I'm going to go out on a limb here and say this – the chances are very good that you do not know my guest today. In fact, I hadn't even heard about my guest until just a few months ago.

That all changed back in June when I played a show in Ruovesi, Finland, on whose line-up the band Cliff Barnes could also be found.

Also hailing from the gorgeous country that is Finland, Cliff Barnes is the sort of band that any self-respecting lover of '90s rock should familiarise themselves with immediately.

Fuzzy, raucous, and energetic, fans of Dinosaur Jr. will undoubtedly recognise some parallels with their sound, while folks who enjoy their music loud and laden with hooks will be well-catered to.

When I caught Cliff Barnes live, I left with a copy of their debut album, 'Free Flyin',' which arrived in 2023 – roughly 25 years since the group had first formed and begun making music. Truly, you'd do well to check them out, especially given that I've been unable to stop recommending them to friends since I heard them.

I also left that show with a definite need to chat to JP Jakonen, the founder, guitarist, and vocalist of Cliff Barnes, who – away from his time in the music world – should be called Dr JP Jakonen, with his professional career seeing him serve as a prolific author due to his specialties in the fields of philosophy, psychology, and religion.

So that's exactly what I did recently. I called up JP to have a chat about his myriad musical projects, the work of Cliff Barnes, and to gain a bit of an insight into what he does for a day job.

Anyway, have a listen to Cliff Barnes' 'Free Flyin',' have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

There's a very good chance that one of Australia's next big rock bands is going to be The Belair Lip Bombs.

Hailing from Frankston in Victoria, The Belair Lip Bombs aren't exactly from a massive musical metropolis, but that hasn't stopped them thriving.

First formed in 2017, the quartet issued a pair of EPs ahead of their 2023 debut album, 'Lush Life,' which arrived to widespread acclaim. Since then, things have been looking up even more for the group, with an appearance at the South By Southwest music conference garnering the attention of Jack White's Third Man Records label, and seeing the group become the first Australian outfit signed to the iconic stable.

Since then, their profile has only grown, and with the release of last week's 'Again' album, it's clear The Belair Lip Bombs are well on their way to global prominence.

This week, I was lucky enough to chat with drummer Daniel Devlin, who joined to discuss the group's rise to fame and the sounds and influences of their latest album.

Anyway, have a listen to The Belair Lip Bombs' 'Again,' buy a ticket to their upcoming tour, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If you're not yet a card-carrying member of the Georgia Knight club, then you're in prime position to change your life.

Originally from Melbourne, Georgia Knight has been part of the music world for some years now, having made a public debut with her solo material back around 2019.

As she continued to write and record, Georgia shared more music until the release of her 'Hell On Bent Street' EP, showcasing a truly stellar approach to her musical craft which is probably best described as indie rock with elements of folk thrown in.

Since then, things have been a bit quiet. While Georgia recorded a full album around 2023, and while she's played plenty of shows since, we've been waiting to hear new music for some time, with that drought set to end this week with the release of 'Beanpole.'

A truly gorgeous album which shows a darker vibe to her already-impressive music, Beanpole is one of those albums you can't just listen to once, with its cinematic vibes and elements of trip-hop and avant-garde instrumentation enticing you to pop the headphones on and give it more of your time.

I was lucky enough to catch Georgia a few times at BIGSOUND in Brisbane this year, and it's become crystal clear she's well on her way to becoming one of the country's most exciting musical exports.

That's exactly why I made sure that I needed to have a chat with her for the podcast this week, which I did when she called in from her car in New Zealand for a lengthy discussion on music, social anxiety, and a love of great songwriters.

Anyway, have a listen to Georgia Knight's 'Beanpole,' buy a ticket to her upcoming launch show, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If you've been paying attention to the Australian music scene in recent years, there's a good chance you may have come across the enigmatic majesty that is Our Carlson.

Having got his start in the hardcore world over two decades ago, Carlson has spent the past few years cementing himself as a commanding figure within the world of electronic music, describing his work as "trauma doof from The Peoples Poet."

In 2021, his 'A Bit Much' EP gave punters a taste of what was to come, with passionate lyricism and stellar compositions fast winning over audiences. Meanwhile, 2023's follow-up, 'A Bit 2 Much,' continued the trend, and gave us a further taste of what was still to come.

