- 2 years ago
Acclaimed pianist Arthur Hanlon talks about the newest editions to his 'Legados' series, what inspired him to start playing Latin music, working with other artists like Fonseca and Orishas, other artists he wants to work with, what fans can expect from his upcoming 'Piano Magic' tour and more!
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00:00 I kind of feel like, you know, the Wizard of Oz when like, the house, and she lands
00:04 and that's what happened to me kind of.
00:06 I'm like, in New York, and all of a sudden I'm in like Latin music land.
00:10 Hey everybody, I'm Arthur Hamlin and you're watching Billboard News.
00:13 [music]
00:24 Hey, I'm Lindsay Havens for Billboard News, and today we are joined by, I'm gonna say,
00:29 Latin pop fusion pianist, Arthur Hamlin.
00:32 How are you doing?
00:33 I'm fine, Lindsay, and I love that.
00:35 I'm gonna steal it.
00:36 Please use it.
00:37 It's very hard to encompass all that you do, which we will get into, but I feel like that
00:40 touches on some of what is drawing me to the music for sure.
00:44 It's nice, it's concise.
00:45 [music]
01:00 You had a very busy 2023.
01:01 You released two EPs in this Legato series.
01:04 Started with Bachata, went into pop.
01:06 So I'd love to hear the inspiration for that series, and why did you decide to jump in
01:10 with Bachata?
01:11 Well, you know, my story's kind of different.
01:14 I'm Irish-American with a passion for Latin music, which I discovered in New York.
01:19 I've had career, 10 albums now and two HBO specials and a bunch of stuff, and I'm thinking,
01:23 what can I do?
01:25 It's almost like a memento, you know?
01:28 So this project, this series, Legatos, which is legacies, of songs that have inspired me
01:35 when I really first got into, heavy, heavy into Latin music.
01:39 And I decided in New York, you know what?
01:41 I'm going Latin.
01:42 I'm going to create this fusion thing, and I'm not turning back.
01:46 And so, you know, I was in New York in the early '90s, studying classical piano at Manhattan
01:50 School of Music.
01:51 And my teacher was in Washington Heights.
01:54 And Washington Heights was this weird area because it was this very classical, you know,
01:59 Manhattan School, Juilliard, all these things.
02:02 And Dominicans and Colombians and the Bachata, salsa merengue, it was like pouring out into
02:07 the street.
02:08 And so the first songs I heard, I'm walking, moving from Detroit, playing lots of Motown.
02:13 I heard Juan Luis Guerra, and I heard all this stuff.
02:16 And I'm like, oh my God, this is glorious.
02:18 So I wanted to start Legatos.
02:19 It's like my personal, you know, songs that inspired me since I really, really got involved
02:24 in Latin music.
02:25 I was going to ask, being born and raised in Detroit, you know, what were you listening
02:35 to?
02:36 And I know that you were heavily influenced there, but were there other artists that you
02:39 grew up on that you loved?
02:41 Mostly Motown.
02:42 You know, my first teacher didn't read a note of music.
02:46 He played by ear in clubs in Detroit.
02:48 Oh, wow.
02:49 He taught me, yeah, music's fine, but you know what?
02:51 You don't need it.
02:52 You got to play from here.
02:54 And I started playing professionally at 15, 16.
02:58 And then I was in a Motown band.
02:59 I was the only white guy in the Motown band.
03:01 You know, and Very Gordy, which is really interesting, moved to LA with a handful of
03:05 his handpicked, James Jamerson on bass, and everyone else stayed in Detroit.
03:10 And so these guys were in their 40s when I was a kid.
03:13 Wow.
03:14 Doing clubs, they were amazing.
03:16 And, you know, taught me how to think on my feet, how to play.
03:19 Okay, next song.
03:20 You have to think three songs ahead.
03:21 You know, not just, okay, what are we going to play now?
03:23 You know, that experience.
03:26 People blowing smoke in your face and all that stuff, you know, which was an education
03:30 in itself.
03:31 Did they just let you right into the clubs?
03:33 What was that like?
03:34 Being like a teenager.
03:35 When it started, I would like, they would come in, "Hey, what's up, man?"
03:38 And I was like, kind of, yeah, like, I didn't have a phone back then.
03:42 Yeah.
03:43 Just kind of cowering, you know.
03:45 Then suddenly you're on stage.
03:46 It was like, who's that kid?
03:47 Yeah.
03:48 You said Legatos is a series.
