Emily Scott Robinson (Songs That Outlast Us)
Emily Scott Robinson isn’t chasing hits....She’s writing for your funeral.
It's not dark...It's called powerful depth!
In our conversation, Emily shares with us that she wants to write songs that are singable 40 years from now.
Not viral...Not trending this weekend...Not forgotten next month.
FORTY YEARS
The industry rewards noise.
Speed.
Algorithms.
“Content.”
But Emily Scott Robinson is building something much harder:
...Songs people sing in churches.
...Songs people sing at funerals.
...Songs people sing when life breaks open.
One of her songs (written in the chaos of 2020) took on a life beyond her.
It's become something people carried into their hardest moments.
Most artists are building for applause.
Very few are building for legacy.
There’s a difference between:
• Attention and impact
• Output and endurance
• Scale and staying power
Emily made a choice.
She’s not trying to win the moment; She’s trying to outlast it.
That question doesn’t just apply to music.
It applies to all of us.
Are you building something people will still carry when you’re not in the room anymore?
Or are you just chasing what performs well this quarter?
Transcript
She's been compared to Nancy Griffith.
Speaker A:She shared the stage with Emmylou Harris and she signed with John Prine's oh Boy Records, the very first artist they brought in after he passed.
Speaker A:She's not chasing hits.
Speaker A:She's chasing something much harder and bigger.
Speaker B:I always want to write a song that is singable 40 years later, because
Speaker A:if you care about music that actually lasts, you know, the industry isn't built for that.
Speaker A:It rewards noise, it rewards speed, it rewards what disappears to tomorrow.
Speaker B:Streaming pays nothing, and I have great streaming numbers.
Speaker A:In this conversation, you'll hear how a song written in the middle of chaos became something people sang in churches and funerals.
Speaker A:How an almost missed Instagram message led to oh Boy Records, and what it really takes to build something timeless in a business built for the moment.
Speaker B:I wrote that song, but it doesn't belong to me.
Speaker B:It became something that was bigger than me.
Speaker A:It's time to get curious with Emily Scott Scott Robinson.
Speaker A:Critics love to say that you have the clarity of Nancy Griffith, who inspired you, I believe, to write your first song, the angelic tone of Emmylou Harris, who you've shared the stage with, and a dose of truth telling of John Prine.
Speaker A:And you are signed to the oh Boy Records label, which is so special.
Speaker A:And you get compared to all these icons.
Speaker A:But do you see yourself as carrying the torch for these artists?
Speaker B:I would hope that I'm carrying that torch.
Speaker B:I would hope so very much because I love those women.
Speaker B:Those artists inspired me to do what I do, and I hope to have a long career where I inspire and mentor other, like, younger generations of artists.
Speaker B:I. I feel that this world that I'm in, actually, I think a lot about the currency of youth as a woman in this industry, especially because so much of what we do now is on camera and on video.
Speaker B:And I think about my songwriting and the message that I convey.
Speaker B:Kind of my brand as an artist, really.
Speaker B:I think about it a lot in terms of how will it age?
Speaker B:Well, timeless.
Speaker A:You're thinking long term.
Speaker B:Yeah, I think a lot about the long term because this is such a chaotic and tumultuous industry.
Speaker B:And so I.
Speaker B:There's a part of me that is always thinking, this could go away anytime.
Speaker B:Not even like it could disappear for me.
Speaker B:But, you know, I think a lot about the zombie apocalypse.
Speaker A:Yeah.
Speaker B:I think to myself, who doesn't, okay, well, what will I do if there's a zombie apocalypse?
Speaker A:So Nancy, so Nancy Griffith, Emmylou Harris, John Prine, their music is and was definitely playing the long game.
Speaker A:They weren't going for, like, quick viral sensation stuff of the time, which I don't even know what the version would have been back then, but they're kind of thinking, like, more legacy music.
Speaker A:So it sounds like, yeah, that's your approach.
Speaker A:And you see that as like, the equivalent of, like, the torch bearer deal, where, hey, they were.
Speaker A:They were making, like, legacy music from day one.
Speaker A:Thinking long term.
Speaker A:And that's how you're approaching.
Speaker B:Yeah, that's how I approach it.
Speaker B:And I don't even know if they.
Speaker B:If any of us when we're younger feel like, necessarily, like, do that consciously.
Speaker B:But I. I do think a lot about how much I want my music to speak to people of all ages and to feel timeless and to feel out of time.
Speaker B:Right.
Speaker B:And so I. I think about that in my songwriting and my storytelling, and I always want.
Speaker B:I always want to write a song that.
Speaker B:That is singable 40 years later.
Speaker B:You know, like, I've been covering the times.
Speaker B:They are a changing.
Speaker B:And Bob Dylan wrote that song about a very specific time, but there's a timelessness to it such that it still feels fresh right now.
Speaker B:A couple decades later.
Speaker C:Yeah.
Speaker B:Five decades later.
Speaker A:So which of your songs do you think steps into that in terms of, you know what?
Speaker A:That's one that kind of stands the test of time.
Speaker A:Well, from my.
Speaker C:I have a suggestion.
Speaker B:Yeah.
Speaker C:Because it's one question.
Speaker A:I didn't think we did it.
Speaker A:I didn't think.
Speaker A:For you.
Speaker C:I didn't think we'd get into it this early.
Speaker C: But in: Speaker C: t it was an important song in: Speaker C:And here we are, sadly, still messing with the same stuff.
Speaker B:Yeah.
Speaker C:And it's ever more important now, six years later.
Speaker C:So I didn't.
Speaker C:I wasn't going to get into it this early, Ben, but you triggered me on that one.
Speaker B:Well, that was going to be my answer, actually, was that song in particular.
Speaker B:It has legs.
Speaker B:And I wrote it to be specifically out of time.
Speaker B:Specifically out of.
Speaker B: it to be so specific to Covid: Speaker B:I wanted it to feel like a song that would be singable in a different era.
Speaker B:And yeah, I.
Speaker B:That song, the Time for Flowers, so I recorded.
Speaker B: released it in the summer of: Speaker B:And I didn't expect it to have the legs that it did.
Speaker B:It really, really landed with people, and it became something that was bigger than me.
Speaker B:It became a Song that people shared with each other, that they sang in churches, that they sang at funerals, that they sang with their choirs.
Speaker B:And so I just feel like that song doesn't really like I wrote that song, but it doesn't belong to me.
Speaker B:You know, it.
Speaker B:It's life.
