ifitbeyourwill S06E13 • The Hidden Cameras

A Canadian indie original walks into a Berlin studio and comes out with a record that swaps pews for pulse without losing its soul. We sit down with Joel Gibb of The Hidden Cameras to explore Bronto—how it was written across years and cities, why new instruments still spark his best songs, and what it takes to reinvent a beloved project without erasing its DNA. From the first gallery shows and that infamous “tones and drones of gay folk church music” tag to a slow-build electropop finale that took nearly two decades to land, Joel opens the notebook and lets us in.

We talk about the nine-year gap between albums and the quiet labour hidden inside it: tours that consumed seasons, pandemic delays, and long days auditioning sounds in Logic while folding in analogue synths for grit. Joel explains why he recorded vocals alone in Berlin, worked with Nicholas in Munich, and called on Owen Pallett in Toronto for strings—an international thread that gives Bronto its depth. Genre becomes a lens rather than a fence; he’s chased “goth,” “country,” and now “dance,” while staying true to the melodic bite and lyrical candour that defined The Hidden Cameras.

On the road, Joel is keeping it taut and human: train rides, a guitar, a kick drum, and tracks for the bangers. He shares why solo shows feel lighter and more focused, how he chooses setlists that bridge old hymns and new hedonism, and why some ideas need time to find the right frame. If you’re curious about creative process, gear as muse, or how a scene shift can change your sound without breaking your heart, this conversation delivers a rare, grounded look behind the curtain.

If you enjoyed this, follow the show, share it with a friend who loves indie lifers and sonic reinvention, and leave a rating or review so more listeners can discover our conversations.

Chapters

• 0:00 Welcome And Joel Gibb Intro
• 2:45 Early Years And First Songs
• 5:20 Influences And Writing Spark
• 8:45 Instruments As Song Catalysts
• 12:30 Gay Church Folk Music Origin
• 15:45 The Nine-Year Gap And Germany
• 20:30 Making Bronto Across Cities
• 24:10 Reinventing Genre And Sound
• 28:00 Slow Craft: A 19-Year Song
• 32:10 Studio Process And Tools

Transcript

The Hidden Cameras: 0:22

When you say don't want me confused by all right everyone, welcome back.

colleyc: 0:30

We're here, uh, another episode of i fitbeyourwill Podcast, chugging through season six. Season six has been great so far. So many amazing artists out there. It's hard to talk with all of them, but I have another great guest today coming in from Germany. Actually, I have Joel Gibb from the Hidden Cameras. Um, I guess a Canadian expat, uh, grew up here in uh in the great uh white north that we uh love to call it, um, and has been doing music for a really long time. And he's just put out this really cool um record in September called Bronto, uh, which has, I mean, it's really dancy, it's really kind of fun and gets you moving, but still has that hidden camera sensibility to it, which I just love. So, Joel, thanks so much for joining me today. Um, I've really been enjoying the new record, but like I said before we hopped on here, I'm a long time fan of uh the hidden cameras. You guys have been around for a long time. You've been writing so much music too. Like, if you just look at your catalog, it's it's massive, which I love. Um Joel, I had like the first kind of question I tend to ask when we start these conversations is is where did it all kind of start to percolate for you around music? Um, I know that you had some records that came out fairly, like a fairly long time ago. Well, long, relatively long time ago. Um, around, you know, in 2016, 2014. Like, how did music start to become something that you would be doing for a long part of your life?

The Hidden Cameras: 2:14

Uh, well, you know, I always liked music, so I just gravitated towards that. I mean, I did go to university U of T in the late 90s, um, but was more interested in learning guitar chords and uh writing songs, actually. So by the time I'd finished university, I'd amassed like all these songs. And so when I started the band, it was right after, it was basically in September, the year after I graduated. It was like, what am I gonna do? And that's how it all started, basically. Started recording on four track and then starting a band and getting musicians together and then recording the studio record, the first studio record, The Smell of Our Own. That's already from 2003.

colleyc: 3:02

Right. That was actually the first. Okay, so that was the first record that so your first record that I started, I mean, obsessing on. Um, exactly. It was such a great record. I mean, continue to this day, I can listen to the whole thing over and over and over again. Um, what were your like how did you get this amassed amount of song? Like, could you kind of open the doors a little bit to the like your process of like how do you go? How did you start becoming so prolific in the songs that you were writing? What was was there a catalyst or was there like how did all that come to be that you had all these songs and you're ready to actually collaborate with other people and put a record out?

