135: Stephanie Lambring
On Episode 135, I'm joined by singer-songwriter Stephanie Lambring. She released the excellent and intimate album Autonomy a few weeks back (October 23) to critical acclaim. Revolving around bold and direct storytelling, Lambring has crafted some of the most personable personal songs of the year. Much of the Autonomy's beauty comes in how comfortable (comfortable is such a strange way to describe this, but strangely apt) Lambring is with addressing insecurities and vulnerable flashpoints of the past and present. Throughout, she tackles a host of old ghosts and weighty subjects--everything from hypocritical Christians and double standards to suicide and domestic violence--with an attentive grace and nuanced empathy. Songs aren't brass, rushed, or carelessness--both in how Lambring cradles the subject and in her sharp, keen delivery. Her velvety vocals and the indie-rock fuzz meets country pop-punk flair create the perfect dreamy soundscape for the vivid snapshot memories and the introspective aftermath.
During this interview, we talk about Lambring's creative process, releasing Autonomy a decade after her debut album, processing trauma, the complex cathartic nature of songwriting, writing with the likes of Andrew Combs, Lori McKenna, and Caroline Spence, early success, and how & why she was able to make the album she wanted with Autonomy.
This episode's presenting partner is Desert Door Texas Sotol. In addition, this episode is sponsored by WYLD Gallery, The Blue Light Live, and Hot Damn Coffee.
Interview Transcript
Note: Transcripts aren’t always accurate since they are computer automated and haven’t been edited for spelling, grammar, etc.
Thomas Mooney 0:02
Everyone, welcome to another episode of new slang. I'm Thomas Mooney, your host, and we close out the week being joined by singer songwriter Stephanie lamb bring. If you weeks back, she released an excellent album called autonomy. It was released October 23, to be exact. I know you hear it a lot, how I even say it a lot on this podcast. But this album is one of the best I've heard in some time. It's a deeply personal album, that is like filled with a lot of weighty subject matter. She talks about religion and double standards, body shaming, domestic violence, suicide, family pressures, and really just all those complexities found within relationships with others, and of course yourself. One of the things that I really like about Stephanie's writing is how direct she is as a writer. Yes, the songs they address insecurities and trauma and serious subject matter. But she's never wishy washy in how she presents the songs or the storyline. It's very bold and unflinching in nature. And I think a key feature is the self awareness that she possesses. And that she ensures, makes it into the song, what I think is so special about that. And what's really important about that, is that it's very disarming, I borrow that description. It's the way Stephanie described a certain songwriter we talked about, but there's something to that in the songs as well. It's not a brazen confidence, but more of a noble confidence, an experienced one. So when she's singing about like a gaslighting boyfriend or the music industry, double standards, or fat shaming or whatever she is so to the point that it makes you less insecure about those things that keep you up at night. I hope that makes sense. One of my favorite comparisons that was made was by Jonathan Bernstein over at Rolling Stone, he mentioned how there's similarities between Stephanie and the melodic country pop punk of Lilly Hiatt, I think that's really apt. I also think there's a lot of Jenny Lewis, Sonic textures and fuzz that kind of give the songs a touch of that 80s nostalgia edge, some more of that indie rock fill, and that nostalgic edge, it really lends itself to helping the songs feel more like memories, because so much of what she's singing about. Again, she's so direct that it feels like she's talking about snapshots or Polaroids from the past. Anyway, I really like the songs of autonomy, and I really loves talking about them with Stephanie earlier. Rolling in from the hills of Eastern Tennessee is hot damn coffee, a Down Home company that roast single origin high quality coffees from around the world. I am proud to be working with the fine hard working folks over at Hot damn coffee there year round roast come from certified farms in Nicaragua, Ethiopia and Tanzania, od m coffee sent me over some samples the other day and they've just been making each morning that much better. 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But again, that's hot damn dot coffee, and slaying in all caps for 20% off your order. Start your hot damn subscription today. Today's presenting sponsor is desert door Texas Soto. If you know anything about me, it's probably that I'm from the heart of West Texas and absolutely love everything about West Texas. And that's really why I love desert door so much. You may be asking yourself what exactly SoTL is? Well, it's a premium spirit that's similar to a tequila or a Moscow. But for my money. It's a little bit more refined and smooth. There's a sweetness and faint hints of vanilla and citrus and it's also as versatile as your garden variety vodka. At its core desert door is authentically West Texas. They go out and harvest Soto plants from the wild and bring them back to their distillery over in driftwood Texas. So next time you're at your local liquor store, get a bottle of desert door. For more info, check this episode's show notes. All right, I think that's it for the intro. Let's get on to the interview. Here is Stephanie Lamb bring? Yeah, well, let's start off like, right there. Obviously, this is such a weird year. This is your first record in like, you know, a long, long time. And it feels like if I don't know, is it? Is it better or worse releasing this record? After like this hiatus this year? Or do you think it would have been easier Had it been a quote unquote, normal year, or you just kind of embrace the weirdness?
Stephanie Lambring 5:35
I have absolutely no clue. But I guess I kind of look at life like, you know, I really wouldn't have done anything differently. Everything's going to happen as it's going to happen. Initially, you know, I released my first single in April, which was, I guess, things got especially serious in March. And I was thinking, Oh, my gosh, this is a, this is a terrible time to release something because I don't exactly write uplifting numbers. Um, and then it just felt like it totally crashed, what I thought was my ideal situation, because I had wanted to release music, and then hopefully, somehow get on someone's radar booking agents radar, and then tour the records. You know, that was my, I was hoping to be able to play shows, to promote myself. So that got bought. But the more now, you know, I'm just gonna roll with it. And I feel like that's how you kind of have to do life. But I think in certain ways, it's been advantageous because people have had more time to listen. And a lot of artists are in the same boat, like I'm, in a way, kind of, on an even playing field with other artists, because they can't go out and promote their stuff either. So I don't know, it's, I don't know any other way. And the last time I released music was 2009. So totally different landscape from then even, I'm just kind of I'm just on the ride and seeing where it goes.
Thomas Mooney 7:15
Yeah, it's, it, that's what it seems like for a lot of artists is that it's just kind of, you just kind of have to embrace the time, you know, and embrace what you can do control what you can you know what I mean? Because like there is, if there's so much stuff that you can't control, any focus on that, it's, that can just be kind of intimidating, and it can be depressing, and all that kind of stuff, but just controlling, focusing on the stuff you can control, which is, you know, releasing the record and engaging with artists or with with fans in that capacity. And then, of course, like just kind of using your time to, I don't know, right, and just do better. I don't know, like, it's weird, because I think like, there's even though like, we've had all this, like downtime, let's call it. This, we're all in limbo. It's not necessarily like the most ideal writing time for a lot of people, I don't think Have you been able to, like, do that? Or have you been focusing more on other things?
