Kiernan Box is the keyboardist of Augie March and also long-time member of the Black Eyed Susans. Being behind the keys, comes with a particular view of LIVE music as well as during the recording of the music. The Bands latest album is called Bootikins (out through Caroline).
Between shows for Augie March’s ‘On The Quiet’ tour Kiernan spoke to radionotes…
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IMAGE CREDIT: radionotes – Kiernan Box (left) in Augie March playing at The Gov, December 2019
John was not in the best shape when recording this chat, as his Aunty (very close one) had recently passed. Thank you Kiernan for your patience and openness in this chat.
SHOW NOTES: Kiernan Box
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Feature Guest: Kiernan Box of Augie March/Black Eyed Susans
- Official Site
- When I Am Old (Official Music Video)
- Bootikins – album (LinksTo)
- Bootikins (Official Music Video)
- One Crowded Hour (Official Music Video)
- Black Eyed Susans (Official Site)
Next Episode: D’Urberville
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CREDITS
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TRANSCRIPT
First version provided by REV team member Rachel W – check to audio before quoting wider, as transcript has not been fully checked back in Australia
John Murch:
The On The Quiet tour wraps up in Adelaide, South Australia. Are we getting a feel that this is the end of the line for the On The Quiet tour for Augie March?
Kiernan Box:
It is the last show we have booked On The Quiet or otherwise. On The Quiet with something that Augie did about 10 or 11 years ago. And we just did a few shows in Melbourne and Sydney. I think we were just looking for something a little bit different at the time. We’d been playing a lot. We were really busy through that period. And just the idea of doing… It’s sort of an unplugged concept. Just let us just approach the songs we’ve been doing a bit differently or put a few different songs into the set that would just kind of suit that style a bit better.
Kiernan Box:
Earlier this year, I think it was probably a similar sort of thing. We were just looking to do something a little bit different and decided to revise that.
John Murch:
How much does that play a part, doing the acoustic that allows you to have a more integrated live sound?
Kiernan Box:
I think that’s… I don’t know whether it’s necessarily more integrated than when we do it with the full lineup, but I don’t think we slavishly reproduce the album versions anyway when we play live. There’s often a bit of debate in the band room that that should be… That’s not the same as the recording. Or you did this on the recording, why are you doing that now? And different members of the band, I reckon, probably have a different approach to that. Personally, I have a bit of an interest in jazz music, and I quite like the idea that you sort of turn up with the body and the mind that you have on the day, and you know the song and you might play it completely differently than what you have before. But I think yeah, On The Quiet, sort of just doing it that way, gives everyone a bit more license and a bit more of a need to reinvent what they’re doing.
John Murch:
Has the culture on the road between the members changed over that last decade?
Kiernan Box:
Probably. We’re not on the road as much. Look, it’s a funny sort of dynamic. There aren’t a lot of really close friendships in the band. That’s sort of always been the case. It can be quite fractious really from just the way we communicate, just setting things up or rehearsing or recording or performing. It’s quite a lot of creative and personal tension at work there. I don’t mean to paint too negative a picture of what we do.
Kiernan Box:
I think the time when the band is most at peace and most connected is on stage performing. There’s a place we can get to that defies all this… That only we know, and it works. And often, the thing about our gigs, and I found this quite a lot with the On The Quiet tour was it might take a few songs into the set to actually get there, but it’s a pretty sweet spot when we can find it. And when we find that we have to try and hold it and stay there.
John Murch:
The old penny drop moment. So possibly on the tour, in the touring van, there might be a bit of rustling of chips and a bit of eyes across the car or whatever’s. Once you’re actually settled in, about that second or third number, the penny drops and you’re there.
Kiernan Box:
Yeah, but look, it could be the first song and it might be the second last song, but there is this feeling of sort of push and pull and people trying to find each other. It’s a bit deeper than just musically. It’s a little bit spiritually, you’re trying to find each other’s mind. But we’ve been doing it for… The five of us have been playing together for almost 20 years. And I think that’s the thing I like almost most about the band is that we’re still here, and all of us are still doing it. I don’t think you can replace that, that knowledge of each other that you get from just playing, having played together so long.
Kiernan Box:
We had a period of about five years where we didn’t play at all, actually, but you don’t lose that slightly telepathic connection that you have being on the stage and listening to what everyone’s playing, and yeah, you talked about eyes across the car, you’re trying to catch people’s eye and catch their ears, make sense of it. Some of the songs are quite simple and easy to play, and some of them are really quite difficult to really nail when you’re playing them live.
