Emma Hunter | Matt Connarton Unleashed

0:00 Speaker 1: That is cool. It is cinematic.

0:02 Speaker 2: Uh.

0:02 Speaker 3: The track is called Snake. The artist is Emma Hunter,

0:06 Speaker 3: and we've got Emma with us a via WhatsApp. I

0:09 Speaker 3: think we do, Emma, are you there? I am absolutely

0:14 Speaker 3: absolutely you sound great.

0:15 Speaker 1: Is anyone there from the project with you or is

0:18 Speaker 1: it just you?

0:19 Speaker 2: It's just me?

0:20 Speaker 1: All right? Well, very good, very good. So Uh, I

0:23 Speaker 1: love that a lot.

0:25 Speaker 3: That's a sound that we don't often hear, you know,

0:27 Speaker 3: when we're featuring new music on the show, anything quite

0:30 Speaker 3: like that. And it is it is cinematic, and I

0:33 Speaker 3: know that it's it's part of a story obviously the

0:36 Speaker 3: album that it comes from. Uh, but can you can

0:39 Speaker 3: you tell us about that song? And then I do

0:41 Speaker 3: want to talk more about the the the Yolanda Project.

0:44 Speaker 3: But what can you tell us about that single Snake,

0:47 Speaker 3: that's the newest one from the album.

0:49 Speaker 2: Correct, Yeah, that's right. I'm going to just see if

0:54 Speaker 2: I've got a bit of an ecker.

0:56 Speaker 1: Oh, okay, there we go.

0:57 Speaker 2: Let's see how's that?

0:58 Speaker 1: Oh yeah, you sound bad? Yeah, absolutely perfect.

1:02 Speaker 2: So that is the last single that we are releasing

1:06 Speaker 2: from the album. But it comes sort of early on

1:10 Speaker 2: in a story, and essentially that is her asking her

1:16 Speaker 2: partner to stop drinking. Oh so she's comparing the snake

1:22 Speaker 2: to alcohol and she's saying, do you want to pick

1:25 Speaker 2: me instead? Base? Okay, so that's that is the kind

1:29 Speaker 2: of the background of that. She she meets a guy

1:35 Speaker 2: and the album tells this story of how they meet,

1:40 Speaker 2: and that comes sort of a quarter of the way

1:43 Speaker 2: into the story.

1:44 Speaker 1: Okay.

1:47 Speaker 2: So it is, I guess, quite a cinematic record.

1:53 Speaker 1: It truly is it truly is?

1:55 Speaker 2: Thank you?

1:56 Speaker 3: Is is the So the album was called Yolanda, and

1:59 Speaker 3: I did listen to the entire thing.

2:00 Speaker 1: It's great.

2:00 Speaker 3: It's got ten tracks. It certainly does tell a story.

2:03 Speaker 3: Is it inspired by anything specific?

2:06 Speaker 1: Is it? Is it based on anything? Did you create

2:10 Speaker 1: this story?

2:10 Speaker 3: I mean it kind of it almost you know, it

2:13 Speaker 3: almost under sells it to call it a story. It's like,

2:16 Speaker 3: as I'm listening to it, because like I said, I

2:18 Speaker 3: listened to the entire thing from start to finish, it

2:20 Speaker 3: kind of creates this whole sort of world, which I

2:24 Speaker 3: guess is the point of. You know, when you're telling

2:26 Speaker 3: a story, you don't just want to tell what happens,

2:28 Speaker 3: but where it happens and the environment that it happens.

2:32 Speaker 3: In and all the circumstances and so forth. But I'm

2:35 Speaker 3: curious about the inspiration for Yolanda.

2:40 Speaker 2: I think it was because I was I was writing

2:43 Speaker 2: songs that were quite dark, and I wanted to kind

2:48 Speaker 2: of carry on exploring that. And if I was to

2:50 Speaker 2: write songs about my own life, maybe they'd be a

2:53 Speaker 2: bit boring. So, you know, if I could create a

2:57 Speaker 2: character that lived in this kind of combination of all

3:02 Speaker 2: the things that I loved, so Enim or Tony, but

3:07 Speaker 2: also David Lynch, you know, the sort of flamenco side

3:11 Speaker 2: of things. So I kind of built this story around

3:15 Speaker 2: some songs, and then the more I thought about her character,

3:20 Speaker 2: the more the songs came. And it was also a

3:24 Speaker 2: cheeky way for me to write about mine own experience.