Stephanie Lambring 8:29
You know, I'm jealous. I remember whenever it was earlier on in the pandemic, and it felt like everyone was, you know, unlocking their creativity. And I have not felt that way. So I it has not been a time I haven't written anything, you know, it's kind of scary to say out loud, but that's also not abnormal. For me, I tend to be like, a one track mind. Think person. So I've really been focusing on this record. And so the, I guess, you call it the business, the part of my brain has been at work. And I kind of enjoy that too. I mean, there has been some creativity, obviously, with just like, you know, single artwork and putting all of that sort of stuff together. But yeah, I've, I've been in more logistics mode, I guess you could say. And I think well, you know, what, I've also been enjoying that just not necessarily writing songs, but you know, writing about the stories behind my songs, like, you know, just on social media and just regular kind of writing. So I guess I've been doing that but it has not been this time where I've, you know, developed a new hobby or written another record. And that's just not how it's been for me. I think once this thing is launched for a couple And then I'll start thinking about the next thing.
Thomas Mooney 10:03
Yeah, I just like I, I have a hard time believing that like, this is just the best time for everyone creatively. Because like, just because you have free time doesn't mean it's like the same thing as organic free time. You know what I mean? I guess because like, this is kind of like a forced thing. And yeah, I don't know, it's just so weird to like, try and tell you. Okay, you have all this time now. Right. Right. Right. You know what I mean? And it I don't know, if it works that way.
Stephanie Lambring 10:44
Yeah, I think I think for some people it can. And I think that there is some level of discipline that you can, and many writers do incorporate into their, into their work. So I think in that in that whole realm, like, that's definitely a possibility. But man, it's not a one size fits all. Some people are truly thriving, and some people are definitely it's just, it's not the right. It's not the right setting.
Thomas Mooney 11:19
Yeah, I've been interested seeing what other people have, what I guess what I've gotten more out of all this, talking with people is seeing what they've been doing creatively. Outside of songwriting. I know, like a lot of people have been doing, like gardening and like working on their houses and like, painting and just doing a lot of things that you wouldn't, I guess, like, if they're all wearing like the quote unquote, songwriter hat, or like the artists hat, working on, like art from other places, and I just think like, that's probably been a whole lot more beneficial for them as far as once the juices start going, once they're able to start writing. That will be what they kind of, I've gotten all in order, I guess, like, already pre time, I guess, you know,
Stephanie Lambring 12:10
Oh, definitely. I think that that feeds people creatively, it nurtures their creative spirit, it's doing something creative, and you know, it will come out in their writing eventually. But I think it all nurtures the creative spirit. I've just been waiting tables to make money to fund this whole thing. That's like, I haven't my life kind of returned to normal. And the end of May, I went back to work. So I've just been kind of, in this world of my day job, which is usually a night job, you know, trying to launch this thing. I haven't had a lot of, except for the first like, six or seven weeks. I haven't had a lot of free time.
Thomas Mooney 12:54
Yeah, like, that's a I came here who I was talking with, but we're talking about how early early on, like we were in this point, where should I start trying to do whatever that like, that extra hobby is, should I learn how to play Fedora, you know, so whatever the case, and a lot of people were like, in that, well, I don't want to start doing it. And then like, everything goes back to normal, and I just kind of give up on it. That was like, the more in the I guess. I don't know, let's just start another season of whatever, on Netflix or, you know, the the binge watching time of our lives.
Stephanie Lambring 13:37
Oh, yes. I like I went back and said, so I grew up, I played growing up. I played piano. And I took lessons every week for a couple years. So the beginning of quarantine. I was like, I'm gonna I'm going to revamp my skills. And so I went down and I was like, I'll be documenting my progress on this song. I think I did it for two days. You know? I didn't get too far.
Thomas Mooney 14:07
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Stephanie Lambring 16:07
Um, at first, I was pretty nervous. Obviously, just us being in a pandemic. But after, you know, some people in our kitchen had COVID. And we had to set down the restaurant for a few days. And then we all got tested, and no one ended up having it except for them. So that was kind of a crazy. I mean, it might sound strange to say that, then I felt better. But in a way I did, because we were all wearing masks, they're all doing what we were supposed to be doing. Were directly exposed, and then no one else got sick. So I don't know, it's, I think the thing that I felt a little bit less anxious after that, because if I'm doing what I can, everything I can do, and everyone else around me is, then I feel that I'm feeling a little bit better. But obviously, this virus has a mind of its own. And I think that's kind of the scary thing, you never know who it's going to affect. And that said, like, all the staff is wearing masks, but our guests come in with a mask and then take it off on their at the table. So I don't know, up end of the day, I have to make money. And I've just, I guess I'm rolling the dice a little bit being healthy 34. And I'm just doing what I have to do to make to make money and trying to be as safe as I can about it. I don't really see many people outside of my work setting right now, you know, so it's not really I haven't really visited my parents.
It's a kind of have my own little bubble. Yeah, like many of us, like many of us do during this time.
Thomas Mooney 18:06
Yeah, it's it's so strange with I think, like, I think we all have all had these like little bubbles that we live in. But then like, just this year has made us aware of them, I guess. And like how, for me, like, I'm very much I can just be about myself. Like I was like, uh, for most of my life. I have like a one little brother who's 14 years younger than me. But you know, for most of them, I was like a, a only child. So I feel like even though this time has been so weird. quarantine has been pretty much okay, because like, I can just occupy my, my time by myself easily I don't know. And then obviously just talking on the phone and stuff with people but like, I guess like, it's to me shown how I can adapt to this kind of time, but a lot of people it made me aware that a lot of people just need a lot of interaction outside of their outside of themselves, I guess. And that's been such a weird and I guess I not necessarily weird, but like it's been eye opening I guess, to I guess, understand that people do need a whole lot more interaction on the daily basis even if it means just like the small talk at the grocery store.
Stephanie Lambring 19:37
Oh, yeah, it has been interesting to see like to observe in myself and then and friends that I have that I didn't realize, you know, craved as much social interaction that really has been fascinating and and even in myself like, I don't talk to my neighbors You know, I'm that level of I gotta go. I'm very friendly. But I have to whenever I go to work, I have to be on and social and everything. And when I come home, like, I don't want people in my business. And I found myself like, it's been even me who, like I can, I'm an only child, and can very easily occupy time by myself. But I, and I consider myself overall I'm, I lean, I lean more introvert, but even I had a point where I was like, I need social interaction. And I would check in with my other friends that are introverted, and they were like, this is the time of my life, you know? And I guess I realized I'm not as introverted as I thought. It really is fascinating. Just seeing how, how everybody, I guess it's all come to the surface, how we all you know, how we all kind of thrive and survive. Most of us survive and thrive this year.
