“The show is like the magic sauce that f**s everything up.” Halestorm Break Down Their Live Show, Tone & Writing Process

“Critique later. Sit your butt in the seat, write the horrible thing that you don’t even think is a great idea. Just do it.” Halestorm Break Down Their Live Show, Tone & Writing Process

 

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Halestorm members Lzzy Hale and Joe Hottinger join Guitar Interactive's Sam Bell for an in-depth conversation about live performance, songwriting, improvisation, guitar tone, and why they refuse to rely on backing tracks. The pair discuss touring South America with Guns N' Roses, evolving songs live on stage, their upcoming UK acoustic shows, and how Everest has developed over a year of touring. They also dive into gear obsession, Neural DSP plugins, signature guitars, rehearsal philosophy, and why keeping music human matters more than ever in the AI era.

 

Hi Lizzy and Joe, thank you for giving up some time to talk to us at Guitar Interactive. How are you guys doing and where are you calling from? 

So we're calling from Nashville, Tennessee. We're here at home at our little home studio place. It's good. Yeah. 

 

Nice. I've seen that you just come back from, is it a South American tour, Mexico? Am I right in that? 

Yeah, Mexico, South America. We did a bunch of countries, did some shows with Guns N' Roses. 

First time in Peru. 

 

What's Peru like? 

Joe: It was gorgeous, man. We were standing by the ocean. We had some, that was the best food of the whole trip by far and we just got, went to like this fancy restaurant underneath one of these pretty Incan pyramids that's like, I don't even know how many hundreds or thousands of years old. 

I don't know. It was a blast and the crowd was incredible and everyone was friendly. What more could you ask for? Yeah. 

 

I guess that's one of the dreams about, you know, being in a band and not only playing your music to people who have a relationship to your music, but seeing those places. I mean, Peru is one of my hit lists. What are some of your favourite places that you've ever, where has the band taken you? 

Lzzy: Oh my goodness, absolutely Japan. Like I remember like the first time that we ever went over there, it was just like being on a different planet, a place we never thought we'd ever get to when we were growing up in Pennsylvania. So just, it was, it was, that was a huge mile. 

Joe: And now we've been back to Tokyo and Osaka enough that we kind of have some favourite places to go check out, some favourite food. Then like New Zealand, man, we spent a week in New Zealand before a show and it was the most insane trip we've ever been on. We're down to Southern Alps, like taking helicopter rides through the mountains. It was insane. 

Lzzy: Landed on a glacier. You know, weird stuff. 

 

Music just takes you to interesting places. I mean, I mean, you're touring, but you must get a little bit of time then to to see the sights sometimes. Do you make time for that?

Joe: Yeah, we try to. Especially when we're overseas anywhere, like as soon as the bus stops, we're, Lizzie and I are usually out the door hiking somewhere. It's like, let's get out. 

And you know, every tour you get different days off in different places. And so, you know, you don't always get to see everything, but eventually you get to see most of it. And like, I remember one year, it just worked out that we had like throughout like four or five months, there was like six different days off in Copenhagen.

Oh yeah, we spent a lot of time in Copenhagen. Like, this place is awesome. Like now we have our favourite joints to go to there. 

Yeah, it's the travel, but you know, that's the fun part about music and guitar playing and all that. Like the more you give it, the more if you're like, you know, it always gives back. And if you're really lucky, it really gives back, you know, and we've been really lucky. 

It's taken us around the world and we've seen things that we didn't think we'd ever get to see. It's cool. 

 

So now you've got a little bit of downtime, but do you enjoy the the break or do you feel like is there still an itch to get back out or do you really just take a chance to unplug for a moment? 

Lzzy: It's a little of both. It's weird being off tour when 90% of your time you're always travelling because I feel like the days kind of blur together sometimes. We actually took a few days here after South America. 

Joe: Yeah, we have to on purpose be like, we're going to do nothing, just give ourselves permission to do that. I mean, we're like, we're prepping for Download and we're prepping for, we have a festival over here in two weeks. So like the boys will be over in an hour. 

Yeah, we're going to rehearse today and we're rehearsing most days right now. Try to just come up with different ways of doing the same thing, you know, and this is like the end of the Everest album cycle this summer. 

Yeah, so we're like, all right, we kind of went around the world playing all the songs. Now let's reach back and look at their five albums before that and how do we blend it all together and celebrate Everest in the right way? That's what we're trying to figure out. 

