Now/It's: An Interview with Patzy (Patrick Sewalk, Logan Todd)

Every once and a while, there's a band I know I'll like through the transitive property alone. Take this week's interview feature - Patzy - I came across their first full band show at The Basement via the Instagram Story (creeper alert??) of Now/It's alum Robbie Jackson. (Technically) comprised of Patrick Sewalk and Logan Todd, Patzy's live iteration features members of Keeps, Bent Denim, and Alanna Royale, so again, through that association (all this transitive talk is becomes looser and looser in impact the more I use it) alone, I figured I would be down. Sure enough, Patzy put out their first single, "Pat's Chord Pool," and I've gone all but full "Stan" (bet you wouldn't have expected an Eminem reference this far into the lede! Or maybe you did, if so, keep it to yourself). Their music is somewhat foreboding while being equally charismatic in a sleeping giant sort of way. In talking to Patrick and Logan, you can tell there's a unique rapport that tends to be tenuous more times than not in other two-pieces. So, in using Now/It's as the outer element of this transitive equation, after this interview, you'll undoubtedly find yourselves in the same spot that I've found myself in - eagerly awaiting the release of their full-length, Opus Uno. Side note - there's a tangential discussion about pedal steel, so for all you pedal heads out there, you've hit the mother-load.

Now/It's met with Patrick Sewalk and Logan Todd at Portland Brew in the 12 South neighborhood of Nashville.

Logan - Hey man.

N/I - Hey Logan. What’s up?

Logan - Not much. Just trying to guess which person here by themselves was you.

N/I - [Laughs] That’s my fault. I forgot to do the whole “I’ll be wearing this sitting in this area” text.

Logan - You’re good. I’ve been to enough of these types of meetings where it’s not crazy.

N/I - I understand. That’s a relief [laughs]. So you play drums in Patzy?

Logan - Yeah. The album’s pretty much the two of us.

N/I - I was about to ask - is it just the two of you? You two are Patzy?

Logan - I mean [Patrick] is the dude, but I kind of co-produce a lot of it.

N/I - That’s what [Patrick] had said - you handle a lot of the production stuff. He said it’s highly collaborative between the two of you.

Logan - Collaborative. Right. He trusts me.

N/I - Well that’s always important.

Logan - Have you seen the video [for “Pat’s Chord Pool”]? It’s nut.

N/I - I have. It’s pretty wild. It’s kind of funny, because Patrick and I have been introduced and re-introduced on a handful of occasions, and I almost didn’t think that the fox mask person was him.

Logan - Oh, alright.

N/I - It was one of those things where you only ever see a person so often, so when you think you recognize their gait, but don’t see their face, it can seem kind of uncanny. There’s something dissociative about it. But it’s super cool. I’m friends with Erik Maynard [the video director].

Logan - I just called him like five minutes ago! I actually need to text him. I produce hip-hop as well, and he’s doing a treatment for my brother’s video. Pat sang a song on my brother’s last record…. Actually, he sang the chorus. My brother just called and asked if I could get someone to make a video, and Erik was the first person I called right after. He was like “I can do it.”

N/I - Right on. So your brother does hip-hop, then?

Logan - Yeah. He was a combat medic in Afghanistan and decided to get into hip-hop after being in a very stable financial industry career for six, seven years, wife, two kids, that whole thing. But one of his buddies committed suicide and he had a client die - he was selling life insurance - and when one of his clients died, he went up to Philly for the funeral, and it all just kind of hit him. He said he had been doing the wrong thing. So now he’s trying to raise awareness for veteran suicide prevention.

N/I - That’s great. That’s awesome.

Logan - So that’s what the project is about. And I produced it, got all the musicians together, and then with Pat, I knew he had to sing a song with him.

N/I - That’s awesome.

Logan - Yeah! We’re doing the video for it, and I’m really excited about that. It originally wasn’t the single, but it’s one that…. My brother gets a lot of text messages from people - he had one where a guy was having a PTSD episode, got picked up by an ambulance, and asked the EMT to put on my brother’s record.

N/I - Really?

Logan - The EMT got my brother’s number, just because he figured it out and texted him story, because it was so crazy.

N/I - That’s incredible.

Logan - And the song was “I Disappear.”

[Patrick Sewalk arrives]

Logan [to Patrick] - Did Mick talk to you about doing a video yesterday?

Patrick - Yeah.