Thomas Mooney 21:07
Yeah, like, it's, I guess, like, what? There's like this fine line between, for for people who need all that interaction. There's like, I think a lot of us have maybe Miss? I don't know, like, I guess, Miss read what? That social interaction that they need to be productive and feel good and all that stuff. I think some people have, like, misread that as being selfish, or like needing that spotlight or something. And I don't think that's the case with a lot of people. I think that's really like, they're just like, that's what, that's how they are on a daily basis. And that's what they need. And yeah, I don't know. Like, it's such a, it's been an interesting time for like self reflection. But I think overall, as far as like, seeing everyone else seeing I guess, like the people around you observation of the people around you have people in general has probably been like, more interesting for me.
Stephanie Lambring 22:10
Yeah, you can only think about yourself. So so long, I guess. Yeah. And definitely, it takes all kinds of kinds of us, I would say.
Thomas Mooney 22:23
Yeah, well, let's transition to, like, I guess, more of the songs on the record. When I was sent the record, you know, like, within seconds, I kind of knew, like, Oh, I want to talk with her about this record, because it seems. First off, I just thought it sounded good. But like, it just seemed like a very, very heavy record. I think that like, we kind of sometimes think that when an artist writes about heavy subject material, that we kind of just broadly paint them as being maybe, like, let's just use the common General, terms of like, just sad in real life, or like, right, and kind of like a, you know, wet blanket in real life. I find like, that's typically not the case. What I guess, is there like any kind of those preconceived notions that you've kind of gotten from people after they hear the songs from you, to where they just kind of think of you as like, maybe being? You know, like the brooding songwriter type?
Stephanie Lambring 23:42
You know, I haven't had I get the opposite. I mean, I guess I hear that mostly from, I haven't gotten that from people that have learned about me, through my record, to my face. Anyway, I'm sure people think it but I haven't really had that brought to my attention directly. That said all the time. I get, I can't believe these songs come out of you. And I used to always say I'm a happy person, but I write sad songs. I remember telling that to my therapist, like when I started therapy, six years ago. And she was like, Oh, you have a lot to learn. So I kind of have come to this place where we're all multifaceted. My personality is generally outgoing and bubbly, and funny. And then my songwriting is really introspective and, and then also observational and really heavy. And it's just the kind of this it's, you know, we're all multifaceted human beings. But usually I get I can't believe people meet me they expect one thing If they haven't heard my songs, they expect something different. And so I hear a lot like on that end. And then I also like, I think I find myself, especially in doing more interviews, I don't have to keep myself in check, because I don't want to turn on my performance personality, you know what I mean? Like, try to, I want you to know that I'm not the sad person, like, you know, some insecurity inside of me feeling like I have to show you that I'm really not, you know, it's interesting. I like I've done a lot of thinking about that with people talking about the heaviness in my record. And then, you know, that doesn't match your personality, you know, but people that have heard the record, and they don't know me, aren't really commenting on that.
Thomas Mooney 25:56
Yeah, that's interesting. You're talking about like, the, you know, the, the performance aspect of like, of that, because I think what's funny is if you see a band play a few nights in a row, you realize, like, you know, the lead singer always kind of has those go to jokes, those go to intros. And for a song, and it's all part of, you know, not necessarily an act, but like, or like that you're faking it. But like, you know, it's a little bit more, I guess, rehearse than I think people often think of is that like, there, it's not necessarily always just like you off the cuff upstage, I find that really interesting that you're talking about that about how you are aware, self aware of that, like, Oh, I need to, like not necessarily do that. During these interviews.
Stephanie Lambring 26:54
Yeah, it's because I think I've caught myself. Like, I really like to go deep whenever I'm writing. And I, and I like to go deep in conversation, but it's like, this personality thing that's ingrained in me, you know, you can't have people you know, down, down, down whenever they're talking to you. Like, it's something that I want to keep in check, because I want to be able to, I don't want to, by keeping things more surface level or, like, with my, with the driving thing being like, I'm really okay. I mean, that talks about my own issues, you know, which I guess is, it's just more more things to think about. Um,
Thomas Mooney 27:43
yeah, you know, it's, I don't know, I find like the, I guess, like, what, one of my big things, I guess, as a journalist, that I feel like I've, it's an ongoing process of learning is that, you know, we kind of always try and put everyone in like boxes, and like, try and like, I guess, like, if you write a song This way, or you write this song, that means that that's 100% fact, and that's what you are. And sometimes, like, that's not the case, sometimes, like, these aren't all truths, right? That doesn't, or like they're you at a certain point in your life, or I guess, like, where they're all I guess we kind of think of you guys as as absolutes versus it being a lot more gray area. Where so a bit more of a, I don't know, like, I guess where I'm going with this is like, I feel like a lot of these songs just because you wrote you wrote them doesn't mean that, like you're over your over these issues, or, and it doesn't mean that you're still like 100% in that moment, all the time, either. I think there's this like, I guess that gray area that it can be both. Does that make sense?
Stephanie Lambring 29:07
Oh, 100%. I mean, I think as humans, we like to be black and white. We like concrete. And I know, like, that's how my mind wants to go all the time. But my spirit does it and I think that's going to be like a lifelong dance for me. But and that to what you were saying about songs, I think, I mean, I couldn't have said it better. It's these songs are, you know, some of the songs are me processing my own life. Like, you know, direct, direct 100% autobiographical things like some of the me processing that and healing most of it, but I don't I think that we carry all of all Pieces our entire lives, you know, and one day you might be doing pretty well. And then and then the next day, something like the little eight, the little eight year old and you is triggered and you're acting, you know, just not not in the most mature way. And I think that that's just like, I think that's true for all of us if we, if we sit and think about it and observe ourselves.
