How to find your creativity now with Ryan Lindsay

This week in the Dojo, we met up with country music star, fellow Canadian… (and Albertan!, Ryan Lindsay ahead of his show on stage at the Calgary Stampede.

Ryan gives us a sneak peak at the process behind an upcoming track, and how unlocking creativity can sometimes be just a road trip away. Of course, as we’ve talked about in previous episodes this season – it can be hard to create something and put it out for others. Ryan shares some of his experience, and how that second opinion has him ready to get moving with his next album.

So – where do you go to find your creativity? Is it a car ride? a walk? laser tag? (is that still a thing?)

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Transcription Below

S4E8 – On the road with creativity w_Ryan Lindsay

Sat, 7/9 12:03AM • 42:21

SUMMARY KEYWORDS

songs, people, music, bit, shows, feel, reverend, ryman auditorium, hear, big, musicians, moments, studio, nashville, ryan, producer, venue, megaphone, tickets, tom

SPEAKERS

Seth Anderson, The Biz Dojo AI, Ryan Lindsay, JP Gaston

The Biz Dojo AI  00:00

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JP Gaston  00:24

Tom Ryman was a businessman. He started a riverboat company with his father and took over managing that company at the age of 15. It was during the Civil War and he needed to help his mother and four younger siblings after his father had died. That young teen knew how to run a business. By the time he was 44, he had turned that small company near Chattanooga into a 35 ship fleet. He had also owned a variety of saloons and other small businesses. Every investment he made was meant to help support and cater to the alcohol gambling and high stakes lifestyle of the riverboat industry. So on May 10 1885, when Reverend Sam Jones was to speak at a religious revival against everything that made Tom Ryman, a successful businessman, he took a few friends and set out to attend the event and hear what the good Reverend had to say. What he said was something that moved Tom, it touched something deep inside him. And instead of rallying against the Reverend, as one might suspect, including the friends he had brought along, Tom felt something come over him. Perhaps it was the crowd of 1000s in the energy that they brought with them, or maybe it was just the moving sermon from the reverend. But at that moment, in the middle of an event that stood against everything Tom stood for, Tom pledged to use his wealth and influence for good. He would go on to build a large building for the Reverend replacing the tents he had been using despite the large crowds. Reimann wanted to ensure that the citizens of Nashville had a proper building to come together and worship in So seven years and over $100,000 Later, Reverend Jones would stand behind the pulpit and begin delivering his rousing sermons from a proper place of worship. After Tom’s death in 1904, the Union Gospel tabernacle would be renamed Ryman Auditorium, it was nicknamed the Carnegie Hall of the south and to this day is considered one of the best auditoriums to experience live music. By the time Ryman Auditorium had been built, Nashville was already being called Music City. credit for that is often given to Queen Victoria, who in 1871 had traveled to hear the Fisk Jubilee Singers from Nashville’s Fisk University. The university was the first African American institution to gain accreditation by the Southern Association of Colleges and Schools. And the singers would perform rousing renditions of what were then known as slave songs or spirituals as they’re known today. They also happened to be one of the very first performers to set foot on stage at Ryman Auditorium. Around that same time, country music was making its way onto the scene. The National Life and accident insurance company founded WSN radio in 1925. It was named W SM for the insurance company’s motto, we shield millions. And just a month after they launched. They introduced the WS M barn dance, a live entertainment show hosted by George hay. That program followed a classical music program on the station, and haze joked on air that the audience had just been listening to the Grand Opera. But from then on the station would be presenting the Grand Ole Opry. The name stuck and the program would continue to grow. In fact, it grew so much that in 1943, the Grand Ole Opry would need to find a new, larger venue for its weekly live show. And it’s no surprise that it would pick the best music venue in the south Ryman Auditorium, Ryman would play host until 1974 When the Grand Ole Opry his new custom theater was built. But it was during its time at Ryman Auditorium that the Grand Ole Opry gained in popularity. It played host to incredible acts like Hank Williams, Roy Acuff Randy Travis, Patsy Cline, Garth Brooks, Johnny Cash, Elvis, Dolly Parton, Loretta Lynn, and many, many more. Today, Nashville is still known as Music City, holding the number one ranking for both full time musicians per capita at 127 Out of every 100,000 residents, and the most number of intimate concert spaces per capita at 6.7. It also happens to top the charts as the best city for working musicians, where career performers can expect and earn an average of $28.81 an hour. It is the number one place for music in the country in every single category. bar none. It has musicians and venues across every genre of music to and it is a true Music City. But much of its success can be attributed back to a group of singers, a riverboat gambler and a reverend who together helped to create the mother church of country music.