03:54 Do you have a number in mind of how many EPs could make up that series when it's all done?
03:58 We're not putting a number on it.
04:00 Just, yeah, I want to do Legatos Mexico next.
04:04 Okay.
04:05 Because there's, you know, it's such a rich culture musically.
04:07 Yeah.
04:08 You know, I can't wait.
04:09 That's exciting.
04:11 Yeah.
04:12 And then you'll be churning out other things at the same time.
04:14 So this is kind of always something you can go back to.
04:16 Yeah.
04:17 In the meantime, I just, you know, re-upped my deal with the Celanese.
04:20 I'm really excited.
04:21 Congratulations.
04:22 And I'm doing a new album of collabs, which we're just starting out right now.
04:26 Wow.
04:27 Okay.
04:28 I was going to ask, because you have some amazing collaborators that you've worked with
04:30 over the years.
04:31 What's the key to choosing a successful collaborator?
04:34 For me, chemistry.
04:35 If I don't have chemistry, I mean, it's not, I know it's not going to work.
04:40 Yeah.
04:41 A lot of people can do it like no problem.
04:42 Yeah, come on.
04:43 It's fine.
04:44 Or, you know, I think I can tell you can, you can tell, you can feel it.
04:48 Yeah.
04:49 If it's not organic at some, some level.
04:51 Yeah.
04:52 I like to be in the room.
04:53 Okay.
04:54 Sit down from like with Fonseca, you know, we were sitting there at seven in the morning.
04:58 He loves it.
04:59 His music comes at 7am, which is like insane.
05:02 Quite early.
05:05 But you know, that, but that's how, for me, that's how it works.
05:08 I can sit at the piano and just, you know, with grit and just kind of hammer out, okay,
05:12 we have a melody.
05:13 No, no, no.
05:14 It's, you know, as opposed to, you know, just, you know, electronically.
05:19 Has there ever been a situation where you've been in the studio with someone you were excited
05:22 to work with and you both sort of left that day being like, this isn't it.
05:26 Maybe in a few years we'll revisit, but it didn't click.
05:28 Have you, have you then ever had the pleasure of going back and seeing it work a few years
05:34 later or you just sort of left it as it was?
05:37 You know, it's a really weird feeling.
05:39 Yeah.
05:40 It's kind of like a blind date.
05:41 Yeah.
05:42 Yeah, totally.
05:43 That's what a lot of songwriters tell me when they go in for sessions.
05:45 It's like a, like a date.
05:46 Yeah.
05:47 Yeah.
05:48 Cause you both know about the other person, but then you don't actually know if it's going
05:51 to go well.
05:52 I have a blind date this week.
05:53 I'm kind of nervous and excited about, but that's exactly, and then you sit down and
05:57 you're like, oh, isn't this great?
06:00 And you're like, yeah.
06:02 Right.
06:03 Yeah.
06:04 That's tough.
06:05 But on the flip side of that, you've worked with some people that I know you love.
06:07 Do you have a fond memory of a recent collaboration that went so well?
06:12 You know, Como Suena El Piano with Orichas, with Yotuel was amazing.
06:17 Yeah.
06:18 Cause I just went in there, I just started playing, jamming on the blues and you know,
06:21 and they're like, okay, ese gringo tiene swing, ese gringo tiene swing.
06:24 You know, Yotuel is like so funny.
06:25 He's like, you know, once they get seven in the morning, he's like two in the morning.
06:34 And so I was sitting there, what else can you play on piano at two in the morning?
06:37 It's gotta be blues.
06:38 Right.
06:39 I mean, you know, so I'm sitting and then he, you know, we kind of came up, I know this
06:43 guy's American.
06:44 You know, you'll say que a tipos Americanos me escucha Como Suena El Piano.
06:48 And then that was kind of a magical moment for me.
06:51 That's cool.
06:52 Is there anyone you have not yet worked with that you're still chasing?
06:57 Juan Luis Guerra.
06:58 Okay.
06:59 Juan Luis would be awesome.
07:00 Yeah.
07:01 Yeah.
07:02 I mean, the idea has been floating around for a couple of years.
07:05 Yeah.
07:06 And I'm really excited cause now I don't want to say right now, but I'm working on with a
07:09 couple of people right now that are huge.
07:11 I can't wait.
07:12 It's so exciting.
07:13 Putting piano with something that's never been done before.
07:16 It's the whole thing with you.
07:17 It's what you've done from the start, which has been cool to see cause you've really carved
07:22 a lane in that.