The Hidden Cameras: 3:44

I don't know. I think the the best thing about university, I would say, is that you do take in a lot of um ideas. Um, and if you're studying English or whatever, um yeah, it's it's inspiring, I guess. I guess experiences. I don't know. That's a really tough question to answer. Like, what drove me to start writing songs?

colleyc: 4:08

Right.

The Hidden Cameras: 4:08

I think I'd always been a music fan, basically, and I wanted to do it to do it myself.

colleyc: 4:13

So that's and what were some of those early inspirations? Like who like who did you look at when you were when when you were writing songs that were like you know, I I love what they do, I think I can do this.

The Hidden Cameras: 4:27

Oh, I mean so many. I mean too many to count, actually. I mean, I was uh um Sonic Youth, The Cure, The Smith, like growing up, stuff like that. Um I really liked indie music. So in my in when I was in high school, I got really into like all sorts of obscure stuff. Uh, and then I discovered more like the 60s and 70s properly, more in university, actually. You know, the classics, yeah, yeah. Um, but yeah, too many to count.

colleyc: 5:02

Wow, well, that's awesome. And like, what's your process for writing songs? What do you how do you how does a song begin for you? And and how do you know when you're onto something or not?

The Hidden Cameras: 5:13

Um honestly, it comes from back in the day, it would come from buying a new instrument. You know, if you bought a new synthesizer, you immediately write a new song, right? Like, for example, in the na from uh 2009, like that was from buying a synthesizer. That was the first thing I played, was that rip. Uh and like hey yeah, it's like this weird instrumental track on a woo. That was the first song I wrote when I bought a 1964 left-handed Gretsch from Paul's boutique. Just strumming the the the part of the I don't know what you even call the section of the guitar uh at the end of the guitar. Like the neck, oh no, the other part. Okay, you have to see the guitar to tell, but it's just this space where the strings are before the bridge.

colleyc: 6:04

Yeah, yeah, yeah, yeah. I that's a good question.

The Hidden Cameras: 6:08

You know, like yeah.

colleyc: 6:10

So I mean, are you saying then that instrumentation was always at the forefront of the songs, or would you ever start from a lyric or or a phrase or a oh that is well, that is well, like walking down the street, you know, singing to yourself.

The Hidden Cameras: 6:26

Um, sometimes a lyric pops up first, you know, like bad marriage, probably.

colleyc: 6:31

Right, right.

The Hidden Cameras: 6:32

Probably just came the the chorus, just like the the whole debate about marriage in Canada. That's basically when I wrote the song, like as a funny, I don't know, take on the whole thing on on humanity itself. Like right, um, what else? Yeah, sometimes like a just a vocal melody or chord structure, like if you learn a new chord, you can just write a whole new song, basically.

colleyc: 6:57

Right, right. Oh, yeah, it's amazing the discovery process.

The Hidden Cameras: 7:00

Like I did not study music in university or anything, you know.

colleyc: 7:04

Right, right. And like what would prompt you to want to get another instrument? Just was that the way that you kind of were like, okay, I if I get a new instrument, then new things will start to happen, like, or were you just always interested in in you know, gathering instruments? Like you just like instruments?

The Hidden Cameras: 7:22

I'm not a I don't want to be that actually, like, but at the time I wanted to beg a giant orchestra of like unlimited people, yeah. And I think I had that spirit, that energy, that post-university itch to like do something, you know, right, right big and involving people, and you know, when you're you're just more social as well when you're younger.

colleyc: 7:44

Right, right.

The Hidden Cameras: 7:46

And so yeah.

colleyc: 7:48

Interesting. And I mean, I mentioned this to you before we hopped on, but you had this phrase that you coined now, and I would kind of want you to place it in history. Like, when did this so it was called gay church folk music? That was a a term that you had coined about the music that you were making. Was that right at the beginning, Joel, of the of of your putting putting songs down on record, or was this an evolution of of your style as it kind of grew?

The Hidden Cameras: 8:17

Uh, I think the first show was in art galleries, in my friend's art gallery. But then once that show went down, it went down really well. I immediately booked a show at graffiti's in Kensington Market. Okay. So this was only maybe a month later or something. It was in the winter. And then I wrote on the flyer, the first flyer, uh, the tones and drones of gay folk church music. So it's it's actually a longer phrase. Actually, it's the tones and drones of gay folk church music. Um, maybe I should have called the first album that actually.

colleyc: 8:53

No, it's cool.