Thomas Mooney 30:29
Yeah, I, I just think that like, there's I guess like for some songwriters, in some sense, a lot of times sometimes, or I say a lot of times sometimes. But a lot of times you're talking with people, and, you know, this record will be, or the collection of songs will be a little bit older than when it's released, you know, a year or two years, whatever the case, and sometimes that artists is like, they needed to make that record, because it was about that moment in their lives. And, you know, they are able to move on from from that moment. But and I think, like, you try, and I guess apply that to a lot of people, a lot of artists and again, like, I just don't know, if like you can just write a song, and then, you know, Oh, there goes, Yeah, I'm done that the chat that chapter is finished, it's, it's, you know, we're done with that. And I don't know, like, I just find, yeah, again, like, everyone's a little bit more complex than that. And I feel like this record is a lot more complex than, than just that either. Because you do talk about a lot of intimate moments, a lot of insecurities, a lot of like, trauma, past trauma, trauma that you're trying to work past. And like you said, a lot of it has healed but like, you have these little everyone has like little trigger points, little things that can, you know, remind them of the past, remind them of insecurities. But at the same time, I think like there's these little moments in this record where I hear like, you know, a lot of confidence, or a confidence to is it feels juxtaposed, but a confidence to even talk about, or address this kind of stuff.
Stephanie Lambring 32:24
Yeah, I think there's some, I've been getting, like, probably not as well put as you as you just put it, but I've been hearing that a little bit. But it takes a certain, I guess, boldness to sing so directly about something like, I'm a very direct writer, there's not really, you know, everybody can have their own interpretations that kind of see, see it through, like put see it through their lens from their experience, but I'm a very direct writer. So I think that there is maybe this confidence that or boldness that, even if the topic is heavy, like it's carried in the song. And I don't know, I think that that can kind of jar some people and make them pay attention more. Like, to what could be more singer songwriter a theme than what they would normally listen to, if that makes sense?
Thomas Mooney 33:43
Yeah, yeah. I think that like, there's because I think like, what, a lot of these songs, they have scenes, that feel very, very vivid, that are very, like very, like, like, like, you just have like a Polaroid camera at these moments, and we're able to like take a photo or like a video. And then like, somehow put that into a song like and that's like in the songs like, you know, pretty are like Mr. Wonderful. We're like daddy's disappointment. There's like these really, it feels like those are like just you know, vivid flashbacks, Polaroid photos or or video of those moments. And I feel like that's what like can help. A lot of people understand that is like, because and then it goes to like what you're talking about, like the being bold and being direct because it does feel like it just happened five seconds ago.
Stephanie Lambring 34:43
Oh, totally. And I think I think that sometimes it sounds counterintuitive, but I think that sometimes the more direct you are the more universal something can Feel like you feel more seen, you know what I mean? The more specific you are, the more you can, as a listener, the more you might be able to put yourself in a story or remember, oh my gosh, I had something like that. But just like that, that happened to me. And it can oddly have a more universal effect.
Thomas Mooney 35:18
Yeah, like it very much, like, sets the table, I guess. Like it can, like, give someone a something to latch on to, you know what I mean? Like, that makes it kind of like, this is gonna be like a weird, maybe analogy, but, you know, like, whenever you're, you're, you have a dream. And like, it feels very, very real. And then like, when you wake up, there's something that like happened. And like, it just seems like, Oh, that was definitely a dream. And that that was Oh, there's, I guess this element of weirdness in the dream that you're you become aware of once you're awake. It's like the exact opposite. where like, for example, like in one of those songs, you talk about, like standing at the free throw line. at like, a high school dance kind of thing. Or meeting or I don't know, necessarily high school. I don't think you mentioned High School, per se, but you're at the free throw line. And I think like, like, that's a real world element that like just makes people get thrown into that moment.
Stephanie Lambring 36:20
Yeah, cuz it's like it, if you like, kind of drifted off, it kind of pulls you in, I think. I mean, I know, when I listen to music, I am particularly drawn to specificity, you know, and I really, I really think that that's impactful writing style.
Thomas Mooney 36:40
Yeah. What I guess like what I was wanting to ask to connect it to all this has been since you are such a, such a direct writer, has that had like a, an impact on like, the, I guess, like people close to you telling you, you know, hey, like, why are you writing about me? You know, what I'm saying? Is, have you had any of those kind of, like, hard conversations or, you know, like the, I guess, like, bad breaks in, in a friendship or relationship in general.
Stephanie Lambring 37:23
Even if I write about another person,
Thomas Mooney 37:25
yeah, like, because, obviously, like these, these are moments where, you know, it's not just you, you know, talking about all this stuff. It's, it's, you're, you're talking about other people too.
Stephanie Lambring 37:40
Right. Um, I have I have not had that experience with people that I've directly written songs about. Maybe it's because it didn't paint them in a negative light, necessarily. But yeah, I mean, I'm thinking of a couple people. Like for my song joy, and Jesus, the first verse was about, or the first verses about my friend, Elise Davis, who's a great a great artist. I did feel uncomfortable whenever I knew she was, you know, it's kind of like one of those things where you don't know what they're gonna think. But her response when she heard the song was like, holy cow, like, that's exactly what happened. And for somebody else's dress, I wrote that about a friend of mine. I didn't play it for her for years. And then, when I did, I mean, she just cried. But it didn't it was it was more of a healing thing, then, then, that, that is disappointment that that was the one I was like, I didn't play it out at all. I mean, I played it out, like, less than five times, because I was afraid of my dad hearing it. And I didn't want to hurt his feelings. But it was a song I had to write. So that was probably like the hardest. That was the hardest one to play that was inspired by a different person.
Thomas Mooney 39:25
Yeah. Well, mind you, like also. I kind of believe that, like, if you're a writer that comes with the territory, yes. And that like, you never hear anyone ever complain about like, oh, blah, blah, blah wrote us love song about me. Or you know what I mean? So like, I feel like if, if you can be okay with, you know, songs that are about you that are like, put you in a good light. You have to kind of be okay if something puts puts you in a bad light, or just a slight Negative light or whatever the case,
Stephanie Lambring 40:03
definitely, I think if you are close to an artist you are, you know, you're accepting the risk that you might end up in a song. Or, you know, you might inspire a song for the, for the better for the worse, you know, it's just one of those things.
Thomas Mooney 40:18
Yeah. Now you've mentioned how like, you know, you have gone back through like old diaries and have kind of, you know, been inspired by that, quote, unquote, like eight year old, little version of you. For some of this stuff is like, what have you? I guess, like with that, what, what else has come out? I guess, not just like from the diary. But has there been any other? I guess, songs influenced by? You know, that version of yourself? Or is it males? Mostly, like, just remembering stuff from stuff you've written?
