So something that I think will go well live doesn’t always hit in the same way the audience latches on to other moments that maybe we didn’t anticipate. Gongol: We create this music in the comfort and safety of the studio. I like to play each element as it’s introduced. Lloyd: I’m a real believer in playing as much as possible I can of those chops, so I’ve made a setup for myself over the years where I’ve got drum pads and keys … and some knobs. How do you bring these songs into a live setting? We were playing in Kansas City at the Midland Theater and he got a loud cheer – tons of people chanting his name. He’s mostly involved in the live part of the process, but he’s also a seriously dope sample guy. I’d been like, “Hey, could you just, like, improvise a bunch of stuff, record it and send it to me so I can chop it up?” … Every now and then, we go into the studio and record solos or he’ll send me more stuff to chop up and mess around with. When Sam and I were ready to figure out what the Marian Hill live show looked like, he already had backed us one time. He’s always been a really close friend and an amazing musician. Lloyd: We’ve been good friends since seventh or eighth grade. How does Steve Davit come into the mix? How did you first meet him and collaborate with him? Then, when we wrote “Whisky” together, we realized we were on to something. It was a very regular, normal, comfortable friendship. When we were home on break, we’d catch up, and the way would catch up was playing each other music we’d been working on. Lloyd: We stayed in touch throughout college. We met in middle school, but it was really high school when we started to embark on separate musical projects, and then also come together to talk about it. Specifically, but I’m sure I said something similar.
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