07:28 I want to talk about tour because I know that's a huge part of what you do.
07:32 You know, you release so much music and then your live shows where it all comes to life.
07:35 I saw you at Sony Music Hall.
07:37 You are returning there and you have a date in Miami and LA as well.
07:41 Tell us a little bit about what we can expect from those shows.
07:44 This is really exciting.
07:45 It's a new format.
07:46 You know, before, when you saw me, it was right before the pandemic.
07:49 It was traditional piano-based drums, percussion, guitar, and background vocalist.
07:54 And now I'm thinking, I love to tell stories when I'm playing it.
07:59 Visuals are a big part of it.
08:00 So I was thinking, well, why not just make the visual part of the show?
08:05 So now I'm going with a trio.
08:07 Richard Bravo, he's a Grammy winner percussionist who is amazing.
08:11 And Jai Nehru-Porta, who's a keyboard player.
08:14 And the visuals.
08:17 So it's like a trio and a triangle.
08:18 Nice.
08:19 And then with the screens and everything.
08:21 And so it's like a story.
08:24 Yeah, that's very cool.
08:26 I know when Springsteen did his storytelling and music, it seems to really strike a chord.
08:30 I think people like hearing stories behind the songs when they get to come see you.
08:37 Is there, obviously Miami is a hometown show for you, but do you feel like a distinctive
08:41 energy between those three cities that you're playing at?
08:44 Is there a difference you notice in the crowd?
08:47 There's definitely a difference.
08:48 It's different energy.
08:49 New York is New York in itself.
08:52 That's like a home game for me too, because I...
08:54 Yeah, you've kind of learned a lot there.
08:56 I learned a lot there.
08:58 I cut my teeth in New York.
09:00 So I have tons of friends that are going to be there anyway.
09:04 And then everyone else that's going to come there.
09:05 So it's like a party.
09:06 It's like a home game.
09:07 Yeah.
09:08 Do you have spots that you frequented then that are still in New York that you like to
09:13 go back to now when you're in town?
09:15 I like to walk and just walk in the village, especially.
09:21 It's just so inspiring everywhere.
09:23 And also it's like a challenge to me.
09:26 Whenever I see a piano in New York, it's always like, I feel like it's a challenge.
09:29 I remember I first got there and I was waiting for a practice room and I was thinking I was
09:34 like the shit in Detroit.
09:35 And I get there and I hear this...
09:38 I'm like, God, this guy's like amazing.
09:42 And then the door opens and it's like this diminutive of a Japanese woman who's like,
09:46 oh my God, I'm like over my head.
09:51 Do you keep in touch with any of the people you studied with?
09:54 Like, have you ever had a chance to work with them or do you all kind of go off on your
09:58 own after?
09:59 I do.
10:00 But everyone, you know, I was in the jazz program in New York and the classical piano
10:06 performance.
10:07 Yeah.
10:08 They're all, they're on the teaching or they're doing stuff like that.
10:11 And I'm the only one that went into a straight...
10:14 Major label stardom.
10:15 I mean, I was like, what are you doing?
10:16 This is Latin shit.
10:21 Did it come as a surprise to a lot of people that you started exploring Latin music?
10:26 I was doing, playing it, but when I was serious, you know, a career, you know, we teach or
10:32 we do that or, you know, or we, you know, they, everyone, almost everyone, that's, that's
10:36 the path.
10:37 You know?
10:38 But no, I just felt like, you know, I'm doing, I moved to LA and I, you know, I'm not turning
10:45 back.
10:46 Yeah.
10:47 No, I say, I was like, you know, Hernan Cortes, I burned my ships.
10:51 I could crash and burn, but this is what I'm doing.
10:53 When you were starting, thinking back to that time, do you feel like the Latin community
10:57 was really welcoming?
10:58 Because obviously, you know, you're coming in with a different story than anyone else.
11:01 But do you feel like they sort of embraced that and were eager to work with you?
11:05 No.
11:06 I'm going to be honest.
11:09 I, you know, I moved to LA and LA has got this energy because I moved here with this,
11:13 you know, I had a Latin band.
11:14 I was playing all over town, live, but I couldn't get signed.
11:17 Yeah.
11:18 And then I moved to Miami and within nine months I was signed by a label in LA.
11:22 Oh, funny.
11:23 Yeah.
11:24 But when I was here, and I got, in fact, Fernan Martinez was my manager, who was Enrique Iglesias'
11:29 manager, and Juan is his, he signed me and Juan at the same time.