Lzzy: There's always something, it's always whatever, like we're always chasing after whatever's next.

So it's like whether that's in a week or a month or whatever, it's like there's always, all right, what's happening? Little missions, yes.

So Everest has been out since August 2025, I believe. What's your experience being, playing that album live and how it's developed for you, what it means to you now? 

Lzzy: I think that, for me, I think that it's like it gives it this second life because I feel like the more we play these songs out live, the more they start developing a different personality live, you know? 

Joe: And you really get to see like what songs really connected with people that, you know, some of the unexpected songs or moments within the record and, you know, it gives you something to kind of look forward to when you put it in the set list. 

Like, oh, they're going to freak out again on this, this is cool. And that's always fun because, you know, the record comes out and it always takes a few weeks for people to digest it and kind of learn it and then it starts to really pop at the live show. And it's been a year now, so now people have had it a while. 

So it's like, it's awesome. It's neat to see that everyone gets it and seems to like it. 

You guys seem like a genuine rock band playing from the heart. Do you find that things start to develop when you start playing live by changing riffs here and there, adding parts, taking away parts for live performances, or even coming up with new versions of things? 

Joe: Always. All the time. Always being refined. Like after every show, we sit there like, hey, you know, you know what, you know what would be cool? Like, let's try that tomorrow. Yeah. And, you know, we practise it and sound check her backstage and then just, we throw it, you know, we like to, we have to switch it up every night, the set list and we're down to try any ideas or for like, hey, let's try this cover because they're from this town or just there was something, you know, keeps us on our toes and stops things from feeling repetitive, especially on the road where a lot of times, like you wake up on the bus, you get off the bus and you go into another backstage and you play and there's usually the same sort of food and drink spread. 

And then you finish your show and you get back on the bus and do the same thing. You know, it can be mind numbingly repetitive if you let it, but the show is like the magic sauce that f**s everything up. 

Lzzy: I know specifically with, I mean, as far as melodically with me, the ending of our opening track on Everest, ‘Following the Star’, we didn't even discuss this, but we somehow have added a measure to that last chorus. 

And I didn't realise we had done it until RJ was like, oh yeah, that's not actually how that's done. He's like known the whole time. He just was rolling with it. 

Joe: We also like took the beginning and totally rewrote the beginning. 

Lzzy: That's true. We extended the beginning, but that was on purpose. 

I didn't realise we extended it. But yeah, I think that things just start, you know, they, they end up evolving naturally. 

Joe: And depending on where Everest, the song is in the set, we wrote an ending based on the bridge that we can just kind of improv and jam out on. 

Like, oh, that's cool. That would have been fun on the record, 

Lzzy: but the real trip is like the songs you've been playing for like 10 years or something like, like love bites or I miss the misery. And then all of a sudden you hear it on the radio and be like, do we still do that? Like, that's the real way.

Joe: I realised I've been playing ‘Here's to Us’ wrong. And I don't care that it's right now. I'm doing it the right way. 

Lzzy: If you do it the same way, three times in a row, its on purpose! 

So you guys are coming to the UK in June, I believe you're playing a set at Download, which is awesome. I'd like to talk about that, but you're also doing a duo together unplugged. And we've just been talking about switching things up. How did this unplugged idea come about? 

Joe: First and foremost, that's it. This will be the first time we're doing that in the UK. 

We've done it twice now. Well, it started, it started like what, 2003, 2004, before we got a record deal or anything, Lzzy and I decided we didn't want to get real jobs. And so, you know, in between like the full band shows, we decided to just like start playing, like we hit up every bar and like a 50 mile radius and like do a lot of music. 

And the ones that they were like, well, we want to come play acoustic for you guys. And, and, you know, within a week or two, we, we'd been hired, like we were playing like three, four nights a week, you know, getting 75 bucks for a four hour acoustic set, you know, which was great. We loved it. 

You know, I just go into these bars, entertaining people that didn't really want to be entertained, but trying to get them interested. 

Lzzy: We won them over. It was fun.

Joe: And we were last year or two years ago, we were talking about that, how much, how we missed it. Cause you know, it was just fun. It's such a different vibe, especially for me. 