Logan - I just asked Erik, and he said he’s down, too.

Patrick - Okay. Cool.

N/I - How’s it going?

Patrick - Just trying to keep moving on rainy days.

N/I - I understand that. Yesterday was great, I could get out, could go do stuff, and the day before, I could go for a walk, but now, not so much.

Patrick - Even this morning, it was wonderful.

Logan - It was nice.

N/I - Oh yeah. I forget where I was…. I guess I was just outside, but I went for a quick walk and got back in right before this torrential downpour started. We’ve finally made it out of…. Are you guys from Nashville?

Logan - I’m from Memphis.

Patrick - I’m from Ohio.

N/I - Okay. So you’re probably more well adjusted to cooler weather.

Patrick - I used to be.

N/I - That’s fair.

Logan - Where are you from?

N/I - I’m from here.

Logan - Oh, okay.

N/I - But whenever I think I’m finally acclimated to cooler weather, or have found respite from the heat, it’ll be rainy, or tornado season. Anway….

Patrick - I actually saw you on maybe one of these walks you’re talking about. The day that I messaged you [about this interview], I was at Josephine’s and I happened to look outside and you were there walking around. I just thought it was funny.

N/I - Was it later in evening?

Patrick - It was late evening.

N/I - Yeah. I live on Belmont Boulevard, so my usual “walk” is some version of down Belmont Boulevard, across Battlefield, and up 12 South. So that was almost certainly me.

Patrick - That’s a good place to walk around.

N/I - So Logan and I were talking about the video for “Pat’s Chord Pool” before you showed up. It’s super cool. The song is too.

Patrick - Oh, thank you.

N/I - I was glad to see Erik Maynard was involved. He’s a good friend of mine.

Patrick - He said you guys were acquainted.

N/I - Great. So where did the idea for that video come from? Was it more you guys, or more placing it in Erik’s hands?

Patrick - The idea for the video came about…. Have you seen this Ron Gallo video where he’s down on Broadway?

N/I - I think so. The one where he’s playing in the bed of a truck at one point?

Patrick - Yes. For the record, I had not seen the video for that record before we started to make this….

N/I - Do you fear that due to the fact you’re both Nashville rooted that you’ll get some flack?

Logan - It’s super different, though.

Patrick - Yeah, very different.

N/I - Well that’s why I ask - to me, the Gallo video didn’t cross my mind, but the fact you mentioned it did spark the idea that people less inclined to consider the differences might lump them together.

Logan - But the kind of people that would draw those kind of inferences aren’t the people that would necessarily watch it.

Logan Todd

Logan Todd

N/I - That’s fair. It’s a lazy inference in the first place.

Patrick - I told my friend Taylor the general concept for it, and then she showed me that video. So that was in my mind the whole time, and I was careful not to infringe upon that. But the initial spark was the drum groove, just how it feels so nice. For some reason, I just wanted to dance to it.

Logan - It’s a good walking around groove.

Patrick - So I just pictured myself - this is kind of vain - but pictured myself moving around in that way.

N/I - It’s like a…. I want to say Saturday Night Fever. Did you ever see that? It’s where he’s walking down the street, and it’s The Bee Gees soundtrack.

Logan - The Bee Gees did that soundtrack. Great fucking soundtrack.

N/I - Truly. But that was what I thought of. Obviously, it was a much more surreal version of that kind of thing. Walking down the street in a definitively recognizable locale, but there’s something starkly contrasted to what happens on Broadway all the time.

Logan - Well Pat was talking to me about the dissociative nature of it. He has this mask on that pretty much removes him from everything around him. He’s there, but he’s not really present.

Patrick - That’s kind of the whole point….

Logan - Of the song.

Patrick - Really. I don’t know if you noticed - it’s kind of hard to see unless you’re paying super close attention - but we switched everything. So every shot that takes place on Broadway is backwards.

N/I - So it’s mirrored?

Patrick - Mostly because I didn’t want any text to come through.

N/I - That’s a clever way to avoid any sort of infringement.

Patrick - But there are lots of parallels that can be drawn from what the song is about and how the song is produced to what you see in the video. I guess I should talk about that.

N/I - Sure. By all means, talk about whatever you think needs to be laid out. Then we can parlay that into talking about Patzy in general and whatever else pops up.

Patrick - Sure. Totally. I guess since we’re on the subject of that video, and the song….

