Matt Connarton Unleashed: Club Paradise

0:00 Speaker 1: I love that. I love that. That is so catchy. The track is called Years. The band is Club Paradise, and I think we have them via Skype. Can you guys hear me?

0:09 Speaker 2: Yes, suit we can.

0:10 Speaker 1: Oh, you sound great, wonderful, wonderful. Who do we have? Who do we have with us?

0:15 Speaker 3: We've got I'm Ryan, I sing and play guitar.

0:19 Speaker 1: Welcome.

0:20 Speaker 4: Yeah, I'm Nathan, I'm selling Ryan, I am I play drums.

0:24 Speaker 2: Okay, I'm Jackson and I play guitar, all.

0:29 Speaker 1: Right, all right? And are we missing anybody?

0:33 Speaker 3: Yeah, we've also got Harry who he plays bass. But that's okay because he plays bass.

0:39 Speaker 1: I know those damn bass players. I'll tell you the hell with them. No, I'm got a little bit of an inside joke. I'm a bass player myself. But that's all right, that's all right. No, I'm glad the three of you are here, and guys, I love your sound. I gotta say that right up front.

0:55 Speaker 2: You.

0:55 Speaker 1: Yeah, we actually so. You sent us two tracks to play, and we're gonna play the other one at the end of our conversation, but later in the show too, we'll probably play a couple more that I found that I really, really like that I found online. So you guys are awesome. Where are you from?

1:10 Speaker 3: Oh, thank you so much. We are from North Shields, which is just a little town outside of Newcastle upon Tyne in the northeast of the uk Okay.

1:20 Speaker 1: And are there a lot of bands there right now that that kind of sound like you guys? Because you know, we we have usually if we have somebody from across the pond, as we say here in the United States. I don't know if you say that there about us, but they don't sound quite like you, guys. I mean, you have such an accessible you know, like if I were hearing your music and had no idea that you were not an American band, I would assume that you were an American band because you have a sound that's very accessible in terms of American radio.

1:54 Speaker 1: Are there are there other bands there that sound like you or do you guys kind of stand out in that sense.

2:02 Speaker 2: In the sense of sounding like an American radio band? Perhaps not, but yeah, like that's also that's just a massive compliment we take that. So like we listen to a lot of American radio stuff. That's actually kind of something we say as well, like, oh, this sounds like it could be on us radio when we're making it. So we love we love that compliment. Not a lot of people from around here sound like us specifically, I would say, but there is a big music scene happening right now.

2:35 Speaker 1: What is it like? What is it like where you guys are, specifically in terms of are there a lot of places to play live or you able to get out and do a lot of shows? What's what? What is the scene like there where you are? Yeah, it's been it's obviously.

2:52 Speaker 4: I think it's probably similar to yourselves where post COVID everyone's still there's still some TEVN issues and everyone's trying to get back back to how it was before. But we find a lot of joy in and around where we're from, Newcastle, North Shields. We found we found a lot of joy over there, over the water and the likes of Sunderland and Millersbro which are of our small city small towns. But it seems like everyone's trying to support each other. We travel outside of the Northeast when we can.

3:23 Speaker 4: As Jackson said, there's a big, big music scene. It seems like it's starting a bubble up again.

3:29 Speaker 1: Yeah, that's good.

3:32 Speaker 3: A bit of funny one after COVID though, because you had like this massive bottleneck of gigs that needed to happen that were postponing things. But I think now we start to see a lot of venues close, a lot of the smaller venues. So while Newcastle and and sort of Shields where we're from and all that sort of place, they have a lot of really good bands and a lot of good talent, it's kind of hard to go out and see people that you want to go and see as much now because some of those smaller venues, the ones that we would all you know, take hold of, they're all starting to or have closed recently, especially in Teaside, which is just the borough south of us, We've lost a lot of venues there and recently in Newcastle we've lost two or three here too, So it's getting tricky.

4:08 Speaker 3: But all that does, I think it is kind of fuels the fire for the existing venues for us to get in there and sort of, you know, everybody to gather around in a close that environment and really listen to each other as well.

