ifitbeyourwill S05E18 • Delivery

Garage punk with heart and soul? Australian band Delivery proves it's not only possible—it's transformative.

When Rebecca Allen and James Lynch first connected romantically eight years ago, they weren't immediately thinking musical collaboration. Despite James gifting Rebecca her first bass guitar and both gravitating toward punk sounds, they maintained separate musical journeys until COVID lockdowns created the perfect environment for creative fusion.

"We were at home where you couldn't go out with nothing to do," explains James, "and somehow the idea of 'should we try and make some songs together' happened." That spontaneous decision launched what would become Delivery—a five-piece powerhouse featuring three guitars and four vocalists across their catalog.

Their latest album "Force Majeure" showcases a band that understands the delicate balance between intensity and accessibility. Songs like "Digging Holes" deliver raw garage punk energy while tracks like "New Alphabet" reveal a more melodic, Pavement-inspired sensibility. This thoughtful approach to sonic dynamics creates what host Chris describes as a "soothing" quality unusual for the genre—a testament to the band's mature songwriting approach.

What truly defines Delivery is their commitment to genuine collaboration. "We definitely wanted it to be a band, not like a duo project," James emphasizes. This democratic ethos allows each member to contribute ideas freely, resulting in music that feels both cohesive and delightfully unpredictable. Whether workshopping riffs together in rehearsal or meticulously layering guitars in the studio, the process maintains an "anything goes" attitude that keeps their sound fresh.

The band's live performances capture this collaborative spirit perfectly—high-energy affairs where, as Rebecca puts it, "we have a lot of fun on stage playing together, and that feeds into the crowd too." This authentic connection with audiences has helped Delivery build an expanding international following.

From bedroom recordings to world tours, Delivery represents what happens when musical community prioritizes genuine expression over rigid formulas. As they continue crafting new material for 2025, their journey stands as inspiration for anyone seeking to create art that balances power with nuance, intensity with melody, and individual expression with collective joy.

Chapters

• 0:00 Introducing Delivery
• 8:07 Musical Origins and Influences
• 14:41 Starting a Band Together
• 20:41 Songwriting Process
• 26:53 Three Guitars and Sound Production
• 30:19 Live Shows and New Releases

Transcript

Intro: 0:18

I'm tasted, I take back what it took. Download the movie. Save me buying a book that I ain't reading. All right, here we are. Welcome people.

colleyc: 0:32

Another episode of If you Be A Podcast coming to you, Excuse me, you know, season five. I've had local but surprisingly enough I've had two Australian artists come in and now I have a third coming in. I have delivery here with me today and I have rebecca allen and I have james lynch, who are the founding members, um, who have been working together for for a while, or being together for a while, and are now have just put out their latest, January 17th, and I'm going to say in French, because it's a French word, but, Force Majeure, I'm in Quebec so I speak French. So I love the title Absolutely stunning album. I've just been like obsessed with listening to it and I kind of mentioned this before I hopped on that. You know I mean garage punk. You know rocking like it makes me nervous sometimes, but your album is really soothing to me in this funny, interesting kind of way. So thanks to James and Rebecca for jumping on here with me today.

James: 1:45

Thank you, Thanks for having us.

James: 1:48

It's cool to hear you pronounce force majeure. It's always, that's it.

colleyc: 1:53

Well, here in Canada, Quebec the second largest province is majority French. The second largest province is majority French. Our old colonialists were from France, so our major language here is French. So I mean force majeure. It's right up my alley. So thank you for making a French title too.

James: 2:22

I mean, it gets so little attention in our language at times. We've had, well obviously, force majeure being this album, and the album there's a song called beta meinhof, which is german, and both times we've gone on tour and gone to those countries and they're like you're pronouncing it wrong.

colleyc: 2:36

well, I make an effort to pronounce right and I think, to start off, guys, I I kind of like to kind of dive back into your history a little bit about how things started to spark for you guys and James, I'm going to throw this question at you first. What were some of your key moments when you were growing up? That where music really started to kind of sing to you and you knew that music was somehow going to be a part of what you did when you, when you grew up, yeah, um, I guess I was always quite drawn to music, um, but I'm not really sure why.