Stephanie Lambring 41:01
Oh, well, I mean, obviously, pretty was very heavily influenced. And the funny thing is, my parents found we couldn't I have so many journals from whenever I was growing up, I wrote all the time. And we couldn't find that one journal that I remembered reading, Will I ever be pretty, and that, like, stuck out to me. It's when they finally found the one. And in it, they found the entry where I, like, described the first verse of pretty, and I mean, it was too late. How I remembered it is how I wrote it down like the night it happened, which is kind of crazy. So like that song, it's definitely directly the little eight year old girl. And other than that, I mean, this is gonna sound like, I mean, definitely daddy's disappointment. Definitely. Like just that feeling of, you know, I had a lot of pressure on me whenever I was younger, too sick to perform, I guess you would like it from whenever, whenever I was. Elementary, through high school aged I was, it was grades. like making straight A's. I was actually valedictorian in high school, like, I had a lot of pressure on me to do well in school. And I like school. So that kind of worked well together. And then. And then in high school, music started and then that kind of became another, I felt pressured to do music. And I also loved music, it was this kind of complex thing. So I mean, for that, I definitely have seen just that. Like from old memories that think that I carry that with me. And I think that that comes through in a lot of my songs like the I guess the person that wants to be good enough, you know, and wants to be seen, I think that's the biggest thing I think, like the little girl that wants to be seen. And so the period I'm trying to like dig into all these heavy topics to be seen. I feel like that's a rambling way to get to a point but I'm just I'm kind of like putting it together in my head.
Thomas Mooney 43:22
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Again, that's wild with a why I'll throw a link into the show notes, as well as share some of my favorite pieces on Instagram and Twitter already have a few earmarked because I'll be ordering them soon myself. Again, that's Austin, Texas is wild gallery featuring a blend of traditional and contemporary art by some of the most gifted Native American artists. Okay, let's get back to the episode.I find that really active I always say like, I find that interesting, but I do I find like what the A like to be seen, but also like the I guess like the expectations, the the pressure that you're talking about, where like, I guess once expectations come in, comes into play, it can take something that was like fun, initially fun or initially a joy and turn it into something. That's not fun. That's a lot more, like you said, a lot more complex. I think obviously, the music industry as a whole can kind of do that as well. And you do talk about like that, too. And of course, like, there's a reason why this record is, you know, 11 years after your first. Yeah, did it become like not fun that it has, have you had these moments where you just kind of felt I don't, I just can't do this anymore. I don't want to do this, this, I don't know what this is anymore. It's not what I initially thought it was gonna be.
Stephanie Lambring 47:53
Oh my gosh, so many moments. And I think that was what was terrifying because on a certain level, I knew I loved music, but the way that I was doing it wasn't working. So I think it was really easy for me to copy paste, my, like wanting to please and do well. And, you know, kind of what I felt with my, with my parents to the music industry, if that makes sense. So like, I'm going to be you know, I got signed to a publishing deal. And it was really easy for me to just kind of sit that okay, well, what do you want? Am I doing well, do you like the song, you know, like, kind of looking for that validation. But also having a true talent. But then it like becomes, and this is where it's different from, you know, my upbringing. It became like a machine. For me that music and having a publishing deal, you get signed because of how you write for yourself. And then it becomes that it shifts to writing songs for other people. So I, the longer I would start out my publishing deals, I'd be writing killer songs that I that I've done by myself and then I would be having three, four or five co writes a week and just kind of slowly losing myself and my vision for myself in the process. So like definitely my publishing deals. I got very disheartened because I stopped doing what I truly love which is writing by myself for myself. And I got Yeah, so definitely in those moments and, and then whenever I was in my early 20s when I released this first my first record wildly too alone. I was playing I mean it was back with nice faces. Cool, somebody posted a link to my face on a BBC Radio two message board had a good response. And then the moderator emailed me asked me to send him some songs. And then that weekend, I was played on bob Harris's BBC Radio to show like, it was crazy. And then I had an opportunity then whenever I was 2223, to tour the UK, but I just wasn't ready for it because I think I hadn't, I had not carved out my own vision, I think that's what I am recording this album that it's a totally different recording and releasing this album is a totally different experience. Because, you know, I've been out of the music industry for three years at the point whenever I started writing this or recording this record, and I was kind of stripped away, like, I'm not doing it. You can't ever be 100%, black and white. And like, I'm not doing it just for my parents anymore. I'm not doing it for the music industry. Accolades. I'm doing it for myself, I'm not doing it for the people that want me to release music, like I'm doing it because I know this is something I want to do. But it took me like totally giving it up. And taking a chance that I may never do it again. Whenever I left my publishing deal, but I knew that if I were going to do it authentically, like I had to, I had to take a complete break and risk not doing it again.
Thomas Mooney 51:32
Yeah, like it's, it's so weird, because I think in life, and this applies to everything is you kind of always set up these little goals for yourself. And then, you know, you get to that point. And like, you have that rush of excitement of like, Oh, you know, I've, I've accomplished this, whatever that is. And then like, Moments later, for me, at least I always feel like that little bit of like that. I guess like that little bit of sadness of like, Oh, this isn't exactly what I thought it was going to be. Or like what's next, like? Okay, and then to like what you're talking about with, you know, success. Early on in life, I, what I realized is that, you know, a lot of our favorite artists didn't get like, I guess, like, where they didn't, a lot of people don't aren't successful until their 30s. And that has to do with just being, I guess, having being stepped away from like, all the hard work, knowing what they want. Knowing like, just how difficult everything can be. And yeah, like, I don't know, it's so weird, because I think like, early on, you just if you were just given that golden ticket to become a to have everything you want it 2022 whatever the case is. Most people would take that, but then like it can feel like like you said a minute ago is like, you weren't necessarily ready. You didn't know how to handle it. I
Stephanie Lambring 53:11
guess. I know. Yeah. Like, how do you hit I mean, some people can, but like, I was not even I had, you know, my essence. I knew I did not know myself yet. And I didn't have I didn't trust my I think the most important thing is I didn't trust myself yet. And God, like there's something that happens. You know, I like that I like 30 so far, you know, I feel like I've really come into my own. And I just I'm so thankful that whatever my that circumstances combined the way that they did, and then I didn't. I'm glad I didn't keep on that track. Because I wouldn't have I wouldn't be where I am today. I wouldn't I don't know I might be. I feel like I might be a total nightmare. kept on that track, then I think I would be an unhappy nightmare. We don't need that, you know,
Thomas Mooney 54:15
I this is a couple of years ago. But I had a friend who had mentioned, I guess, like we were, I don't know, probably like 2728. And she had mentioned that she felt the same that she did back when she was 22. And like she felt like I feel exactly how I did when I was younger, until I hang around someone who's like 2223 and then I realize that age difference is like massive. You know
Stephanie Lambring 54:47
what I mean? Isn't it is insane how much of a difference there is. But I totally relate to that. Like you can feel it Totally that resonates with me. 100%.