Logan - It’s the first music video that we’ve ever done together.

Patrick - It’s the first one I’ve ever done.

Logan - Oh wow.

N/I - Period? Full stop? So if “Pat’s Chord Pool” is the first Patzy single…. Or is it the first Patzy single?

Logan - It’s the first thing we’ve released, period.

N/I - It’s the first public facing thing you’ve put out.

Patrick - Yeah.

N/I - So why put out a video so close to the single’s release? Because talking to people that make music and videos, and Erik [Maynard], some people will put out a record, but it’ll be six months to a year before a video or something comes out.

Patrick - Oh really? I thought that it comes out together.

N/I - Well, I say that, and a lot of times you’ll have the single and the video drop together. I guess I’m speaking more in terms of later singles. Granted, I’m not doing any of this stuff to begin with.

Patrick - Interesting. I thought we were doing it super late already.

Logan - Same.

Patrick - I wanted it to come out the week after it dropped, but it just took so long.

N/I - Okay. So how long did it wind up taking?

Logan - The song came out about a month ago.

Patrick - It was January 19th when the song came out.

N/I - So I guess that’s pretty standard. I’m always interested in the neurosis of releasing music and videos and what not.

Patrick - We used to be in a band called Ivory Coast together….

N/I - That’s right. You guys played at least one or two shows with October Tooth. Is that correct?

Logan - Yeah. We definitely played with October Tooth.

Patrick - At least one.

N/I - Okay. So I’ve seen you guys in that iteration.

Patrick - Well we learned a lot of lessons from that, and we were ultra-perfectionists in that band, and we couldn’t release anything, because we were so hesistant and afraid in service of the aesthetic. So now, the mindset is to keep moving forward and get them out so we can keep making stuff. That’s the idea - get this thing out of the way so we can move onto the next.

Logan - I feel like seeing Pat as the writer, he’s all about creative destruction. The next thing has to be better than the thing that was before it. But because of that, even while we were listening to the mixes earlier today - we were doing mix notes this morning - it was like “Shit, we already learned a lot since we recorded it.” Normally, I was the one that was like “Guys, we need to put this out.” But now, Pat is like “This is a snapshot. We’re not about to dive into this.” There isn’t really a need to be so concerned with that. You just have to trust in yourself and put it out there. That was one of my biggest frustrations, because I play in other groups with the opposite problem where nothing should have been released because it was half baked. But the Ivory Coast stuff was a little overwrought. We’re shaping and honing that balance between the two right now. I like having the video out so close. I have always been of the thought that you need to have as much content as you possibly can. Or at least backlogged, so when you have momentum, you have some reserves.

N/I - You can do a full out barrage. I didn’t mean to pose that question as skepticism, it was merely curiosity.

Logan - It wasn’t taken that way at all.

Patrick - Yeah, we understood.

N/I - But I understand what you’re saying, in terms of backlog and content. From my perspective, or from my vantage point of doing a blog, website, whatever you want to call it - that’s something that I was very hesitant to set out doing, because I thought I needed to have a ton of stuff, but then I realized some stuff is better than no stuff. It’s like Patrick said, it’s a snapshot, but you don’t realize it until you look back at the archival wellspring.

Logan - So with yours, are you on a schedule?

N/I - It’s a very loose schedule. Like if there’s a video premiere, I just do it whenever someone wants to. Obviously, if it’s something I’m into, it’s not like I’m saying yes to every video premeire request. Otherwise, I do interviews that go out every Friday.

Logan - Well see, that’s awesome, because you’re putting yourself on that timeline of automatically building your archive. You don’t necessarily need the backlog of content, because people know that every Friday, it’s coming out.

N/I - Well it’s different being a publication from say, an artist. My stuff will always be there, and never really change, so to speak. Whereas with you guys, it is a snapshot. It’ll will hopefully show progression and growth, so I can understand wanting to have stuff out more often than not. And it sounds like that’s something you two were pretty capable of becoming comfortable with after Ivory Coast. Is that safe to assume?

Logan - Well how long has it been since Ivory Coast died?

Patrick - We played our last show in April of 2016, so we’re coming up on two years. Since then, it’s just been….

Logan - When did we start demoing Patzy?

Patrick - Like early summer last year?

Logan - It was really casual, too. Pat was just like “Hey, I’ve got some songs. I don’t know who else would play drums on them other than you.” The first demos were just us playing with a mic in the room.