3:28 Speaker 2: But you don't know what's mine and you don't know

3:30 Speaker 2: what's hers.

3:31 Speaker 1: Ah.

3:32 Speaker 3: Interesting, interesting, of course. Yeah, it's not just about Yolanda,

3:37 Speaker 3: but Danny of the male protagonists and their starcross lovers

3:41 Speaker 3: in nineteen fifties Mexico. And I'm curious about your what

3:47 Speaker 3: came first? Did the story come first? And then the

3:49 Speaker 3: sound that you create is sort of to a sort

3:54 Speaker 3: of in service of that story or.

3:56 Speaker 1: Did you already have this sound?

3:57 Speaker 3: Because, like I said, your sound is not something that

4:00 Speaker 3: you necessarily here in twenty twenty six. It is very

4:03 Speaker 3: evocative of another time and that guitar style and whatnot

4:06 Speaker 3: what game?

4:07 Speaker 1: First?

4:10 Speaker 2: I think singing in that particular way and using the

4:15 Speaker 2: Phryginian scale, which is sort of what Flamenco music comes from.

4:19 Speaker 2: It's sort of quite ingrained. So my dad's family are Sofaradi,

4:25 Speaker 2: so they're is but from Spain, so I think it

4:29 Speaker 2: literally is kind of genetic thing. But because I really

4:35 Speaker 2: love that kind of music, it was also a cheeky

4:41 Speaker 2: way for me to lean into that and think, what

4:44 Speaker 2: can I do that's different? You know, how can I

4:47 Speaker 2: make my music tell a story that has something different

4:52 Speaker 2: to offer?

4:53 Speaker 1: Right?

4:54 Speaker 2: And I really obsessed with films, so I really wanted

4:58 Speaker 2: to write music that was cinematic. But I think that

5:02 Speaker 2: that style of music came first, okay, and then I

5:06 Speaker 2: thought what's going to fit? And the two kind of

5:09 Speaker 2: just came in tandem. If that makes any sense.

5:13 Speaker 3: No, it does, it definitely does. That makes a lot

5:16 Speaker 3: of sense. And when you started this, did you intend

5:20 Speaker 3: for this to be an entire album and an entire story.

5:23 Speaker 3: I'm curious if that was the if that's how you

5:25 Speaker 3: went into this project, or or did it start as

5:27 Speaker 3: maybe a song or two songs and then at some

5:30 Speaker 3: point you thought I could make an entire story out

5:32 Speaker 3: of this.

5:34 Speaker 2: It was it was always to do an album, absolutely,

5:38 Speaker 2: And I think what would happen is I would write

5:41 Speaker 2: a Yolanda song, and then I maybe would write a

5:44 Speaker 2: couple of other, like just Emma songs, and sometimes the

5:49 Speaker 2: style of those other songs would be different. Yeah, And

5:53 Speaker 2: I was kind of creating this body of work for

5:55 Speaker 2: this record, and it's taken about ten years because I've

6:00 Speaker 2: in other songs, you know, in the meanwhile, and I

6:06 Speaker 2: thought I was done, and then I recently wrote another

6:09 Speaker 2: song and I was like, oh no, it's another year

6:14 Speaker 2: Land song. But that's okay.

6:17 Speaker 3: Yeah, yeah, well it worked out. It's interesting to me

6:22 Speaker 3: about how, you know, I refer to them, I think

6:26 Speaker 3: as a star across lovers in nineteen fifties Mexico. But

6:29 Speaker 3: there's there's also there's something very relatable in here, and

6:33 Speaker 3: you talked about it when explaining what Snake is about.

6:36 Speaker 3: There's something relatable about addiction really kind of interfering getting

6:41 Speaker 3: in the way with getting in the way in between

6:45 Speaker 3: two people who are hopefully in some sort of a

6:48 Speaker 3: healthy relationship. But but alcohol, I mean again, it's very

6:53 Speaker 3: relatable because so many of us have either experienced that

6:56 Speaker 3: or no people who have experienced that, where alcohol or

7:01 Speaker 3: some other addiction, you know, whether it's drugs or whatever

7:04 Speaker 3: it may be, or even things that are psychologically addictive,

7:07 Speaker 3: not necessarily chemically addictive, but how that can really kind

7:11 Speaker 3: of you know, that one thing can just wreck everything.