I'm like the whole band, I got the rhythm section in my right hand and guitar, you know, playing the chords in the left and she's just singing her ass off. So we booked a tour around the US, just her and I, just for fun, proof of concept, see if people would even show up, like doing some bars and clubs and theatres. And it was awesome. 

Like we had such a good time and we were like, we got to do that again. And we loved it. We really wanted to do it in England. 

And this kind of worked out great. We fly the boys over for Download and the big crew, and then break off just the two of us and the small crew and get to play some other towns. And Live Nation was cool with it. They're like, yeah, that's cool. Do it. Cause normally it's like your only, the only hailstorm show this year, but you know, we're sneaking some acoustic ones. 

Lzzy: And it's great because like, this is, this is, you know, a set where we can kind of go beyond the handshake, you know, and, and, and peel back some layers and show different sides of ourselves. And it's, and, and the crazy thing about our acoustic set is that it's not like we're doing an, an hour, three hours ballads, you know, it's like we, we party. It's, it's like, it's a house party.

Joe: It was so much fun when we did that first tour in the States here with the two of us, because we hadn't really done it like that since 2003, when no one knew any of our songs and we were playing a bunch of covers and like, now people know our song. Yeah. You know, you get to play ‘Love Bites’ on an acoustic, but throw a little energy bomb in there on it. 

And it's like a rock show. People are dancing, screaming, shouting, you know. 

Lzzy: Sometimes there'll be, there'll be audience members who like know the backup vocals, but because there isn't like all of the guys there, so they would just start shouting the call and answers. Yeah. 

It was great. So it must be a much more intimate performance environment so people can actually almost interact with you. Do you find yourself changing the arrangements of the songs significantly for acoustic? If things need to be adjusted? For the most part they change just because they have to, it's the nature of it, you know, like I gotta, yeah, it's a totally different mindset playing, like figuring out the guitar parts for that because yeah, whatever you're the whole band. So it's like, you need a groove and you gotta find the guitar part in the way to.

I mean, a song like Love Bites, I kind of like keeping somewhat the same because one, you wouldn't expect it just to like start riffing on an acoustic and it just works. It's just fun. It's just fun to hack at it. 

I hit it really hard on the acoustic. 

Lzzy: But then we did our cover of Bad Romance and completely reimagined that. Yeah.

Joe: That's the same thing with Do Not Stir was reimagined. I like it heavy and I don't know, a bunch of it like a woman can. Yeah, it's fun. 

We haven't even started. We actually have to start getting our shit together. Yeah, make that set. 

Figure out what songs we're going to play over there. 

You guys are talking about rehearsals later today and Hellstorm has been banned for many years. What does a rehearsal look like for a band at your level? What sort of things do you prepare for the rehearsal? What does it look like? 

Joe: First and foremost is like finding like it's spring, you know, like every spring we sit there and we search for new moments to create on stage.

And, you know, like most of most of what we kind of come up with doesn't really work out. And we kind of, you know, you have to be willing to work on something for like a week straight and then throw it away. That's tragic. 

And then you listen back to an old time like, no, that's not right. But but like if you get one or two moments every spring that like, oh, that's a cool way to look at that. Like last year we rewrote kind of Poison and made it just re-conceptualised it musically. 

And it's really fun to play. And I think it works well live. And so we're kind of searching for some new moments right now. 

And the other part is muscle memory. It's like plays new songs we're going to play because because every gig is so different, especially like going into these festivals. I remember last time we played Download in 23 on that Metallica stage, and it was so windy that afternoon. It was wild. And you think like, oh, you're just playing music. The wind's not that big of a deal, but it did really like f**k with you. 

Like when you're that high up on stage, it's just like your hair's in your face and like everything is just like as the sound starts getting funny, you know, like it's not reacting the same. The amps aren't hitting the back of you the same. And like that should go away. 

No, no, we're still there. OK. And like all these environmental factors kind of that you can't rehearse for. 

So when you got your muscle memory and you know what the f**k you're doing, then you can kind of start riding those the weirdness of every gig. You know, you don't get as distracted. Yeah, it's not you don't have to worry so much. 

Lzzy: What is Joe Hottinger of Halestorm fear? The wind, the wind! Yeah, no, it's great. You know, we have to keep I feel like we're chameleons in a lot of different ways. 

And if we get too used to something and too used to a set or too used to the way that moments are happening, it gets boring for us. Therefore, it's not exciting for everyone else. Chameleon to get bored.