Patrick - Yeah, we did that.

Logan - Just me and him. Pat writes all the songs, and I just kind of help with arrangement. So a lot of suggesting shortened versions or adding half a measure here or there. I just kind of help shape what’s already there. So we went from that to demo drum tracks for every song, like extensive stuff. It’s really fun, because there’s no pressure on this project. It’s always been like “Hey, let’s make these songs as good as they can be.” We spent about six months demoing? Or maybe three?

Patrick - Not that long. Maybe two or three.

Logan - So we were demoing, recorded all the drums, built them up. Since we did drums first, Pat’s been doing just about everything in terms of sweetening the tracks and doing the other basic tracks and vocals. I just came in today again to do a round of mix notes. I pretty much did mix notes and arranged the songs in the pre-production phase, and then Pat’s been doing pretty much everything in terms of cool guitar parts. And then today, I was a little harsh….

Patrick - Yeah, he didn’t like some things that I threw in.

Logan - It was just straight up “No. I don’t like this.”

Patrick - It was some 808 electric drum part.

Logan - I told Patrick we’re not doing that, but we don’t need to get into that.

N/I - Fair enough [laughs].

Patrick - I’ve just been trying to - since Ivory Coast - learn how to take myself less seriously, which I think was our downfall.

Logan - And focus on the songs. The songs are a lot better. Ivory Coast was all about the production elements, to a certain extent, where the song wouldn’t even necessarily be a song. The stuff Pat’s been writing is even more so…. Frankly, they’re little ditties. He just writes little ditties, and then we do cool stuff with them. And the live band has a pedal steel player, which is awesome.

N/I - Who plays pedal steel?

Logan - Bennett Littlejohn.

N/I - Oh, okay. I know Bennett. So when you guys play live, how many people are with you, then? Because if you have a pedal steel, it’s got to be built out. I think I had seen on Robbie Jackson’s Instagram story that you guys played The Basement.

Logan - That was a fun show.

Patrick - That was earlier this month. We played as a five piece. It’s weird, because he just mentioned pedal steel, I’m pretty into nice luscious textures, and a lot of the progressions for bands like ours is to add a synth player, to fill up that space, but I thought that’s kind of boring.

Patrick Sewalk

Patrick Sewalk

N/I - In what sense? It’s not as old hat to have a pedal steel player instead of a synth player?

Patrick - Yeah. It’s weird, because it automatically throws it into the filter perspective of “How does this fit into Americana?” when it’s not at all. It’s just an interesting flavor.

N/I - It might not help that it’s Nashville, and that there’s a presumptive thought of like you’re saying, it’s “How is this Americana? I can’t see it now, but I’ll figure out how this somehow borrows from The Band or Waylon.” People look through that lens of somehow borrowing from George Jones’ songbook, but with a modern twist, which obviously isn’t always the case.

Logan - Well I think the association, the positive connotation, when you think of music with pedal steel on it, it’s usually a complement to really good songs.

N/I - Yes.

Logan - And when I think about Patzy, that’s something we’ve talked about constantly - it’s all about the songs. And I think that the tangential line you can draw between the two is that they’re all good songs, with pedal steel being the center of that conversation. This is what we're doing, sure, pedal steel is used in old country songs, but I think that it’s a great texture for the song.

N/I - Well like you’re both saying, with textures, I tend to think that whenever I see a pedal steel - be it country, or whatever - the thought is that these guys must be tight. You can’t really have a casual pedal steel. You don’t see a lot of garage rock or math rock bands throwing in pedal steel for the hell of it. It’s not that easy. It takes more nuance. There’s a certain gradient of ability and quality to someone that can play pedal steel well.

Patrick - I think so. It’s a magical instrument. Every pedal steel player is underappreciated and underrated in terms of the level of feeling and intellect they have to possess.