This year, he's released the full-length record, 'OC Spray,' a collection of nine tracks that showcase his musical diversity and myriad lyrical focuses. Alongside doof beats and eclectic production, you can even find elements of hyperpop and raw, stark vulnerability. It's a hell of a record, and one you definitely need to hear.

Alongside the recorded music, however, Carlson also uses his position to champion the causes that matter. Whether it's the likes of calling out strobes at shows, or campaigning for Indigenous rights, a free Palestine, or the rights of the LGBTQI+ community, Carlson is a man with many focuses at any given time.

This week, I was lucky enough to catch up with him again and have a chat about the new record, and everything that's gone on over these past few years.

Anyway, have a listen to Our Carlson's 'OC Spray,' have a listen to our chat, buy a ticket to his current tour, and I’ll see you at the end of the episode for some general housekeeping.

Ask anyone, and there's a good chance that many Australian music fans will describe Gareth Liddiard as one of the pillars of this country's music scene.

For Liddiard, his musical career began back in the '90s, entering this creative world alongside the formation of The Drones, who are often regarded one of Australia's most revered bands. Alongside numerous albums and myriad live performances, The Drones took home awards like the inaugural Australian Music Prize, while 'Shark Fin Blues' was voted the best Australian song by contemporary songwriters.

While The Drones would enter a hiatus of sorts in 2016, Liddiard has kept at it, forming Tropical Fuck Storm the following year. Since then, that's been his main project, though he's also dabbled with Springtime alongside luminaries Chris Abrahams and Jim White.

Weird, discordant, and ever-arresting, Tropical Fuck Storm this year released 'Fairyland Codex,' their fourth studio album, and first full-length record since 2021. It's a stellar album, and one they're about to head out on the road to support with an Australian tour.

This week, I was lucky enough to speak to Gareth Liddiard once again, funnily enough, just a day after 'Fairyland Codex' nabbed a spot as a finalist for the Australian Music Prize.

Anyway, have a listen to Tropical Fuck Storm's 'Fairyland Codex,' buy a ticket to their upcoming tour, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

For the past few years now, I've been watching Newcastle outfit dust rise through the ranks, ticking achievements off their bucket lists as if it's no big deal.

I've eagerly watched them since I wrote their very first piece of press back in 2021, premiering their first single, and manifesting good things for them. Since then, it's been stunning to see them continuously drop stellar pieces of incendiary post-punk, deliver amazing live shows, and even find themselves supporting names like Interpol, Bloc Party, and more.

Needless to say, it's always great to see a band such as dust reaching huge heights and continuing to represent Australian music on the global stage.

This month, the group unleashed their long-awaited debut album, 'Sky Is Falling.' If you've not listened to it yet, you're undoubtedly in for a treat, with dust showing themselves as one of the most exciting groups in Australia today.

This week, I was lucky enough to speak to vocalists and guitarists Gabriel Stove and Justin Teale from dust about their rise to fame and the release of their amazing debut album.

Anyway, have a listen to dust's 'Sky Is Falling,' buy a ticket to their upcoming tour, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If you're a fan of music from the '90s, or just the indie-rock genre in general, then the chances are probably pretty much perfect that you're aware of The Lemonheads.

First formed in Boston back in 1986, the group has been fronted by Evan Dando since its earliest days, with Dando being the driving force (and only original remember) since 1989.

The Lemonheads rose to widespread prominence in the early '90s thanks to records like 'It's A Shame About Ray' and 'Come On Feel The Lemonheads,' with the former being largely written in Australia when Dando became good friends with Smudge's Tom Morgan.

Though The Lemonheads would split back in 1997, they've been an active presence again since 2005, with a self-titled record arriving in 2006. Since then, there's been a few archival releases and reissues, while the brilliant 'Varshons' cover albums arrived in 2009 and 2019.

However, earlier this year, it was announced that The Lemonheads would finally be releasing their first new record of original material since 2006. Titled 'Love Chant,' it's a brilliant record that any self-respecting music fan needs to listen to immediately.