11:33 Wow.
11:34 And then I'm so excited.
11:35 And then I come back to LA and I walk into Fono Vista and it's like most Latin label.
11:40 It's very Mexican regional, you know, Fono Vista.
11:42 Yeah.
11:43 And I'm like, hi, and thinking everyone's going to be, oh, wow, the new pop stars.
11:48 And they're like, and you're like, oh, you must be the new accountant.
11:54 And I was like, so humiliated.
11:55 I'm like, oh, I guess.
11:56 So I'm not going to be buying new cars overnight.
12:01 Might take longer.
12:02 Oh my God.
12:03 Do you remember when you felt that change?
12:05 When people, when you would walk into a room and people would be like, oh, wow, okay.
12:08 It's totally, everything changed with La Gorda Linda.
12:14 It was the first time I said, okay, what do I do?
12:20 Yeah, incorporate your place.
12:21 Just be you.
12:22 And I wrote it.
12:23 And you know, La Gorda Linda, it literally means a fat woman.
12:28 It's a term of endearment as well.
12:29 Yeah.
12:30 So it's like a play on words thing.
12:31 And everyone's like, La Gorda, it means a Gorda.
12:34 It's like, I love you kind of thing.
12:36 And then we filmed it in Puerto Rico with Tito Nieves.
12:39 And then after that, everything said, oh, wow, this guy, he can play.
12:45 I do think that was your first Billboard chart entry.
12:49 On a few.
12:51 We touched on this when we were talking before we sat down, but going back to your live shows,
12:55 you know, as someone who is behind a piano for a good amount of the show, how do you
12:59 still engage with your audience?
13:00 I know you said you're bringing in visuals, but what's that relationship like with your
13:04 fans when you get to kind of sit and talk in front of them?
13:07 Well, I always have, it's like, you know, the piano's here and then, you know, you want
13:10 just the boom and talking to the boom.
13:12 I know I need the mic just right here.
13:13 They water over here.
13:15 Yeah.
13:16 And so I just got to get, I have to get up.
13:17 Can't sit down the whole time.
13:19 Yeah.
13:20 I play a song or two and then, you know, then get up and engage with the audience.
13:25 And that works.
13:26 And I always do this thing in live where I play someone's personality.
13:29 I mean, doing this as a kid, like, you know, we're talking like right now, if you had a
13:33 piano, I could play you for a second.
13:36 Scary.
13:37 I remember when I did see you at one point, everyone stood up and started dancing because
13:44 you couldn't help it.
13:46 Like you stand up and it makes the whole crowd need to get up as well, which is kind of cool.
13:50 That's what, yeah, that's what, you know, what I, what I do is just like kind of, kind
13:54 of internal.
13:55 It, you know, I'm not like a pianist composer that a lot of people, oh, look at this.
13:59 Songs are beautiful.
14:00 Now I'll play the melody on piano.
14:02 You know, what can I do that's new, different, fresh.
14:05 Yeah.
14:06 That hasn't been done before.
14:07 Yeah.
14:08 That's what I'm looking for in the studio.
14:09 Like, where's the magic?
14:10 Right.
14:11 You know, do you have personal goals, you know, professional and otherwise of things
14:15 that haven't been done before that you're hoping to accomplish soon?
14:19 Yeah.
14:20 My goal, it's kind of like what I'm hoping to get for is like the what the fuck response.
14:24 Where people are wondering what you're doing.
14:27 Yeah.
14:28 Where'd that come from?
14:29 That's what I'm looking for.
14:32 Yeah.
14:33 I saw on your Instagram, you'd posted like a Pixar like rendering of yourself at piano.
14:39 Would you ever do a Pixar film if that call comes?
14:42 Sure.
14:43 Like the whole score?
14:44 That would be, that would be cool.
14:46 Yeah.
14:47 Yeah.
14:48 It looked pretty natural.
14:49 I have to say.
14:50 I like, I did a double take where I was like, did I miss a film?
14:51 Cause I'm pretty up on Pixar.
14:52 Well, my hair is kind of weird there.
14:54 I don't know if it's better there or like weird now.
14:57 One of the two.
14:58 But that's, you know, dreaming, dreaming as big as you possibly can.
15:02 Absolutely.
15:03 Are there venues that, you know, you still have not played in your career that are sort
15:06 of like pinnacle venues that you would love to perform at?
15:09 Yeah.
15:10 Hollywood Bowl.
15:11 That'd be great.