John Murch:
My understanding is two and a half… So half of that five years you were secretly working on a recording? Talk us through that. And whether or not it was just two and a half years of silence, and then something happened. And if something did happen in two and a half years, what was it at that two and a half year mark?
Kiernan Box:
Oh, I don’t know if I can timeline it that accurately, but we stopped… We did an album called Watch Me Disappear, which was a hard album to make. Probably those sorts of tensions that I was talking about probably started to escalate, and it just got a bit too hard to keep going. And Glenn wanted to make a solo album. And that seemed like a really good idea. So we just stopped for a while. I don’t think it was even… Probably wasn’t even two years before we started talking about doing another album.
Kiernan Box:
But with our band, and probably most bands are like this, it took a while to wind down. There was a lot of momentum, and it was like this big thing. We didn’t stop really suddenly, we sort of wound down with a very long tour and a few shows after that. But once it stopped, it did take quite a long time and a bit of effort to get that ball rolling again.
Kiernan Box:
Glenn had moved to… He lives in Hobart. The rest of us were living in Melbourne. We were all doing quite a lot of different things by that stage. Just to get the songs, for Glenn to write them, for us to get together and rehearse them and then start recording, it probably did take about two years. And we were just trying to put things in place to release and promote it as an independent band. We’d been on a big label up until then. So that was quite different.
Kiernan Box:
Maybe the big thing was we just didn’t feel quite so much pressure. Augie had had a long period, first 10 or so years, where the band had been known and quite popular and had a bit of success. But then about 10 years into the career, we had a hit song and a platinum album, and that’s great. You really sort of feel this cushion of hot air comes up under you and lifts you up. And in certain ways, things get a bit easier, and they get a bit more exciting. But there’s also more pressure, and it can also become a bit more, I don’t know… The business starts to take over, and lots and lots of bands talk about the dark side of success. It’s not a terrible thing to have a song on the radio and people coming to your shows, but it’d probably be right to say it stopped being as fun for a lot of us for a while.
Kiernan Box:
Coming back after a break, that pressure had largely dissipated. It wasn’t that sort of expectation of following up a big song or a big album. Probably felt we could do what we wanted a bit more. But, that aside, I don’t think we had changed that much. Bit older, bit more mature, but also a bit crankier.
John Murch:
There is a difference though, isn’t there, between a hit song and well… There’s a difference between the song and the band when it comes to the stage for which your career reached.
Kiernan Box:
Do you mean that there was a lot of people that knew Augie March because of one particular song and that’s all they sort of connected with then?
John Murch:
They had their own personal story regarding that one song and how it fitted it into their life. I’m thinking… Well, I can name many artists that this has occurred. Let’s not make comparisons, but people then weren’t focusing on the broader band and the wonderful discography that you had behind. Instead, they were thinking about their personal engagement with that one song.
Kiernan Box:
Yeah, that’s probably true. I think everyone’s got to… A band can just put the songs out there and the music and whatever meanings it has for them. And then once it’s out there in the public, it’s completely fair enough for the public to take it and make what they want of it and relate to it how they want. It did seem strange, the shows that we’re doing where, yeah, so much of that focus and momentum of the show did seem to revolve around One Crowded Hour as a song. A low point of that is when you had to put the song towards the end of the set, because if you played it earlier in the middle of the set, quite a lot of people would leave after they’d heard it.
Kiernan Box:
It wasn’t that it was completely outside our style and the sort of things we were playing, but it really didn’t really represent all of it. I mean, I remember when I first heard that song, when we just rehearsed it, and I thought, this is great. And it did feel like something that could be a hit to me. And it was, but at the same time, it didn’t sort of seem like… You can’t predict that for a couple of years of your life, your musical and professional career is going to revolve around those four minutes of music, which is sort of what happened.
John Murch:
Yeah. I’m having flashbacks to seeing you guys performing with Paul Kelly and Lennon Cohen at one of those winery shows. And it was a brilliant set of tunes you were doing, and then of course, that song comes, and then all of a sudden people are quiet and turning around. And I’m like, come on, they’ve just done four or five killer heartfelt numbers.
John Murch:
While Glenn was doing his solo work, you have been spending a bit of time with the Blackeyed Susans. What’s the journey been like with the Blackeyed Susans for you?