Speaker B:It's taken on a life beyond me and I feel very grateful to be a part of that.
Speaker D:The time for flowers will come again maybe in one year maybe in 10 there are days despair will win but the time for flowers will come again so why.
Speaker C:Let me ask what, what the thought process was to put it on the new album.
Speaker C:Obviously, help walk me through that.
Speaker C:I mean, I understand it, but I want our listeners to know why it was so important to re release it.
Speaker B:It's really actually just functional.
Speaker B:It's because that song doesn't live on any full length album.
Speaker C:Yes.
Speaker B:And so every night at the merch table, people come up and go, what record is that flowers song on?
Speaker C:Yes.
Speaker B:And my partner Colin, who runs merch for me out on the road, goes every night.
Speaker B:People are disappointed that they can't buy a record with that song on it.
Speaker B:And you need to put that on your next record.
Speaker A:Smart listener feedback.
Speaker B:Yeah.
Speaker B:And so I wanted to.
Speaker B:When we went into the studio, this was the last song that we recorded on this album.
Speaker B:And I said to Josh Kaufman, my producer, I said, you know, I want to keep this simple.
Speaker B:And he says, well, and I explained to him what that song means to people.
Speaker B:And he said, how do you perform it at a concert?
Speaker B:I said, just acoustic solo.
Speaker B:He said, okay, so let's just do that because that's what people hear.
Speaker B:And then they walk to the merch table and that's what they want.
Speaker B:And it's really.
Speaker B:We artists can get so heady about our ideas of what we want a recording to sound like.
Speaker B:But ultimately I know the experience of being a fan, seeing an artist I love play an acoustic concert, a solo concert, and then walk into the merge table.
Speaker B:And everything on that record is fully produced.
Speaker B:And it doesn't sound like what I heard that night.
Speaker B:I wanted to make a record that, that like had both of those things, you know, that has some beautiful, beautiful production instrumentation, but also feels like, like a concert.
Speaker B:And so there are two completely solo acoustic songs on that record and they're back to back.
Speaker B:And Time for Flowers is one of them.
Speaker C:And let's, let's, let's go back to Josh Kaufman because this isn't just some run of the mill guy producer.
Speaker C:This is Bonnie Light Horseman.
Speaker C:Josh this is his golden Josh.
Speaker C:This is master musician Josh Kaufman.
Speaker C:And how did he guide you through this?
Speaker C:How'd you get him involved?
Speaker C:And I mean, he's special.
Speaker B:He's so special.
Speaker B:He also just won a couple of Grammys with.
Speaker B:With the I'm with her crew.
Speaker B:Yes, he produced.
Speaker B:He produced and played on Wild and Clear and Blue, which is the latest record from I'm With Her.
Speaker A:Yeah.
Speaker B:So I went in, I. I chose him as producer before I knew he was even making that record.
Speaker B: hell's self titled album from: Speaker B: I think it came out in: Speaker B:And I listened to that and only that for.
Speaker B:For probably the next year.
Speaker B:It just really spoke to the place I was, the place where I was in life and it was so beautiful.
Speaker B:And when it came time, when these songs started to come and I could start to see this record form, my team asked me what producer I might want to work with.
Speaker B:And I had Josh in mind.
Speaker B:And really my reference record was that Anais Mitchell album.
Speaker B:I wanted to make my own version of how that felt.
Speaker B:I didn't, I actually didn't use.
Speaker B:There's a lot of.
Speaker B:I didn't use the same instrumentation by any means as her record.
Speaker B:It was just the way that record felt.
Speaker B:I wanted to make my version of that.
Speaker B:And so I spent all this time assuming that Josh was totally too cool for me, totally unavailable and way too expensive.
Speaker B:I just assumed all of those things because I thought he was so amazing.
Speaker B:He is amazing.
Speaker B:But finally my team said, well, do you want us to just reach out to Josh and ask?
Speaker B:Because I was racking my brain trying to find some bootleg version of him that I assumed would be cheaper in Nashville.
Speaker B:I mean, if I'm being quite honest, I just thought, oh, I'll just find like whoever the up and coming Josh Kaufman is, who nobody knows yet, so they won't be expensive.
Speaker B:But oh boy was really supportive in wanting me to work with a producer that I really admired and was a dream producer for this record.
Speaker B:They reached out to Josh, they sent him the demos.
Speaker B:Josh works with a mixing engineer, D. James Goodwin, who also engineered that Grammy winning record with I'm with her and they really work as a team.
Speaker B:And Josh listened to the demos, he sent them to Dan D. James Goodwin, and both of them, they responded within 24 hours and said they wanted to do the album.
Speaker B:And I was really Honored by that because I had sent them some shitty iPhone demos.
Speaker B:I just use my.
Speaker B:I don't.
Speaker C:Would you mind sending those over to Ben and I, please?
Speaker C:Yeah, sure.
Speaker B:I'd be happy to.
Speaker A:We'll take that.
Speaker B:They're just.
Speaker B:Yeah, they were just, you know, they were so simple and they, they really loved the songs and they were available, excited and, you know, and didn't charge some crazy out of this world celebrity producer fee, you know.
Speaker B:And so.
Speaker B:And the thing about it is, when oh boy said to me, like, pick your dream producer, I. I actually got a little nervous because I don't want to work with a producer because of their name.
Speaker B:That immediately pulls you out of the creative process of making something interesting.
Speaker B:That does not.
Speaker B:That to me does not belong in the world of record making.
Speaker B:And again, there are famous producers become famous because they're good at what they.
Speaker B:But I was like, oh, no.
Speaker B:If I go.
Speaker B:I guess what I'm trying to say is my work with Josh was very co creative.
Speaker B:I don't want to go into a studio where there's a power imbalance between the artist and the producer.
Speaker B:My experience with producers is always here we are working together to bring this thing to life.
Speaker B:We have equal power and it's a very respectful co creative relationship.
Speaker B:So when Josh said yes because I didn't want to work with him because of his name, I wanted to work with him because of his work.
Speaker B:And when he said yes, we got on the phone and the thing is, it's like a blind date, really, because you're about to go do a very intense creative thing with somebody, you know, however many months later.
Speaker B:At this point, I think I talked to him in December or January and we were going into the studio in April and we needed to test and see if there was some compatibility.
Speaker B:So we started talking about the creative process and how he works.
Speaker C:So interesting that the way you laid it out like that, that's.
Speaker C:It's like a first date.
Speaker C:That is hilarious.
Speaker B:It really is.