Rebecca: 3:18

I think, like when I was quite young, we had a piano at home and I was like six or seven asking my parents to give me piano lessons for some reason, because once I started them I really didn't like, I didn't really practice or stick to it. Um, but yeah, by the time I was, like I don't know, a little bit older and getting into kind of rock bands, I guess I sort of found what I was looking for, um, and got like there were a bunch of bands that were really big for me as I grew up and um, a few of them were like australian, like rock bands from the kind of early 2000s. And there's a band, the vines, who maybe people are familiar with, who were a really big deal to me as I grew up. Um and um, and I mean, like at the same time I'm I'm a 10 on the thing to green day and listening to whatever else had come across kind of my ears, um, but yeah, at probably at a certain age I became really obsessed and, um, yeah, would spend my saturday trying to learn how to record my guitar onto the computer which wouldn't work or whatever it was.

Rebecca: 4:21

Um, so yeah, there were probably a bunch of really key moments. Yeah, the band the Vines I really like was obsessed with, and then, getting a bit older I kind of got really obsessed with, kind of like there was like the Tame Impala had started and there was this like Perth and Melbourne psych and garage scenes that were kind of like happening, where I think I was really obsessed with the community side of it more than in exactly the band itself, like the idea that all these bands could be friends and play into other bands and stuff. Um, so yeah, I was really drawn to, yeah, I guess, music in the first place and then the community side of things and then when I ended up being able to find my own community and do the same thing and play in a bunch of different bands with different friends, I guess that was a big moment for me, like amped up, yeah totally Breck.

colleyc: 5:07

What about you? Where did music start to come to the forefront of your realizations of hey, I need this.

James: 5:17

Yeah, I think a little bit different for me. I was like I always really liked music from when I was young, like um always was like listening to records or downloading, or getting my brother to download music for my mp3 or whatever, but uh lime wire days right and yeah, I think, like when I was younger, I got piano lessons but I didn't really like it, because I guess they just taught you like really simple versions of like beethoven or something, and you're like when you're 12 years old or something it's like this sucks lame yeah, I'm not doing that anymore um

James: 6:03

so I didn't really play music but I always liked it and I guess you like go see bands and, um, maybe you see like a big band and then a band supports them and then you get into that band and then you're there and someone else supports them and you get into that. Then it kind of wasn't until like a few layers deeper, when I was like in my early 20s and I was going to see like bands at smaller DIY venues and stuff that I was like oh, cool people are like making music who aren't necessarily like, I guess, like punk music, who aren't like you know not saying that they're not incredible musicians, but like formally trained, like music and um, when I met james, he was playing in bands but I couldn't play music.

James: 6:48

And um, then you start meeting everyone in the community and all this stuff, and I was a few of me and my friends were like maybe we should teach ourselves how to play some music and get involved in this. And I think once we started it was kind of just like eyes wide open, let's go right, um.

colleyc: 7:07

So, and what? What style? Rebecca, when you first started to kind of look at music as you being involved in it, what were you? What was your go-to kind of like songs that you were writing or playing together?

James: 7:21

yeah, pretty much like punk, okay, yeah, so my first band got a girls was like punk band, I would say, or maybe like a little bit post-punky maybe, but probably punk um. And then, yeah, I was playing in like a kind of like hot, more hardcore punk band um as well, um, yeah, and then I guess delivery kind of like yeah.

colleyc: 7:53

So I mean your orientations, both were kind of. You were kind of in the same lane a little bit and and and. From what I've been reading, and we had mentioned before we hopped on here, that you guys are in a relationship as well for eight plus years or whatever it might be. How long into the relationship did you guys decide let's. Why don't we team up? Like you like what I do, I like what you do. We're kind of in that same lane.

James: 8:23

Let's see if there's a possibility of a fusion yeah, kind of embarrassingly long like it's pretty funny, yeah, I don't know, because james brought me a bass when I said for my birthday, when I said that I want to start playing music, so it was always like really encouraging and helped me out heaps and everything. But I guess, like we were kind of like I was finding my path. Um, in a way that was like separate from yeah exactly like where he like.