Kiernan Box:
Very long. Because I’ve been playing with the Blackeyed Susans for 25 years. So it’s quite hard for me to very quickly sort of troll through my memory bank, but that was an amazing thing that sort of happened for me. It was very, very pivotal because it was sort of the point where I stopped in my early mid twenties and stopped working an office job. And one had to really concentrate on playing music, and joining the Blackeyed Susans, a band that had a reputation and albums and played shows.
Kiernan Box:
The Susans has waxed and waned for a long long time. At the moment, there’s not much happening. But yeah, it gave me a chance to sort of take music seriously. Until then it was sort of a hobby and something that I really would have liked to have done more of, but I hadn’t really been able to get myself into a position where I could.
John Murch:
And this year, no Christmas show as well. So I want to think there’s more Blackeyed Susans in the works.
Kiernan Box:
I think there will be. So there’s been some lineup changes, just a bit of shifting around of personnel. All the people in the Susans are really busy. I had been playing a bit with Rob Snarski who’d done a solo album, and I helped out on that, and I’ve done a few shows. So he’s quite busy. Susans have had a few times where it’s gone a bit quiet, and in the past, the band’s always rebounded. I don’t know. I think it probably will, but you never know.
John Murch:
In that position that you’re in at the keys. What’s your focus when you get on stage? What’s the first thing you do as a keyboard player when you go on stage?
Kiernan Box:
I don’t think I’m going to have a very interesting or good answer for this. I probably just get a little bit nervy about all the settings on my keys, just where the volume and the EQs and things and that I’ve got the right presets. I don’t really get nervous. I just don’t get nervous on stage. I don’t know if it’s because I’m sitting down, I’m behind keyboards. I don’t have to sing. Very rare occasions where I’ve had to sing, I do get very nervous. Yeah. Yeah.
Kiernan Box:
I really think it’s, certainly with Augie, it’s just trying to tap into the collective mindset, trying to find where everyone is on that night. That often fluctuates and quite dramatically. If everyone’s in a good mood, I sit next to Edmond on bass, and it’s quite important for the keys well with the bass, I think. So, I’m sort of trying to find him. Definitely trying to find where Glenn’s at and his guitar. That’s often the leading part, the rhythm part or the arpeggio pick part that he’s playing is often what leads the tune, so I’m trying to get in there. Probably trying to settle my mind a little bit and not think extraneously. That can be hard to do, different things that are going through your mind through the day. You’ve got to try and shut them out a little bit and just think about what you’re doing there and then.
John Murch:
How busy can your mind get during the day? You land in a city, you’re on stage in about four to five hours, sometimes less. How do you, as you’re saying, set your mind? What’s going on personally in your head? I’m not asking you to list that, I guess, but to give us a bit of a vibe of where you’re at.
Kiernan Box:
On a gig day? I thought you were asking generally. Show days is good, because usually there’s so much to do, just getting there, just getting everyone to the airport, getting to the venue, getting to the hotel. That takes up most of the CPU during a show day.
John Murch:
On non show days?
Kiernan Box:
I think my mind’s probably a bit agitated and I have to try and focus and things. I find it a bit hard to sit still, to relax. I’ve been doing quite a lot of yoga, which I think probably helps just to try and focus the mind. I’ve been doing a type of yoga called Bikram yoga, which is done in a almost sauna heat, which physically wipes you out as well as focusing you mentally.
John Murch:
The most famous person I know, at least here, when they tour Adelaide, South Australia, because they did it in Pulteney Street, and they were the only bloke in the actual session at the time. Sting from the Police is a big proponent of it. I don’t know much about Bikram yoga. So as you’re saying, it’s a heat induced… What’s happening through that process?
Kiernan Box:
Probably a mix of meditation and pretty extreme sort of endurance sport. It’s a very basic, fixed sequence of yoga postures, 26 postures, which is the same every time you do it over a 90 minute period. But the thing that’s different about it is it’s in a heated and humidified room. It’s 42 degrees and high humidity. So those fairly basic yoga postures and stretches do become very… They can become almost unbearably challenging after a while in that heat. It’s certainly not for everyone. And I mean, I did yoga when I was young, and I found it a bit boring. This is very, very challenging.
John Murch:
I just wonder about the heart, in terms of that humidity and hate. If you don’t have a good ticker, I’m thinking you’ll might have to give it a miss. The old ticker might not be able to cope with it.