Thomas Mooney 55:03
Yeah. And like I had never like really heard it that way until she said it that I was like, Okay, yeah, I know exactly what you're saying. Because Yeah, like, do I feel any different than I do than I did? At 22? No, I feel like, yeah, I feel the exact same person, you know, whatever the case is, until you hang around people that age, then you're like, Oh, my God, don't tell me I was like this back when?
Stephanie Lambring 55:31
I yeah, I can. It's scary. Really. It's scary if you got to dig in there. But it makes for some good stories. Sometimes. If you think about all like, if you can't see me now that my hands are over my eyes just thinking about. Anyway. Yeah, we all we all change a lot. Thank God.
Thomas Mooney 55:50
Yeah, I always I kind of have like that, I guess life thing of this, this goes back to my little brother who's like 14 years younger, like I mentioned, he just graduated high school. And I remember just telling him like, from like, 16 till now I'm like, you don't realize it, but like, you're a shithead. And one day, you'll realize that, and if you do realize that you're going to like go, oh, man, you know, like, do I always? I guess like, because I think of that for myself, like going, Oh, you're just a shithead at 18. You didn't know what the hell you're talking about. And I feel like that's how, as long as you're always kind of thinking, you know, oh, I was I did some dumb things. Two years ago, or whatever the case. You're always going to be I guess, moving forward. You know what I mean? That makes sense.
Stephanie Lambring 56:45
Oh, totally. I think that, you know, you got to have grace for yourself. And you have got to laugh at yourself. Because what else are you gonna do? You know, but we all I was, I remember, I was so self righteous when I was younger, you know, and maybe that's why I write so much about trying to tear that down. I just remember how like, picky I was, and how I've tried to control the actions of other people. And oh, god, like, the older I get, the more I realized that what I don't know. And I mean, I hear that a lot that seriously like, to think that I was an authority on anything when I was that age is very interesting, but I mean, that's part of being 22. And younger, you know? You gotta like, you gotta have grace for yourself. And, and, and laugh at yourself and, and just correct. where necessary.
Thomas Mooney 57:42
Yeah, like, I guess, like, looking back for me, I always kind of think of like, I guess like, back then I was way more of an optimist, but not just an optimist, like, an absolute, like an absolutist to, like, and you just kind of, and I mean, like, from everything from just like music to like, art, to politics, to just everything is like, you know, it's, you're wrong, like, just because you if you like this, or you know what I mean? And I, I guess what I've realized is like, that's very, very exhausting. And like, obviously, there's a lot more nuance in life. There's a lot again, going back to that there's a lot more gray area in everyone's life. So, yeah. I was wanting to ask you a few questions about some of the CO writes that you've done. Yeah. I feel like every time I hear someone who's written with Lori McKenna, I asked, I have to ask them about writing with Laurie. I feel like she's like, she's definitely one of my favorite songwriters. What is it like writing with Laura McKenna, like stepping into a room and, and turning on a song?
Stephanie Lambring 58:58
I mean, it's one of the best experiences you could one could have like in that co writing sphere. I mean, she makes you feel well, first of all, you're intimidated. you're intimidated to suck. You walk in and you're like, Oh, my gosh, I met Lori McKenna's house. I think I've written with her on two different trips. And I my publishing company flew me to Boston and I remember driving to her house and walking in and I was just like, I hope this goes well because you know, this is taking up three days of her life and costing my company hundreds of dollars. But, gosh, you walk in you feel so at home, and she just she disarms you like she's very disarming, so down to earth. And then she I think, like one of the best skills a co writer can Have I mean, she's obviously like it goes without saying she's brilliant. So on top, you take that and then add in. She makes you feel good about yourself. And so I know when I've experienced that in CO Writing Situations, it makes my whatever's coming out of my brain in my mouth better automatically, if you feel like that confidence. So she's a brilliant writer who makes you feel good about yourself. And I wrote, you know, we've sat down, and I've had painful co writes in Nashville that were like, that lasted like two hours. I remember I would be at her house from like, 10am to 6pm. And not that and I, you know, it was, a lot of times co writing can be draining, but with her it was. It was energizing. And that's, I mean, that is special. It truly is. And I bet you've heard a lot of similar things from other writers. I've written with her. Yeah, I
Thomas Mooney 1:01:00
have, but like, what you said, like disarming, I think I've not heard anyone say that. But like, that's what they've all been talking about. is like, yes, the the, the lack of pressure, the like, a lot of people have described it as like the motherly kind of thing. I think like what I feel like for me, if I was ever in that situation, I feel like I'd have that problem of trying to stay in the moment. Like just being too much of like, Oh, my God, like, I need to like, you know, like, sometimes when you're, you're doing something, and then like something special is happening or whatever, and you're trying to tell yourself to capture it all. And then you like, focus too much on like, trying to capture it all versus like actually just doing it. I feel like yeah, how would it be? Me at least I don't know.
Stephanie Lambring 1:01:52
Have you met Lori McKenna.
Thomas Mooney 1:01:54
I've interviewed her like, I guess, one time a couple years ago.
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So you also like have written with Caroline Spence. That record that she put out a few years back that was like one of my the hotel Amarillo one are like Yeah, what is it called? It's like, spades and roses spades and roses. Yeah, I knew it was not hotel ever but yeah, like that record, I just thought was such a I love like the mood and like the tone of that record. And you guys wrote a song on there. All the beds I've made. Can you remember like writing that song? What was like that
Stephanie Lambring 1:03:40
song? Oh. So she had the idea. For all the beds I've made. I first of all, I love I love Caroline. She's like, talking about my, you know, my disdain for some co writing earlier. But man, like these two that you brought up, I did have like, you know, a dozen or so people that I loved, absolutely loved writing and collaborating with. So I just want to say that and Caroline is one of them. But the day we wrote the song, she brought the idea. And we just kind of like filled in the blanks we're talking about just, you know, kind of our, our experiences and lack thereof, in relationships and kind of like putting together like, what we hoped for one day, but that song just kind of magically came together. And she's had, you know, really big success with that. I love that song. And now like, I feel like even now whenever I listen to it, I get something I take something away from it, which is interesting, like something that maybe I didn't realize at the time. I was writing it at the time. We already it.
Yeah, well, what about like the I guess the relationship with a song like that? That? Obviously she cut. It's been cut by I think like Claire Bowen too.
Yes.
Thomas Mooney 1:05:13
What is that relationship to a song? That, I guess maybe like that she has? I don't want to say ownership of but but she obviously plays and that you do you? Do you play it any? Or do you like, is that just kind of like in the back catalogue.