The Hidden Cameras: 8:54

I love the term, and you know, I think the idea was immediately to uh play a show in a church. Okay, so that became the goal. And I think by spring we or early summer we played church, the church of the redeemer on Bloorn Avenue.

colleyc: 9:13

And what was that experience like playing in a church?

The Hidden Cameras: 9:16

That you said this was your second show ever that you I mean it was because then I was kind of writing songs for the church, maybe like Golden Streams. That's uh where we debuted Golden Streams, and that literally is the song built to be performed in a church with the pipe organ and the choir and the this and that. Yeah, um so it sounded really good, actually.

colleyc: 9:36

Yeah, yeah. And then like you put out some records, you had some great labels too that that that picked you up and were like, you know, I mean, there was a lot of great momentum going, and then it seemed like there was a bit of a pause, Joel, between the record that just came out and the previous one. And correct me if I'm wrong on that, but did you have like a an extended period of time where where music was just you weren't recording as much?

The Hidden Cameras: 10:02

Uh yeah, it's been a nine nine-year gap, actually. Okay, yeah, I kind of purposely took time off. Okay, so there's already two years in there to account just for actually just touring the that record was another two years, right? Then taking a break, and then yeah, I have been recording in Munich um for years, but just in little pieces, you know. Like I didn't go there to make the whole record in one go. I would go, I don't know how many trips. And then COVID hit, and that slowed down the record a bit, but we still managed to do a couple sessions um in 2020. And then yeah, the rest has been the buildup to putting the record out. Well, wow, you know, and and what doing it all myself is it's takes a lot of uh a lot of work.

colleyc: 10:51

Oh, absolutely, absolutely. And and what brought you to Germany? Like what how what was the displacement from from Canada over to Germany? Was that like for job related or getting into a different scene?

The Hidden Cameras: 11:04

Or like I think just being excited about Europe and wanting to get out of Canada somehow. Well, finding Toronto a bit small and yeah, um I don't know.

colleyc: 11:18

It's also hard to describe, but was there something about Berlin that was um I don't know, appealing or sexy that that that you felt like you would fit into that community, or that was a community that that kind of welcomed or like how did how do how was that place the the place?

The Hidden Cameras: 11:38

It was cheap. There was friends there, we played there. It was in Germany, but not quite so German, if you know what I mean. Yeah, it was it was like a very like it seemed like the the best city to live in in Europe. I mean, you know, I thought about London and Paris, and I've thought about all these cities, and I love visiting cities and stuff, but um yeah, there's just it's just a good uh it's a good Central European like place to live.

colleyc: 12:12

And was most of this new record uh Bronto um recorded in Germany? Um was that where you did most of the production?

The Hidden Cameras: 12:21

Most of it was recorded in Munich. Some of the vocals were recorded by myself in Berlin. Uh yeah, I guess. And then Owen Pallet did the strings, he recorded those in Toronto, so there is a bit of a Can Con connection or Can Con content, of course.

colleyc: 12:41

Interesting, interesting. And what about your label? Like, I mean, your earlier records, you you were on Rough Trade, you were on Arts and Craft, and now you're you have your own called Evil Evil.

The Hidden Cameras: 12:52

Is that well, that was always the old imprint that I used. That that was some years ago. Um, so yeah, it's kind of like self-released through a German company, Motor.

colleyc: 13:02

Okay, interesting.

The Hidden Cameras: 13:04

Um, and so yeah, and um, so all the vinyl that I'm printing is is done in Germany.

colleyc: 13:11

Cool, cool.

The Hidden Cameras: 13:13

And put out a lot of vinyl this with this year.

colleyc: 13:16

Yeah, yeah, yeah. And looking at this record, like I mean, I've been a fan since you began. Yeah, and this is a real shift a little bit in I mean, it's still definitely the hidden cameras, like you can't deny that. But you have much more of this electronic-y, dancey vibe going on.

The Hidden Cameras: 13:37

Yeah.

colleyc: 13:38

What was your decision making in in in creating more of a you know, dance floory kind of um you know, record, kind of departing from you know that churchy, indie like beginning phases? Like how how did how did that decision process happen, Jewel?