James: 8:51

I wasn't like, oh, now can I play in your band we're gonna do that and then, um, so I guess maybe also I was more just finding my feet a little bit at the start, so it didn't seem natural to be like oh, let's create music together, because that's not really how yeah.

Rebecca: 9:11

I think my side was working, but I think like by the time Beck started playing in bands, I had been kind of in bands for eight years or something by then, which didn't not that that exactly matters. But I always feel like at the start we although like we were both, I think, really supportive of each other, we maybe didn't do each other as contemporaries, like we were kind kind of both doing kind of vastly different things.

James: 9:34

Yeah.

Rebecca: 9:36

And then, only maybe three years into the relationship, when COVID happened, we were like at home where you couldn't go out and nothing to do, and somehow the idea of should we make it? Try and make some songs together happened.

James: 9:49

And I guess I was probably feeling like more confident in like my skills and abilities and stuff. Not that you can't make music when you're at different skill levels. But I guess it kind of felt like feels more natural to be like should we like? Not necessarily jam or something but maybe we could have a crack at merging our vibes together.

Rebecca: 10:10

Yeah, and I think as well.

Rebecca: 10:12

My musical background prior to that, I think as well was like the main band I sort of played in from when I was like 15 to when I was 25, which was around the time when COVID happened.

Rebecca: 10:25

It was like a garage rock band, but it was also kind of pop leaning and I was sort of like the main songwriter and would think a lot about melodies and harmonies and stuff like that, which wasn't really Beck's world. But by the end of like probably 2019 or right before COVID happened, I was sort of final like for the first time in my life really was getting into like playing in bands where it was more loose and like I don't know, I probably had eight years of learning music where I was like the way you write a song is I have to labor over this thing for 100 hours and then I bring it to my bandmates and tell them exactly what to play, whereas by the end I think I'd find have found like the enjoyment out of it being a whole lot looser. So I think it probably yeah, you're probably feeling more confident. I was probably feeling a bit like get, get over yourself, a bit like it doesn't have to be like this.

colleyc: 11:14

I don't know, like letting it, letting it be more loose and letting it find its way yeah yeah, and and did you guys during covid? Did you co-write songs together or would you like? How does your songwriting processes go each of you like, do they intermingle at times, or do you kind of keep them very separate from one another until you have a complete kind of idea before you introduce it to one another?

James: 11:41

It kind of changes a little bit depending on the song. But yeah, like I think before delivery started, like I was obviously in bands with my friends but I'd never like written a song or lyrics or thing before. So James definitely like held my hand at the start of it, helping me figure out like how to fully get there with like some of the stuff. But now, like I think when we started, like I would maybe have a riff or something, then James would help me figure out how to like piece together like riff break whatever the formula, the songwriting formula, yeah, and then I would write the lyrics.

James: 12:27

So me and Lisa would work together a bit on writing lyrics because it's like scary sometimes and lisa would work together a bit on writing lyrics because it's like scary sometimes, but then yeah now I feel like kind of in like the latest, uh, like I guess I've kind of switched a bit and a lot of the time like I'll just kind of think of like lyrics in my head or a line or something can have like a vibe and kind of record a little bit of like bass or keys and vocals and then kind of like take it to James or the band to help me flesh it out. But James is and we definitely work together a lot of the time with like fleshing songs out.

James: 13:04

But I guess you kind of have like the main ball of the idea before you get there, but you're kind of sometimes a little bit more like. Yeah, james, what's your, what's your process, like ball of the idea before you get there, but you're kind of sometimes a little bit more like um yeah, james, what's your, what's your process like for writing a song? How do you?

Rebecca: 13:15

do it I, I think, as well. To like tie back to that earlier question, I think like it is fairly collaborative, but maybe the most collaborative sense of it is that we're kind of quite good at being each other's sounding boards, or if that's the way of saying it. Like, um, one person will probably throw their ideas out of the other person and the other person might not be like cool, well, I can, here's a riff that I can match with that. It's more like that one's the keeper. Yeah, like play that one a bunch more times and then go use that to go to some other part or whatever. Um, and so, yeah, definitely my songs, at least at the very start of delivery.

Rebecca: 13:51

Well, I don't know, like it's all.