7:16 Speaker 3: It can wreck everything in your life, but it can

7:18 Speaker 3: certainly wreck everything in your relationship as well. So I

7:21 Speaker 3: would imagine, and you can tell me if I'm right

7:24 Speaker 3: about this, but I would imagine You've heard from some

7:27 Speaker 3: feedback from people who've listened to this, whether they've listened

7:30 Speaker 3: to that song or they've listened to the entire album.

7:33 Speaker 3: We've said, you know, I understand the story isn't you know,

7:36 Speaker 3: it's from another time in another place. But I can

7:39 Speaker 3: relate to this, I can relate to what this story

7:41 Speaker 3: is about.

7:44 Speaker 2: Yeah. Absolutely. And I've had some people that have said,

7:48 Speaker 2: you've got You've really got this sort of nailed bef

7:50 Speaker 2: on the house, and I think it's something that kind

7:54 Speaker 2: of comes up throughout the record, So Marie Ray, it's

7:58 Speaker 2: also about five all plea and it's saying I can

8:03 Speaker 2: see that you are disappearing because the word maria is

8:07 Speaker 2: Italian and it means both to die and made at

8:11 Speaker 2: the same time. And I think that's what addiction can do,

8:15 Speaker 2: you know, it can make the person just disappear. So

8:20 Speaker 2: absolutely a lot of people have said they relate. And

8:25 Speaker 2: even that Here I Go is about her recognizing do

8:29 Speaker 2: I stick with this? And if I do, am I

8:32 Speaker 2: complicit somehow? Or do I clear off and start again?

8:37 Speaker 2: And that feels really scary, but it's it's also about

8:41 Speaker 2: reflecting on yourself in that situation and saying, oh is

8:46 Speaker 2: this to do with me? Is this with them? You know?

8:50 Speaker 2: And ultimately you can't get someone else to stop like

8:53 Speaker 2: it's their own.

8:53 Speaker 1: Choice exactly exactly one.

8:57 Speaker 3: And I think that's something most well, people who've been

8:59 Speaker 3: in that situation, they wind up up learning, whether they

9:02 Speaker 3: you know, figure it out earlier, they learned it the

9:04 Speaker 3: hard way over time.

9:05 Speaker 1: But yeah, yeah, very very relatable. Absolutely.

9:08 Speaker 3: Can you tell us about your collaborators on the album

9:12 Speaker 3: You You Do? You Play All the guitar is all

9:14 Speaker 3: the guitar you Yeah, okay, so you're you're the guitar

9:18 Speaker 3: and all the vocals as well.

9:20 Speaker 2: Yeah okay, yeah yeah. And then with some of the

9:25 Speaker 2: older tracks, I've had people like Matt Kosher who produced

9:32 Speaker 2: a lot of the older songs, so things like some

9:34 Speaker 2: Blood where the Roses Grow, and he also played the

9:38 Speaker 2: bass on those. And now I have a brilliant new

9:41 Speaker 2: bassis called Haley Wright, so she played based on Hyde,

9:47 Speaker 2: which was the most recent song. Okay, and that's the

9:52 Speaker 2: last song that I wrote. But it's it's it doesn't

9:57 Speaker 2: come at the end of the story, so I wrote

9:59 Speaker 2: it a really weird order.

10:04 Speaker 3: Well no, you know what, though, that makes sense because

10:08 Speaker 3: when when they're making a film, for example, when a

10:10 Speaker 3: director is making a film, they don't they don't shoot

10:13 Speaker 3: the scenes in the order that they're happening in the film.

10:15 Speaker 3: It wouldn't be logistically uh possible, I suppose it would be,

10:21 Speaker 3: but in terms of keeping in with in with their budget.

10:24 Speaker 3: So it's it makes sense to me that you know,

10:26 Speaker 3: you've made something that's cinematic, but yeah, it's it hasn't

10:29 Speaker 3: all been done in order that that makes complete sense

10:31 Speaker 3: to me. Now I'm curious too about in terms of

10:35 Speaker 3: the making of this album.

10:37 Speaker 1: How hard is it to.