Speaker B:I don't think we really well, and I wanted to make sure we had a similar language and a similar.
Speaker B:Well, and so basically you're just kind of testing the waters.
Speaker B:So I realized very quickly that because Josh is a musician first, an artist first, he approaches making a record in the same way that I do.
Speaker B:And we had a very shared common language which includes a lot of space for experimentation and play with instrumentation and a desire to capture the immediacy of the creative process.
Speaker B:And basically he said, well, you know, the way I work is we go into the studio, and nobody writes parts beforehand.
Speaker B:We just.
Speaker B:You'll just stand there and play your song.
Speaker B:And then whoever we have as musicians, we just kind of start experimenting and playing around, and then we press record.
Speaker B:Well, and I was like, ding, ding, ding.
Speaker B:That's exactly the way I want to work.
Speaker B:That's exactly the way I want to work.
Speaker B:I love working like that.
Speaker B:And he also talked a lot about, like, the mystery of the creative process.
Speaker B:And he said, you know, you don't know it until you find it.
Speaker B:And then once you find it, you can feel it.
Speaker B:And I said, yeah, exactly, exactly.
Speaker A:That's cool.
Speaker B:It all sounds kind of.
Speaker B:That sounds kind of esoteric.
Speaker B:But when you're in the studio, there's gotta be this deep level of trust between each musician and the producers, such that everybody feels comfortable saying, I know this sounds crazy, but what if we do this?
Speaker B:Because the best songs come from that place.
Speaker B:And I think we captured that creative mystery in the making of this record.
Speaker A:Yeah.
Speaker A:So let's talk about the title track.
Speaker A: alachia was written after the: Speaker A:We're in Charleston.
Speaker A:We have a lot of friends in Asheville.
Speaker A:And I know how bad that was from the porch up there.
Speaker A:And there's a line in the.
Speaker A:In the song, my people came from pain and famine.
Speaker A:You think I'd let some wind and water tear the roots for me?
Speaker A:Oh, my heart for Appalachia beating still and what.
Speaker A:It's lot lots to unpack there.
Speaker A:But this line actually here next connects your family history with it.
Speaker A:People who survived, quote, a hundred days on a dark sea to the.
Speaker A:In comparison, like the literal storm of.
Speaker A:Of Hurricane Helene.
Speaker A:As a storyteller, why was it important for you to frame this terrible natural disaster not just as a weather event, but actually a test of your ancestral DNA, how you look at those.
Speaker B:Yeah, well, I. I really worked on those lines as a songwriter because I didn't want them to be specific in terms of my own heritage.
Speaker B:I come from.
Speaker B:I'm a. I'm a British Isles bastard.
Speaker B:But Scottish, Irish, English, and there's a lot of Scotch islands.
Speaker A:That's me, too.
Speaker B:There's a lot of the Scottish Highlands.
Speaker B:Folks, those mountains, the mountains, the Scott.
Speaker B:The hills and mountains in Scotland are, you know, before continental drift, those are the same mountains as the mountains in Appalachia, the Appalachian mountain range.
Speaker B:So very, very old mountains.
Speaker B:But I wanted to write lines that could apply to more than just that group.
Speaker B:And 100 days on a Dark Sea can apply to Anybody.
Speaker B:It can apply to people who were brought over to North Carolina enslaved from Africa and who have withstood.
Speaker B:Whose ancestors withstood poverty and starvation and enslavement.
Speaker B:And it can also refer to the Irish and Scottish folks who came over.
Speaker B:You know, Scottish Presbyterians were coming over because of religious persecution.
Speaker B:Waves of Irish immigrants were coming over because of potato famine.
Speaker B:You know, everybody.
Speaker B:England is the perpetrator of a lot of this.
Speaker B:And.
Speaker B:But all that is to say, I really worked that line because I didn't want it to just be about Scottish people, you know?
Speaker A:Yeah, but you did connect it to your own.
Speaker A:Like, you made that choice.
Speaker A:A lot of people made music about that or making music about that weather event, because it's.
Speaker A:Y'.
Speaker B:All.
Speaker A:If you're from other parts of the US it blew apart that whole region.
Speaker A:It took out water.
Speaker A:Like, they had no.
Speaker A:Literally no water for running water for weeks.
Speaker A:Yeah, but you.
Speaker A:Like you.
Speaker A:It just seemed.
Speaker A:And it ties back to what you're talking about riding from a place of legacy.
Speaker A:Like, how are we going to think about Helene 20 years from now?
Speaker A:Well, like, ancestral DNA.
Speaker A:And I'm curious about this standpoint, too.
Speaker A:Do you believe resilience is something that you choose or is this something like resilience comes from these difficult events like this that were kind of forced into your bones or from other events of life that have been difficult?
Speaker B:I think that resilience mostly comes from things that happen to us that we just have to cope with.
Speaker B:And I think from this perspective of this song, to refer back to the actual hurricane.
Speaker B:Hurricanes don't hit the mountains really, y'.
Speaker B:All.
Speaker A:So it's a climate safe haven, supposedly.
Speaker B:Yes, exactly.
Speaker B:Which is why western North Carolina and upstate South Carolina were not prepared for it.
Speaker B:But in this song, I wanted to write about the resilience of.
Speaker B:Of individuals, but also the resilience of community, because I don't think.
Speaker B:I think that community care is one of the foundational pillars of resilience.
Speaker B:We're not meant to weather these things on our own.
Speaker B:We can't.
Speaker B:And so, so much of what I saw after Hurricane Helene and after really any terrible thing is terrible things happen.
Speaker B:And also people can be incredible people, neighbors helping neighbors, strangers helping strangers, people finding ways to rescue folks off of hilltops and out of hollers, bringing gas for generators and food and baby formula and clean water to each other.
Speaker B:The way that people showed up for each other.
Speaker A:Was there one moment that you held on to in the recovery?
Speaker A:Like, one specific moment that really.
Speaker A:That you held on to as you were writing these songs that.
Speaker B:I think it was really all of what I was seeing, because I saw a lot of stuff from my friends in different parts of North Carolina who were.
Speaker B:There were musicians who lost their instruments.
Speaker B:Right.
Speaker B:And so I had musician friends from the Triangle and the Triad gathering instruments in the weeks after Hurricane Helene to go and deliver instruments to musicians who.
Speaker B:Whose instruments had been destroyed.
Speaker B:So it wasn't just about food and water and.
Speaker B:And immediate physical safety.
Speaker B:It was also about things that.
