Patrick Watson

0:00Okay, so awesome. Amazing. So how have things been? You guys have been in the road basically as far as I can tell nonstop since the record came out. Yeah, we're ever almost done though. Oh, yeah, so close. So close. So how the sets progress? How have things come along? You know, song songs, I guess we'll just get right into it. Songs, you know, have a few lives, you write them or you get the idea, you write them, you record them, then you take them out in the road and they change, they morph, especially, you know, I've seen your shows, especially in your case. And I think that this probably album changed a little bit from the road because the range of the came up on the studio are a lot smaller songs than our other album. So that's something you've noticed. But definitely the songs, things more like energy behind the show always changes, the set with always changes, the play always changes the way we decided to play the song and the night changes. So I think it's more about the place and the time that has the biggest effect.

0:54I was looking at, I found a set list online. I found a review of one of the shows from recently. I can't remember what show exactly it was, but you played the first four songs of the new record in a row to open it. Is that been something that's been consistent or did it just happen to be the set that I was? So that's interesting. How can you do in that? Where else like Lighthouse, you don't put it in the beginning, you can't put it. It's a very much opening track. And then it's kind of like, if you're going to put new songs, song has a bit of a personality that sometimes it's got the place in your house and that's that. They're very talking about that. I guess if we don't assault that list, it can be really, really damn show because they need to be really family to keep a really nice case in the concert club.

1:41I think the problem is the part of the hardest one is the pace. But no one gets the pace and it's the hardest one to change. That's interesting. Why is it so difficult? Was it difficult to pull them off in the studio as well? No, it's more about the songs that are difficult. Where they go in terms of the order of the songs really make a difference on the songs. Really like the most interesting of the shows. Yeah, well, it's something else. I mean, are you guys still pulling out all the instruments on stage? I guess you have to for the older songs and they're not really as present on the new ones. But are you traveling with the insane amount of instruments that I've seen you with? I mean, pretty much, he's been loved and had before.

2:30He doesn't know all the garbage cans and stuff like that. I mean, pretty much. It's about ownership. You get a lot of crazy sound out of them. You know, so it's not that. I've pointed to a lot of these recordings. You know, creative are you. You're speaking like the third player, I think, billion pounds in phone. You know, everybody has that kind of philosophy. Oh, and they don't. It definitely looks chaotic. What about singing the songs? I heard, you know, I guess it's been talked about a lot, but singing the songs off wooden arms didn't give you those melodic goosebumps that you were hoping for when you brought the show on the road. So has that changed for this record? Are you feeling what you were hoping to feel? Sorry. The better songs are saying they feel a lot better.

3:17So I would say that definitely different from the started. Hmm. What do I want to talk about? You said about this record that you hope that adventures in your own backyard brings a little bit of creativity and magic to the everyday world. So what brings you that magic? Where does that inspiration come from for you? Where do you find it? Oh, glad you're doing. Yeah, well, I'm sorry. I'm doing what Geeon does. I'm trying to think. Well, music started. I love film, music, I mean, that sounds like a job of the art. I mean, for me, putting on like funny, amazing soundtracks for living too life is really, really helpful for me. Films. Well, film as well.

4:03Music and film. I think it was my favorite thing to keep me busy and keep me dreaming. That's interesting because I read Beijing's inspired by being John Malkovich. I know we're not talking about this record, but I find that very interesting that a film will invoke emotions in you to put on paper to write a song. I definitely do know how to inspire ideas and words that will then kind of be like, I don't see ideas, you know, these are not the very interesting ideas. And also the idea of just being somebody else. That kind of idea. Yeah. That I think maybe even touring kind of feels like that. Anyway, I was trying to film. It don't look like a certain spot of mine. There was a lot of films that I think had a lot of influence on my album.

4:52That's interesting. I don't want to say darker films, but thought provoking films, at least the ones you've mentioned. That's interesting. What about in terms of real stuff? You know, I don't know pretty big fan like fiction and something that's kind of surreal and strange. What about in terms of scoring films? I know you do a little bit of that too. So what are you looking for when when I guess a film is brought to you and you're said and you're asked, Hey, can you make music for this? What are you looking for? Exactly. Well, what are you looking for? Are you looking for a story? Are you looking for a theme that you can identify with? Is it is it maybe a script? How does it work for you to say yes to a film project? I like coloring. But the idea of you know, you got a coloring book, you know, like a bunch of different color crayons and you got a color inside the line.