4:19 Speaker 1: What is causing that these venues to close? Do you know? Is it the economics of it? I know here in the United States, the You know, there's a lot of inflation, but I think we're probably faring better than a lot of places. Is that it is everything just too expensive or is there something else going on?

4:38 Speaker 3: Yeah, I think inflation is definitely one big thing. I think people aren't sure if they can commit the money to a ticket so far in advance, So advanced sales is a huge part of that local scene for us, and you really don't really find out how many tickets you've got until maybe the day before, but even the night of. We did a show earlier in the air where we sold like, I don't know, twenty thirty t gets the week running up to the gig, and then on the night the venue was full and sold out. So this instability that we have with ticket purchases in advance, that's causing a lot of upset with promoters and venues.

5:10 Speaker 3: So the commitment is like the starting to lose the commitment of people who want to put those shows on. And it's just just change as well. That's just it's a natural change that I think people need to sort of adapt to and react with.

5:23 Speaker 1: Yeah, that's interesting about the tickets because we had someone here from the uh, Jenny, what are they called? Is that the New Hampshire Music Collective or New England Music Collective. John MacArthur, Yeah, yeah, he's a promoter from the area and he was here. We had an extensive conversation with him about this, and he was talking about how when he puts events, when his company puts events online, very often people wait till the last minute to buy tickets and that's been the trend post COVID and the problem that that causes is and he was kind of pleading with people, please, you know, don't wait till the last minute, because what ends up happening is, you know, an event will sell out and he'll be going.

6:03 Speaker 1: You know, we could have done this in a larger venue, but we didn't know that all these people were going to show up, because people have gotten into that habit of waiting until, you know, the day of before they make that commitment, and it causes a bit of a bottleneck. But I think part of that too is I don't know if it's if it has to do with inflation, people being more careful about how they spend their money, that may be part of it, but also to I think just the Internet has made it so you know, you guys.

6:31 Speaker 1: You guys look pretty young from what I saw online. I'm old enough to remember when we didn't even have an internet. So if you had to buy tickets, you know, you call up you know, ticket Master, or you go to the I slept on the sidewalk outside of tickets in order to get tickets. Yeah. But but back then, but back in the day, pre internet, it was the inverse, right, if you wanted to go to a show, you had to get the tickets early or you risk missing out. Whereas now, because you can, you know, just buy tickets online or you know, or risk just showing up, you can afford to wait till the last minute.

7:06 Speaker 1: And I think that's where that problem comes from.

7:09 Speaker 3: Definitely, we we have that memory. We used to go to venues. We used to queue outside and wait and buy the tickets. Yeah, when we were like in high school. That was good fun. Yeah, and it's so cool here by the way. Once in like a week in October, back in like twenty ten, we still outside this venue and we just shivered in We have to wear school uniforms in the UK, and we don't wear coats because it's not cool to wear a coat if you're from Newcastle, so we were all just shivering outside waiting to buy tickets.

7:37 Speaker 3: But we remember all that was such good fun. But I totally agree the Internet changes that landscape one hundred percent. And we've seen a lot of local festivals collapse due to lack of advanced sales. And people obviously think that there's just an ease of like accessibility to be able to get your ticket whenever you want to be like, oh, just I'll get that closer at the time, that's not a problem, but there's so much money that has to be put up to on these shows, the festivals, whatever it is that you go into that logistically, financially, the deadlines can't be met, the sort of bar stuff things like that can't be put in place to make sure that they can go ahead without.

8:12 Speaker 1: That right exactly. And people don't know that. You know, your average consumer has no idea about any of this, and you know, and there's no reason that we should expect them to know. But one of the things that we try to do with this show is really educate people about that about how the music industry works, because yeah, if you know, it's all supply and demand ultimately, and if if somebody doesn't know. If a promoter or whomever doesn't know that the demand is there to be met until the very last minute, then what ends up happening is, yeah, they don't there's not enough money coming in, and they end up having to cancel.