Speaker B:That people needed to, I don't know, feel.
Speaker B:Feel okay about their lives.
Speaker B:Because.
Speaker B:Because art and music is also important.
Speaker B:It's also a form of survival and healing.
Speaker B:And so it was really.
Speaker B:I was so moved by all the efforts that I saw from people from all over to swoop in and help folks who'd been affected by the hurricane.
Speaker C:Wow, that's really quite amazing.
Speaker C:Ben always takes it.
Speaker C:He's a good question asker, this Ben guy.
Speaker C:I want to bring.
Speaker C:So I want.
Speaker C: d you tell, because I saw you: Speaker C:And it comes from a song on a previous album, Cheap Seats.
Speaker C:You tell a story of being in the cheap seats.
Speaker C:We're at the Ryman, I believe, seeing John and John's.
Speaker C:He's tattooed on my arm.
Speaker C:John's one of the inspirations behind this podcast.
Speaker C:Tell me that cheap seat story that you told us that night at the Turf and tell our listeners about that, because I love it.
Speaker A:I.
Speaker B: the Ryman back in the fall of: Speaker B:The regular tickets were a couple hundred dollars.
Speaker B:And so.
Speaker B:But there was a. I noticed on the Ryman website that there were.
Speaker B:There was a seat for $75, and I didn't know why.
Speaker B:And then as I'm going through checkout, I. I see that it says, you know, note, this is an obstructed view ticket.
Speaker C:If anybody's been to the rhyme and they know where that seat is, yeah, I've been there.
Speaker B:It's like.
Speaker B:It's so funny.
Speaker B:So.
Speaker B:So I get to my seat and there's a giant column in front of my face, like, blocking the center of the stage.
Speaker B:I actually genuinely can't really see the show from my seat, so.
Speaker B:So.
Speaker B:But if you talk to people who love going to see shows at the Ryman they always say, you know, the best spot in the house is to stand in the back of the balcony because of the acoustics of that place.
Speaker B:And so.
Speaker B:So I actually just went and I kind of wandered around and I went and stood in the back in the balcony.
Speaker B:And so.
Speaker B:And I.
Speaker B:In.
Speaker B:In my song Cheap Seats, I reference the Ryman as the mother church.
Speaker B:And.
Speaker B:And if I'm in Nashville, I don't have to explain that.
Speaker B:If I'm in Portland, Oregon, I do.
Speaker B:I go, you know, has anybody ever seen a show with a rhyme and one or two people raise their hand?
Speaker B:So we call that the mother church of country music.
Speaker B:It was almost torn down, and there are holes in the roof.
Speaker B:And then a bunch of people band together to save it.
Speaker B:And so it's just such a special place.
Speaker B:Seeing you're here, perform on a stage that means so much to you, where you want to one day see yourself.
Speaker B:And you have no idea how long it will take to get there.
Speaker B:You have no idea if you'll even get there.
Speaker B:And it.
Speaker B:It's actually.
Speaker B:There's kind of an intense mixture of, like, love and adoration for the folks you're watching on stage and, like, an intense hunger pain for.
Speaker B:For that yourself.
Speaker B:And so it's this kind of mixture of feelings that is.
Speaker B:Is a little sharp.
Speaker B:And I remember watching that and just being like, I want this so badly.
Speaker B:I can't deny how much I want to one day be able to sing on this stage and have the legacy and have this body of work to lean on and decades of singing and so many friends that I've made music with in such a community.
Speaker B:Like, it's weird to be able to see so clearly what you want and be in the room with that.
Speaker B:And sometimes it's a little bit painful.
Speaker B:And so that song Cheap Seats, then I wrote about that experience, and I wrote it right after, a couple weeks after, really.
Speaker B:I think it captures that.
Speaker B:That hunger for that, for the dream.
Speaker B:And so.
Speaker B:And then a year, a little over a year later, John.
Speaker B:John would be gone, and we'd be in this pandemic that had paralyzed the touring industry and the music business.
Speaker B:Nothing will ever really be the same after that because it.
Speaker B:It shattered other parts of the music business and so much shifted.
Speaker B:And I had written Time for Flowers in the meantime and released it.
Speaker B:And then I got.
Speaker B:I was messaged by Jody Whelan, who is John and Fiona's oldest son.
Speaker B:He sent me a message on Instagram, and I almost missed it.
Speaker B:I almost missed it.
Speaker B:It came through on my message request because it came from his personal account.
Speaker B:And I read it and it said, hey, I was out for a walk today and listening to Time for Flowers, and we're really big fans of you at oh Boy, and if there's any way we could ever help you out, let us know.
Speaker B:And it was such a warm and open message, and I responded and I said, I'm really sorry for the loss of John.
Speaker B:I've been, you know, he's a hero of mine.
Speaker B:And.
Speaker A:Yeah.
Speaker B:And I just can't imagine what kind of year you guys have had.
Speaker B:I'm also a big fan of oh Boy.
Speaker B:And I would love to work together, if you want to work together.
Speaker B:I said, I have another album almost fully written.
Speaker B:And I did.
Speaker B:And so about five months later, I signed a record deal with oh Boy.
Speaker B:And because that began lovely conversations with them about.
Speaker B:About joining the label, and I was the first artist they signed after John had passed.
Speaker C:That's a long story.
Speaker B:And I felt like I never could have predicted that.
Speaker B:I never.
Speaker B:I could not have predicted that at all.
Speaker C:John was just.
Speaker C:He was just the.
Speaker C:The.
Speaker C:I mean, Ben knows how much I love John, but I love that story.
Speaker C:Thank you for sharing that.
Speaker B:Yeah, my pleasure.
Speaker A:One of the thinking about, there are so many interesting songs and good songs on this album.
Speaker A:I really.
Speaker A:I was drawn to Durbag Saloon.
Speaker C:Yes.
Speaker A:That thing.
Speaker C:And when you're feeling better, tell us.
Speaker A:You mentioned the Ryman.
Speaker A:I love the Ryman.
Speaker A:Love the big venues, but I really like the place where you're like, you're going to hear a band and it's going to be them and you're going to be really close.
Speaker A:And I will opt every time to go hear a musician on the rise at an equivalent of, like, the Saloon, then the big hype.
Speaker A:And you've got a lyric in there that's sad and true and special.
Speaker A:It's the last call for good times in the towns that sold out in the town that sold out if it ain't gone yet, it's going soon.
Speaker A:What?
Speaker C:Such a good song.
Speaker A:Where Are We Today?