News of the record also brought with it a return to Australia for The Lemonheads, who played their first local shows in the country since 2019 back in May. A massive return for a group who are effectively honorary Australians these days, I was lucky enough to get the chance to catch up with Dando while he was in the country, visiting him in his hotel room for his first local interview, just hours after he landed in the country.

If you know me, then you'd likely know how stoked I was to have this opportunity to chat to a figure in the musical world whose legacy has been immensely impactful. But as expected, it was a bit of a wildcard experience, with Dando also giving this podcast its first live performance of… well, anything to date. We also had a couple of technical issues but it works out fairly well, I feel.

Anyway, have a listen to The Lemonheads' 'Love Chant,' have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

Since 2021, New South Wales quartet The Rions have been rising stars in Australia's eclectic music scene.

First forming in year seven back in 2016 and releasing a few singles at the start of this decade, The Rions rose to fame four years ago when they were announced as the winners of triple j's Unearthed High competition.

Winning the esteemed prize despite being unable to promote their work too strongly thanks to the ongoing pandemic, the group remained determined to keep on creating, releasing further singles and then a pair of EPs across 2023 and 2024.

Now, we come to 2025 where they've finally arrived at the release of their debut album, 'Everything Every Single Day.' A stellar release from the (still comparatively) young group, it shows The Rions operating at their best, forging ahead as they continue to craft enticing music and bring it around the world.

Oh, and I say the world given that their profile has risen so dramatically that they've now been performing an impressive run of dates throughout the UK and Europe alongside Australia, with further shows in these regions set to take place very soon.

This week, I was lucky enough to have a chat with drummer Tom Partington and guitarist Harley Wilson for the podcast.

Anyway, have a listen to The Rions' 'Everything Every Single Day,' buy a ticket to their upcoming tour, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

For decades now, Dave Graney has been one of the most important names in the world of Australian music.

First making his appearance in the music world in the late '70s, the South Australian-born Graney found wider fame as a member of The Moodists with partner Clare Moore, with the group's influential post-punk sound seeing them based in London as their profile grew.

Following the band's split, Graney and Moore pivoted by way of forming Dave Graney 'N' The Coral Snakes. An eclectic project which lasted for around a decade, it ended up being one of Graney's most popular undertakings, resulting in myriad acclaimed records and even a famous ARIA Award for Male Artist Of The Year.

That win was off the back of the brilliant album, 'The Soft 'n' Sexy Sound,' which – while actually the lowest-charting of all charting Coral Snakes albums – helped mark Graney's name in the history books with indelible ink.

Though other projects would follow over the years (including The Dave Graney Show, The Royal Dave Graney Show, The Lurid Yellow Mist, solo work and others), this year, the Coral Snakes are hitting the road to give 'The Soft 'n' Sexy Sound' its well-deserved 30th anniversary treatment. 

Frankly, I'd be heading along just to hear one of Australia's greatest songs, 'Rock 'N' Roll Is Where I Hide,' in the live setting.

This week, I was lucky enough to have a chat with Dave for the podcast. It was actually supposed to be both him and Clare on the call, but she had to pull out at the last minute, so I'll be sure to catch her another time.

Anyway, have a listen to Dave Graney 'N' The Coral Snakes' 'The Soft 'n' Sexy Sound,' buy a ticket to their upcoming tour, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

For well over a decade now, Jacob Banks has been enchanting listeners the world over with his immersive blend of soul and R&B. 

Rising to prominence following his success in a music competition in 2012, Banks quickly became a hot ticket, scoring plenty of airplay thanks to his early singles, including collaborative singles with the likes of Wretch 32 and Chase & Status.

Singles soon turned to EPs, and by the end of 2018, he'd released his debut album after signing to Interscope the year prior. Alongside myriad appearances on TV soundtracks and video games, Banks has continued writing, recording, and releasing stellar music at every turn. 

Last year, he kicked things off with the release of 'Yonder,' a three-part series of EPs that arrived over the coming months and were eventually compiled as a full album just a few months ago.

If you've not yet heard Jacob Banks, I recommend giving Yonder a spin so as to allow yourself the chance to witness just what this amazing musician is capable of when operating at his full capability.

