Ted Leo is an American singer, songwriter, and multi-instrumentalist. He is the frontman and lead guitarist of rock group Ted Leo and the Pharmacists, and in 2013, he and Aimee Mann formed the indie rock duo the Both.
I actually dream a lot of songs, and I try to be good about voice-memoing ideas.
I think it's become such a part of younger people's daily life to have the instant access to each other that it sometimes gets a little presumptuous. People feel like it's OK, for example, to email you with some weird personal criticism they have.
When you make a record and have to go out on tour for it, you have to go out on tour for it. Whether it's going to be joyful or not, you have to do it.
I'm even old-school Instagram. I'm here for your "What did you have to eat today?" I'm fine with that.
I actually enjoy Instagram. I enjoy seeing what people who I have some connection to are doing around the globe. I'm even old-school Instagram. I'm here for your "What did you have to eat today?" I'm fine with that.
You play the one song that people want to hear the most every night, and for every audience that's a special thing. And usually that translates back to you.
As I've grown older I've been more influenced by more meandering styles of guitar playing, whether it's Celtic or Ethiopian folk music or some kind of noisier jazz like Sonny Sharrock. In terms of songwriting, I don't know that I could even pin it down.
It's almost weirder sometimes when you don't have a full life experience with someone's ups and downs, knowing what they've been through. Sometimes a loss that just comes out of left field rings in a very weird way when you have actually sort of relied on this small moment with this or that person, as a moment that actually has defined something for you in your life.
When you're traveling on a body of songs that you have played for many, many years, for most nights of your life - I'm sure you've experienced this yourself - it's not that every night is not it's own thing. It is.
I love touring. But it's super nice to have a new reason to play shows that isn't based around that perennial cycle of albumtourpromotion.
Bands-- enough with the crayon face-paint-- you're better than that.
My "degree" has done nothing for me at all. But that I've learned - the critical thought processes I've tried to keep sharp - these things were furthered along by college. I hated so much of my life "at university," but I also loved so much of it, and the things that I loved about it have kept me in a sort of "scholarly pursuit" to this day. Maybe it messed me up because I believe that there are things like truth and beauty, and that art and discussion can help us find them and enhance our lives.
There's a lot of discussion about whether you should be a good live band or a good studio band. I think you can use the studio to make a great "studio record" and not necessarily have to reproduce exactly that on stage, but still be a great "live band. " Having said that, if what you're going for is just the raw capture of your live sound, then that's cool, too - go for it! I enjoy working in the studio, though, and while I try to get near to an approximation of what's going on onstage, it's not my first priority usually.
Some people never need to let up at all.
There's a definite machinery behind everything that a band does, and sometimes it's hard to figure out how far to go in delegating certain responsibilities and staying COMPLETELY DIY.
If you live up against train tracks, it can make your life a living hell.
The obsessive documentation is itself adjacent to hyper-consumption in our society. The desire to just have everything all the time and adjacent to that is - it might be a little hokey but - a certain loss of identity that then only gets sort of found or ascribed to these moments that are documented.
The obsessive documentation is itself adjacent to hyper-consumption in our society. The desire to just have everything all the time and adjacent to that is - it might be a little hokey but - a certain loss of identity that then only gets sort of found or ascribed to these moments that are documented. If so much of your experience is devoted to the thought of documentation, you're already sort of spinning out this narrative from this moment that you are attempting to control instead of just experiencing it.
Someone once said that "The Waste Land" was a scum of poetry floating on a sea of footnotes. That resonated with me, because that's kind of what I was doing lyrically for a while. I was being very referential in a way. I would drop in these little phrases or ideas that were sort of portholes into a whole bigger realm of thought or whatever, that would work within the song, but that you could also poke through into a bigger discussion.
I've dreamed about performing songs, songs that don't even exist, as a complete song.