JP Gaston  05:23

Today in the dojo, we’re talking to a musician performing up here in the north at the greatest Outdoor Show, the Calgary Stampede. Ryan Lindsey has seen significant success as a budding musician in the country music scene. And we’ll talk creativity inside and outside of music where he finds inspiration. And a little bit about a place known as Music City.

JP Gaston  05:55

You got two shows this week, every Wednesday and Wednesday and Friday. Yeah,

Ryan Lindsay  05:59

I have one on Thursday, actually, it’s a little blue jays session kickoff at the prairie Emporium. I don’t know if you guys are familiar with that venue. They took a bike shop. And they converted it into a venue. It’s it’s a really small, intimate space. And it’s kind of reminiscent of like, if you’re familiar with Nashville, like the bluebird cafe, kind of style. And it’s really it’s cool. Like I it’s kind of like a folk venue, almost. And so it’s for songwriters, and small acts and, and just kind of like stripped back stories and songs. And, and so I’m going to do their, their kind of kick off Thursday night, and then I’ll do the big show with the band on Friday at the Koch stage on the ground at the stampede. So yeah, it’ll be a good week.

JP Gaston  07:01

That’s awesome. I always those smaller shows, I was telling Seth this earlier. I’ve probably told him this a million times. But the smaller shows always got to me like they I always found them, like, so much harder to prep for like, it just feels so intimate that it’s just like, you really don’t want to screw up and know that bigger shows. I’m like, Yeah, whatever. Like if I screw up and notice, you know, 5000 people back 10 people, though, I’m like, nervous as hell.

Ryan Lindsay  07:27

Yeah, I think I was that way at first to at the smaller shows. And I’ve really come to like them, maybe even more than the larger shows, because it’s a space where I feel like, I can just be myself. And I don’t have to be you know, sort of turn it on or try to try to create a bunch of energy, like sometimes you feel a bit, when you’re, when you’re playing the big shows, you have to sort of turn it up a little bit. And that can be fun. You know, I love the energy of big audiences. And but you get a different version of a person when they’re in a small stripped down environment. And so I feel like, what’s allowed me to embrace those shows is sort of letting go the idea that you have to be somebody or that you have to be polished, and it’s okay to just like, be yourself, and you can stumble over your words a little bit and not be too perfect. And, and that’s okay, that’s all part of like, I think what makes those shows cool and unique and relatable for people. So yeah, I love them.

Seth Anderson  08:34

And that’s actually how we came across each other Ryan. So I had a friend reach out to me and say that you were playing at inbred creek here a couple of weeks ago. And it actually your name had came across, say my desk with the proverbial desk at some point. I think Sean Mills, actually, we have a common friend. He had mentioned, he had mentioned you at some point. And I was like, Oh, this will be cool. And actually chose it to be my son’s very first concert, which is like a special.

Ryan Lindsay  09:01

That’s really special. That is so cool. Awesome. And what was his review of the show? Did he have a good experience? What did he think

Seth Anderson  09:10

he loved it? So ever since then, he has been asking to listen to Ryan on the Alexa. And in particular, the song wild that is his jam. Awesome. And that’s such a special thing. I mean, your first concert I mean, I remember mine, it was actually at the coke stage. And it was gob. And you know of all the shows. I’ve been through that one still. You always remember your first show. I don’t know what was your first showed up? And it’s

JP Gaston  09:41

it’s funny that you say you always remember it because as soon as we started talking about it, the I worked in radio for 10 years. So I went to a lot of shows. And they all started going through my head and I’m like which one was my first one? Which one was my first? I think it was actually I think was actually my mother earth was my first it was a it was a festival show. And it was Very early on, it was like when raspberry came out. So it was early i Mother and it was the first time that I had heard, you know, you go to like fairs and those sorts of things and you hear like, bands playing, but it was the first time I went to like a big name band that I remember was my mother’s.

