just to make sure that the emotional, no pun intended, content, there and is first. Everything should suit that. If it affects me then I just go with that and know that it’s hitting the right place. If I write something and it doesn’t make me feel anything, that doesn’t mean shit.

I find that the really cool thing about instrumental music too is it’s not on the forefront but for people who can really appreciate it, it’s quite a special thing. You can close your eyes and listen to it and it takes you to another place and I think that’s the really beautiful thing about music and vocals, they can do the same thing but they don’t provoke the same kind of feelings. Your motive with these EPs was to have people singing melodies even when there were no vocals on the tracks. Do you think people might throw their own vocals on top of them after the release? How would you feel about it if you did?

That would be cool. I think people don’t really have that much time on their hands. Or they do or they’re not that productive with it so I don’t know that they will. I think it goes back earlier to what you just said. I don’t want to tell people what to think about it or what to feel necessarily when they’re listening to music. So, that’s one of the reasons why I love Bon Iver and Sigur Ros. There are vocals but sometimes you don’t really need to understand the lyrics. It’s not about the lyrics. It’s about the emotion. I can’t sing like Beyonce or Justin Vernon, but I can do that with my guitar, so that’s my voice.

On the SNL side of things, you guys have some pretty cool names starting out this season. Kumail Nanjiani, Ryan Gosling, Jay-Z, and Gal Gadot have all been announced as this season hosts. Who are you most excited for?

I wanna see Jay-Z, man. Shit. Everybody wants to see Jay-Z. Who doesn’t want to see Jay-Z? I don’t really care who’s doing what, I’m just so happy I get to see Jay-Z. I’ve never seen him live.

In the past, who have been your favourite people to work with?

Obviously like playing with Mick Jagger was pretty insane. We got to back him up. That was cool. We backed up Paul Simon for the 40thAnniversary show. That was really, really cool and he actually mentioned the band before and had us stand up so the crowd could give us an applause. We got a standing ovation. [That was a] really touching moment where he really highlighted our band and it was really nice to feel recognized by somebody like that on a national stage. One of the favourites, obviously, was playing a sketch with Dave Grohl on drums and us playing guitar on my part of the stage. That wasn’t in the skit, but [we were] playing the music for it. Dave Grohl [was] playing punk rock drums and I was like holy shit. I never thought I’d jam with Dave Grohl, somehow you know. As a kid and as a drummer, it was great. I was a huge Foo Fighters fan back in the day.

You’ve shared the stage with many people on your own as well. What would you say your top five, be it on the show or be it on our own, performing with Elton John and stuff like that, what would your top few, I can’t believe this is happening right now, be?

I mean, doing that Sting Rainforest benefit thing (the Sting and Trudie Rainforest Band) [and] being a part of that house band every year. It’s every two years, but being a part of that show has been the most mind-blowing experience. Backing up like you said, everybody from Elton John, to Bruce Springsteen. James Taylor a few times. Sting, obviously, Bruno Mars. Just everybody. Then doing other house band gigs. Like playing for Justin Timberlake and Beyonce and I mean, it’s been wild. It’s been really wild to do stuff like that. I did something not too long ago, maybe two years ago, where it was another house band thing and we backed up Jim James. That was really cool. I’m a big Jim James fan, just like I’m a fan of what he does. I’m a fan of what he stands for musically in today’s world. So that was a really cool experience. He was a really nice guy, so that was cool. I don’t know, I’ve done a lot of really great things in terms of playing with people and it’s always the same experience. It’s always just a beautiful experience. It’s always an honour to play and back these people up.

You guys do a live warm-up and there’s a quite a bit that happens leading up to the live show. Can you tell me what a typical day is like for you, specifically in the hours before the show?

I show up in the morning, we have an 11 a.m. rehearsal. I usually try to get there around 10:45, just to be early, ready to go. Depending on the awful L train that we have, [it] depends on what happens. So [I] show up early, jam out for like an hour and a half, sometimes longer, and then with the band, just us rehearsing the songs for that night. Then usually we’ll go on break basically until we have to do monologues with the host.