8:45 Speaker 1: You said, you said you've seen that a lot there festivals having to be canceled for that reason.

8:52 Speaker 2: Yeah, yeah, there was a It was a festival. We were scheduled to play inside of Newcastle and it was like a big field, and we had promoted it, et cetera, and then you know, six weeks before the show, it just gets pulled because ticket sales probably weren't good enough, and we see a lot I think it's it's sort of like a luxury to be able to wait to buy your ticket. People don't necessarily feel like the onus is on them, like there's no burden or responsibility to like buy these tickets, because there isn't really, But they don't also know, like if a promoter sees fifteen tickets have been sold, then they'll just go, oh, this show isn't worth putting on, even though fifty people have just said, oh, we'll just buy the week of like we'll say, you know, we'll just keep money and if something else you know, I think as well, Yeah, there's so much choice as well, Like it might be a case of like, oh my other plans have fallen through, so now go to this show, right, Yeah, So the commitment as well, like people don't want to commit too early.

10:03 Speaker 2: I think that maybe is because of post COVID, Like you weren't going out anywhere, so people have lent to live without going out, right, So maybe people are you know, they've gotten comfortable not going out and realizing they don't have to. So maybe that's part of it as well.

10:22 Speaker 1: You know, yeah, that makes sense, That makes sense. What's the vibe like in terms of working with other bands? You know, here in the United States, I find that in the music scene most there's a lot of positivity and people kind of work together and whatnot. I mean, it's competitive, obviously, but it's not like saying stand up comedy. I listen to some some podcasts hosted by stand up comedians in the United States and everything sounds like it's very cutthroat and nobody really helps anybody. But with musicians, people tend to try to kind of work together.

10:56 Speaker 1: Is it like that? There or is it? I mean, how competitive is it in the scene where you are, where you guys are operating.

11:03 Speaker 3: I think it used to be way more cutthroat than it is now. So we've been playing as a band honestly around twelve or thirteen years or so, the four of us, the same four guys, So we've seen a big change locally, and I think at first it was very much nobody talked to each other. Everybody went to play the show and you were going to put on the best so that everybody was going to see that night. And I feel like for the first three or four years that was definitely the case. We then didn't really gig for a while while we were still figuring out what we wanted to do, and then when we came back to it, there was this complete shift and sort of demeanor and that everybody was now friends.

11:40 Speaker 3: Everyone was wanting to put on the best night collectively. And I hope that we've kind of we've definitely adjusted to that since since all that big change, and I hope that our shows people will also come to that and feel that in that we are trying to play with artists who we love, and we think everybody else will love if it's our show or actively will We'll take slots to play with other bands that offer us them if if again they love us, and we all think it's the right move for the for the bill in full, and it's a much more collaborative effort now for live shows.

12:11 Speaker 3: I think, Yeah, it's nice to be nice.

12:14 Speaker 1: Yeah, exactly exactly. And what's we talked about it? We touched on it radio. What's the radio situation there for a band like you, guys like, are you on the radio in your area or how does that work there?

12:31 Speaker 2: We're on the radio in and around the area.

12:33 Speaker 4: Yeah, we had a we had to play on Radio X which is quite a big, a big radio station in around the UK. That's that's a rarity that we would get something like that, and you've got to jump through quite a lot of hoops in it's a.

12:44 Speaker 2: Bit of a look.

12:45 Speaker 4: But in terms of the locality in the very local area, yeah, we're we're on radio stations. People are very supportive. We've got BBC introducing ye Upia, who who have always been a big supporter of us and do a lot for the local scene.

13:01 Speaker 3: You find that with that as well, you get these little random radio shows that you've never heard of. So there's one up in the Highlands of Scotland and every time we play, every time we release a song, they play us like without fail. And then there's a there's there's two or three like that. There's a Welsh speaking one which also plays us all the time, which is really cool. Locally though, BBC and is a really cool thing, but it's kind of being cut back a lot. So the most local radio show we have for the BBC now, which used to be in Newcastle, is in Teesside, which is Millsbrough.