The Hidden Cameras: 13:57

Um, I think it follows in the tradition of my last few records, which are you know, um kind of reinventing my sound or myself and or imagining myself through um, you know, a genre or my my very bad interpretation of a genre, you know, because I feel like age is my goth record, but it's not really a goth record, right? You know what I mean? And how I made a land is my country record, but it's not really country, right? Well now this is my dance record, and it's is it is it really that dance?

colleyc: 14:30

Right. I mean, I guess it's like there's much more electronica stuff in it, eh, than than than typical. Like you you've kind of moved a little bit away from string. I mean, even though there are strings and stuff, it just seems more beat-based a little bit.

The Hidden Cameras: 14:45

Oh, definitely. There's some guitar, but it's more of my sampled, I sampled itself. I sampled good my guitar, uh just a couple things on certain songs, right?

colleyc: 14:56

Right.

The Hidden Cameras: 14:56

Yeah.

colleyc: 14:57

And like where where where is all this like where did your decision start to shift that you wanted to change genres a little bit? What what was it? Was it your environment? Was it just kind of where you were doing stuff, where you're going out, or encounter like how did all of that kind of start to solidify itself?

The Hidden Cameras: 15:18

Yeah, I mean, I'm I like a lot of different types of music, so that's just the direction I naturally went in. I wanted to kind of start new in a way, um, after the last record, which was a collection of songs I've been recording since the beginning, actually. My country record. Um, or I would call it rootsy country folk, I guess. Right. Um, so I just wanted to start fresh, basically. You know?

colleyc: 15:44

Yeah, yeah. And do you feel that you achieved that freshness in when you listen back to this now? Like it's it's been out in the world for a while. Like yeah, did did it did it did it achieve what you would want it to do?

The Hidden Cameras: 16:00

Uh yeah, I'm happy with it. I think I haven't listened to it. I mean, once it's out, I don't listen to it. Because I've listened to it a million times, right?

colleyc: 16:10

Yeah, yeah.

The Hidden Cameras: 16:11

Even the mixing and the master, even the mastering, you have to listen to stuff over and over, you know?

colleyc: 16:16

Right, right. Like, give us a Joel, give us a a ballpark range of like how much does one song, like how much do you invest in like one track on like from beginning to end? Can you kind of like give us that timeline of like just the amount of time it takes? Because I think sometimes people, when they are not musicians, they're like, Yeah, cool song. They just don't understand the the blood, sweat, and tears and time that you put into it.

The Hidden Cameras: 16:43

Yeah, no, it is. I mean, my process is very slow. I mean, the last song on the record, don't tell me that you love me, I wrote that probably 19 years ago. Wow, I can't believe how long ago. It was it's really around the time I moved to Berlin, actually. Interesting when I got this Yamaha keyboard. And it was just it's based on this discordant chord that's from that Yamaha keyboard that I bought in a thrift shop, I think, somewhere in Canada. Brought it over. Um, and then the production of that, I mean, we did we I've me and Nicholas in Munich, we we did different versions and we went through percussion, like many different uh versions of the song to finally end with what we have, which it which I'm happy that it it it does kick into a beat after like five minutes, but it's a very long buildup basically to a techno beat. That's the last song on the record. But I don't know if I imagined the arrangement when I wrote that song, but I built those vocals up um by myself in Berlin um quite a long time ago. I just kind of like didn't get around to work to putting the song out, you know. But I knew it was really good, and I and then it finally had a place on this record.

colleyc: 18:03

Interesting, interesting. And like, what was your total time on that that one song?

The Hidden Cameras: 18:08

Like, oh my gosh, so long because Owen did a mix as well, and then we went through several mixes, and uh, there's a lot of layers and stuff. Like, I wanted it to be kind of any uh slightly like any and any her style is to to track and track and track and track. So I tried, I'm not sure I did as many as her, but I tried that effect, you know.

colleyc: 18:29

Like well, well, this is that I mean that's sounds like a lot of work with the layers, but yeah, so Joel, when when a lot of tracks that sound yeah, yeah. When you go into the studio when you're ready to put this down, like what do you what do you bring in? Like, what do you try to bring in? What do you look kind of leave? Like, is it is it fully formed when you bring the song into the actual recording of, or is there always room for like okay, we need something in there, or I want to take that out and put this here? And like, is does it evolve continuously the song, even when you bring it into the studio, or are you pretty well set once you get there with the sound and with this record?