Rebecca: 13:53

It kind of changed all the time, but I think there would be lots of us sitting together and like Beckham, bass and me on guitar and just sort of like playing riffs and all like ideas at each other, and then it's like that one's cool.

Rebecca: 14:06

And then it's like all right, well, I'm going to take that idea and like work on it a bit more myself, or um, or yeah, it's like, oh, that bass line's good and beck's like all right, well, I'm gonna go and write a bunch of lyrics over the top of this thing, um, but yeah, it always changes. I don't know I'm, I would love to have more of a process. I think that everyone in our band would like to have more of a process, because sometimes I mean, I feel like a lot of, maybe, songwriters feel like this, where it's like making a song is kind of hard and annoying, and then you finish it and you're like, oh, I've got a song now. And then you're like trying to do the next song and you're like I wish it was easy. As the one I just did.

James: 14:42

Or you write a song that you like and you're like oh no, am I ever going to be able to write another song again?

Rebecca: 14:47

Yeah totally.

colleyc: 14:57

And and do you, does everybody collab, like, does everybody bring in songs of the members of delivery, or is it mainly you two that bring in the ideas, or is it? Is it, like you said, james, like totally collaborative, like everybody brings in their ideas and then you kind of like bounce them off each other and you're like okay, let's keep that part and we'll add that to this or we'll add this on, or how? How does how does that collaborative work amongst all the all the members?

Rebecca: 15:17

it's always been well.

Rebecca: 15:19

Yeah, since beck and I started the project, we definitely wanted it to be a band, not like a duo project or um, the two of us being like the leaders and the other three like our backing band or something um, but the collaboration sort of happened in different kind of ways and a lot of like the.

Rebecca: 15:37

I think the way we I've talked about it before in other interviews is that like. I think it's collaborative in the sense that it's like there's kind of a very active anything goes attitude in this band, um, which means someone can bring in um a fully finished song and it's fair game. Or someone can bring in an idea, and it's fair game and anyone has license to like, come and be, like, I want to be the lead singer on this song or um, I want this to happen or whatever it is. And so, um, on the latest record, the, out of the five of us, there's four different vocalists across the 12 tracks and, yeah, some songs that would definitely hashed out in the rehearsal room and some songs that were like had been fully brought in as a demo and we were like there's nothing that needs changing um, so, yeah, it's a funny one to describe because it is collaborative in that sense. But equally it's like we're not always going into the like the writing room or something, and right If everyone's putting their two cents Right.

colleyc: 16:35

It reminds me too there was a comment that somebody mentioned that there's these ebbs and flows with the songs.

Rebecca: 16:42

But it sounds like that too with the songwriting, Like it's very, seems organic, almost Like an idea will come in and then it's, it's workshopped, you know, like there's a collaboration that goes on yeah, um, and yeah, I think there's also like, at least on the last couple of albums, there's kind of been a like all right, we've got um x amount of songs kind of that have shaped up, and then it's like, all right, we want to fill in a few gaps. Does anyone have a song that feels like they might lean this way or lean this way? And or then it's also like well, at least on the first album, um, we had I don't know, maybe we had 11 songs and sam hadn't written one yet, and we're like well, sam, you have to write us.

Rebecca: 17:24

Like yeah, like pick it up, man, pick it up yeah, and like he'd only recently joined the band, at that stage and I think he may be still finding like figuring out like he's rolling the band, particularly because I think he took someone else's role and I think he was like, oh, I'm maybe being someone else and we're like no, no, no, we want you're in the band now write your song, yeah you gotta write your song.

colleyc: 17:51

I love that well to it. Also, like it does sound like a collaborative effort on on your latest, because you'll have a song like digging holes, which is very like garage, you know punky, but then the new alphabet, you know like again it's almost it turns into more of a pavement-y kind of you know indie rock like. So there are like kind of genre hopping, but as a whole, like as a complete listen through and it's the kind of record you have to listen through from start to finish. I like I can't listen to one song. I'm like okay, I'm waiting for the next song to arrive. Was that conscious when you guys were assembling the songs, that that you wanted them to kind of have a flow to them throughout the whole record?