Stephanie Lambring 1:05:30
Um, I have started playing it a little bit. It's funny that like, in my mind, it's Caroline song, even though you know, I helped write it. But I have started playing it out a little bit. Just I just, um, I think she does it better. Like in my head, it's, it's something I have to break. Not have to break. But like, if I want to play it and do it justice, or try to do it justice, I have to break that way of thinking because it is a song that I'm very proud of. And I think I'll be singing it more and more in the future. Once I can say get places again.
Thomas Mooney 1:06:15
Yeah, like I've been, I guess, like, interested in that part of it of like, because obviously like sometimes, you know, there are those co rides that were like your, I guess going to, or know a lot of stuff not necessarily with you. I don't know if that's if it's the case with YouTube, but like, there's those co writes where you kind of come in to help a songwriter, finish the song. And that person's clearly going to like probably cut this song. And so like, I always wonder, like about the What do you feel? By the way that you can sing? Obviously, you can but like, you know, what, what's that? Like? You know what I mean? You know, I'm saying,
Stephanie Lambring 1:06:58
Oh, totally Well, I think because I have had some cuts. It's, it's a more normal thing for me to, but when I feel whenever I'm singing it, it still feels like I'm, you know, I know, it feels like I'm introducing a song at a writer's round. Like, you know, this is a song that Terri Clark recorded. You know, it kind of feels like that for me, rather than I wrote the song, you know, but I think because I spent time on Music Row and had other people recording my songs. It feels less weird to sing it. But I don't really feel like it's, you know, my song as an artist.
Thomas Mooney 1:07:39
Yeah. Yeah. That's it's such a weird thing. I guess. I don't know. I was I was gonna bring up Andrew combs. That song off of I guess his second record. I'm bad with it. Yeah, album titles. For some reason. I know that the song is long gone lately. That I feel like Andrew is like one of my favorite songwriters too.
Stephanie Lambring 1:08:04
He's so good. He's so good.
Thomas Mooney 1:08:07
I guess I interviewed him probably this a long time ago now. Right after his first record came out. And what I was telling him though, was like, there's always like one line, at least one line minimum in a song that I go like, holy shit like that is like, Where did you come up with that? Where is this? Like, there's always like that. Just that nugget of gold and at least at least one line that you go that you're kind of like blown away with. Clearly, though, you guys wrote where he cut at least long gone lately? What do you What? What was that? Like writing? What was the moment for that?
Stephanie Lambring 1:08:45
Oh, gosh. I mean, we used to Andrew and I had pretty regular writing appointments. So I don't know if I remember that specific. I feel bad that I don't necessarily remember that specific co right, because we just wrote together so often. And it wasn't like we were it wasn't like we were writing for his. It didn't feel like we are writing for his project. You know, we would just like, get together. He'd usually start playing guitar. And I don't I don't remember, specifically, like who had the idea. I think actually, now that I'm thinking about it, I'm pretty sure I had the title concept for this one. But all of our songs kind of like work together pretty easily. And what I'd say we wrote together, like once a week for a while, so it's hard for me to recall that specific that specific session.
Thomas Mooney 1:09:44
Yeah, no, I mean, like it's, it's something that if you're doing something like that with someone constantly, it's hard to like, or it can be hard to recall the I guess the specific moment
Stephanie Lambring 1:10:01
And it's also been like, yeah, six or seven years ago.
Thomas Mooney 1:10:05
I was gonna say like, it's and it's also like, he's had like three records since then or something.
Stephanie Lambring 1:10:10
Yes.
Thomas Mooney 1:10:12
Yeah, like, as far as like, for you specific I know it's different every time and but when he's like sit down to like, write a song, what is kind of like your go to thing do you pen and paper? Or are you do you have like the laptop out or what I,
Stephanie Lambring 1:10:30
I used to be strictly pen and paper, but then my time on music grow, made me a laptop lady. And then now I get a little bit of both. I lean toward laptop because I can edit it so easily. And then like, any ideas that I have, I can just, you know, jot down super fast and like press enter. enough that they're at the bottom of the page if I need to, like recall them later. So I typically do that. But usually anymore. I have like this big, I have a song concept. And like, right now I have probably three concepts floating in my head. That's as much as I'm doing with writing right now. But I know like a couple topics that I want to write about. And then, you know, a combination of discipline and inspiration hits. And I kind of sit down and we'll just try to write something. And I tend to be now that I'm, you know, independent, I tend to be a pretty meticulous songwriter, like I'll spend, I'd spend a while on one song. I'm definitely not a quantity writer anymore. It's more like a zeroing it's really, it's more about really, really trying to dial in. And I'll spend forever. Like, you know, I'll spend a couple of months on a song and other songs at the same time. And then like, after I feel like they're finished, then then I might have an idea to change a line or something if it feels right. Like I did that for Mr. Wonderful. But yeah, that's I'm typically a laptop person with who doesn't very meticulously
Thomas Mooney 1:12:23
laptop. I like laughed outside, away from the mic when you said laptop lady, I don't know.
Stephanie Lambring 1:12:31
Well, I realize as I was saying it like, this can be interpreted a different way. But we're just gonna roll with it. Yeah.
Thomas Mooney 1:12:42
You mentioned like how, like you, you get a couple of ideas floating around in your head, I think like, and I've talked about this on the podcast before. But I guess like, for some reason, we also always think of, you know, the writing of the song is just being you manually writing the song, like writing down the lyrics, wherever, wherever that is. Versus like, all the the work up to that moment. That, to me probably feels way more. That's where like, we're all I guess, like, the time investment really is like, whenever those ideas are just kind of floating around. And you're trying to, I guess, like figure out like, the angles of what you want to write. Usually, like, how long does that? Does a song like stay up there floating around? before you actually like, kind of sit down?
Stephanie Lambring 1:13:40
It totally, it totally depends. I mean, usually at least like three or four months, if I'm being honest. And I only have that, like this is only applied to this past record that I've done, you know, because before that I was writing so much more frequently. But I would say at minimum I have it the idea floating around for like three or four months, but little white lie. I had that concept for like five years before I sat down and wrote it. But not No, not five years. Sorry. It's been about that long since I probably had that idea for like three years at least. Because I I knew I wanted to write it at the end of my public at the end of my time with my publishing deal, but I just knew I like I knew I wanted to write the song by myself eventually, but I knew I couldn't do it yet. So that concept I had in my head for a couple years just trying to figure out my approach. And you know, it's like, when you have a concept in your head there's on some level, you're looking for the storyline somewhere or you're you know, you're you're taking your, your experiences and observations and you kind of like file them with that Concept kind of like a word web and your mind. Little by little. Yeah. And then like that song hollow. That was a concept that was gonna be on my next record, I didn't think I could put that on. I didn't think I could turn it out before. Because I had that concept for a while, but I just didn't think I could get there before we were done with this project. But the lot, the more we invested in this project, the more I realized it belonged on it belongs with those songs. So I kind of like one or two, buy sell to make that happen. And and wrote that simultaneously with like, the lightest song on that record Fine. Fine, was probably the least, like, fine was just kind of something I wrote to. It wasn't this big concept that I had, it was kind of like this soothing thing for myself. You know, like, this is what I needed to hear from somebody. So I'm going to tell it to myself.