Seth Anderson  10:20

Yeah, that’s funny, because when we went to golf, it was like, we could either go to dog the one night or Nickelback the next night, and we’re like, who’s Nickelback? And it was the summer that, that they blew up. What about you, Ryan? Do you remember your first show, or,

Ryan Lindsay  10:33

you know, I can’t remember exactly what my first show was. But growing up my grandfather, super huge country music fan, and he would bring me to these little shows he, he was somehow tapped into all these kinds of cool country shows going on. So it’d be like, a show out out on a farm or something like that. And they, they had a stage little stage set up and a bunch of bluegrass and country and folk acts would come and, and somehow he would be sort of tapped into that scene. Oh, there’s this cool show going on. So and so’s farm, this weekend in in east central Alberta. So he brought me out to some of those when I was young, and that sort of got me hooked.

Seth Anderson  11:24

Did you know pretty young then that, you know, the music scene was was your scene, and that was something you were gonna pursue? Or when did those sorts of creative roots sort of start to take hold?

Ryan Lindsay  11:34

Yeah, I mean, I was, I think I was eight years old when I picked up a guitar, and I always loved singing, and I think it’s something that sort of always rooted me and I always came back to I came back to sort of use music to sort of pull me through hard times, and I would write songs and, and I did other things in my early 20s, like, I was a backcountry guide for a while guided in the Rockies, and in the Arctic, and, and did raft trips, and, and hike trips and, and love doing that for a while and, and then sort of became a bit influenced by that with my writing too. And, and I was always just sort of doing it for fun. And my early 20s, I was playing in in bands on the side, I was hanging a little country band, and we toured around a little bit, but it was more or less, just for fun and make it and play some shows. And, and I think it just sort of slowly progressed. And pretty soon I got to the point where I had a collection of songs that I wanted to cut. And I wanted to go into the studio with and I felt like, Okay, I’ve got enough material here. I have something to say. And so I cut an album, and by the time I had finished that album, I pretty well was doing music full time. And my life sort of took a turn through that through pursuing that body of work. And yeah, I mean, looking back, you sort of go, okay, it all adds up. It makes sense how I landed into music, but it wasn’t like, from the moment I was eight years old, I knew I was gonna be a country music artist, you know, it just kind of happened over time.

JP Gaston  13:27

I gotta, I gotta ask when you went into the studio? Did you go in with a zillion songs and come up with a solid 10? Or did you have your, like we’ve talked about on the show a few times. My challenge is always I’ve got a zillion songs that are 75% Complete. Yeah, and that last 25 is like the hardest 25 to get.

Ryan Lindsay  13:47

Yeah, I think at that time, because I had been written writing for so long. And I hadn’t cut anything, I had lots of songs, and I sort of had them whittled down to what I wanted to cut. So I sort of had the songs that I wanted to, to use. And I think through cutting those songs, I learned some things too. I learned a lot about production. And I sort of changed through that project as well and, and learned Okay, what do I want to do different on the next project and, and all man maybe I you know, I found myself preferring these sounds a bit different. Like I didn’t go in with a super clear vision on the first project as I mean, how can you it’s your first time in the studio. So that project I sort of looked back on it and I go man, it was sort of a big experiment for me. And now going into the studio, my approach has changed a bit. I mean, I go into it with as many songs as I can and I found with my co producer and we just try to sort through them and make some sense of them and, and, you know, some of them don’t make too much sense and, and we take a little more time to develop and, and others sort of fall into place right away. So this project that I’m currently working on, we ended up sort of recording some songs that don’t make it to the finish line. And that’s just kind of, there’s a bit of a feeling out period that I do now. So I sort of move on quite a few songs. And by the end, we hope that we get 10 out of it, and put a record together,

JP Gaston  15:37

I think a lot of people don’t realize because they see the output, but they don’t realize that there’s, there’s the creative input to create the thing. And then there’s this middle section, the invisible section, and I don’t, I don’t think producers get enough credit, being a producer might have a little bit of a bias there. But I don’t think producers get enough credit for the work that happens in the in between, because there’s a ton of creativity there. And, to your point, like a lot of refining of that initial process to make your future creativity even more focused, oh, man,

Ryan Lindsay  16:11

it’s an incredible amount of work that goes into the, the in between process and, and I was always the guy that was like, I want to learn all this stuff. So my first project, I sat there with my engineer, every moment of the way. And he taught me stuff about engineering and producing and editing on Pro Tools. And, and so I bought a little interface and started editing a bit at home and stuff and started getting my fingers into my own music and, and that really changed things for me, because then I was able to see the inner workings of producing a song and started to have a bigger hand and in you know, I think some artists go to a producer and, and go, you know, they’ve got their voice and their songs, and then they sort of go, Okay, make me sound good now. And, you know, I always wanted to be the guy that sort of was in the trenches with the engineer doing the work. And so it’s, it’s an intense amount of time. And you got to have a team that gets along really well.