10:40 Speaker 3: Well, let me ask it this way, obviously, when you're

10:43 Speaker 3: conceiving of these songs and and they they're creating the story,

10:49 Speaker 3: how hard is it to capture that in the studio

10:52 Speaker 3: what it is that you have in mind?

10:53 Speaker 1: Because it's one thing. You know, it's one thing.

10:56 Speaker 3: If you're just going to record a three chord song,

11:01 Speaker 3: you know, it's pretty standard, and you know you kind

11:04 Speaker 3: of know what you want, and probably your producer kind

11:06 Speaker 3: of knows what you want, and it's easy. But with

11:08 Speaker 3: something like this, you really got to bring your idea

11:12 Speaker 3: to life in a way that not only sounds good

11:16 Speaker 3: and I sonically pleasing to you, but also.

11:19 Speaker 1: Makes the whole story work as well.

11:21 Speaker 3: So I'm curious how challenging that is with something that's

11:25 Speaker 3: a project that, again is unique. This isn't something that

11:27 Speaker 3: you hear every.

11:28 Speaker 2: Day, Oh thank you. It's definitely something that's come with experience.

11:35 Speaker 2: When I was about twenty something, I recorded an entire

11:39 Speaker 2: album and actually I just I didn't like it. It

11:43 Speaker 2: wasn't it wasn't what I wanted it to be. And

11:46 Speaker 2: I think I really learned from that experience. So I

11:50 Speaker 2: think with this one. I would have guide tracks, so

11:55 Speaker 2: I would say to my producer, I want it to

11:58 Speaker 2: sound like Nancy Sinatra, or I wanted to sound like

12:02 Speaker 2: the Sni MORICONI track, you know, or make the guitar

12:06 Speaker 2: sound like this, you know. So I was really really

12:10 Speaker 2: clear about what I was after. You know, can we

12:15 Speaker 2: have a bit of Phil Specter without the gun you

12:19 Speaker 2: know on this? So I would have a really clear

12:24 Speaker 2: i'd say vision, but it was an audio vision, you know,

12:29 Speaker 2: of what it was that I was after. And I'm

12:32 Speaker 2: really particular about who I would work with. So We've

12:37 Speaker 2: had different producers on the record, but I know that

12:41 Speaker 2: I can communicate with all of them and be really

12:44 Speaker 2: honest and go I don't like, can we can we

12:50 Speaker 2: change it? So I would co produce that wasn't in

12:54 Speaker 2: charge of, you know, all the knobs and the butts,

12:57 Speaker 2: but it was very much me going more of this, yes, please,

13:02 Speaker 2: you know, And I think that's how we ended up

13:06 Speaker 2: the product that we were really proud of.

13:08 Speaker 1: Mm hmm.

13:09 Speaker 3: And what about in terms of who plays on the

13:12 Speaker 3: on the on the album, because again, where you have

13:16 Speaker 3: something very very specific and clear that that you want

13:19 Speaker 3: to create, uh, you know, like I said, it's not

13:22 Speaker 3: like creating a It's not like, you know, just recording

13:24 Speaker 3: a three three chord rock song. Was it was it

13:27 Speaker 3: challenging at all to find the right players to contribute

13:30 Speaker 3: to the album in that way.

13:33 Speaker 2: So the first so four of the tracks I did

13:36 Speaker 2: before it even formed my band. Oh, and that was

13:39 Speaker 2: about me going, what sound have I got? This is

13:43 Speaker 2: the start of her story, and I'm going to get

13:48 Speaker 2: it right and then bring it to the table. So

13:51 Speaker 2: then I found the drummer, and then for a long

13:54 Speaker 2: time it was me and Tom Brooks the drummer, and

13:58 Speaker 2: then producers that I work with would then maybe add

14:02 Speaker 2: like a little bit of extra guitar or more specifically bass.

14:07 Speaker 2: I would add synth bits as well, which we want

14:12 Speaker 2: to reintroduce actually to our live aac now. Yeah. So

14:18 Speaker 2: and then when we met Hayley, because it took a

14:21 Speaker 2: long time to decide if we wanted a bassist because

14:25 Speaker 2: I use a looper live, so I didn't want to

14:28 Speaker 2: throw that element of the live music. And that's what

14:32 Speaker 2: you don't get from the record, that when I play live,

14:35 Speaker 2: I leap all of these harmonies. Oh wow, Yeah, you

14:39 Speaker 2: should come and come and see, come and hang out Oxford. Yeah,

14:45 Speaker 2: so it was important to me to get that element

14:49 Speaker 2: of layering and of that repetition, you know, different musical components.