13:32 Speaker 3: It's just kind of like an hour out of the way, so now it's a regional show rather than a local show, which is all fine. It's just you can see where these changes are happening in the start to take place. But we do get we get the support of the radio and we're really thankful and we love those teams and they're always really really fun to work with too.

13:49 Speaker 1: Yeah, that's good.

13:51 Speaker 3: No.

13:51 Speaker 1: I was particularly curious because, like I said, you guys have such an accessible sound and these these songs. Yeah, at the end of the conversation we're gonna play Chasing the Song or another great track and I have to tell you later in the show because I mentioned if you're curious. Ye, we're also gonna play later. We're gonna play Another Life and no, I'm sorry, that's the wait?

14:12 Speaker 2: Is that the song?

14:14 Speaker 3: That is a name of a song?

14:17 Speaker 1: Yeah, there was another one. There was another one too. I'll have to find it. I'll have to find it to play it. Oh, neighborhood that was the other one.

14:25 Speaker 3: Oh oh yeah, yeah, they came out together. That was a double A side that we did.

14:28 Speaker 1: Oh okay, yeah, I really like those. I really like those. You guys are such a great sound. Tell me a little bit about influences. What uh what are you? What do you guys? What do you listen to? What did you grow up listening to that kind of thing?

14:44 Speaker 2: I grew up listening to like emo rock and like all that sort of stuff. And then I think when we so we all pretty much went to high school to get at bon Nathan he was in separate high school, but they Ryan and Nathan lived very very close, so we've all known each other growing up. And I think when we hit like thirteen fourteen, we were listening to indie rock all that sort of stuff. I was still listening to emo stuff. Yeah, but maybe like in the past four years three years, we've been really into country music as a collective, like where modern country music artists like so much, and that's kind of like now, especially with years, you can kind of hear that influence.

15:38 Speaker 2: We're not trying to do it on purpose, it's just sort of coming out naturally now. So I think country music is kind of an influence now. I've also maybe like synth wavy stuff. That was a big part of our sound when we like launched as Club Paradise, like that was sort of a direct and we wanted to head in as well. Yeah.

16:02 Speaker 4: I think the the one band that sort of springs to mind simply of what wise is The Midnight from the US, who we we actually went to see in Newcastle a couple of weeks ago together.

16:17 Speaker 2: Yeah, so that was that was great.

16:18 Speaker 4: But if he's on a really familiar with their with their sound, I would we well, we would all recommend that band definitely, And I think we take a lot of influence from from what those guys do.

16:30 Speaker 1: I'll have to check them out. Yeah, I was reading in your bio about you know, sort of the country rock influence and it surprised me a little bit. Are there are there artists in your area or are there UK artists who who kind of are working in that genre, or when you listen to that, are you listening to American artists? Because because I don't know offhand, I mean, I'm really curious about this.

16:56 Speaker 4: I don't think I don't think there's any.

17:00 Speaker 2: Yeah, we get local like folk music, which takes roots from country stuff. But we the like the country music we are currently listening there. It's like Keith Urban, Aaron Kinsey, Morgan Wallen is a massive one. People like Nate Smith as well. I'm just thinking Derek s Bentley as well. We love s Bentley, Priscilla Block, Luke, Bryan.

17:29 Speaker 3: Doughtry.

17:30 Speaker 2: Yeah, but even like like Scotty McCreary as well. We we all love Scotty McCreary. It's yeah, yeah, we we. I mean this is stuff that we genuinely like. Say we're on a road trip, Like we just went to some amusement park in the UK. It was like a two hour drive. All we would listen to was country music on the way there and on the way back. It's we love it.

17:57 Speaker 3: It's started as like I think between the four US. It started as a bit of a guilty pleasure. I remember, like, Jackson has cousins in Canada and their wedding song when he went to their wedding in Canada was Florida George.

18:09 Speaker 2: Holy, Yeah Holy by Florida Georgia line.