The Hidden Cameras: 19:11

I did not have a set agenda for some of the songs. Uh, back in the day, like recording the smell of our own in London. I had all the songs written, all the parts in my head and ready to go, uh, and rehearsed the the music as well with the band. Um, with Bronto, no, each song was, you know, sometimes it was a like I want you is definitely a studio creation of all the soundscapes and stuff. Like the song song itself was kind of written. I don't even think I finished the lyrics till the very end. So um, yeah, and the yeah, so a lot of the songs were more like studio creations. Okay, it was tracking on Pro Tools, but but composing and getting the melodies down in logic and using all going through logic sounds and all the synths and all of the instruments that they have, they sound really, really good, and they have every instrument in the world basically. So it's exhaust, it's part part of the process of this record was going through sounds, you know. How do you know logic unless you go through all of the sounds or at least try to go through some of them? I don't even know. We probably didn't even go through 10 of the sounds, but at least we went through so there was days where we just went through sounds and I would make notes about what what sound could fit on good on what record or on what song, right? Right, just taking notes, and then yeah, so that that was a large part of Bronto, actually. Well, and then there was a lot of analog sense there too, so it was a mixture of both.

colleyc: 20:47

And were the songs that appear on Bronto, were they um like an inventory of songs? Like, because you had mentioned before the album that came out before that was like a 10-year kind of you know, yes, compilation of various songs. Was Bronto very much um recent songs, or again, were they also songs that you had had just in your catalog, you know, that you wanted to put the table?

The Hidden Cameras: 21:12

Yeah, most of them were old, were were written, uh, could have been written 10 years ago. I mean, you'd have to tell me which song I could kind of tell you how each song came about. I mean, but I was telling you, don't tell me that you love me. I remember I wrote that uh when I bought that Yamaha keyboard, and that was yeah, 2000, I don't know, six, seven?

colleyc: 21:35

Amazing.

The Hidden Cameras: 21:36

Seven, maybe. I could probably find out. Think about it. If I think about it long enough.

colleyc: 21:42

Yeah, yeah. And so is that kind of like the way that you've always operated where it's not like a session where I'll sit down or like a complete, like, here's the record, you know, like I've been writing songs for the last you know few months. Here it is. Yeah, has it always been like, oh yeah, I remember that song from nine years ago. I think that that would fit well here with that sound of that beat, and like you do some collaging like that.

The Hidden Cameras: 22:06

I'm already thinking about future records. I mean, I have an inventory of ideas that I sometimes forget about, but sometimes the this the idea pops up. So there's many songs that have yet to be recorded that are oldies in in my notebook, you know?

colleyc: 22:24

Totally, totally.

The Hidden Cameras: 22:26

Um, and so that's what I want to think about next is what to do next, but try to come to Canada and play first.

colleyc: 22:34

Yeah, absolutely. So how have you felt the response of the latest record, Bronto? How's that been? Like, how have you, you know, I mean, you spend all this time, you get this artifact, I know, you release it into the world, it's there. Like, how have you found like the feedback and uh and people's reaction to what you put out?

The Hidden Cameras: 22:55

Well, my whole October has been I've been doing nothing. Well, not nothing, but I have not been playing, so it's been a nice basically. I'm going to Prague and and Vienna next week. Okay, and that's when the shows start, and I have a whole tour in in November basically. Okay. Um, but uh no, October's just been like preparing for the tour.

colleyc: 23:18

Okay. And how many dates are on your tour?

The Hidden Cameras: 23:22

Um, quite a quite a few. I did we're just adding Salzburg for next year, but uh yeah. Uh do you know After Klang? They're a Danish band. They were on um 4AD and now they're on Cityslang, I think.

colleyc: 23:38

Yeah, they sound yes, I've checked them out.

The Hidden Cameras: 23:42

I'm playing with them in in Warsaw, so that's my first time playing Poland. Oh, and then um there's a Berlin show at the uh canteen amberghein, it's called, and um a festival in Graz, and then there's uh Madrid and Barcelona and Lisbon in December.

colleyc: 24:03

Wow, amazing!

The Hidden Cameras: 24:04

Oh, and Gothenburg, Sweden, and then Hamburg.

colleyc: 24:08

And like, what's your anticipation? Like, you have all these dates lined up, you know you're gonna be like saturated in it. Somebody said that you work 24 hours to play one hour, you know, like you're in the job for 24 hours because what else are you gonna do in you know wherever you're at? Yeah, how do you get prepared for a tour like this?

The Hidden Cameras: 24:32

Uh, you know, it's not actually a grueling tour because it's it's just you know, a couple shows on this one on this leg and then in and out to Warsaw from Berlin. So it's only like two shows or three shows each time I go out. Okay, which is how I wanted it because you know the back in the day, the band, I mean, we did a sleeper coach with a 10-piece band, and we were playing every night, I believe, for two weeks in Europe. Uh but when you have a sleeper coach, you can do it, and that's grueling. That's really grueling. When it's a six-week tour, I've done I've done a six-week North American tour and a six-week European tour back to back. That's more like how do you do it?

colleyc: 25:17

Right.