Next month, Banks will return to Australia for his second solo tour, with shows scheduled for Melbourne, Brisbane, Sydney, and also an appearance at the Wanderer Festival in New South Wales.

But before that tour kicks off, this week I was lucky enough to be joined by Jacob Banks for a quick chat about how he's less of a musician and more of a storyteller – regardless of the medium.

Anyway, have a listen to Jacob Banks' 'Yonder,' buy a ticket to his upcoming tour, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

For the past five years now, Los Angeles has been home to the alt-rock/pop-punk outfit Beauty School Dropout. 

Initially being formed as a solo project from Colie Hutzler while still performing as part of the group Strangefaces, the project soon expanded with the membership of Brent 'Beepus' Burdett and Bardo Novotny. 

Swiftly, the group found themselves surrounded by a strong stable of supporters, including the likes of Blink-182's Mark Hoppus and Fall Out Boy's Pete Wentz, who cemented their belief in the group by signing them to the Verswire label.

In these past five years, it's been a dizzying rise to fame for the group. Alongside two albums – including 2022's 'We Made Plans & God Laughed' and 2023's 'Ready To Eat' – Beauty School Dropout have been touring relentlessly, playing with a list of bands that any music fan would give their right arm to support.

Today, the band release their third album, 'Where Did All The Butterflies Go?.' As you might expect, it's another solid piece of work, capturing their raw energy and inimitable ability to craft some amazing songs that will undoubtedly see them going far.

This week, I was lucky enough to have a brief chat with Beepus, Colie, and Bardo ahead of the new record, while they were out on tour. As a result, the audio quality is a bit rough at some points, but look, if you don't mind, then neither do I.

Anyway, have a listen to Beauty School Dropout's 'Where Did All The Butterflies Go?,' have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If you've been listening to this podcast over the last year and a half, then you'd probably be aware of how much I love to shine a light on artists from Adelaide.

Maybe it's my biased nature due to being from Adelaide, or maybe there's something in the water there, but whatever the case, I reckon one Adelaide act you need to hear right now is none other than Kurralta Park.

Named for the Adelaide suburb of the same name, Kurralta Park are an impressive mix of indie-rock and emo that is wholly unique in the way that it captures emotion and filters it through a lens of true sincerity in how the music is crafted and performed.

Initially beginning as a solo project for Bindi McCallum, Kurralta Park has since expanded into a three-piece, and just a matter of days ago, they released their debut album, 'Powell Place.'

If you're someone who enjoys music with raw power, honest songwriting, and an impassioned delivery, then I think you need to find yourself listening to Kurralta Park right away.

This week, I was lucky enough to have a brief chat with Bindi about the project's launch and its journey to now. 

Anyway, have a listen to Kurralta Park's 'Powell Place,' have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If you're looking for an artist to give your attention to this year, I humbly and assertively request that it be MUDRAT.

MUDRAT is a project that has been going officially since December 2023, with a string of releases arriving in that first year, including the likes of 'I HATE RICH CUNTS,' 'WE DESPISE THE BOURGEOISIE,' and 'YEAR OF THE RAT.'

Judging by the titles alone, you can probably ascertain that social justice is a key component to the MUDRAT experience, with tracks such as 'YOU DON'T CARE ABOUT POOR PEOPLE' helping to cement that notion.

Following an impressive rise to fame, including plenty of live shows and even a support for the likes of Denzel Curry, this month sees MUDRAT releasing the 'Social Cohesion' album.

A brilliant and vital piece of music that speaks to contemporary topics ranging from Indigenous rights, race, social injustice, war, and myriad other matters, I'm of the belief it's one of the best Australian releases you will hear this year.

This week, I was lucky enough to be joined by Sean Thompson for a chat about the MUDRAT project, how it came to be, and the importance of speaking when you know your voice will add something to the wider conversation.

Anyway, have a listen to MUDRAT's 'Social Cohesion,' have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

For over 15 years now, the worlds of emo, indie, and post-hardcore have been home to the ever-enjoyable The World Is A Beautiful Place & I Am No Longer Afraid To Die.

If you're anything like me, you might have been intrigued by the group's often unmanageable name, but once you checked them out, you were struck by their inimitable approach to music, with an expertly-crafted blending of power, emotion, and technical prowess.