18:12 Speaker 3: And then it's I think we kind of listened to that song together after Jackson came back and we were like, WHOA, something's going on here, and we were like at teenagers at the time that being came this like really big guilty pleasure for us all to talk about. And then over time it's been like, actually, no, this is just amazing. But because it's so kind of alien to the UK and that it doesn't exist here, we didn't really talk about it much. And now over time, like now on the radio, Morgan Mullins on the radio here, those new tunes with post Malone that he's been doing, those are getting some tensions.

18:40 Speaker 3: So I feel like Country's grown to see happens over here now. And we've got Absolute Country, which is the radio station that is never off in my car, and that's got all the shows from Nashville coming live to us. So it's grown here and I'm really really glad and I feel really passionate about that. It's a really really cool thing. Yeah, so yeah, it's all American stuff.

19:00 Speaker 4: We've still got We've still got some roots in this sort of UK indie scene, but there's not a we we grew up on Four's Bombay, Bicycle Club, Wild Beast, that sort of thing, and a lot of those bands have called it a day. You've still got some of them not and about and were You still listen to a lot about the Monkey's Kings of Leon and we're still love those bands and putting out. So it was a bit of a dynamic, shifting dynamic when all the countries, So I think we'll try and blend it subconsciously in what we do.

19:29 Speaker 3: There's a flavor of that. I think there's a flavor definitely of those bands with the country stuff with the Midnight so you kind of get that synth element. But then I also feel like there's a really nice element of like Brian Adams in some of the things that we do, like in Chasing the Summer, If it just gives us atmosphere that used to get in a lot of stuff, maybe even like a Don Henley type of vibey type of thing. So I feel like as a as like a big melting pot of all those things that come together is what we we created.

19:57 Speaker 4: A shot were in the foot a little bit. And because we're as we've just rattled off about.

20:02 Speaker 3: Fifty different things.

20:04 Speaker 4: Sometimes sometimes UK radio stations, certainly the bigger ones one I think a certain sound and if you're indy, you need to be Indie, you know what I mean. We don't.

20:15 Speaker 2: We don't fit into a.

20:16 Speaker 4: Certain genres other bands do, and it's it's it's been difficult to to pitch where we should be. But so that's why it's so kind of yourselves say how accessible it is, and we yeah, yeah, I don't think we have that in the forefront of my mind.

20:31 Speaker 3: But when you think of the choruses and we'll keep how the songs coming. We're always told that we're not rock enough for rock and we're not popping up, so it's kind of like, okay, that's fine, but here's the music anyways.

20:45 Speaker 1: Right right, Yeah, And I can hear the Brian Adams uh and and Don Henley, I can hear those influences in there. Yeah, the country stuff is interesting that that influence because we and and again. I'm all enough to remember when it wasn't this way. But modern country and I'm not a big country fan, but occasionally I'll hear something I like, and I'm always very aware of these artists. I try to keep up with all of it. But modern country now sounds a lot like you can hear the influences of eighties rock in modern country and the production.

21:23 Speaker 1: I always say this again, it's not my first go to on my list of sort of genres and subgenres of what I listened to, but I listen to a lot of different kinds of stuff. But I have to say Nashville, which you know, is the kind of the epicenter of country music in the United States, Nashville's got it down as far as production. Like I'm very picky about how drums sound, for example, and you listen to any modern country and the drums sound exactly the way they should sound in my opinion, you know everything and the way things are mixed, and even the guitars are are louder than they used to be.

22:03 Speaker 1: In country music, you can really hear the rock. You know, there's there's kind of been this melding that I think is really interesting, and I kind of suspect that had that not I guess it's chicken or the egg, right. You know, is that happening because that helps country to be more accessible to the mainstream or or is it a reaction to country becoming more accessible on its own? But you know, we saw that happen.

22:31 Speaker 3: You know.

22:31 Speaker 1: I can remember, you know, back in the nineties when Garth Brooks got really big. That was sort of the first real wave of country music becoming sort of mainstream. But now it's like it it's really you hear a lot of rock influences in modern country music.