Speaker A:Is the.
Speaker A:The status.
Speaker A:The status of saloons.
Speaker A:And people might hear your music and say, well, she's kind of like her.
Speaker A:Her songs are like, for the stage or, you know, you've got this beautiful, clear voice.
Speaker A:And y', all.
Speaker A:You haven't heard Emily Scott Robinson.
Speaker A:You get to listen to this.
Speaker A:So y' all think your voice could probably be anywhere.
Speaker A:Why do you choose that type of venue over?
Speaker A:I'm not saying you're choosing it over the Ryman.
Speaker A:But like the big.
Speaker A:The big vibe you just talked about.
Speaker A:Hey, I can see myself on the big stage performing when you were sitting at the Ryman.
Speaker A:But yet you're putting out Dirt Saloon.
Speaker A:So what's your perspective on that?
Speaker B:Well, I mean, you know, to be honest, I can't.
Speaker B:The way I cut my teeth and learn how to perform was in bars, so.
Speaker C:Well, the Turf Club.
Speaker C:The Turf Club is a dirtbag saloon.
Speaker C:Sorry.
Speaker C:I love it.
Speaker A:Do you have a favorite dirtbag saloon that was helpful for you?
Speaker A:On the rise, like you say.
Speaker A:Hey, of all the dirtbag saloons, like, that's the one that.
Speaker A:That got tip of the hat for.
Speaker B:I have to be honest, I have never truly enjoyed playing in a ball.
Speaker B:I mean, the truth is that Dirtbag Saloon is less about music venues and more about the waffles and gathering places for true locals that haven't been gentrified and closed down yet.
Speaker B:So Dirtbag Saloon is actually about a bar that really exists in western Colorado.
Speaker B:So I live now in western Colorado.
Speaker B:I lived in Telluride for a long time.
Speaker B:I've lived here for almost 15 years out in this part of the world.
Speaker A:Love your ray.
Speaker A:Telluride, beautiful area of the country.
Speaker B:Oh yeah, I live in your Ray now.
Speaker A:Yeah, okay.
Speaker A:Yeah.
Speaker A:Spelled with O's, which is so interesting.
Speaker A:O, U, R A Y.
Speaker B:It's so.
Speaker B:And nobody, nobody can agree on how to pronounce it, but I call it your Ray.
Speaker B:So I lived in Telluride for about a decade on and off, but for the large part of 10 years.
Speaker B:And telluride was already an expensive place to live, but I watched it become a truly impossible place for any working class people to live.
Speaker B:And I watched the cool, weird, funky old coffee shop on Main street get, you know, closed down and renovated and turned into something nice.
Speaker B:And now it's a.
Speaker B:It's like a fly fishing shop.
Speaker B:I watched a Chase bank open up on Main Street.
Speaker B:I watched every cool, weird, divey place, except for maybe one, get renovated, sold off, renovated, made glossy and new.
Speaker B:And so I watched all these shitty old rental houses get torn down so that, you know, $4 million for $4 million builds of luxury condos and townhouses.
Speaker B:I just watched everything that made the town cool and relatable go away.
Speaker B:Yeah, and I think this is not an unusual story.
Speaker B:This is happening everywhere.
Speaker B:It's happening all over Nashville.
Speaker B:And yes.
Speaker B:So the chorus of that song is directed towards that.
Speaker C:Gotcha.
Speaker A:So what's about the music then?
Speaker A:The people behind the music that meets and Discuss the music, discuss a podcast episode or their favorite album.
Speaker A:Where do they go when the.
Speaker A:When the saloon's gone?
Speaker A:The Chase band.
Speaker B:Exactly.
Speaker B:Exactly.
Speaker B:So and so there are places that are holding.
Speaker B:Holding it down.
Speaker B:And so in Paonia, Colorado, there's.
Speaker B:There's a bar called Linda's and it is open only on Fridays and.
Speaker C:Only on Fridays.
Speaker B:Yeah.
Speaker B:Everything in that first verse is true.
Speaker B:Everything like, oh, this is.
Speaker B:This is a real place.
Speaker B:Yes.
Speaker B:This is why I wrote about it.
Speaker B:I was like, this place, Linda's, Will
Speaker A:you perform there too?
Speaker B:Totally.
Speaker B:But it's.
Speaker B:It's got a piano that sounds like it's been underwater for 30 years.
Speaker B:You know, it doesn't sound.
Speaker B:Didn't sound good in there.
Speaker B:I'm gonna do, I'm filming next month a music video there.
Speaker B:Just live acoustic music video where I ask a bunch of locals to come sing along to the chorus and, you know, stomp their feet on the floor.
Speaker D:Actually, Linda's is open on Fridays and Christmas.
Speaker D:She lives in the back.
Speaker D:It's a cash only business.
Speaker D:She charges free singles, but pours you a double.
Speaker D:Everyone drinks here and no one makes trouble.
Speaker D:We got miners and ranchers, rednecks and hippies, hot shots and cowboys, poets and lifties.
Speaker D:There's one thing.
Speaker A:Can Zach and I be extras in the video?
Speaker B:Yeah, yeah.
Speaker B:You guys gotta fly into Montrose, Colorado.
Speaker A:Did you find in Denver for a long time?
Speaker A:That's a long drive though.
Speaker A:But I can make it is.
Speaker B:It's a long drive from Denver, so Poniat still has this place.
Speaker B:And the minute that it's gone, you'll know that something has turned.
Speaker B:Has something has changed in that community.
Speaker B:The minute that all the side streets get paved in my town in Ouray, something will have changed.
Speaker B:And it's more of a commentary on that because.
Speaker B:But also a way of honoring where I came from, you know, as an up and coming artist.
Speaker B:I.
Speaker B:When I first started performing like long sets of music and cutting my teeth as a performer, it was three four hour gigs in bars and restaurants and you have to learn to sing while people talk right over you.
Speaker B:That's just how it is.
Speaker B:It's not precious.
Speaker A:Which song did you pull out when you're like, I gotta get loud and I gotta sing over these people.
Speaker A:What was your go to song?
Speaker B:Oh, gosh.
Speaker B:A lot of times, you know, angel from Montgomery is one that people know and love.
Speaker B:So I would sing that.
Speaker B:I sang a lot of covers, lots of covers.
Speaker B:And then I would sprinkle in my songs.
Speaker B:But angel from Montgomery, paradise songs I could just settle right into and sing
Speaker C:some of those great storytelling songs from Traveling Mercies.