5:39It's a little bit more of that in the way that you both think it is really being the film for life and bringing like the moments in the film that need to kind of come out a bit more or make certain things that you tip out of more that they don't. So in a way you're like to help in the film, finish the stage and maybe something isn't said, you need to finish saying what the film had to do with the thing. And I think that's, you know, like a I'm not someone who runs 50, you know, I wanted to feel this way, you know, and you shoot it and the actors are talking and you do all these things and you make it look certain way. But a final emotional tone a lot of times from the music. So you're trying to find out what the director did in accomplishing the film itself and what do you need to add that makes the story work, you know?

6:27Would it be harder to score comedy? I feel like it'd be it'd be weirder. It'd be harder for me. Like these whimsical weird sounds. What's the weird soundtrack of the lot easier than a copy soundtrack of the film? I don't know how I don't even know how I do that. I'll be the long clip in the hierarchy. It's really dark, weird, and comedy. I just don't know if I'm the right track for the job. That's cool. I'm just curious about that. You're almost done to her and I do kind of want to focus this article on the Massey Hall show and I guess the Quebec shows that are coming up next week. So how have things been? I know with the young kids, you spring the little guy on the road and now things have kind of changed. So is it is it?

7:13You must be excited to almost be home. I am so excited. I'm just like giving a hundred shows to March and you're feeling the burn. I mean, there's only as much you can get. I'm feeling pretty empty. And I think Massey Hall is my last very big show I have to do. I think I'm going to finish that show off. Feel pretty really big party in Toronto afterwards. Yeah, they're probably enormous. You could drink in your session. I'll be after that show. I will just feel relief of tension. But I think that's a last kind of big and respectful show. That's pretty easy going. And then I guess you take a break. I know there's some some European orchestra shows coming in the spring, but what are the plans for next year? Give me a very quiet year. Oh, yeah. You're going to take a little break and just focus on yourself.

8:01Well, I just hope I'm being a dad and, you know, also the ski home. So, you know, it's a lot of it's a lot of something to be always out in the road and away from your life and stuff on everybody, you know. Yeah, absolutely. And never any Friday and you don't ever really feel like you can do. But we just want to find a place. We have to expect the same day every day. It's very hard to change and evolve in the bad. It's hard to grow in the road. You always feel like the same person for a year. And you know what I mean? But at home, do you think you grow and you move and it's really changing? It's a very weird thing. So other people, just moments that are amazing. You're like, wow, I'm so happy I do this. And then when you get to this part, we hear at the very end, you're like, I'm like, God, I can't believe I do this.

8:47It's a very funny experience. You've got to react to this. You said so much in there. I want to touch on, but we don't have too much time. I guess, I guess, um, where do I want to take that? I guess when you do get home and you do take some time for the family, when do you think it's going to hit you? Like, how long can you go without writing jotting down ideas or sitting behind a piano? Are you able to get out of that mind frame? No. I like a whole lot about working before. So I have some definitions for them. That coming I get the joy. I like working a lot. I always like playing music. It's something that it doesn't. And that's my life's first notification on the suited iron. It's a big, loose off music. Well, no. You always have to have the efficient.

9:33You could pick people on fishing when you're songwriting writing. Yeah. Sometimes you always have to have your hook in the water because you never know when you're going to catch a good fish. But you're kind of never really on, you know, vacation. You're always meeting different people and you're always, you're always hitting your eyes open because that one little idea that might spark something, that would be really immediate. You're constantly writing, hey, all the time. You're always thinking of ideas. I think you kind of have to be. It's also like a muscle too. I think one point I got really tired next to break and very tough in the back after. That makes sense? Yeah. I get that. The muscle, right? Yeah. The more you exercise, the more you're in the imagination, it's always on the ball. So I think that one shape or another, I don't always have to write any songs. I think breaks and writing songs is a very other than you like to do. But I think I'll be writing a lot of instrumenting in the class music.

10:20I'll be very different. I'll be very different. Well, I got to let you go. So we do something called five questions, five quick questions, one word answers. And I have a feeling, I know the first one just the way you've been feeling lately, but rotor studio. Oh, there we go. Leonard or McCartney, when you hear a song what usually hits you first, lyrics, melody or rhythm. Song you've written you're most proud of. That's a bad answer. I don't know what the songs have no idea. Is there one song?

11:05Usually, well, a lot of people can't answer it. So I usually go to a backup of what are you most excited to play live tonight? I've done a lot of these. I think the song on the people's part of it in a very strange way to go to home. You don't know what I wrote it. I didn't even like it. But it's grown on you. Yeah, I do. I mean, if I wrote it in a song for the matter, I wrote it in a map up there. I mean, they can do all these things and listen to them on voice and really like it in that way in a way. So I guess that's kind of like kind of bare. But in a way that kind of grown on me. Cool. And in one word, Patrick Watson.

11:51That's a good answer. So wow, I think. Ah, that's a weird word. I don't even know what to say to that.