JP Gaston  17:25

Like, and I think of the cool things that happen there too. Like, there’s a lot of songs out there that employ this is the example I usually use. There’s a lot of songs out there that employ like a megaphone. And almost nobody shows up at the studio with a megaphone. But just that little audio processing to make that little clip of someone saying maybe half a line of lyric through a megaphone, or through the sound of a telephone makes the feeling of the song or whatever audio you’re recording, because it might not be a song, but it just makes the feeling that much more powerful. And you don’t notice it as a listener, you just you kind of hear that part. And you’re like, oh, cool, he’s talking through megaphone, but it actually like back, that can be the little thing that makes that song just like, get to that next level.

Ryan Lindsay  18:12

Good producing is about finding moments, I believe, you know, and it’s not about I think prediction is just bringing out what’s already there. You know, you have something, you have a song, and there are maybe little hooks and stuff like that, that if you don’t, if you don’t bring them out and make them hooks in the production, they’re not going to be memorable. And so yeah, it’s just about I mean music and live shows to it. They’re about moments. If you think about your favorite, your favorite live show that you’ve ever been to. You’re going to remember moments you’re going to remember little. Yeah, exactly. Yeah. Something came to your mind when I said that. Yeah. And it was a moment. And so music is that way when we produce it, and we’re always trying to find those, those things,

Seth Anderson  19:05

the thing that just popped in my head. I was listening to him to heart of a troubadour before this, and just the way that you said like, the part where it’s like I might be and just like the tone in your voice and like how it builds there like that is like stuck in my head for like the last two weeks. Cool. And it’s just like those little moments and there’s lots of songs like that, but like it’s like that one part and it’s like, Oh, like that just hits? And I’m sure that’s in the I’m not a producer obviously but the magic in the in the production room when you can kind of find those moments or were pulled out.

Ryan Lindsay  19:37

Yeah, yeah, absolutely. We we stacked the vocals on that part and, you know, you sort of talk it out. I might be a little different, you know, that’s gonna stick with you a bit more than I might be a little different. I might be a little different and that was just something that we decided to lean into. And we produce that track and sort of turned a melodic line into a hook.

Seth Anderson  20:08

But as a listener, it definitely worked. One of the things I wanted to touch on too is I’m always fascinated with where songs come from. And what I really enjoyed about your show is you kind of took us on a journey and shared the Genesis and like where you were and what you were thinking and what you were going through for a lot of the songs that you’ve you’ve written, which is fascinating and recommend anyone who’s listening to this to go check out one of your shows, so you can hear some of those stories. But like, as your career evolves, and grows, how do you find the time in the moments to sort of to get the inspiration to write new songs like, what’s your process look like? Because I’m sure it’s much different than it was in the early days.