Thomas Mooney 1:16:02
Yeah. Yeah, I find I find that really interesting. Because I think sometimes we over romanticize the, I guess, like the effortless aspect of writing where it's like, oh, yeah, I got that idea. And I just spit it out. You know what I mean? And like it to me. I feel like I overthink everything so much. And I'll just have stuff like floating around thinking about it. Not actually overthink, but like, you know, I'm saying, just having it float around for a while before I ever actually say it. And I feel like a lot of songs have to be that even if it's not a conscious even if you're not doing it consciously.
Stephanie Lambring 1:16:46
Oh, yeah, I think that, like I, for me, I think everybody's different. I think some people can really just like, they have an idea. And then they have to get it out. Like I know, I'm a friend of mine. It's like he just spews brilliance all the time. It's annoying, but he It's like he his brain has to get it out. I like to do, and I think we just have to. And I do get anxiety when I read about writers that are like, you know, you got to be writing every day. You know, you've got to be doing all this. And I think like, I think that we keep coming back to we need to be less black and white about it. Everybody has their own way that they operate.
Thomas Mooney 1:17:34
Yeah, yeah, for sure. I think like one of my like one of my favorite songwriters like all time, he's this guy named Terry Allen. He's from here in Lubbock, Texas. And he, he's not just a songwriter, he's a concept artists, like he's done, plays, and he's done like, sculptures and all kinds of stuff like that. But like, he's talked about how, like he it goes, I guess, to the disk, the discipline of working everyday, but it's not necessarily he doesn't think of it as like, you have a quota to do every day, you just have to be, I guess, like allow your self some time to work in that capacity in that space. And if something happens, that's actually like physically there, you're able to get out that at the four, you're going to be able to like show someone, hey, this is what I did a day. Or if it's like, you just kind of like being in the moment and working on it in your mind. And you're not able to like show someone that it all is the same thing. And at the end of the day, like it's all work. And I guess like I guess everyone understanding that. That the like that his work? Is what I guess like, I guess my point is like, yeah, so I don't know.
Stephanie Lambring 1:19:07
No, I totally get that. And I like that, I think. Yeah, I think that is a really good approach. And I think things can be it can be work, even if we don't realize it's work, like we're doing something that is tech is is actually considered work even if you don't have something to show for it. But I think that there is something it sounds like he does have a good like a mild discipline and and that's, I have that goal too. That one day, like some days I just set a timer for like 30 minutes, and I say okay, you're gonna spend 30 minutes playing guitar like no pressure. I really want to get back into that just to kind of like, you know, I am somebody that works well with discipline. And I do think you have to show up to a certain extent I know when I was writing the record, I sat down when I didn't feel like writing it. But I like I like that approach. I like what? I like what he has to say.
Thomas Mooney 1:20:12
Yeah, like, I guess like what he was saying too is like, I guess like, he has a studio. And he calls it a studio. It's really like his office. Right? Right. That he Oh, he sits in his office. And, you know, for X amount of hours, I don't know how long but like, just be you can be in that moment. And like, that's what you're dedicated to. And it is like that soft discipline. This what you kind of reminded me of like the the timer thing. I guess it was probably last year, I was talking with Robert Ellis on a podcast for listeners go back and find that episode. But he like talks about how or he was talking about how. And this is like, to me a little bit more. Like this is very, like a strict kind of discipline. But he was talking about how for like, three hours, he'd like set three hours aside, and then for like, I'm gonna have like the numbers wrong on this. But it was something very drastic where it was like, he would like work intensely for five minutes. And then for like, one minute, like, take a break. And that one minute break would be washing dishes or like folding laundry or just doing something else other than that work, then like going back for five minutes and doing that for like, three hours. Now I tried doing that, and I just could not like, I'm not able to do that. So like I did it for like 30 minutes, and like five minutes or something like that. I feel like there's something to that too. Because he was like, he was talking about like how like, I guess like those moments that you're that you're only able to like super focus on something for like that short of a period of time. Again, though, like I said, like, I just I could not I there's too much pressure to like work for those five minutes. Oh my god, like, there's the it's running out, like, what am I gonna do? Like, oh, okay, well, I wasted that five minutes. So I would do it, like 30 minutes, 10 minutes kind of thing, or 30 minutes, five minutes off. But it was it was all about like, I guess like those five minutes you actually still working on it. And you're able to like just step away for a minute. And then if you come back with, it's a little bit more like you come back with a little bit more of a fresh mind, I guess, each time.
Stephanie Lambring 1:22:35
So I love that. And I think that's so true. Like, if you step away from something, the perspective that you gain, and I mean, I that is as important a part of that is as important a part of the creative process as the rest of it. I'm gonna have to go back and I want to go listen to that episode.
Thomas Mooney 1:22:56
Yeah, like I for some reason, I think he said five and one, but it could have been like 10 in one. Summer. Okay, what like,
Stephanie Lambring 1:23:04
cuz that sounds stressful to me. I think I'm like you, I'd be like, Okay. Like, you have to get in the headspace for the five minutes. And I feel like I would be at four and a half minutes by the time I got in the headspace and then I would be freaking out because I had 30 seconds left like, I don't know.
Thomas Mooney 1:23:19
Yeah, that's how that's exactly how I felt. So that's why like i i manipulated the numbers to like work for me better. Yeah, I don't know. Like, just try it out. Other people try it out. So I don't know. I think it kind of worked. So
Stephanie Lambring 1:23:35
I like that.
Thomas Mooney 1:23:37
Yeah, you know, it's been really great talking with you today about all of this stuff. I felt like we've covered a lot of ground. Alright, that is it. For this one. Be sure to check out autonomy by Stephanie lamb bring. Good check out our presenting partners over at Hot damn coffee, desert door, Wilde gallery, and of course the blue light line. That's it for this week. We'll see y'all next week for a couple of more episodes of nice
Transcribed by https://otter.ai