22:47 Speaker 2: Yeah, absolutely, when you touched about like drums and guitars as well, That's something that I'm like particularly interested in, stuff like the recording process. So these last these last few songs that we've put out were pretty much recorded independently, and I'm massive on guitar tones, and I like, I look up what people are using. And I remember a UNI project I did it so long ago where I was just essentially researching Blackbird Studios, which is in Nashville, and I was just like reading about Studio A and Studio B, and like what the drums will sound like in each room and and then like they have like a client list and then like a record list, and you know, you listen to some of the people that have recorded in the like Kings of Aam was the big one for me, which is why I got into them.

23:40 Speaker 2: But like I think Hayes has recorded their Rascal Flats as well. We love the Rascal Flats. I think they definitely hit the pop and the rock pop sort of thing. And I know what you mean, like it it you listen to like stuff from the nineties, the Cold Swindon he did a What's what song? Did he just do? Uh? She had heads Carolina h Yeah, so his obviously you listen to the original of that and the instrumental, like the parts are the same, but they're recorded so differently and so like it's so everything's like hyper and now like everything's so big compared to maybe more understated of the original.

24:28 Speaker 2: So I understand what you mean. Things are changing, like they are getting just bigger and more like you say, eighties eighties rock influenced where everything was just big and massive, and maybe I think you might start like we see it over here. A lot of the music coming out like in the UK, drums are really quiet and understated. There's a lot of like snare drums with towels on, you know, like everything's gonna be quite more mute. I think maybe the trend and the UK at least is going to go back from big eighties stuff to more natural sounding I'm using air quotes, but natural sound and drums.

25:14 Speaker 2: But with the air with US radio rock, it's just full throttle now, right, But we love that.

25:20 Speaker 3: I think it's funny. We were in the studio a couple of weeks ago doing some new stuff and we just pulled up country rock drums and said, like, this is the reference, this is the sound we want, and we're going to set the drum kit up to sound exactly like this.

25:32 Speaker 1: Yeah, it's good fun.

25:36 Speaker 3: I think there's also I think you're right, like there's an element that couldn't you want to be more accessible and more mainstream in general. But I also think that part of the reason it sounds that way is there's a lot of sampling going on now and that's a good speed thing. So we've had friends who've gone to Nashville to do writing sessions and writing camps, and they talked about how fast it is in Nashville that I already sits around in a circle and throws the lyric out, and the next lerik that comes out is the one that's going to follow that one.

25:58 Speaker 3: So it's not debated. It just goes on and on and on them. That sounds so alien to us, It sounds crazy, But I think that maybe is the tone of the drums and all these different sampled instruments and the access you have to do in things digitally. Now, that speed that they've created in these writing camps might sort of blend with that pace that you can get from the sound of the drums if they do sort of sample the kits and recreate them that way too.

26:20 Speaker 1: Yeah, that makes sense. Yeah, Nashville. You know, we've we've had guests on the show. We've spent some time in Nashville, and uh, either you know, either just short trips to just write and record, or or people who've lived there for a while. And yeah, they do things like you know they have. Yeah, the these writing sessions that like you described are very fast and and and these songwriting circles, you know, they all they'll sit in a circle or they'll do this live, you know, where they'll they'll be in in a club and they're they're writing songs live in front of a crowd, you know, almost like what a stand up comedian does when they go to say an open mic and they they're just kind of workshopping new material.

26:58 Speaker 1: You know, it's really interesting saying because I don't know of anywhere else where they approach it that way. And how nerve racking that must be. I'm a musician myself, but I can't imagine like being in front of a crowd of people with other musicians and writing something on the spot, and you know, you're in front of people, so it better be good. But yeah, I mean that's like the Nashville is like, you know, that's like boot camp for musicians.

27:21 Speaker 3: You know, yeah, you would not catch me doing that.

27:27 Speaker 1: And so you know, where do you guys record because this all sounds like it was done in a million dollar recording studio. But as we know, again, we live in a time where it's you know, you've got a lot of different options in terms of how you record.