Logan - I think of the same thing with violin - you’re either bad, or you’re good. There’s not really a mediocre pedal steel player out there. There’s “That’s guys not really good.” or “That person is a god.” I think the element that pedal steel brings for me as a drummer is that it forces me to listen. Not that I wasn’t listening to begin with, but I think that all of us are familiar with the most derivative form of the music. With a live band, I feel like we all already trust each other, and we’ve only played one real show together and practiced maybe six times. I think it’s a credit to what Pat was saying in terms of creative intellect, the group possesses that in their own right with whatever they play. I don’t feel like any of us feels like we’re carrying the lion’s share of the burden. We can all trust each other. It’s huge. Because I’ve been in groups - I was in this group called The Voodoo Fix for a long time - great performers, but the guys weren’t necessarily great players, which is fine, but it’s one of those things where if I wasn’t right on, it’s not like everyone else was going to pick up the slack. But with this group, I can miss six measures of dropping drumsticks, and everything would be fine. It’s cool having that level of trust. Our bass player, Gabe, is from this band called Alanna Royale, he works with Pat, and he’s awesome. And then Gusti, from Keeps, plays too.

N/I - So you basically just field people you already knew to be in the band? Did they already know about Patzy, or was it one day that you finished fleshing out demos that you figured you should find a full band? How do you go about getting ready for that first show?

Patrick - Ideally, I wanted to finish this record that we were working on before we played out, so this was kind of an accident. Someone asked me if I’d like to play a show, and I didn’t want to play the songs by myself, so I thought of who some friends that I wanted to play with were, as opposed to strangers.

N/I - Don’t want to throw it out into the Craigslist abyss.

Patrick - Exactly. So we’re just lucky enough to have friends who are also great musicians that are willing to play. It was just like “Hey, can you play the Basement this night?” and then it just goes from there.

N/I - Well that’s got to be pretty fulfilling. Just to have people that - you were talking about trust - and knowing people who are capable enough to be able to dive right in and embrace it.

Logan - Having a squad of heavy hitters.

N/I - For sure.

Logan - People who can really play. It’s a huge blessing. Pat and I, we had been tossing names around - I think Gusti was the first person that we knew was going to be in the band.

Patrick - It was mostly bass that we struggled to find.

Logan - And then the pedal steel, it was funny, because he brought it up to me, and I had been thinking the same thing the day before - we didn’t want a keyboard player. I can’t imagine the band without Bennett now.

Patrick - I know.

Logan - And I’ve been into old country lately, so I’m kind of a sucker for it.

N/I - Same here. So what’s next for Patzy? The video, obviously, but past that? Do you have a full album’s worth of tracks done?

Logan - It’s between and EP and an album’s worth. I guess it’s an album.

Patrick - Nine tracks is an album.

Logan - Oh, you’re counting “I Hear Bells?”

Patrick - It’s nine tracks, including instrumental. I studied audio engineering in college, kind of for the purpose of recording myself - it’s weird, because when we started recording these songs, we didn’t have a band, so it was just like “We’ll just record the whole thing.” Hopefully we’ll be done soon. It’s not finished yet, but we keep promoting its release in the spring.

Logan - I feel like we need to set a deadline, honestly. We can’t let this shit go the way of Ivory Coast.

Patrick - Well, it’s different when we’re not booking studio time, like this morning it was “How productive can I be this morning?”

Logan - I get that, I’m just saying that I’m worried about the same pitfalls that we suffered with Ivory Coast. Like when we hit this date, that’s it.

Patrick - It’s just a learning process, producing, engineering, and playing. It’s cool, because we can make everything sound exactly the way we want it to. It’s just a matter of plugging away. We’re mostly done, so we’re going through there and filling out the rest.

Logan - I think it’ll be done by summer, for sure.

Patrick - Yeah [laughs].

Logan - What man? I don’t trust you right now [laughs]. I don’t trust Pat completely when it comes to releasing material [laughs].

N/I - Well I saw the face he made and that made question what was too soon or too late.

Patrick - It better be out before….

N/I - Before summer comes around?

Patrick - Before summer comes around. I want this to be in the hands of any label that I can find.

Logan - I think from my perspective - my trajectory, playing wise - I’ve pretty much been a side guy for three years, whereas everything I’ve done with Pat has been “You’re my best friend, I want to keep making music together.” But I feel like that’s kind of where we can rub, I have the mentality of “It’s time,” but it’s also being able to temper that because we have all this access and freedom to make things sound as complete as we can. I just don’t want the same thing to happen that happened before.

Patrick - We broke the seal.

Logan - Yeah. We got one out. The cool thing is, we were talking yesterday about next steps, because the band vibe is so much different from what we’ve been doing. Showing these songs to other people, I had no idea other people would like it or not. At that Basement show, I was genuinely curious, asking people if they enjoyed or if it was cool to them, and most people were digging it. People who listen to all different kinds of music, and that was encouraging. So I’m already itching to record more with the band…. Those guys all bring their own creativity to the live version of the tunes. That’s been fun, and I’m sure it’s even more cool for Patrick, to have other people connect to the music and find comfort.