I feel like that's a thing. That's why they change colour. Yeah, that's a reference.

I'm going down a rabbit hole. But but no, we have to kind of keep changing and keeping keep evolving it to keep ourselves interested, you know, and we and we don't like just playing just the songs like, oh, we're going to do the song the exact same way. It's like I like making different moments, things that people might not be expecting. 

Joe: That's where we also do throw in some improv throughout the set, just because, yeah, it's fun to try to like, how do you elevate a crowd with just music? And, and, you know, that's, that's one of our favourite things ever, because we get just elevated, we get just as high, you know, when a band starts cooking, and they take some music and take it over the edge and peak and release. And I don't know, that's one of my favourite. 

Lzzy: How many people actually realise that we like we have no idea how we're going to end this stuff once we started?

That's really awesome that the band can take it live fully, there's no click tracks or anything that you're adhering to, you're completely free to make a unique live performance. 

Lzzy: There is there is an 11 minute version of I miss the misery out there, because your watch broke.

And so he thought we had like 15 more minutes to feel like we're on our last just keep it going. And, you know, and then at some point in time, you can see it on the video at some point in time, like, like some of our roadie guys are like, what are you doing? So realise, like, we're actually about to go over time. So we hit the brakes hard. 

Ended up finishing out the song. It was funny. 

Joe: Yeah, it's flexible, flexible music. 

Lzzy: Your watchers like, oh, wait a minute. Totally wrong. Everybody pump the brakes. Yeah. 

One of the questions I was actually going to ask was about how you keep inspired. And you're already answering that simply by showing kind of how playful that you are with the songs and how you reinvent them and keep it fresh. I was going to ask what is a Halestorm (writing session)? How does it start usually? How do you find that you come up with songs in this kind of process? Or do you make time elsewhere for that kind of thing? And what does that look like? 

Lzzy: Yeah, sometimes we'll get like riffs or something like that from like that. Oh, man, remember that for a song or something like during our before warming up. 

Joe: Like, oh, I'll put that in my phone. And when we're home, I try to most days just go down the studio and just write some music. And I know that 90% of it will not work out and never be heard. 

But you know, yeah, you also can't get those ones that really work if you're not just. Well, we're always like, no, it's got to put you in front of it. 

Lzzy: You've got to sit down in the seat. 

You've got to do it because every time you start playing something or fishing analogy that line, you're not going to catch a fish. And sometimes they're big fish. Sometimes they're tiny fish. 

And sometimes you're like, I'm throwing that one back. Yeah. But but yeah, like I one thing that I have to constantly remind myself of is critique later, like sit your butt in the seat, write the horrible thing that you don't even think is a great idea. 

Just do it. And then because something like there is something that happens later on when you come back to listen to it. Oh, that actually wasn't so bad. 

You know, it's like you can't criticise like before the baby's even born. You know, it's like you've got to you've got to you've got to see something through. 

Joe: Don't kill the baby. 

In terms of writings delegated to anybody, is anybody particularly in charge? Is it more collaborative? What's the process like in terms of who does what? 

Lzzy: It's a complete like whatever you want to throw throw into the ring and throw it onto the table like everybody is absolutely. 

Joe: There are no rules. You know, it's just music.

May the best song win. That's all. You know, like it comes down to the song. 

Is it a great song or not? And like and our personal standards as to what we think is good music and good songs. And yeah, at the at the end of the album, you know, you got to choose the best songs. So that's all.

Yeah. Anyway, there's a million ways to get there, whether it starts on a piano, a guitar riff, whether it's just a melody or a drum groove. 

Lzzy: We started something last night that's literally a drum groove and a melody. 

We didn't have like a drum. We just set up a new little site. But we didn't have like any like finger pads or something. 

Joe: So so we just like did like a microphone like I just looped it like that. I'll do. Let's see if there's a song there. See if there's a song. 

This is Guitar Interactive. I'm a guitar player myself, and perhaps I should probably ask some questions relating to the guitar. And I want to know how much guitar affects your writing process. You were mentioning the beatboxing lyrics and using different techniques to come up with songs. But in terms of guitar playing, do you find the gear puts you in a certain direction? Does it inspire you in a certain way? 

Joe: Oh, yeah, of course. 