Kiernan Box:
I don’t know of anyone dropping dead in a Bikram yoga studio. But I’ve felt like I’m going to a few times.
John Murch:
What’s your diet like?
Kiernan Box:
Not that good. Could be better. I don’t eat a lot. I just feel like I haven’t put quite as much care into it as I should over the years. At the moment, I’m trying to keep things pretty simple, like I eat red meat and try to eat just meat, vegetables, nuts.
John Murch:
I noticed on your keyboard that there’s a Western Bulldogs 2017 membership sticker?
Kiernan Box:
I’ve barracked for Western Bulldogs all my life. 2017, that was the year after the Bulldogs won their first premiership for 60 years. That was pretty exciting. Most kids who are following a football team, at some point, childhood or adolescence or even early adulthood, they’ll see them win a premiership or at least played a grand final. But the Bulldogs were, I think, the only team that just had not even been in a grand final for, what was it, 50, about 55 years. Even as an old man, it was quite exciting when the team got into the grand final, and I didn’t expect them to win it but they did. I was glad I went.
John Murch:
Oh, you went?
Kiernan Box:
I went, yeah. Member of the Melbourne cricket club. So if I remember, there’s a certain number of seats that are always kept available for walk-up members on the day. My brother and I got there. We went and queued up, it was 3:00 AM in the morning, make sure we got in and got a good seat. But by the time the game started 12 hours later, I was ready for it.
John Murch:
Let’s get back to Augie March. The latest record is now out. It’s been out for over a year, in fact. Can we talk about the process of recording that album, working with the late producer, Tony Cohen. Had did that come about? And more importantly, how did it go down?
Kiernan Box:
I thought it turned out wonderfully. It came about really through the Melbourne producer, John Nelson, who was working at the studio Soundpark in Melbourne. And I wasn’t that close to the organization of that part of it. But John had sort of recommended that maybe Tony might like to work with us. He hadn’t done much for a long time, but he’d just started to resume some production, but he’d only done one. I think he had done some producing for Kid Congo Powers. But apart from that, he’d hardly done anything for quite a long time. And John sort of lured him, almost out of retirement, to come and produce Augie.
Kiernan Box:
And we did five or six tracks with them. And look, it was great. In a way, he was completely, probably fair to say he was contentious of a lot of modern technology, digital technology. He wanted to do everything with tape and not using digital equipment. I just hadn’t sort of done anything that old school for a long, long time. I suppose in a way it was really more… You just got that sense of really trusting your ears more than your eyes. You get used to looking at a screen and looking at wave forms. You look at two wave forms and say, oh the bass is out with the drums, so we’ve got to fix that up. But take that away, you’re just listening to it.
Kiernan Box:
There wasn’t that ability to do 10 takes and then just stitch the best take together out of all those parts. You just had to play the song through from start to finish and listen back to it and decide what you liked about it, what you didn’t. In some ways it makes it harder with digital technology, because anything is possible. I think because you have unlimited possibilities, in some ways, you kind of, not limit yourself, but it’s good to just know you’ve got to just get it right. Play the song, get it tight so everyone’s happy with everything they played.
Kiernan Box:
We’d done some recordings where you’re taking one instrument out of one take and mixing it with other instruments from another take and then taking different takes and putting them together. And it becomes really almost like a jigsaw of everything you’ve done. But that way of working, when we worked with Tony, it was just more old fashioned.
Kiernan Box:
Tony’s spirit, like as a producer, he was a performer in the studio. He sought to inspire you with his energy as much as he tried to get the best energy out of you as the musician. And as it turned out, he really wasn’t very long. He didn’t really have very long left. I didn’t really know that much about that. I’d remembered him from a long… I’ve done recordings with him a long time ago. He didn’t have quite the same vim and vigor that he once had, but he wanted to inspire you with his energy. And, I mean, he did that.
Kiernan Box:
The five or six songs that we got from those sessions, I just thought they were great and probably almost my five, six favorite songs off that album. He did something to the effect that he wasn’t going to come out of retirement just for anyone. So he was keen to do this with us. And I’m sure he was hoping to do more, but it turned out to be the last recording that he did produce, which was very sad.
John Murch:
Being on keys, being that part of the band. When you see for the first time, the lyrical prose for which an album is going to take, that of Glenn as the singer songwriter in that aspect, I would think. Do you have your own thoughts about the lyrical content? Do you engage with it as you read it and go, yeah, this has a bit of me, or is it… How do you engage with Glenn’s lyrics when they arrive?