Speaker C:I mean, those stories, you have a way to, like, really sneak up and attack somebody, but in the best way.
Speaker C:But in the best way, you know, So I can see that would be cool.
Speaker B:Thank you.
Speaker C:That's awesome.
Speaker B:Yeah.
Speaker B:Yeah, totally.
Speaker B:White Hot country Mess is one off of that record.
Speaker B:That is just a fun one.
Speaker B:It's just fun and loud and everything in it is true.
Speaker C:Yeah, I love that.
Speaker C:Yeah.
Speaker C:Because I know the time.
Speaker A:So how would you.
Speaker C:Nobody was dry.
Speaker C:Everybody was doing one of these.
Speaker B:Yeah.
Speaker B:That Turf Club show, that was like the first real show I had in the Twin Cities area.
Speaker B:And it was fantastic.
Speaker C:And it was a seated, if I remember correct.
Speaker C:He kind of had chairs.
Speaker C:And we were all just captivated.
Speaker C:And I believe you did.
Speaker C:Did you do in spite of ourselves?
Speaker B:I may have.
Speaker C:I think you did, because that's me and my wife's or my wife and I's wedding song.
Speaker C:And we were there together and.
Speaker C:Yeah, kind of.
Speaker C:I. I know you did because I. I remember us going, oh, she's doing our song.
Speaker B:That's amazing.
Speaker A:Emily, how would you describe what a white hot country mess is to someone off the street that hasn't heard your music?
Speaker B:Well, it's a white outcome.
Speaker B:Messes me when I'm touring.
Speaker B:The white is in there because I wear white boots at every show.
Speaker B:White cowboy boots.
Speaker B:And I don't wear them for any reason other than the fact that early on, well, they go with everything.
Speaker B:White cowboy boots go with everything.
Speaker B:So.
Speaker B:So I only have to bring one pair of boots on the road.
Speaker B:So white cowboy boots go with every dress I have.
Speaker B:And when I was touring and living full time in an RV and travel around the country, I was driving.
Speaker B:I went to one day I had to kill some time in Klamath Falls, Oregon, while we were getting our RV worked on.
Speaker B:And I walked into a vintage.
Speaker B:No, sorry, a flea market, antique mall type of place.
Speaker B:And it was in an old steer Sears store.
Speaker B:You know those old Sears Robux storefronts with the stairs up the middle and upstairs.
Speaker B:There were bookshelves full of cowboy boots.
Speaker B:And there was this amazing pair of panhandled, slim white cowboy boots that were exactly my size that had barely been worn.
Speaker B:And I took them down to the register to buy them.
Speaker B:And the lady didn't even look up from her phone.
Speaker B:She was smoking a cigarette inside and playing Candy Crush.
Speaker B:And she just goes, that'll be $5.
Speaker B:And I paid $5 for these boots that I then Wore for the next five years until they fell apart.
Speaker B:And I kept them white with white spray paint because there's.
Speaker B:Because white leather is painted, so it's not, you know, you can't use, like, a leather cleaner.
Speaker B:The leather, like a certain kinds of leather cleaner will just take off the white.
Speaker B:And so I would clean off the scuffs, and then I would put painter's tape around the bottom of the boot, and I'd hold it up in the air, and I would spray paint it with fabric spray paint.
Speaker B:And.
Speaker B:And that's how I kept them looking white.
Speaker B:And so that was the whole metaphor behind White Hot Country Ma, which is that we're just keeping this thing looking good from far away.
Speaker B:And that's.
Speaker B:That is what a music career is, making it work.
Speaker C:That's great.
Speaker A:I. I have heard that you often get some of your best songwriting ideas while vacuuming.
Speaker A:Which song would your listeners be surprised to hear you wrote while vacuuming?
Speaker A:Did you first.
Speaker A:When you were vacuuming?
Speaker B:Yeah.
Speaker A:The idea for it.
Speaker B:I'm trying to think.
Speaker B:I started.
Speaker B:Well, it's vacuuming and washing dishes, so anything with a little white noise in the background that is rote that I don't have to think about.
Speaker B:I wrote Traveling Mercies Washing dishes.
Speaker B:I just started singing this.
Speaker C:I did nothing while washing dishes in my whole life.
Speaker A:Emily, Zach's doing it wrong.
Speaker A:Apparently, he doesn't have any dishes.
Speaker C:Way wrong.
Speaker C:Sorry.
Speaker C:Go ahead.
Speaker B:It's okay.
Speaker B:I wrote Traveling.
Speaker B:I wrote traveling verses while washing dishes, and I just got the idea in my.
Speaker B:I didn't write the whole song.
Speaker B:What I mean is that melody came to me, and I thought it was a melody from another song because it just felt familiar and kind of old, but it wasn't.
Speaker B:And so I was kind of in this flow state, and that's when that came to me.
Speaker B:I cannot remember what song I wrote while vacuuming.
Speaker C:I.
Speaker B:But I've gotten a lot of song ideas while vacuuming.
Speaker B:And again, it's because of that white noise in the background and doing something that's mindless so that, you know, the part of my brain that's task oriented is.
Speaker B:Is.
Speaker B:Is busy.
Speaker B:It's occupied.
Speaker B:And my creative brain can just.
Speaker B:Just wander and spark.
Speaker A:It's so cool that you've had that unlock, though.
Speaker A:You're like, hey, when I'm doing these kinds of tasks, it unlocks something for me creatively.
Speaker A:And if you ever have an album that has a song called the Magic Vacuum, we know.
Speaker A:We will know where it came from.
Speaker B:Exactly.
Speaker A:Zach, you have one more For Emily.
Speaker A:I'm not hearing Zach.
Speaker B:Oh, we can't hear you, Zach.
Speaker A:Zach, you're muted.
Speaker C:Sorry.
Speaker C:Am I muted now?
Speaker C:Can you hear me now?
Speaker B:Okay, thank you.
Speaker A:You're unmuted.
Speaker A:I was just gonna say, Emily said that so nicely.
Speaker A:She's like, zach, we can't hear it.
Speaker A:I'm like, zach, you're muted.
Speaker C:Sorry.
Speaker C:I'm just gonna add.
Speaker C:Go listen to new album.
Speaker C:And I had a curious conversation on Instagram about you.
Speaker C:Somebody just posted one of your new songs.
Speaker C:And I said, oh, isn't she great?
Speaker C:And he goes, and this is a guy that knows music because he's always listen.
Speaker C:He goes, she's new to me.
Speaker C:Where should I start?