15:12 That's like for me, the ultimate.
15:13 Okay.
15:14 That'd be pretty fun.
15:15 I remember seeing Ruben Blades there with Willie Colon when they were still talking.
15:21 I love that.
15:22 Such a magical venue.
15:23 Thinking back last year, what was the best show that you saw?
15:26 Best concert?
15:27 Marc, I'm a huge Marc Anthony fan.
15:30 I just can't.
15:31 I know the guys in his band.
15:33 And so it's just, you know, and of course, Viva Escarla is a Viva Esquire.
15:37 He's a friend and just that raw energy.
15:42 People that really play and there's that, what I love is the raw live energy, you know?
15:48 Because it reminds me, what I do since playing 15s, playing live is such a different process
15:54 than when you're recording.
15:55 Totally.
15:56 Yeah.
15:57 What do you do?
15:58 You got to capture the, you know, where's the communication from like note one and make
16:06 this.
16:07 So they're all right, this is a party.
16:08 We're here.
16:09 Yeah.
16:10 This isn't like, oh, wow, look how fast I can play, which is fine sometimes, but that's
16:13 not the point.
16:14 Right.
16:15 Yeah.
16:16 The songs can sound different.
16:17 They can have a different tone or meaning once they are out of the studio environment
16:20 or off of streaming or however people are hearing them at home.
16:23 Yeah, exactly.
16:24 It's got to be faster because my personality too, then I get live and everyone's like,
16:29 yeah, OK, maybe just a little bit.
16:32 They feed off your energy.
16:33 I'd ask you as well.
16:35 So are there people like how do you keep an eye on up and comers in music?
16:40 You know, are there young artists that you look to that you would either want to collaborate
16:43 with or just are excited for as a fan right now?
16:47 Yeah.
16:48 And a lot of it has to do with cooking.
16:50 Oh, I love to cook.
16:52 So it's what you play while you're in the kitchen.
16:54 Just like whatever.
16:55 I just put something on and just the music goes, you know, just kind of, you know, I
16:59 hear things I've never heard before.
17:03 Mm hmm.
17:04 And I'm chopping, you know, have a drink of wine or whatever.
17:07 Yeah.
17:08 And then, wow, that sounds amazing.
17:10 And then that's that for me, that's the, you know, what if I mix the piano with that?
17:14 What can you know?
17:15 It's kind of like cooking, too.
17:16 Yeah, true.
17:17 So I was thinking, OK, but there's no Bachata in piano.
17:21 So I'm like, yeah, that's the point.
17:23 But there can be.
17:25 Why not?
17:26 Yeah.
17:27 What's the craziest fusion you could think of if you were to do like a legatos blank?
17:35 I was thinking about it today.
17:36 I played with Don Omar in Chile in Vino del Mar.
17:38 That's cool.
17:39 That was like two years ago.
17:40 OK, that was pretty good.
17:41 Yes, I would agree.
17:42 Do you feel like there are other artists coming into the scene who and again, you sort of
17:49 have your own path here, but other artists who are pianists and are trying to get involved
17:54 in what you're doing or do not really see artists taking an interest in this art?
18:00 There's a there's a lot of purists.
18:03 Mm hmm.
18:04 But anyone that's done, you know, I really, to be honest, I haven't seen it.
18:10 Yeah.
18:11 I mean, I'm a gringo, Irish American with a passion for Latin music.
18:16 I kind of feel like, you know, the Wizard of Oz when she leaves the house and she lands
18:21 in his room.
18:22 That's what happened to me.
18:23 I'm like in New York.
18:24 All of a sudden I'm in like, you know, Latin music land.
18:28 Yeah.
18:29 Playing in Chile.
18:30 I just I just did the new format, too.
18:32 We just did it in Chile and Colombia.
18:34 So how to go over.
18:35 It was great.
18:36 I was really worried.
18:37 Yeah.
18:38 You know, in Chile, they have this thing when you when you finish, they can they're very
18:42 polite and they may just clap a little bit.
18:44 That's the end.
18:45 They want an encore.
18:46 They do that.
18:47 They go like, yeah.
18:48 And then yeah.
18:49 And then everyone does it like get faster and faster.
18:52 So I walk out like, are we done?
18:55 You have to like wait and see what they want.
18:57 Wait.
18:58 It's like, you know, it's like kind of luxurious out kind of.
19:01 Wow.
19:02 And the whole band sitting there.
19:03 We go out for an encore.