14:57 Speaker 2: But it's actually a really small group of us that Okay, yeah,

15:01 Speaker 2: and then like Trumpet is someone that I met through

15:06 Speaker 2: a friend who runs a festival, and Rosie plays the

15:10 Speaker 2: violin and then she's Tom's mum.

15:14 Speaker 1: So that works oh perfect? Perfect? Is how hard?

15:19 Speaker 2: Well?

15:20 Speaker 3: How important is it to you? I'll ask it this way,

15:22 Speaker 3: how important is it to you to to be able

15:23 Speaker 3: to recreate.

15:25 Speaker 1: That sound when you're playing it live? Or is it?

15:28 Speaker 3: Because obviously you know a lot of artists when they

15:30 Speaker 3: play live, they're not going to get what's on the

15:33 Speaker 3: record exactly, but they're but they're cool with it because

15:35 Speaker 3: it kind of doesn't matter necessarily depending on what they're doing.

15:40 Speaker 3: And some artists are very particular about that. I mean,

15:42 Speaker 3: how important is that to you? Because that's got to

15:44 Speaker 3: be a challenge too. I mean, again, you know, we

15:47 Speaker 3: talked about the challenge of creating this in the studio,

15:51 Speaker 3: but but then to recreate that live? Are are you

15:54 Speaker 3: concerned with that? I would imagine you could probably overthink

15:57 Speaker 3: it if you're not careful, But but how much of

15:59 Speaker 3: a concern is that for you or do you just

16:01 Speaker 3: not worry about that part.

16:04 Speaker 2: Now? I definitely wanted to get the sound live first,

16:09 Speaker 2: and then I was like, this is how I want

16:11 Speaker 2: it to sound. And then that that was what I

16:14 Speaker 2: took to the studio. And actually it's been a quicker

16:18 Speaker 2: way of recording. The last song that we recorded was

16:21 Speaker 2: High and before that was Gates of Love, and that

16:25 Speaker 2: was a much more live process and using like vintage

16:29 Speaker 2: amps to you know, get that really lovely weaver surf

16:33 Speaker 2: guitar sound. You know, so getting it to sound great

16:39 Speaker 2: live is really important and I am particular.

16:45 Speaker 3: Yeah, yeah, is that?

16:48 Speaker 1: Is it really hard to get that?

16:50 Speaker 3: I mean, I would imagine some shows are easier to

16:55 Speaker 3: capture that than others, depending on the venue and and

16:58 Speaker 3: you know what the house PA is like and all

17:00 Speaker 3: of that. I mean, there's there's so much there's a

17:02 Speaker 3: lot that can go wrong, certainly, And again, what what

17:05 Speaker 3: you're doing is is you know, because you have a

17:09 Speaker 3: specific sound, I mean, does anything ever go wrong with that?

17:14 Speaker 3: Where you go that really wasn't what I wanted When

17:18 Speaker 3: you're at the end of at the end of a show,

17:20 Speaker 3: or or is it all gone pretty smoothly.

17:23 Speaker 2: I mean, it tends to go easily because I've got

17:26 Speaker 2: like a particular sound, like I used to my guitar

17:29 Speaker 2: that I've made. I did have a gig the other

17:34 Speaker 2: day where I break my rule and I switched guitars.

17:38 Speaker 2: I've got the acoustic count and I couldn't hear it

17:41 Speaker 2: when I was playing, and I stopped the song. And

17:44 Speaker 2: I've never done that before, but I just went, no,

17:46 Speaker 2: I can't hear a thing.

17:48 Speaker 1: Oh no, kidding.

17:49 Speaker 2: Yeah, And sometimes the leap won't always work. You've got

17:54 Speaker 2: to really stamp on it. And so that that's the

17:57 Speaker 2: thing that it makes the sound because it creates that lush,

18:02 Speaker 2: you know, kind of soundscape of like layered vocals, right,

18:07 Speaker 2: but that also has potential to be a bit of

18:10 Speaker 2: a gremlin.