Rebecca: 18:41

yeah, I mean, I think a lot of it is sort of accidental, not accidental, but like we sort of just let it kind of take shape, um, because yeah, I definitely think when we started writing the album, like we didn't really know what we were getting into, um, and it's funny you mentioned those two songs with those two songs digging the hole, and you and New Alphabet are two of my songs and I reckon they were both fairly fleshed out by the time the band.

James: 19:12

Yeah, they didn't have much practice room, right yeah.

Rebecca: 19:18

There was a lot of like playing it to try and like figure out if it worked, but it wasn't. Like it was kind of like I brought in a million ideas and I was like I think there's a song in here and we just had to like whittle it down a little more, um, but yeah, it's always been. I like I think we're a band that has a lot of different music in our like collective dna and um. I don't think there's much desire to make a completely punk album from start to finish. That's like no hold, but like no held barred and like just like brutal, because there's kind of other things we're always keen to explore and like um, and yeah, like it's fun doing kind of like more mid-tempo things or like kind of quirky moves that like I don't know. You sort of need those ebbs and flows or you need to kind of let up the pace a bit to like make the moments hit better.

colleyc: 20:13

I think, yeah, absolutely, because sometimes you need a bit of a relief, right, Rebecca? Because it is so intense at some points, like you get to such a crescendo that you kind of need like that little breather of like, all right, let's do this again, but give me a break, give me a minute it makes it like sometimes listening to albums can be a bit of a slug.

James: 20:35

Um, if it's all like really similar, you're like yes so it's nice to have something where you're kind of like keeping alert during the process of being like, oh, I didn't expect a song like this after that song or something. So, I like it because it makes it more fun and interesting to play.

Rebecca: 20:57

Once the record was ordered to, like Beck and I sort of had kind of picked our track listing and we thought it would be workshopped a bit more. But then suddenly it was like it got approved and like sent to the master or whatever. And then after it, like because we didn't think, like I, don't know, we had thought about it a fair bit, but like no one had really given feedback or reflected on it.

colleyc: 21:17

And then, like I finally was like listening back to the master version or whatever, and I was like oh my God, god, we really like front load, like the first like six songs are just like, and then fortunately it lets up and then like it. There's like a gap yeah, I think that's why new alphabet sticks out to me yeah, it gives me that kind of like.

colleyc: 21:36

You have that clean guitar at the start and it just kind of like you know, eases a little bit you back into thank god, no, but I mean, like I, I totally love it. I mean you got three guitars, you got four vocalists. I mean it has to be, um, it's going to be powerful. I mean it just just with the setup of the instrumentation, the vocals that you have, um, you, I. My question, kind of james, is like I know that you produce this, you recorded this as well. How do you manage the guitars and the vocals? Like I know that the vocals there's usually somebody that sings and then there's there's others that will add in, but the guitars are always like, when do you know to have three guitars all playing the same chords and when do you? Okay, why don't you try this line that fits on top of what we're strumming? Like, how do you manage that so that you're not overwhelming and also adding new kind of elements to a song? Like, how do you navigate that?

Rebecca: 22:40

Yeah, it's, it's.

Rebecca: 22:42

It's one I thought a lot about on this album because I mean, I love being in a band with three guitars and I guess we started being in a band with three guitars more in a live context than a recording context, because the first songs that Beck and I were making in our bedroom in COVID, I think, on those recordings we weren't like we need all of these layers, we just made the song, but then it was like having a band with three guys was really really fun.

Rebecca: 23:06

Um, but then the first record we made, we kind of tried to record it as live as possible, which meant that every song had the three of us playing and, um, depending on how it was arranged, it'd be like, all right, for this section we all played the exact same riff, it's just times three. And then we get to the next part and maybe we're all doing separate things and um, and that's a kind of a cool thing too, because it like, I guess, like the balance of the mix or whatever you call it like, keeps changing, like the, because, like, if there's a guitar, like in your left ear or whatever, and then suddenly that's the guitar solo. You've got to figure out how to make that like be the highlight, even though it's being like tucked away for the last bit, Right, right.