Kiernan Box:
Very good question. Because I don’t sing, and none of the guys really sing on the records, though they do sing live. But I tend not to look at the lyrics that much. I do listen to them. And some of them are quite dense and arcane. And I’m listening to the music first and foremost, because I’m trying to get inside that. And probably my main role is to give texture to the music. Although as I go on, I’m more interested in sort of getting into the sort of engine room. I want to be part of the beat and the groove and the rhythm of the song. But I think I’ve always been in the band mainly to give different colors and flavors to the chords and the melodies. I’m not listening to the lyrics that closely. I usually get into them and analyze them much later. Sometimes they really grab me. I love the lyrics too I Hurtle Back to a Conservative Locker. I just love the lyrics to that one, and the lyrics to When I’m Old.
John Murch:
Let’s bring it back to you. And another way to do that is to talk about one of your main instruments, the keyboard. When did Kiernan first get introduced to the keyboard?
Kiernan Box:
I had lessons when I was at school. I was pretty young, primary school, and I did lessons and I didn’t mind it. I did a bit of practice. I made a little bit of progress, but not that much. And my school, within a year or two, we were sort of shepherded into doing classical music exams. And I did very poorly in that, and I still remember, I was about 13 and getting the lowest mark in the school. The only person to get a C for A and AB grade one piano. It was very hard to get a C. I think at that point, I probably drifted away.
Kiernan Box:
And then I was just sort of getting interested in pop music and rock songs and wanting to work out how to play them. And I was given like a little Casio, tiny Casio keyboard, for Christmas. That would have been about 14, I think. And it really was just those ones with the minute little keys, but it would play minor and major chords if you played the key and set up the auto rhythm. So I was still sort of trying to work out little songs, and I started to learn how chords could fit together. And within a couple of years, we were, friends and I, were trying to start bands at school. We had a band called the Blue Shades that used to play at school assemblies and parties.
Kiernan Box:
Yeah, I just kept at it and kept developing my interest, and my taste expanded. But I think it was always led by my ears a bit, what I was listening to. I heard something, I wanted to get that feeling, the thing, I would play that. Look back on those very early days, and I think a lot of the information gets processed in a funny way, like times that you’re just trying to play too much or too fast, or you’re just trying to be excessively technical or impressive, rather than getting into the real guts and the soul of the music. I think for me, that took quite a lot longer.
John Murch:
You’re now teaching music. Do some of your memories of back then inform the way that you teach music?
Kiernan Box:
Probably should. I’m not sure if it does. Yes, I’ve been teaching music at university for 20 years now. I’m teaching music to sort of get young adults… I almost feel like the most productive thing I can do is introduce them to good inspiring music, that they might not know. I mean, I probably do get a bit surprised if they come to a music course and they don’t really know who Bob Dylan is, or they haven’t heard the Kinks, or they don’t know Joni Mitchell or something. But it’s not that unusual because those artist been around a long time since they’ve been really mainstream. If I can get some of these kids into that, what I think is really good type music or help them to learn how to play, that’s about the best thing I can do. Yeah. Ultimately, whatever it takes to get them playing music with each other and exploring different styles and learning about other artists, and things that might broaden their horizons, that’s about the best I can do for them.
John Murch:
As we’re saying, this is university, as you mentioned, young adults. Do you see, though, still a spark of passion for music and where music can take them?
Kiernan Box:
I see it in them, absolutely. I’m jealous of it sometimes. Where it’ll take them off to uni, that’s sort of an interesting question. I mean, if you study at university, you can qualify to be a music teacher or music therapist, but there’s a lot of other branches of the industry you might find your way into. Most of the students really just want to play more than anything else. They want to play or they want to sing, and I think that’s great. Quite a few quickly are becoming semi-professional musicians, playing shows and making recordings. I think doing music at university with anyone is a really great way to make connections with people, a different type of interaction. You’d probably make some friends in a way that you don’t in other sort of walks of life.
John Murch:
Do they teach you as the teacher new things? Have you learned things from your students, particularly relating to music?