Most of my writing is guitar first, just because that's what I think about all the time. And I've been you know, it's always different because I find that like getting new gear always inspires new things. So like, I have a problem getting new guitars or like or we have an affinity for like the weird things like, oh, this is a weird instrument. 

Lzzy: Let's like, just get that and see what happens with that. And it doesn't you know, maybe the instrument doesn't always make it on something, but it makes you look at it in a different way. 

Joe: Like lately, lately, I've been like, I was like, Alright, I'm gonna streamline my, my, my like template, my setup in Pro Tools. 

Like what's the because we have all these great amps, and it all sounds good. And everything's mic'd up, and it's all ready to go, which is fun. But also, sometimes, I don't feel like flipping on all the switches. 

It's like you just want to sit down, turn the computer on, start riffing. And like, like new sounding gear is always really, really inspiring. I just got I just downloaded for the first time I tried I tried. 

I'm trying these Neural DSP plugins. I'm like 10 years late to the party, whatever, I don't care. But like, like that goes, you're a plugin is so great. The it just sounds amazing for like, like riffing. 

And even some of the clean tones are really cool. And I was like, Oh, cool, what else is there? And I downloaded like the John Mayer one. I was like, Oh, that sounds cool.

That's fun. And what else did I get? I got a bass one for just putting bass things down. And, and it's all just like right there, ready to go. 

So I just got to turn it on. And it's really convenient. And, and for like beginning stages of getting some ideas out, 

Lzzy: It's what's the shortest amount of time we can get from like, Oh, I have an idea to we're putting it down to like, it's that's been a project for a couple years now we have a whole studio in our basement.

We've released a couple things off of that. 

Joe: We can't have the boys over 24 seven, they have their own lives. So it's like, like, to me, that's more like late at night, or like after dinner or something just like go down and start making some music. 

And, and if something's good enough, you know, when we all get together, we got the drums all mic'd up, we can start recording it for real. But but getting out the idea. And again, it's fun just getting new gear. 

I just I just ordered this Two Rock amp. Have you heard of them? Yeah, I just played one for the first time at a shop here in Nashville. And I was like, Oh, my God, like, as more like, I was looking for like a great, clean head, you know, and it broke up really nice too. 

But as like it would have such a great bite as like a powerful 100 watt clean thing, I just had to order one and I found this great Mesa pedal. I'm always like switching my live rig up. Like, I've got the quest for tone. 

Yeah, I know. Like, I have like, I have two amps right now that I f**king love for overdrive, like a Bogner Snorkeler, and this Wizard Hellraiser. Both are f**king incredible. 

But like, I really like a great clean tone too. And but I like to use those amps really saturated and you can't like turn it down, turn your guitar, I don't know, it's, I'm not satisfied with the cleans I'm getting. So I found this pedal, this Mesa Boogie pedal called a Head Track. 

And you can through the, like just the switching in my MIDI thing, even though it's not a MIDI input, it's a TRS input, but it works with the CC number on my MIDI thing. But you can switch between the two heads. And so like, I think I'm waiting for this Two Rock amp to show up. 

But I think I'm gonna have like, the ultimate clean channel and overdrive just between the two heads and be able to, it's exciting. 

Is that a final amp then? Is this the final setup that the golden tone? 

Lzzy: There's not a chance. There's no, there's no chance that'll last a month. 

It'll last a tour or two. And then I'll be like, you know, be like, you know what, actually, I'm tired of that now. It is fun to have everything at your fingertips.

Joe: Yeah. With things like Neural DSP, it's very inspiring to be able to have these in the box, ready to go programmes. 

It's almost like walking into a mall or something. There's so many options there, it can almost be overwhelming for someone, they might not even get through the door to start writing a song. So the less things in the way might be better. 

Lzzy: For me, it's about instrument first, like I want to pick out like, if I'm going to sit down to write something like, oh, that, that, I don't know, we have like wall of guitars downstairs, like, oh, that, that looks like the guitar that I need for this particular idea. 

So you sit down and I don't, I try not to worry too much about where the like, whether it's the right kind of distortion or whatever. It's like, I kind of flip through things, you know, until I feel like it's, you know, I'm satisfied with where that's going to go. Like, for me, it's, it's more impatience. 

Like I have an idea, let's, let's, you know, get putting it down as quickly as possible and try to get the structure of the song. And for me, something that, that really helps expedite the process is singing and playing at the same time as like, like with creating, because I, there's sometimes where, where if one comes before the other, I'll overthink the one too much to the point that it doesn't leave enough space. So like just trying to have that yin and yang is important to me while, while you're writing.