27:42 Speaker 2: Yeah, so we we tend to so since maybe since twenty twenty, we've we've kind of recorded at least guitars and vocals, just no real amps. It's all simulated stuff, so it's bedroom like. Yeah, half, maybe sixty percent of the song is bedroom stuff. The only thing that we tracked live now is drums, like in a in a studio space, just because we can't anywhere else. But and it saves money, Like, we have the ability to do it at home, so why don't we. We've had We've had fifteen years of experience as a band.

28:25 Speaker 2: We kind of know what we're after at this point, and now technology is caught up to where we can just do it at home. And you know, some people might hear that the guitars aren't real. Some people might not, but I mean I spent them live. Oh yeah, of course you play. When when it comes to like tracking guitars and stuff, we just do it at home. But drums, drums were always in the local studios we've we've actually been through a few of them in the Northeast at the moment, just trying to find where we we work best.

29:03 Speaker 3: Yeah, it's nice to change it up as well though, because, yeah, Jackson's pretty modest in that jack for Neighborhood and Another Life. Jackson produced all of that, and yeah, to say that we did all of that at home other than the drums, and it's come out sounding like that is insane. We had some help with the marstering at the end and things like that, but yeah, really the full body of that work came out from Jackson sit at home with headphones on, just mixing at home and really just digging into that.

29:33 Speaker 3: It's really really fun to go into different studios and work with different people and to see how what they say about drum kits, and also to just see how when we show them the song as a reference what we're doing, they're kind of like, Okay, cool, what about this? And we just learned. I think that's that's one thing that we always do, no matter where we record, if it's at home or whatever it is, song by song, we try and do something different, and we're always trying to research and learn about the best way to bring the elements of that song out that make it it's don on its own.

30:01 Speaker 1: Yeah. Yeah, it's amazing what you can do now. In fact, Uh, the shirt that I'm wearing for those watching online day to attend, we had these guys on a couple of weeks ago, and uh and I said something similar to them because their stuff sounds so good. It sounds like it was done in a million dollar recording studio, and Ed the guitar player is telling me, Yeah, I don't even plug into an amp. I just you know, I mean, you know, you plug into a modeler or whatever term, and it's it's just it's it's incredible what you can do now.

30:28 Speaker 1: It really is a it's a it's an amazing time to be alive, especially if you're a musician.

30:33 Speaker 3: So you guys, yeah, except for the money.

30:36 Speaker 1: Well, yeah, true, that never seems to change. Yeah, what the time period, right, Yeah, that that's true. It's always been a problem unless you're you know, unless you're famous. But you know, if your tailor swift, then you then you get all the money. But uh, by the way, did you guys say, what have you said? Fifteen years? You guys have been together, yeah.

30:59 Speaker 4: With nothing club Paradise for that long. But yeah, we've we've it's been the same for four guys. As Jackson said earlier, I mean me and Ryan grew up in the same street, and Jackson and Harry grew up a couple of doors down from each other. They all went to school with each other, and naturally, I sort of gravitated towards them when went early teens.

31:23 Speaker 2: So yeah, it's.

31:27 Speaker 1: Yeah, yeah, oh that's incredible. Yeah, most bands don't last that long. That's amazing. How do you how do you guys? Uh?

31:34 Speaker 2: How do you?

31:34 Speaker 1: How do you keep it together? I mean, because do you ever do any of you do side projects or anything? Are you just fully committed to this band?

31:44 Speaker 3: Oh?

31:44 Speaker 2: We we all have side stuff now, but we didn't for the longest time. Really, yeah, it was I think Ryan, I mean, I'll speak for Ryan for now, but yeah, he plays bass in his partner's band, and Nathan also drums for that band. I've been in a like a goth pop band over the years, and we we we have split up time that way, but just stay together for that long as we haven't. It's never really we never thought about it.

32:18 Speaker 3: You're forgetting the most important one. We do a Paramore tribute band together, so not only of course.

32:23 Speaker 2: Yeah yeah, yeah, that's where the money comes from.