Kiernan Box:
They’re more up to date than I am, for sure. Yeah. Yes. I hear things that they’re playing or listening to that I wouldn’t be aware of. I’ll listen to Triple J quite a lot. And I don’t know, I feel like a little bit lost. It’s like swimming in an ocean that I can’t swim. I don’t know the scene or the bands that well. I do hear quite a few things that I like, but then I might forget who it was. I just don’t have that same sort of connection with popular music culture that I think I once did. And yeah, students definitely help me with that.
John Murch:
So if we take you back to your university age, what music were you listening to at that stage?
Kiernan Box:
University days, I was working my way backwards through the canon of rock music through the seventies and the sixties and even the fifties. So I was very interested in… I mean, I didn’t really work through, like for instance, the Beatles catalog till I was 18 or 19. And then I was buying lots of Rolling Stones albums and then every Bob Dylan or Tom Waits album I could get my hands on. So yeah, a lot of that sort of what you might call classic rock now.
John Murch:
There is a lot that can be taught about music, but there’s a lot that can only be learnt on the road. What has the road taught you as a musician?
Kiernan Box:
I always found being on tour something I really looked forward to. I always looked forward to getting to the airport or getting in the van, but it was quite tough once you got out there, especially if it was a long sustained sort of thing. And with Augie, occasionally we’d do like a six, seven week overseas trip or some pretty sustained stuff through Australia. And it was very tiring. We’d often talk about match fitness or tour fitness, and it’s not something that’s easy just to step in to.
Kiernan Box:
And we do it less, but we still do it. And I’m always wanting us to do more just to get that fitness, just to feel that it’s… I don’t think that it would ever feel natural, maybe if you had your own private jet. It’s a strange way to live. In Augie we always talk about the rot, the amount of time you just sitting around waiting, waiting for someone to get ready, waiting at an airport, waiting in a rental car place, waiting at the hotel lobby, waiting in a venue for a sound engineer to turn up. Rotting.
Kiernan Box:
You have to wait very intensely for a short amount of time at night to do the show. There’s plenty of other stuff that has to be done. And especially now we’re self-managed, and self tour managed, there’s quite a bit going on, but there’s also a lot of just waiting around. I learnt that it wasn’t what I wanted to do for the rest of my life.
Kiernan Box:
I wasn’t sorry, when Augie kind of slowed down. We stopped four or five years. And at that point, yeah, I never missed the touring after that. But it was really fun. And especially when it’s new to you, very exciting. And I’m sure it’s something most people would want to do, would want the chance to do and should be. Because yeah, it’s definitely a good experience.
John Murch:
Has the touring at all been inspiring a new record for Augie March?
Kiernan Box:
It’s when we most get together. And when we’re together, you find those little connections that help you. So I think it is. I mean, I don’t think it’s an explicit thing, but it’s there. I always wanted us to play more shows, because then you get that sort of empathy, musical and otherwise, that you need to make good music. I mean, we did quite a bit of Moo, You Bloody Choir and we did do One Crowded Hour immediately after a very long tour in the US where we’d played a lot, and you’re really well-oiled. And I remember that, and we were all in pretty good form at that time.
Kiernan Box:
But I think that’s the main thing you get from the road. You get very focused on your music and your playing, and you get beyond trying to remember what’s the next chord of this song or what’s the next lyric. That’s all becomes very fluid for you. So you get to that deeper place.
John Murch:
New album being penned while you’ve been on the road?
Kiernan Box:
Yeah. Oh yeah. There’s definitely new music. Glenn is pretty consistent like that. I mean, it’s one of the best things Augie’s got going for it is that Glenn… I don’t think it’s easy for him to stop writing. We’re going to do some recording pretty soon, and I think there’ll be a new, a very good chance we could have a new record or some new music out in 2020. Yeah. It’s early days yet, but we’re going to do some recording soon.
Kiernan Box:
This could be a bit more electronic. The demos that Glenn’s done have a lot of sort of synthesized kind of parts. There’s a lot of sounds that I’m hearing on the new songs that I’ve probably been trying to get onto Augie records for the last few albums but haven’t really succeeded. If we go down that path now, I will feel that my sort of nudging has been a bit of an influence on it. But I’m not quite sure what I’ll do. I might try and arrange some horns for it. It doesn’t feel like there’s a lot of piano and organ, my usual things, but who knows. Once we get in the studio, almost anything could happen.
Speaker 3:
Kiernan, an absolute pleasure to have a chat with you. Good luck with the rest of the Augie March tour. Thanks for your time.
Kiernan Box:
Thanks, John.