Patrick - It’s a new feeling.

Logan - But that creates a nice musical community, which I love.

Patrick - Well everyone listens intently. That’s something that worries me sometimes. Like with “Pat’s Chord Pool,” the song and the video. If you’re not listening intently or watching intently, there’s stuff you can miss.

N/I - Is that intended?

Patrick - I just value music that requires patience. For example, the most recent Fleet Foxes album, that isn’t as accessible as some of their past stuff, just because [Robin Pecknold] writes songs like vignettes. It takes some getting to know them to enjoy them. It’s sort of that way in the song. The title has nothing to do with….

Logan - Anything.

Patrick - The lyrical theme, other than the whole song gets built around this super tense open chord on the piano, otherwise it’s just chords layered on.

Logan - Is that one in E?

Patrick - It’s an A-minor triad over E, but it’s in D, actually.

Logan - But it’s the root, is the second?

Patrick - I don’t know, I guess so [laughs]?

Logan - Pat writes a lot in E, that’s why I asked. It’s a joke we have?

N/I - Why is that?

Patrick - It’s the lowest string on the guitar.

Logan - It just sounds good.

Patrick - The song, though, I didn’t really write it out of a place of celebration, or being proud of something.

N/I - Sure. It’s kind of muted, in a sense. Not necessarily from a sonic sense…. Maybe not muted, but more so restrained. Like you said, it’s tense, and it’s kind…. The first opening chords made me think of Destroyer at first. Then there are so many layers to it, that disappears, but that’s what stuck with me each time I’d start listening.

Patrick - Interesting. The song is about my frustration and resentment for people who know how to enjoy themselves, or can enjoy themselves easily.

N/I - That can enjoy themselves easily?

Patrick - Just being around people having a good time, and being unable to experience it. Being preoccupied where you can’t live in the moment. There are times when I can’t do that. It’s kind of like letting that out. It’s definitely not a happy song.

Logan - It’s really tongue-in-cheek.

Patrick - It’s sarcastic.

Logan - It’s got a satirical tone to it. “All the party people….”

Patrick - And it’s not the most catchy, poppy song that’s coming off of this record, but I thought that it showed listeners that we were taking ourselves seriously, in terms of us working hard on it. So it features a string quartet, and in the outro it’s cool, I kind of  manipulated it where a lot of electronic or dance music is. There are choruses that are a tonal upswing from the song. They’re pools of chords. It goes to a different place, which is why we went to a “different” place like Broadway. The shots on Broadway and in the random room, the same thing is happening. Me with the mask alienates me from these people trying to have a good time out on Broadway, to where obviously, I’m not being a part of their atmosphere, but I am there. People are going through the motions of what it means to have a good time.

N/I - Sure. It kind of resembles two different views on hedonism.

Patrick - [Laughs] You’re right.

N/I - From the handful of times I watched it - and admittedly, it took me a moment, but I could tell that due to the fact there were two different settings, there had to be some sort of juxtaposition there. I think the convergence point would be some version of hedonism, where Broadway is a little more epicurean, whereas the room is a little more dissociative, or stunted.

Patrick - I suppose that the hedonism is a comment on how you can view people who are okay or fine in the midst of all of that.

Logan - Because it’s perceived hedonism. Those things aren’t inherently hedonistic. I think it’s all a projection of your own mental state, which according to the way Patrick describes the song, he’s very uncomfortable that people can do that. He’s saying he’s frustrated with it, and I think the video exhibits that. You describing it as hedonistic is a good way of putting it.

Patrick - That is exactly what I wanted to depict, though I didn’t necessarily word it that way.

N/I - Sure.

Patrick - We filmed it too late in the year for this to happen, but my main goal down on Broadway was to walk away with a bridal party. That was all I wanted, but we couldn’t pull it off.

Logan - So I had a gig at Bourbon Street that night, and Erik and Patrick came down in my van, and we went on the street corner to set up my drums, and I put out a little tip jar, but I wound up making money in tips.

N/I - Well it’s funny, with some of those expositional shots, you can see people dancing across the frame.

Patrick - It was perfect.