Joe: And you got a new guitar coming up soon. 

Lzzy: Yeah, I got, yeah, the, a signature epiphone coming out. 

Explorer with the, yeah, the black diamond holographic. It's like, yeah, it's. 

Joe: I think it rips and it looks awesome on stage. Like she was putting it down and stuff. 

Lzzy: It changes colour all the time. 

It's really wild because of that black diamond holographic. Yeah, it's cool. 

Joe: But I'm impressed. I want one. 

Lzzy: I don't know. Maybe I'll let you hold mine.

Joe: That's nice of you. 

Lzzy: Yeah. On Tuesdays. 

Tuesdays are good for me. 

Joe: Rats. 

Well, we've got to wrap up very soon, but I was actually going to ask about the writing and singing and have you ever written riffs? Like you've obviously got a process of that, but you've maybe written something and thought, “I’ve got to play this and sing this”?

Lzzy: Oh yeah. All the time, all the time, you know? And, and that's just muscle memory. And, and I've, I've realised that you can really do anything as it's just time and repetition. 

You have to kind of take one side of your brain out of it. So for me, it's like, whichever is easier at the time, I'll let that go on autopilot. So there'll be certain songs that I'm like, I know I sang that second verse, but I don't recall it because I was focussing on my, on my playing while vocals were on autopilot or the other way around, you know, whereas, you know, sometimes I'm not even, I'm not thinking about where my fingers are going, but I'm more focused on the, on vocals.

And then there are the, the, the more difficult things, you know, are when we will, we'll finish a record and it doesn't matter which part I played in the studio or which part Joe played. Sometimes we'll switch them around because it just makes more sense playing this versus that live, or you have a specific sound you want to use for this. So we'll end up swapping parts a lot, you know, or I'll end up doing something that started in his mind. 

So then I have to think about it a little harder because it didn't come from me. It's not natural. It's not right. 

And, but yeah, like again, everything is just time and repetition and getting your practise. Really. I hate using the word practise because it's like, you know, it's, it triggers that, that childhood, like, Oh, you know, homework practise, but it is just time and repetition.

Yeah. I guess it's like taking care of your craft, really, and the interest and the curiosity at least. And then I search for time, like Joe was saying as well.  It's just, it doesn't feel like you're doing anything. You're just one pointed. 

Thank you so much for your time. I know you've got to move on. I'm going to wrap this up. But so you're coming to the UK in June, with Download the Unplugged Duo. 

And I believe in September, North America, you're doing a tour as well. Yeah. We have a few one-offs in July, August, and then Babymetal. 

Joe: We're going to have a Baby Metal in September around the States, which will be a blast and get to play for a crowd that maybe has never seen us before. A lot of people, you know, so. It is one of our favourite things to do. 

Yeah. Go out there and fight for, you know, prove ourselves, which I love doing. 

Well, I'm sure you guys are going to go down great with those audiences of all the decades behind the music as well. How do you prepare for something like that as extensive as that? 

Joe: We don't have to worry about that right now. We're focused on the next gigs in England and then we start thinking about that. So I don't know how we're going to prepare for that. 

I don't know what our production is going to be like. 

Lzzy: We’ve gotta get our set times too.

Joe: I don’t know how long we’re playing for. So we don’t have to worry about that now. 

Lzzy: We’re living in the moment! 

Well, it’s really inspiring to talk to you both and hear about the process. It’s nice to hear from a rock band who have a natural process. It’s like a mixture of old school and new school approach. Just hearing about how you play songs live. I think we need more of that. 

Joe: I really hope that, with all this AI music coming out, I really hope people start to appreciate human music again. 

Or AI will just kill music. We’ll see.  

Lzzy: I remember there was a specific moment with that. Years ago we were playing Lalapalooza, in Sweden. I was doing a lot of press. We played at like 3:00, and there were interviews after. And every interviewer was like “what was that?” And I’m like, “I don’t know, we just plug in and play”. It’s not this magical thing.

And then I realise that we were one of two bands that day who weren’t dancing around to a tape and miming. The human experience. 

Joe: Thanks for taking the time. Really appreciate it man. 

Nice to meet you both. Take care, and best of luck with the UK tour