Rebecca: 23:49

And then so coming to doing the next album, which we didn't record, we recorded like the beds of it live, but we sort of took our time doing the guitar layering and I spent a lot of time trying to figure out, like, all right, like what, what do we need here? Do we need three guitars or do we need just one guitar to play this part and then the other guitars join in, or um, or there's lots of double tracking, so it's like there'll be, um, two guitars playing the exact same thing on either side of the mix and then the next guitar pops up in the middle for the guitar solo, or or. However, and yeah, I spent ages thinking about this stuff at one point we had, like, not a spreadsheet, but like there was a whiteboard in like the garage where we were recording and it's got like the like layering of how the guitar was done, Like a mind map of yeah, yeah.

colleyc: 24:35

What were you going to do then?

Rebecca: 24:37

Maybe no one else in the band knew what I was talking about. They were like whatever, just do what you're going to do. But it's a cool experience because it means that it like yeah, there's songs on the album, oh, there's songs we play live, even like digging the holds. Good example that when the verse is going, all three of us are playing the same bar chords and it's like rocking. But if you do that on the recording, there's nowhere to lift to when you get to the chorus. So then on the recording, like we pull off those guitars and it's just one, or like a double track guitar in the middle holding it down, and then the other stuff pumps in and suddenly everything lifts. So it was cool to think about, like how I don't know how layering and stacking things could work.

colleyc: 25:19

And when it comes to the live set, it's like well, let's just make everyone play the same thing and make it loud. Is that? Is that, Rebecca? I wanted to ask, like, if somebody attends a delivery show, what can they expect? Like, so, like I mentioned three guitars, four vocals. I mean, like, how does how does a participant in a delivery show you think? What will they leave? Feeling or thinking.

James: 25:51

It's usually pretty loud, but it's fun. I think we have a lot of fun on stage playing together and have a lot of energy, and I think when you're in the crowd, I can, you can kind of feel that that feeds into the crowd too. Um, so I think it's a really fun band to be in that. A lot of the time you finish your set and you kind of like go out into the crowd or talk to people and they've kind of had just as much fun as you've had on the stage, um, so it's all pretty high energy and good vibes absolutely that's pretty um customary to a rock move or two, yeah I think everyone you gotta have, you know, you gotta have that in your repertoire for sure tries to jump a little

James: 26:41

higher or something amazing um, but we, yeah, we don't take ourselves too seriously, but yeah, we definitely have a good time.

colleyc: 26:49

Well, I mean from the live. You know parts that I've seen on youtube. I mean it looks like such a fun show um I'm sure there are no tables, um everybody's up moving like it just looks like a like what you would think of of a fun, awesome show that you got to go to delivery. Go there, they will deliver. Um, so it's been like january 17th this record came out, uh, force majeure. Um how how have you guys felt the reaction has been since, since the release?

James: 27:23

yeah, it's been awesome. I mean we've yeah I guess we've both put out lots of releases in all different ways along our musical journeys. Um, that's cool, really cool, been really cool working with the label like heavenly, um they're so great um, and yeah, I guess also like um just instantly going on tour after releasing it. That's probably like the first time we've released an album and then just gone away.

James: 27:53

And it was like a very fun way to have the album out because you're just on the road playing it and meeting people and talking to people and stuff, whereas I guess sometimes you could probably get caught up sitting at home Googling.

colleyc: 28:09

Right.

Rebecca: 28:10

On the door of a beer, totally.

colleyc: 28:13

And it gives you a good kind of like gauge too, as to like are people singing the songs? Like has the album started to proliferate amongst the population, right Like? You can see that firsthand at these shows.

James: 28:28

Yeah. It's just been kind of awesome. It's like like for someone who plays an abandoned people liking what we do, yeah I mean it's good having that instant gratification like a funny one.

Rebecca: 28:43

Is that like I guess you like do this stuff and you don't really think about it being bigger than I don't know, a five kilometer radius around your house or something um? But like, when we were in america recently we didn't have any records to sell um for a long story. But it's like someone came up and got us to sign their record and then and like yeah, like, and then like no, I bought it like on from a store.