The Hidden Cameras: 25:18

This is easy. This is I'm taking a train by myself.

colleyc: 25:22

Okay. What's the setup? Like, how how what's the hidden cameras setup for this these shows coming up to represent this record?

The Hidden Cameras: 25:33

Uh it's just me and a guitar and a kick drum. So I'm playing some of the old songs with with a kick drum sometimes. Uh, and then the tracks. So my dance tracks, I will play. I play a little guitar on the dance tracks, but I mostly just sing and dance a bit to to some of the bangers on the new record. And sometimes I'll have a guest.

colleyc: 25:56

Okay.

The Hidden Cameras: 25:57

Uh it depends who's playing with me, but sometimes it's nice. I always try to get somebody to sing on Boys of Melody with me at the end.

colleyc: 26:04

Right, right. Um, yeah. That's pretty cool though. Like, is that is it harder when you're up there all by yourself than you know, having you know, a handful of other musicians around you to like is it do you is it a different mindset that you have to go into the show with?

The Hidden Cameras: 26:23

I'm more comfortable with with performing and especially by myself, so um I kind of look forward to it in a way.

colleyc: 26:33

Um because it's only you, right? There's no other people to worry about or what they're doing, or it's just like yeah, it's you and your music.

The Hidden Cameras: 26:41

Yeah.

colleyc: 26:42

Interesting. Interesting.

The Hidden Cameras: 26:44

Don't get me wrong, I like playing with people, but it's quite a lot more stress somehow.

colleyc: 26:49

Right. And I imagine too, like you're not in a huge camper and like all these other yeah, it's like you go on your train, you're on your train, you're chilling, like it's like much more um conducive to a show, I would say, than uh a six-week 24-7 around you. Definitely. Well, Joel, this has been really fun. I really appreciate it. I'm super happy that we got a chance to just connect before you uh you actually start playing these tunes out in the world. Canada would always uh love to see you come back and perform for us. Uh your home is your home. Um, but yeah, looking into coming next year. That'd be amazing. That'd be amazing. And Joel, just one other like the music keeps going on. You're you're you're you're always in this creative songwriting process.

The Hidden Cameras: 27:46

Um, not really. But I am working on it several a couple I I I have a couple ideas for different records.

colleyc: 27:55

Okay, cool.

The Hidden Cameras: 27:56

Uh, but I'm not like trying to write songs every day, not at all.

colleyc: 27:59

Will the wait between records be as long as the last one?

The Hidden Cameras: 28:03

I don't think so, but who knows? Who knows if there's gonna be another pandemic?

colleyc: 28:07

Right, that's true. You never know with this crazy world of ours, eh? Yeah, well, I wish you all the best in your tour. Um, I'm so uh hopefully you can throw a few pictures up so us uh people far away can kind of see what it looks like and feels like.

The Hidden Cameras: 28:23

Um I will definitely try to, yeah.

colleyc: 28:26

I've really been enjoying this record. It's uh it's a really cool, fun. I'm gonna I have to drive into Montreal, so I'm gonna throw it on super loud the whole way in. So oh nice.

The Hidden Cameras: 28:36

So where are you? You don't live in Montreal?

colleyc: 28:38

No, well, I'm kind of down the country today, so I have like an hour and a half drive. I have to go to the nice, yeah. Hope you enjoy it. It's really good, I think. Yeah, yeah. Well, and all the best on the tour and the record, and uh, if you ever want to come and uh talk about a new record or a new experience, uh, I'm always here for you, man.

The Hidden Cameras: 28:59

All right, well, thank you so much.

colleyc: 29:01

Take care.

The Hidden Cameras: 29:02

All right, take care of yourself. Bye. It's law that will be spared in the chance they all will sing. Don't tell me that you love me. The ugly that still wants me. Is that anybody here to understand what's new to me? anybody you want to stand next to what sad? Can we blame? If we can blame ourselves. We all those other guys. You said that you despise. Don't tell me that you want me. You want everything and love me. Just like all those other guys. Do it, you must apply. You will not be a big man. You want to try to make anybody? You want to stand next to I heard you got the gun. You want to try to make anybody. You want to stand and still be able to do that.