Speaker C:And I said, traveling Mercies.
Speaker C:But where would you tell people if they really want to start up with the Emily Scott Robinson Journey?
Speaker C:Which song?
Speaker A:There's a lot to pick from.
Speaker A:Yeah.
Speaker B:Yeah, there is a lot to pick from.
Speaker B:You know, I would probably have people start in the middle at American Siren, because I would say that's the best.
Speaker B:The best combination of what I was doing on Traveling Mercies and what I'm doing now.
Speaker B:And so it would give you reference for Traveling Mercies sonically and lyrically and also for Appalachia, my new record.
Speaker B:And that's.
Speaker B:I think.
Speaker B:I think it's mostly just because I, you know, Traveling Mercies, whenever I listen to it, I love that record, and I love the songwriting on that record, and I also hear a younger, slightly less developed vocal performance, and that's okay.
Speaker B:I. I.
Speaker B:Maybe it's just because it's me and I'm listening to my own voice, but it's a bit of a thinner vocal than what I do now, and I feel like I kind of found my vocal performance over time and that I really settled into myself on Appalachia, and.
Speaker B:But Traveling Mercies has such energy to it, and that songwriting is really seminal.
Speaker B:I think in.
Speaker B:In.
Speaker B:In my catalog that that was the first record that I. I was like, okay, this is a really cohesive, strong group of songs, and.
Speaker B:And I love it.
Speaker C:Yeah.
Speaker A:Oh, man.
Speaker A:Thank you for sharing that.
Speaker A:I love, like, we love hearing, like, the personal.
Speaker A:Like, your.
Speaker A:Like, your art is a reflection of your own personal growth journey.
Speaker B:100%.
Speaker A:It's like a metaphor for how we all live our lives, right?
Speaker A:How we develop, how we grow.
Speaker A:But one of the big differences between an artist like you and a musician and, like, the rest of us is you're, like, putting it on display for the world to see and hear and millions of people to.
Speaker A:To listen I know I just said I didn't have any more questions, but I do.
Speaker A:What is that, like, when you're.
Speaker A:You've got Zach and I interviewing you, and you're like, okay, this album, like, we hear it as, like, that's.
Speaker A:Zach's.
Speaker A:Like, that.
Speaker A:That's my favorite.
Speaker A:And you're like, well, my voice sounds a little bit thinner.
Speaker A:That, you know, like, you're.
Speaker A:What is that like having to relive.
Speaker A:Relive that.
Speaker A:You're like, I'm.
Speaker A:But now I'm more Appalachia.
Speaker A:I'm a. I'm a.
Speaker A:Less like that album.
Speaker B:That's okay.
Speaker B:I.
Speaker B:You know what, Ben?
Speaker B:I come at it from the perspective that my.
Speaker B:My opinions on it actually don't matter that much.
Speaker B:I guess what I mean is, like, I'm always going to be having my own experience of my songs and my journey, but that doesn't.
Speaker B:That's not the experience that certain bands will have, that my fans will have.
Speaker B:They're having their own experience of each of these records and songs, and I treasure that.
Speaker B:I think that's the magic of songwriting and releasing music into the world.
Speaker B:And so I don't want to kill that for anybody.
Speaker B:I don't want to kill that for anybody or impose my own experience of a performance or record on listeners.
Speaker B:And so, you know.
Speaker B:But, you know, if.
Speaker B:So my personal experience of it is like, oh, I can see the evolution of my performing styles, and I can.
Speaker B:I remember that I wasn't even really doing vocal warmups before I recorded on Traveling Mercies.
Speaker B: dn't even do vocal warmups in: Speaker B:And then I can hear.
Speaker B:I mean, I can also hear on Appalachia, I know what day every song was recorded, and I can hear the raspiness of my voice enter the songs on the record through.
Speaker A:I can't even hear that.
Speaker A:And incredible the nuance.
Speaker B:It's like when you're living with your own voice, you can hear it.
Speaker B:And I remember.
Speaker B:I remember what days.
Speaker B:Like, Time for Flowers has a. I had to drop it a whole step to record it again.
Speaker B: And in: Speaker B:And my voice was pristine because I wasn't out touring, so I could warm up for hours and then sing so high and clear.
Speaker B:And I went into making Appalachia after a week of touring in North Carolina, which is my home state.
Speaker B:So when I tour in North Carolina, it's.
Speaker B:It's a reunion of everybody I know and my whole family.
Speaker B:And so I went into Appalachia recording that week probably at like a 65 to 70% vocal vocal health and had to mete that out every day of recording.
Speaker B:And I was really worried.
Speaker B:I thought, oh, what, what the fuck have I done?
Speaker B:I can't believe I decided to go into the studio the week after three shows in North Carolina.
Speaker B:I. I talked for hours and hours a night after these shows.
Speaker B:And it's not the singing that wears out my voice, it's the talking.
Speaker B:So anyways, I can hear all those things.
Speaker B:And also what I hear and feel doesn't matter.
Speaker B:It doesn't.
Speaker B:It really doesn't.
Speaker D:My people came from pain and famine.
Speaker D:A hundred days on a dark sea.
Speaker D:You think I'd let someone in water tear the roots from me.
Speaker A:But what comes to me right now is, is your song, Bless it All.
Speaker B:Yeah, exactly.
Speaker B:That's that whole song.
Speaker B:That's the point of that song.
Speaker A:Bless it All.
Speaker C:Listen to this album, y'.
Speaker B:All.
Speaker A:And that philosophy can get you a lot through life.
Speaker A:Can it, Emily?
Speaker B:Yeah, it's got to.
Speaker B:I mean, I'm in.
Speaker B:I'm in album release season and touring season.
Speaker B:I'm working 12 and 14 hour days doing what I can't.
Speaker B:I don't even know.
Speaker B:Like, if you were to ask me, I spent 12 hours working yesterday.
Speaker B:It feels like I enter, when I open my email, it feels like I enter a black hole.
Speaker A:I have the realities of the music business.
Speaker B:Yeah, I have so much work.
Speaker B:I run all my own social media.
Speaker B:I mean, I edit my own videos, all of this.
Speaker B:And so it's so much.
Speaker B:But the thing is that the career of being a musician is really periods of intense work and focus and then months of getting to step back and rest a little more and maintain the career and the communication, but taking it easier.
Speaker B:And I think that's really, it's really important to take that rest where you can.
Speaker B:But as soon as I ramped up last spring, about a year ago, before I went into making this album, I have not rested much.