Ryan Lindsay  20:48

Yes. I went into the studio last week. And how do I tell this story without giving away the hook of the song because it’s not out yet. So, but I’ll, I’ll, I’ll tell this story, I, my producer was flying out. And normally we touch base a couple of weeks before going into the studio, we pick our songs, and we go for it. And I had the songs that I had been sending him, but I sort of knew something was missing. I felt like I had something to say that I hadn’t said yet. And so I was sort of avoiding my producers phone calls for a couple of days. He was like, phoning me, he’s like, we got to get the songs. And I was like, I just I don’t have I don’t have it yet. You know, and I felt like I still needed to write a song. And so I said to myself, Okay, it’s, it’s gonna be a, I’m going to do, I’m going to sit down and just write the song I’m going to dedicate a whole day and and I just procrastinated the whole day, and didn’t write, I mean, I sort of put some ideas down and, and, but mostly procrastinated the whole day. And then I had this show, Seth, which you came to, and Bragg Creek. And that show is actually really undersold that. That morning, we had looked at our ticket sales, and it was like, there was hardly any ticket sales, and I was really worried about it. And so, you know, at the end, we ended up doing pretty good on the show, we we sold enough tickets to make it a good show, but, but when I left my house that morning, I thought I was going to play to an empty room. You know, everybody’s buying tickets last minute, these days. And, and so, so it was sort of a bit, I was a bit, I guess, depressed, I was a bit down and out that morning and feeling like, it was one of those mornings where you sort of just have to like, I was like, man, there’s, there’s a few people that have bought tickets to buy the show, you got to pull yourself together, back your track and go play this show. And, you know, you go through moments like that, in music that I felt like I had, I you know, the whole week hadn’t gone well. For me, I had tried to write this song and nothing came to me the show is not selling well, like I was a bit sort of feeling woe is me, you know, that morning, and I just had to scrape myself together. And you push yourself to the limits with music sometimes. And I get my truck, I’m on the highway. And, and I just started turn on my voice notes. And I just start singing about everything that I struggle with, with music. And, you know, the sort of the darker sides of it the questions when you question yourself like, man, do I do I have it? Maybe I’m doing this all wrong. And I started just singing into my phone and, and I wrote this whole song around that idea. And I pitched it to my producer the day before we went into the studio, and he said, This is the most real song I’ve heard from you in a long time. And and we got it. And, you know, it’s just sort of like, you know, that that’s, that’s the emotional roller coaster sometimes that writing and recording can be it’s there’s, there’s no for me anyways, there’s no real formulaic process. You know, and the ironic thing too, about that whole scenario is that I was able to turn that that sort of emotional space into something really positive for me and something really creative and inspiring. And then now that sort of got me all right back into the cycle again of loving it. And you know, and that’s, that’s music

JP Gaston  25:10

when you got to the point where you like, just all pumped up because you had gone through that process on the way there and you were like, I don’t even care how many people are here. I just

Ryan Lindsay  25:17

know because I at that point, at that point, I didn’t know I had something like I had written this song, but I hadn’t shown it to anybody. Like I didn’t really know, I just needed to get it out. So it wasn’t until I played it for Murray. And he was like, this is cool. And, you know, I didn’t know it was something that was pretty vulnerable for me. And so I didn’t know how it was gonna go over. And and of course, yeah, the show we we sold enough tickets to make it a pretty good night. And it was pretty cool. There was like, maybe 30 people there. It was a small theater, small room. And yeah, we we had a fun, fun evening together. So yeah, so that’s a sort of a recent story, I guess, of my songwriting process. And I wouldn’t say that’s a typical thing, but every song is different.

JP Gaston  26:14

I know that feeling all too well is show up at a show and you’re like, there’s more people in the band than there are in the bar, what? What is gonna happen tonight, and then you need to build over time. And you’re like, Wow, this actually just came together rather quickly. But I’m sure that that, you know, since the last two and a half years, people now just don’t want to hold on to tickets for a few days, they want to, is the event going to happen? Is the person going to show up? Am I gonna be able to go? And then they buy that ticket last minute, like you were saying, and it’s probably changed that dynamic a fair bit for you? It has,

Ryan Lindsay  26:46

and it’s, it makes it tricky. From the promotional end of things, because yeah, you don’t know. Gosh, it’s just like, you know, how much risk do you take on to make those shows happen? Do you just sort of roll the dice every, every weekend, or, you know, so, but it depends on the area, where for a while, we were seeing a drop rate too. So people would buy tickets, and then they wouldn’t come? So we were still seeing good, good ticket sales, and then you’d show up and there’d be half the people that bought tickets. And then it was, so we’re just trying to figure it out. Like we’re still recovering from the pandemic and trying to figure out what, what people want out of live music. And I like to think that we can start with the more intimate shows, we can start with 3040 people in a small little venue and just just have a show like that. And, you know, maybe the going to the bars or going to a big show with lots of pack people might be too much for some people now. And that’s okay. So, we’re, we’re trying to do a variety.

Seth Anderson  27:58

I’m curious, you know, obviously, you’re an artist first. But then there’s a very practical business side of things when it comes to this industry. What have you learned about that side of it? And if you think of, you know, your, your sort of your creativity, is there anything that you’ve you’ve learned to do and the the creative sense to maybe build a following or, you know, tap into the business side of this this industry?