18:12 Speaker 3: Technology will fail us at times, certainly, but that's but

18:15 Speaker 3: that's the adventure of it all. Yeah, and you're now,

18:18 Speaker 3: do you have some festivals coming up or you're going

18:20 Speaker 3: to be doing some festivals?

18:23 Speaker 2: Yeah, So we're playing at Wood Festival in May. We're

18:27 Speaker 2: playing at Riverside Festival as well in July. Yeah, so

18:33 Speaker 2: we might we might add some more festivals into the mix.

18:37 Speaker 3: We'll see, Yeah, that's that's fantastic. I've noticed all the

18:42 Speaker 3: all the guests that we have on the show. You know,

18:43 Speaker 3: we have a lot of guests from the UK, and

18:45 Speaker 3: and there's always a heavy emphasis on on playing festivals,

18:49 Speaker 3: which I think is which I think is fantastic. And

18:51 Speaker 3: we have a lot of festivals in the United States too.

18:53 Speaker 3: But you know, the thing that I tell everybody, you know,

18:55 Speaker 3: because I'm a music industry guy, is festivals are are

18:58 Speaker 3: amazing because not all does it get you in front

19:01 Speaker 3: of a potentially huge crowd and exposes you to a

19:04 Speaker 3: large audience that might not otherwise be aware of you

19:07 Speaker 3: or or maybe somewhat aware of you, but now they're

19:09 Speaker 3: going to going to get to see you live and

19:10 Speaker 3: be very aware of you. But also just the the

19:12 Speaker 3: networking opportunities, you know, in terms of the industry side

19:16 Speaker 3: of it, the other artists that you'll meet, the other

19:19 Speaker 3: promoters and and everybody managers and this. You can make

19:23 Speaker 3: so many incredible connections at a festival. So I think

19:26 Speaker 3: it's great that you're doing festivals. Like I said, that

19:28 Speaker 3: seems to be the trend with all the UK artists

19:30 Speaker 3: that we have on the show. Seemed to really understand

19:32 Speaker 3: how important that is. And uh and and that's fantastic.

19:35 Speaker 3: And you're already having some success anyway, right like Snake

19:38 Speaker 3: has been getting or I don't know, Snake is the

19:41 Speaker 3: newest single, I know, but but you've gotten some some

19:44 Speaker 3: radio airplay over there with this album.

19:46 Speaker 1: Correct. Oh yeah, yeah, good good.

19:50 Speaker 2: We've we've done We've done well with it. It's breaking

19:53 Speaker 2: the national radio shows and that that's what's tricky.

19:59 Speaker 3: Yeah, no doubt because again you have a sound that

20:02 Speaker 3: it doesn't necessarily comport with, you know, with with a

20:06 Speaker 3: lot of what's out today who which reminds me too,

20:10 Speaker 3: I'm curious about who inspires you, who inspires your sound,

20:14 Speaker 3: who's a big influence on you sonically.

20:18 Speaker 2: So we've talked about in your Monk. Yes, I absolutely

20:23 Speaker 2: love Anna Colvey's She's amazing and does similar things with

20:28 Speaker 2: sort of exploring a bit of flamenco kind of influencing

20:33 Speaker 2: that David Lynch darkness.

20:36 Speaker 1: Okay.

20:37 Speaker 2: I also absolutely love David Bowie just from the perspective

20:41 Speaker 2: of being an amazing songwriter, you know, having really good

20:45 Speaker 2: melodies and songs and the idea of it being quite

20:48 Speaker 2: character driven. Love P J. Harvey She's been a massive

20:54 Speaker 2: influence for a really really long time. But also things

20:58 Speaker 2: like trip hop, you know, Massive Attack, pot Head, so

21:02 Speaker 2: like a really big old range, Johnny Cash m you know,

21:08 Speaker 2: there's a lot of I've really got into the milk

21:11 Speaker 2: cart said recently as well.

21:13 Speaker 1: Okay, yeah, who.

21:15 Speaker 2: Were from the State, So excellent, Yeah, all sorts of things.

21:20 Speaker 1: Very good, very good. Emma.

21:23 Speaker 3: We're gonna so we'll let you go in a moment.