Speaker B:It's like an 18 month cycle at the minimum.
Speaker A:And I'm glad you're letting listeners in on that because hopefully it helps them under have a deeper appreciation and support.
Speaker A:Like, what's the best way?
Speaker A:You know, knowing the intensity and what you're putting into this, what's the best way to support Emily Sky Robinson?
Speaker A:If you're a listener or you're gonna see you live or you know, what's.
Speaker A:What's the best way?
Speaker B:That is the sweetest thank you so much for asking that, Ben.
Speaker B:The best way to support me and any musician that you love is to.
Speaker B:There's a couple of things.
Speaker B:One, buy the record.
Speaker B:Bite on.
Speaker B:Band Camp is always my first suggestion.
Speaker B:Today, the day we're recording is actually Band Camp Friday, buy merch directly from the artist.
Speaker B:Here's the thing that you can do for free.
Speaker B:Just find one friend who you know will be a fan of the artist you love and send them this record and go, you're gonna love this.
Speaker B:You have to listen to this and tell me what you think.
Speaker B:Because the most effective form of marketing is direct referral is word of mouth.
Speaker B:And so I literally all day long get messages from fans who go, my sister sent me this one song and I've just listened to it nonstop for five years or it's always somebody introduced me to your music and it changed my life.
Speaker B:I became a fan.
Speaker B:And then one other thing I would say is if I'm touring through your town, please come out to a live show.
Speaker B:That's a huge deal.
Speaker B:And if you can't make it to the show, buy a ticket for a friend.
Speaker B:Bring friends if you're coming to the show.
Speaker B:Live music is the, like, it's the main way that we make any money.
Speaker A:Yeah.
Speaker B:And.
Speaker B:And it's really.
Speaker B:Touring is.
Speaker B:Is tough.
Speaker B:In the past 24 hours, the Wasserman agency has been under fire.
Speaker B:Their booking agency, because their CEO Casey Wasserman is in the Epstein files for having a relationship with Ghislaine Maxwell and Rho Ruh Roh.
Speaker B:Exactly.
Speaker B:I, my UK and EU agent are under the Wasserman umbrella.
Speaker B:So I'm a Wasserman artist.
Speaker B:And I saw this and was like, ugh, this sucks.
Speaker B:Yeah, this sucks.
Speaker B:Every.
Speaker B:Almost everybody, you know, in a position of power in the past 30 years is probably gonna end up in the Epstein files.
Speaker B:And Casey Wasserman came out, he made a statement about it.
Speaker B:That's.
Speaker B:That's great.
Speaker B:You know, there's nothing about like, I, I can't even speak to it, but I want.
Speaker B:But what I want to say is I immediately saw people on social media taking this very intense black and white take where they said artists should fire their agents and everybody should leave Surface and da da da.
Speaker B:And that'll punish him.
Speaker B:And I was like, babe, that's not going to punish him.
Speaker C:No, no.
Speaker B:What it's going to do is it's going to mean a whole bunch of artists who can barely pay their rent and are living right at the poverty line.
Speaker B:Even your famous friends who have a hundred thousand followers on Instagram and seem to be doing well, are still operating on the thinnest margins of ma imaginable.
Speaker B:They are making less than a public school teacher.
Speaker B:Those.
Speaker B:You're asking those artists to fire their booking agent and maybe not be able to pay their rent and survive.
Speaker B:So you're asking the people at the very bottom of the totem pole to pay the price when a booking agency actually only takes.
Speaker B:I saw somebody say I'm not going to book any Wasserman artists anymore.
Speaker B:I said you do what you want to do, but you're just punishing musicians because Wasserman and Booking agents take 10% of a show fee and the 90% goes to musicians and their teams.
Speaker B:So as a survivor of sexual assault, I would like people to take more of a harm reduction approach and not immediately demand that the most vulnerable people in the system pay the price right away.
Speaker B:Like I just was like, do you guys, I don't know.
Speaker B:And you know, Internet warriors who, you know, don't have to pay that price themselves.
Speaker B:It's easy for them to say that.
Speaker B:But I said, you know, this isn't like boycotting Target.
Speaker B:It's, it's actually just asking.
Speaker B:It would be like asking all the target workers to quit their jobs and walk out.
Speaker C:Yes.
Speaker B:And the target workers are also living at the poverty line.
Speaker B:That's not punishing anybody except the workers.
Speaker A:Yeah, yeah.
Speaker A:I think there's important many things to take away from that.
Speaker A:But one is people need to understand the realities of the artists lives and business and fame does not mean fortune.
Speaker A:And it's important that we support the artist the best way we can, that we love and their message and knowing that they're just not rolling in the dough because they get a Spotify stream, that there's all this other stuff behind it.
Speaker A:And I'm hoping that more artists like yourself, Emily, will, you know, help people understand like you are.
Speaker A:And Zach and I, we, we try to tell this story as much as we can.
Speaker A:Like you gotta support these artists or they will not be able to make music and they will not tour.
Speaker B:Yeah, that's exactly right.
Speaker B:The post Covid landscape of touring musicians.
Speaker B:I, I have to tell folks this streaming pays nothing and I have great streaming numbers and I don't really make anything off of streaming.
Speaker B:And so.
Speaker B:And it's gotten worse, it's just gotten worse.
Speaker B:And so touring is one of the only ways that we can honestly work and make money.
Speaker B:And so no matter what you think about the people in charge because we live in a system where most people in power have exploited that power.
Speaker B:Try to find a harm reduction approach to protesting that.
Speaker B:And don't punish the musicians.
Speaker B:And come see live music and come support the artists you love or buy tickets for your friends or your family members.
Speaker B:It is a tremendous, tremendous help to us.
Speaker B:And again, nobody in the music business is asking for handouts.
Speaker B:We want to work for our money.
Speaker B:And so we're out here playing shows.
Speaker B:I'd rather play to 100 people than 30.
Speaker B:And, you know, it would just be great to see y' all out on the tour.
Speaker A:All right, y' all go see Emily Scott Robinson.
Speaker A:You're in for a treat.
Speaker A:Thank you, Emily.
Speaker B:Thank you so much, guys.
Speaker B:This was a joy.
Speaker B:Thank you.
Speaker A:Thanks for joining Zach and I for this episode of Americana Curious.
Speaker A:Subscribe where you listen to your podcast so you are notified when a new episode is is released.
Speaker A:I'm Ben Fanning and it's been great sharing these artists and music with you.
Speaker A:Until next time, stay Americana Curious.