An eclectic band whose surprises are as plentiful as their talents, they've undergone a number of lineup changes over the years, releasing myriad EPs and splits alongside a modest collection of albums.

Their fourth record, 'Illusory Walls,' arrived in 2021 and after four long years of waiting, fans have this week received a new LP by way of the brilliant 'Dreams Of Being Dust.'

As always, it's immersive and impactful, pairing raw emotion with blistering works of musical brilliance that leave you feeling a little bit stunned. In case you can't tell, I really liked this album.

This week, I was lucky enough to have a brief chat with guitarists Chris Teti and Anthony Gesa ahead of the new record's arrival.

Anyway, have a listen to The World Is A Beautiful Place & I Am No Longer Afraid To Die's 'Dreams Of Being Dust,' have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

It's probably fair to say that the world of rock music wouldn't look how it does today without a band like The Runaways.

Formed in 1975, the group's all-female lineup was a breath of fresh air on the male-dominated scene, with debut single "Cherry Bomb" and their self-titled album arriving in 1976 to strong acclaim, despite not being a smash on the charts.

Ultimately, The Runaways only existed for a few short years, but their influence was immense, informing countless other bands in the genre, and serving as proof that the music scene need not be filled with the same male performers.

For half of The Runaways' life, vocalist Cherie Currie was up the front. Having joined the group at just 15, it was her iconic voice that helped lead the charge and cemented The Runaways' place in history.

But her career doesn't start and end with The Runaways, she's been a solo musician, an actress, and for the past 25 years, a chainsaw artist. To say she's a woman of many talents is putting it lightly.

This year, Cherie visits Australia for her second tour of the country, with this visit also set to be her last, having announced a decision to retire from the world of touring.

This week, I was lucky enough to have a brief chat with Cherie about her influence, legacy, and her upcoming tour.

Anyway, have a listen to The Runaways' brilliant discography, buy a ticket to Cherie's tour, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

When you think about Australian music, it's a little hard not to think about Davey Lane. That might sound grandiose, but given he's spent more than 25 years as a guitarist for local legends You Am I, it's hard to classify him any other way.

Joining the already-established outfit at just the age of 18, Lane swiftly found himself as part of Aussie music royalty, eventually going on to be part of ARIA Award-winning releases and countless revered live shows.

He's also stretched his musical wings with his other band, The Pictures, and since 2013, he's been releasing solo gear as well. While last year's brilliantly-titled cover album, 'How To Make Davey, Vol. 1,' was one of my favourite records of 2024, this year, Lane is back with another album, this time called 'Finally, A Party Record.'

Feeling like a love letter to classic '70s rock, it's a testament to his anachronistic place within the world of Australian music, but for those listening close, it's not exactly a party record in the strictest sense. It's a little bit deep, it's a little bit powerful, and it's a great example of Lane's many and varied talents.

This week, I was lucky enough to have a brief chat with Davey Lane about his musical journey, and his latest record. Just a quick warning, Davey was out and about when we had the chat, so there's a couple of audio drop-outs here and there, but if you don't mind, then neither do I.

Anyway, have a listen to Davey Lane's 'Finally, A Party Record' when it arrives next week, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

Hello and welcome to Trusty Chords, the podcast which aims to celebrate music and those that create it.

For the past 25 years, Brisbane's Halfway have operated as one of those well-kept secrets that often feels as though only a select few know about.

Of course, with ARIA, APRA, and AIR Award nominations (and a win the latter category), along with three Queensland Music Awards, it's fair to say that their reputation and creativity has managed to transcend the categorisation of well-kept secret and become one of those groups with a passionate fanbase.

Formed out of the likes of Queensland outfit St. Jude, Halfway emerged in 2000 and swiftly became a band who demanded your attention. With immersive musicianship and arresting songwriting, it didn't take long for their profile to grow and for the albums to emerge.

This year, Halfway returned with their first new album in three years, 'The Styx.' Once again, it's a stellar release from the sprawling outfit, with the record's lyrical themes serving as something of a concept album. 

Along with repeated tales of characters often overlooked by the wider world, and a luscious musical backing, it's a record that I really recommend you spend some time with – both passively and actively, so as to get the full experience.