21:25 Speaker 3: This has been wonderful. Like I said, I really I

21:27 Speaker 3: listened to the whole album. I think it's amazing. Absolutely,

21:31 Speaker 3: So a couple just a couple more things before we

21:34 Speaker 3: let you go. So, uh, we are going to end

21:37 Speaker 3: our conversation with another track from the album, Yolanda, but

21:41 Speaker 3: kind of putting you on the spot. Here, what should

21:43 Speaker 3: we play at the end of the segment. I'll let

21:45 Speaker 3: you pick.

21:47 Speaker 2: I would say, here I go.

21:49 Speaker 1: Here, I go okay, yeah, all right, the catches one, okay.

21:53 Speaker 3: The catchiest one, okay, very good, very good. So the

21:56 Speaker 3: other thing, of course, I want to make sure our

21:57 Speaker 3: listeners know where should they go online? Where's the place

22:00 Speaker 3: to go online to keep up with everything that you

22:02 Speaker 3: are doing, Emma Hunter, Whether they want to find uh

22:05 Speaker 3: the album Yolanda, or they just want to follow you

22:08 Speaker 3: and and they want to know where they can see

22:09 Speaker 3: you live and what you're up doing all of that.

22:12 Speaker 3: Where should people go online?

22:14 Speaker 2: So if you follow us on Instagram, I'm much better

22:19 Speaker 2: at updating that. So it's Emma Hunter music is our

22:25 Speaker 2: is our tagline on Instagram, okay, but also camp. So

22:30 Speaker 2: if you look up Emma Hunter music on band camp,

22:33 Speaker 2: you'll find us and you can get that in the States.

22:38 Speaker 2: Company absolutely yeah, and then we are on all the

22:42 Speaker 2: other things you know, Apple Music, Spotify, but band Camp

22:47 Speaker 2: and Instagram is probably the best place outstanding.

22:51 Speaker 3: I'm a big advocate for band camp because what I

22:53 Speaker 3: what I like to tell everyone you you realize this,

22:55 Speaker 3: I'm sure, but what what some people don't know is

22:58 Speaker 3: that the file if you download a track on on

23:01 Speaker 3: band Camp, if you purchase a file, you're getting you're

23:04 Speaker 3: getting a high quality file. And it's a much better

23:06 Speaker 3: way to listen to music than to, say, you know,

23:08 Speaker 3: just streaming it on YouTube or something where you're getting

23:11 Speaker 3: you know, not not as not as good quality. And

23:13 Speaker 3: to some people that doesn't matter, but if you're someone

23:16 Speaker 3: like me, obviously that matters, and so I encourage everyone. Yeah,

23:21 Speaker 3: definitely check you out on band camp. You can get

23:23 Speaker 3: access to the entire album there. And like I said,

23:26 Speaker 3: I think it's I think it's really really good. And

23:30 Speaker 3: one other thing. So, what what's kind of the future

23:32 Speaker 3: trajectory for you? Are you already working on the next album.

23:37 Speaker 2: I've already written it.

23:38 Speaker 1: Oh wow, yeah yeah, and.

23:40 Speaker 2: It's got a bit more of a kind of dark

23:42 Speaker 2: folk vibe. Okay, but yeah, and it's very sort of

23:48 Speaker 2: brutally honest, no hiding behind ylander anymore. Oh, just you

23:54 Speaker 2: know Emma Hunter's dark thoughts.

23:57 Speaker 1: Oh okay, all right, cool, cool.

24:00 Speaker 2: So we're going to start recording that in Jeane. Oh

24:03 Speaker 2: pretty exciting.

24:04 Speaker 3: Oh fantastic. Well, when that's ready to go, we'll definitely

24:07 Speaker 3: have to have you back on the show.

24:09 Speaker 2: Oh, we would absolutely love that.

24:10 Speaker 1: Thanks you definitely count on it. Count on it?

24:12 Speaker 3: All right, very good. So we're going to hit this

24:14 Speaker 3: track here I go from the Yolanda album. Emma Hunter again,

24:18 Speaker 3: Thank you so much. It is wonderful to have you

24:20 Speaker 3: on the show and we will talk again soon, I'm.

24:23 Speaker 2: Sure, Brinian, thank you so much for having me.

24:25 Speaker 1: You gotta take care, bye bye.

24:27 Speaker 2: Thank you all.

24:29 Speaker 3: Right, That was Emma Hunter and we're gonna play this again.

24:32 Speaker 3: This is from the album Yolanda. This is called Here

24:34 Speaker 3: I Go.