32:27 Speaker 3: Yeah, yeah, that's how we pay the record. So we do Clip Paradise all together and it's and then the Paramore tribute band, Isn't it fun? Is also Clip Paradise plus Robin who sings in my partner's band playing. So it's like it's just one big group of friends and we just play loads of different bands and we just see what we can do.

32:47 Speaker 4: If it's the same like seven people and it's different bands.

32:52 Speaker 3: You're on each other's schedules that way.

32:54 Speaker 1: But it's so you guys do a Paramore tribute band? Oh yeah, that's so cool. Do you do?

33:01 Speaker 2: Do you? Sorry?

33:04 Speaker 1: I I have to know because my two favorite Paramore songs Misery Business? Do you do that one?

33:09 Speaker 2: Of course?

33:10 Speaker 1: And do you do Ain't it fun?

33:12 Speaker 2: Of course that's the name of the bond In it fun?

33:15 Speaker 1: No kidding?

33:15 Speaker 2: Oh?

33:16 Speaker 1: Awesome? Awesome? Yeah? I uh yeah, that's Ain't it fun? Is?

33:21 Speaker 3: Is?

33:21 Speaker 1: Probably actually well, Misery Business was the first song where I was like, oh I really like this band. I think that might have been their first hit single, at least in America. But then, ain't it fun? Ain't it fun? Is so like it's impossible to hear it and not sing along.

33:36 Speaker 3: You know, Yeah, it's good fun. It's good fun, and it keeps you on your toes when you have to think about all the different songs they need to play. So we've all collectively got no numerous setlists in our heads all the time, and we just wruck up different gigs and thing what what shows it today?

33:50 Speaker 2: Right specifics?

33:53 Speaker 1: Yeh no, that's fantastic. Well listen, guys, the time goes quickly. We are approaching the top of the hour. It's been wonderful talking with the three of you, Ryan, Nathan and Jackson from Club Paradise, And like I said in a moment, we're gonna play Chasing the Summer another great track by the way, which is the newest single? Is yours the new one? Or is it Chasing the Summer? Yours?

34:15 Speaker 4: Yeah?

34:15 Speaker 3: Yeah, yeahes is the latest one. Chasing the Summer was out in June. We've got we're doing a single every month October. So at the end of this month, we'll have a track out called what If These Days. At the end of September we'll have another track out which I'm not going to name yet. And then we've got an October EP coming out called Life on TV. And that'll be a collection of six songs, including the singles.

34:37 Speaker 1: Oh, very cool, very cool. Yeah. Feel free to send those two as they're released. We would love to do you know, we like to do world radio premieres here, So if we can kind of be your, oh for sure, your your conduit on American radio, Well, we'll do a world radio premiere for each new single as it comes out. That'd be great.

34:53 Speaker 3: Let's do that, definitely, that would be so fun.

34:55 Speaker 1: Absolutely absolutely. And the other thing too, what should people know? What should our listener know about where to go online to keep up with everything that you guys are doing in terms of music and shows. If we have any listeners, and I don't know if you plan to get to America at any point, but but if you know, we do have listeners because of again God bless the Internet, we have listeners over there to online. But what should people know about keeping up with everything that you guys are doing.

35:19 Speaker 3: All of the handles are at this is club paradise. We probably update Instagram the most, and then I'll handle on Twitter X. Sorry is a club paradise with two underscores at the end.

35:33 Speaker 1: I still call it Twitter, by the way, because yeah, yeah, much changing. Yeah, you call it X and people don't know what you mean necessarily, whereas everybody knows what Twitter is.

35:42 Speaker 3: It's definitely definitely much.

35:44 Speaker 1: Much easier, guys, Thank you again. So much. We're gonna hit this track chasing the Summer, but I appreciate speaking with the three of you. We'll do it again in the future, of course, and and I look forward to playing the new singles too as they're released on the show. So guys, thank you, thank you again. Really appreciate it.

36:01 Speaker 3: Thank you so much for having us.

36:02 Speaker 2: Thank you so much.

36:03 Speaker 1: Bud, you got it, You got it all right. Thanks guys, take care all right.