If we have to play on sketches, we’ll work on sketches and when that sketch comes up during rehearsal, we’ll play. That’s kind of different every week. You never know what happens until that show. Then we have dinner break and then we do a dress rehearsal, which is pretty long. We do a warm-up for that, so we play a couple songs and then there’s some stand-up comedy and then we play a couple of songs and they start the show. Show has extra sketches, extra jokes, that kind of stuff. Then they edit after that and then we do it live. Same thing, warm-up gearing up for the 11:30 live and then boom, 1 o’clock a.m. we’re done.

As far as the Pearl Lion stuff and your solo endeavours, what were your musical influences?

Honestly, I pulled from a lot of places. Everything I’ve listened to and that I have studied in my life has all come back around as part of my music and how I create. I mean, the things that I think really inspired this project [are] anywhere from the more Bon Iver and Sigur Ros kind of thing for the Light EP. More to a pop producer mindset, which is like me making pop music for so many years. Then the ripped and rock guitar shit [was] from all the stuff I loved growing up with Zeppelin and all that stuff. Just being a guitar player, combined with a lot of the beat maker kind of people that are out these days, like Flying Lotus, Flume, you know, all these interesting more progressive beat maker producers. All that mixed into one I guess.

And on the side of SNL, can you pinpoint any moments, either during the set or during just getting ready that really stand out for you?

That doesn’t really stand out because throughout every show, I’ve been playing 21 shows a year for 10 years. I can’t remember that. It’s usually when there’s a special monologue, that’s what I tend to remember. I remember the Zach Galifianakis one. It’s different when people do stand-up comedy. I tend to remember those. Those tend to stand out because they’re comedians, so they’re already hilarious and they just do stand-up. I don’t really go to see comedy so to me it’s like, “oh cool! I’m getting to see Zach Galifianakis do stand-up.” I don’t normally know what he would do and now I get to enjoy this. And that’s really fun, you know? A couple of people did that. [Dave] Chappelle [too]. That’s something I personally don’t get to see that much, so it’s always really exciting for me to get to see that comedic talent.

I think they kind of out-do themselves a lot of the time on shows like that. So it would be better than actually going out and being at one of their regular stand-up shows.

Yeah that’s the whole thing, I have no idea. I’m just psyched that I get to see them at all.

I never go see comedy and I don’t go see big comedy shows. I should, I enjoy it a lot. I just never think about it or think to do it. So you have the best in the business, you get to see them do their thing and witness their talent and it’s really cool. Because the sketches, it’s partly the SNL writers, a lot of people have their hands in that, but when a comedy writer who’s famous and amazing at what they do just does their own stand-up thing, it’s totally their own stand-up. It’s really interesting to see what that is.

Yeah, I find you can really see their character shine through a lot more than in the skits because the skits are all planned out and they’re actually being taped, especially when they’re out on the street too. They have to do so many takes, but when you see someone stand up there you get to see like their character more.

Yeah, and it’s super live and it’s super real.

I like to end my interviews by asking for like a funny quirk or a character trait or something that’s about the artist, or whoever I’m speaking to, because I feel like the personality in it can get kind of lost in most interviews when you’re asking about the recording process and stuff like that. Is there anything you can think of that you think would surprise people about you or make them laugh that you’ve never talked about before?

I can do the worm. Every once in awhile I’ll bust out on a dance floor at a bar or something and I’ll literally just fucking do the worm like across the entire thing and people are like, oh my god!

Awesome, that’s so hard to do. I don’t think I was even able to do that when I was a kid.

Yea I was always able to do it. I’ve always been into breakdancing and hip-hop breakdancing and skateboarding. I was really into a lot of that stuff when I was a kid, I was doing a lot of that when I was younger so some things stayed with me, and the worm is definitely a party pleaser.

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