19:04 No, no, no.
19:05 We're waiting.
19:06 Then all of a sudden there's like, yeah, yeah, yeah, yeah, yeah, yeah, yeah.
19:07 That's cool.
19:08 Like, oh, it's working.
19:09 So you have one prepared in case.
19:13 Oh, yeah.
19:15 Great.
19:16 When you think about these three upcoming shows, if you could boil it down to like one
19:20 hope that you have for all of them, what would that be?
19:23 One hope?
19:24 Yeah.
19:25 Like to leave the stage and feel blank.
19:28 To feel to feel that there's something.
19:32 There's magic, some kind of magic and inspiring, something inspiring.
19:36 Yeah.
19:37 Do you get messages ever from younger artists or, you know, artists of any age just admiring
19:42 what you do and sort of wondering how you do what you do?
19:45 A lot.
19:46 What do those do for you?
19:48 It's really nice.
19:51 The first thing, what would you have any advice?
19:53 Everyone always asks that.
19:54 What's your advice?
19:55 The word no, it does not exist.
19:58 If someone says no, it just means not right now.
20:00 Yeah.
20:01 If I had a nickel for every time I've been, someone said no to me.
20:06 I mean, not just starting the music, but then trying to play, trying to break into the Latin,
20:11 you know.
20:12 Yeah.
20:13 This is what I want to do.
20:14 Why do you want to do it?
20:15 I don't know.
20:16 I really want to do it.
20:17 That's all I want to do.
20:18 You know, play rock and roll, you know, especially in this country a lot.
20:19 They like to put, you know, a little drawer.
20:22 Yeah.
20:23 You know, which is to me, it's insane.
20:24 My mentor, one of my first mentors in New York was Roy Eaton.
20:27 And he was a black classical pianist, a Chopin expert.
20:32 And I'm like, "Roy, I'm graduating, you know."
20:34 He's like, "Great, yeah.
20:35 You know, follow your passion.
20:36 You're going to do it."
20:37 I'm like, "Yeah, but my passion's music, Latin music."
20:38 Yeah.
20:39 And I'm white.
20:40 I'm Irish.
20:41 He goes, "Look at me.
20:42 Everyone said I should be a jazz pianist, and my passion's Chopin."
20:48 Yeah.
20:49 "Just follow it.
20:50 If you just follow it and the word no doesn't exist, it will happen."
20:53 And to this day, I think of that.
20:54 The word no does not exist.
20:55 It's not right.
20:56 Yeah.
20:57 Yeah.
20:58 Yeah.
20:59 Yeah.
21:00 Yeah.
21:01 Yeah.
21:02 Yeah.
21:03 Yeah.
21:04 Yeah.
21:05 Yeah.
21:06 Yeah.
21:07 Yeah.
21:08 Yeah.
21:09 Yeah.
21:10 Yeah.
21:11 Because imagine, you know, even the story you said about getting a record deal, if
21:12 you had just taken people for their word from the start, you would not be here now,
21:13 re-signing for however many more albums we're going to get.
21:14 That also did make me think I would love a Legatos rock and roll.
21:15 That would be pretty cool.
21:16 Ooh.
21:17 That would be pretty cool.
21:18 That would be great.
21:19 Yeah.
21:20 So fingers crossed for that.
21:21 Is there anything else upcoming this year that you're looking forward to that you can
21:23 tease to us?
21:24 The tour, the shows, they're upcoming now is the main thing.
21:28 And the new album is going to be done.
21:31 We're just starting it now, but it's moving fast.
21:33 Okay.
21:34 And the collabs are great.
21:35 Nice.
21:36 I'm doing a huge song about peace.
21:38 Okay.
21:39 Because of all the craziness that's happening right now.
21:42 Yeah.
21:43 With artists from different parts of the world.
21:45 That's really cool.
21:46 Yeah.
21:47 Is everyone kind of sending their parts in?
21:49 Yeah.
21:50 Yeah.
21:51 That's what's going to happen.
21:52 Nice.
21:53 I'm excited about that.
21:54 It's been on my mind since everything erupted.
21:56 Yeah.
21:57 Politically.
21:58 Yeah.
21:59 How can it not be?
22:00 Thank you for that.
22:01 And thank you for coming by today.
22:02 It was such a pleasure to chat with you.
22:03 Thank you so much, Lindsay.
22:04 I really had a great time.
22:04 I had a great time.
22:05 I had a great time.
22:05 (upbeat music)
22:07 (door slams)
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