Rebecca: 29:08

I bought it and it's like, oh, yeah, I forget that like the world exists now and like, um, so it's cool. Yeah, there's people around the world that have actually bought the album or listened to it, um, which, yeah, I think, growing like from our background of playing bands like you might be very, uh, you might fully expect that you make an album and it's just for the circle of friends, or, yeah, if 10 people outside of that heard it, that would be, um, that would be special. So, yeah, exciting to pick from around the world.

colleyc: 29:42

Yes, like artists have mentioned I've mentioned this before on the cast that they feel like things are starting to move forward when it's more than their friends that appear at the show and play the records. You know it's like I don't know. You guys, where did you? You know like you start to feel like the, the wheels starting to turn a little bit quicker, which is amazing it's cool, yeah, and then I mean hopefully all of those people end up becoming your friends.

Rebecca: 30:08

So just there you go there, you go.

colleyc: 30:12

So thanks, guys, so much for this. I've I've really enjoyed talking with the two of you. Um, I've really loving the. The new record and the old stuff is, I mean, equally. I think that you have this growth that's happening, you know. It's just you're amping up every release, which I totally love. Cool. What can we anticipate for 2025, like tour-wise, and are you guys dabbling in new tunes? Is there maybe a record, anything that you can share with us? That's not a secret or anything, obviously, but what can we expect from delivery in 2025?

James: 30:47

Well, we are working on new music. So TV DCA, whatever the plan is on what will happen with that, but it's fun. I guess it's kind of motivating once you put something out, to be like all right, what's next.

Rebecca: 31:03

The band since making the last record has changed a bit, so it's kind of been exciting. We're sort of going in with a fresh I don't know. It's like we're kind of not back to square one, but like it's a good chance to kind of reimagine what we've been doing, because we've got new songwriters in the band. That's exciting, yeah.

James: 31:27

We're just about to go on an Australian tour and then we're over in the UK and Europe again and we're working on getting back to the States and Canada. So, that's TPC DNA. Yeah.

colleyc: 31:45

Right on, right on. Well, I mean mean, the touring just shows how many people want to see you guys, which is, I mean, a great barometer for how people are accepting the record and and getting into it. Um, I wish you guys all the best in in this summer, in 2025, and I I'm loving this record, but I'm so happy that I'm hearing that you guys are continually writing um, I think the best is yet to come, um, and I really would love to have you guys come and do a show in canada at some point. Uh, if you can get here. I mean, we're commonwealth, right, so we're kind of like related somehow.

Rebecca: 32:29

Our manager. We saw our manager last night and he was talking about some kind of arrangement he wants to set up between Australia, canada, mexico, denmark and somewhere else? He has some that he wants to present to. Yeah. I'm in Maybe just get the us, the commonwealth tour, yeah but I mean we'd love to come to canada and hang out and play. I appreciate you having us on chris, it's been, it's I'm. I appreciate you listening to the record attentively and um yeah it's been a real pleasure it's been.

colleyc: 33:06

I love doing these deep dives and your story is one that is quite unique and it's been really fascinating talking with you guys. I love hearing how it all began and then the records and the songs that you guys have done collaboratively. I'm sorry I geeked out to a little bit on the recording process, but I love kind of getting a little bit into the weeds on that, like, particularly when you're a DIY and you're doing it yourself, it's you're kind of wearing these two hats. Um so, james, I appreciate your words on on that, those processes that you go through oh cool, it's cool.

Rebecca: 33:42

I mean, yeah, it's something you think so much about. It's cool to um be forced to articulate there you go there, you go.

colleyc: 33:49

Well, thanks so much guys. Have a great summer um, keep doing what you're doing and uh, people check out um the latest record. They're going to be on tour. Uh, fox major delivery. Thanks so much, guys thanks.

Rebecca: 34:04

Thanks, chris. I thought I'd run into you. Pick it up, pick it up what you look like, and I'll be waiting on the paper and I'll talk to you. Stretch it off my tongue. Yeah, who would know? Do you even have to say it? Do you even know what I do? Do you See you when you're out to say it? Take the side of your ghost. See you, see, you, see you. So don't you be a part of that. You can just be again, cause I'm digging the hole that y'all fell in. Crack it out what fell along. What I'm stopping at is how could we do the same thing? When you look at me, we'll be right back. I'm. We'll be right back. Guitar solo We'll be right back, cause I'm digging the hole that you're building. Digging, digging, digging, digging, digging.