This week, I was lucky enough to chat with Halfway's John Busby about his musical journey, and the story of the group's latest record.

Anyway, have a listen to Halfway's 'The Styx,' have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

For a few decades now, one of Australia's greatest unsung musical heroes has been none other than Bryan Estepa. 

Born in the Philippines before moving to Australia as a child, Bryan has had a storied career as a musician, performing in bands such as Swivel and Hazey Jane before turning his attention toward solo gear.

That solo gear first took form under the moniker Adeline before he decided to use his real name around 20 years ago.

Since then, he's been a prolific artist, writing and recording frequently, and releasing myriad albums in recent decades.

For those playing at home, the last time Bryan released a full-length album was back in 2019, with 'Sometimes I Just Don't Know' arriving before an EP called 'Back To The Middle' in 2021. But fast-forward to this year, and Bryan is back with another record called 'I See It Now.'

It's an exceptional piece of work, drenched with clever songwriting, power-pop sensibilities, and an immense sense of passion. Truly, it's something worth your time.

I've been following Bryan for many years now, but this week, I was lucky enough to finally have a chat with the great man about his musical career and that new album of his.

Anyway, have a listen to Bryan Estepa's 'I See It Now,' have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

Cast your mind back 20 years and you might be taken right back to a moment in time where one of the most exciting Australian bands out there on the scene was none other than End Of Fashion.

Formed in Perth by Justin Burford, who was at the time a member of The Sleepy Jackson, End Of Fashion found itself slowly finding fame thanks to constant airplay on triple j, and by the time 2005 rolled around, the group were readying their debut album.

I can speak from experience when I tell you that it was pretty hard to ignore the stark black and yellow colour scheme of the band's debut album and singles, and equally hard was it to overlook singles such as 'O Yeah' and 'The Game.'

ARIA Award winners with loads of potential, End Of Fashion unveiled a few new albums over the coming years, but ultimately went a bit silent in the following years. However, there have been a few singles since 2020, and this year, the group will be putting out their self-titled debut on vinyl and hitting the road for a national headline tour.

Speaking as someone who actually saw End Of Fashion back in 2006 as part of my first 'real' concert experience, I can't tell you how excited this makes folks like myself.

As you might be able to gather by this point, I was lucky enough to be joined by the musical mastermind that is End Of Fashion's Justin Burford this week. And yes, I certainly did ask if he remembers that 2006 gig.

Anyway, have a listen to End Of Fashion's back catalogue (and their self-titled debut), buy a ticket to their upcoming tour, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.

If you know me (or simply listen to the podcast – both are very good options), then you'd likely know how much I like to surround myself with musicians I both enjoy and respect. Frankly, with that in mind, I reckon you can't go past someone like Ashlea Jaye.

A lifelong lover of music and a self-described theatre kid, Ashlea has been a supporter of music for as long as I've known her. If you're from Adelaide, you might know her from her time hosting the Peripheral Noise show on Three D Radio, or you might know her from musical groups such as Twin Decoy or Left On Seen.

It's the latter which might jog your memory the most, with the duo (which also comprises Will Adam) releasing some stellar music in recent years. Whether it's the killer debut single "Life Support," their cover of SZA's "Kill Bill," or their brilliant 'Wilted' EP from this year, you can't go wrong.

Alongside that though, Ashlea is also a huge supporter and advocate for those with disabilities both in and out of the music scene. An AuDHD, disabled artist, creative, musician, singer, and writer who juggles so much in her day to day, the fact that July was Disability Pride Month felt like an immensely fitting time for us to speak.

Also, because it's the month in which Left On Seen will play a stellar hometown show as part of Fangz' album launch tour. It's also going to be a special one, but I'll let Ashlea tell you why that is…

Oh, in case you couldn't tell, Ashlea is my guest on this week's podcast! Needless to say, I'm always happy to use this podcast to showcase musicians who I call friends, and this was a great opportunity for Ashlea and myself to just nerd out for… a long time.

Anyway, have a listen to Left On Seen's back catalogue, buy a ticket to their upcoming show, have a listen to our chat, and I’ll see you at the end of the episode for some general housekeeping.