Ryan Lindsay  28:22

Yeah, I mean, social media is the name of the game now. And it’s something that I have a love hate relationship with. I like all of us, right? Well, I, I love reaching people. But I want to do it in a real way. I don’t want to have to, like, chase some trendy thing in reels so that I can reach people, like I don’t want to have to be like a fake person, too. I just want to be myself. And so that’s a tough thing, because we live in this world that is so filtered online. And so how do you be yourself through that and then try to cut through a bit and be authentic. But that’s sort of that’s how I’m trying to sort of approach it and that’s my creative angle, I guess on social media. It’s just being myself in real Yeah.

Seth Anderson  29:24

Do you find that that resonates with the people that you know, because I mean, there’s growing followers like you can go buy followers you can go make your account, look, you know, super big, but is your goal more to just have the like real people who are interested in you and your art involved and kind of creating a space for that?

Ryan Lindsay  29:46

Exactly. Yeah. I don’t know what if people call it like ego metrics or whatever when you do things to like the follow for follow stuff or whatever it is. They try to Jack your your numbers. I never did that. because I just felt like, I don’t care, like I care about that. I just want to know, like, then I won’t know how many people are actually following my stuff. So yeah, I’ve just tried to build it from the ground up, build it organically. And if I can get a strong little following that’s, that’s great.

JP Gaston  30:21

That’s tricky because you need to, it’s just a, it’s a tricky balance that you need to create, because you want to get in front of people who will be organic followers who are interested in your stuff. And, like you were saying, the only way to really do that is to cut through the noise that they get right now. And to cut through that noise, you almost have to join the noise to get it. You want to get like it’s this weird, vicious cycle that’s really hard to overcome on social media.

Ryan Lindsay  30:50

It it is definitely yeah, like ironically in saying all that right now my biggest following is on tick tock. And it’s, it’s a platform that I sort of feel it’s strange that it’s my biggest following and and because it doesn’t it feel like it fits my personality. You know, and it’s all about, like, 15 second attention span and, and stuff. And so it’s like, okay, how can I try to draw these people in, who are into 15 Second entertainment, and try to get them into long form audio, like listening to stories and songs, and, and so, you know, sort of feel like you’re up against a lot in trying to do that. But sometimes it’s worked for me, I’ve had moments where you sort of find a way to crack through a bit and, and that’s, that’s, that’s fun.

Seth Anderson  31:52

So I mean, I feel like, you’re, you’re a great storyteller, and obviously, songwriter, music all that. Have you like, what’s the, what’s the best way for you to get your storytelling out? Have you thought about that? Like, are you going to, like, go down the road of books or, like, because I feel like I’ve of your concert? Like your stories were, like, some of the best stuff like you’re just sharing? Cool. where you’ve been and stuff? Yeah, you know,

Ryan Lindsay  32:21

that’s, I love to write. And I think it would be cool one day to eventually put those stories into a collection. But I think, um, I’d feel a bit too young, at this stage to do something like that. I think I need some some more years under me to write some kind of, especially if it’s about my life. You know? Yeah, I think I just need more time. I’m not wise enough yet. So I’m still getting there. But yeah. I have a friend who wrote a book at 30. And he sort of wrote it about his, through everything he did through his 20s. And he, he sort of regretted it a bit, felt like he should have waited till 40 or 50, to do something like that. But where he just felt that, you know, looking back on the book, it could have used some more years, because I think you experienced so much in your 30s to like, you spend your 20s Figuring out who you are. You know, if you’re lucky, man. Yeah, if you’re lucky. Yeah, exactly. So, but yeah, certainly, I would love to, to do something like that it would be quite the endeavor,

JP Gaston  33:45

should do a two book series, you could release one now called Wild and you could release one later called wise. Exactly. Why? Same stories just paired up nicely together. Yes, this is what I thought of this story when I was 30. This is what I thought of the story when I was 50. It’s a very different story. Now.

Ryan Lindsay  34:09

Some of the details have changed.

Seth Anderson  34:12

On the on the music side, I guess then obviously, you know, you’re on, you’re on the rise up, you’re on, you know, hopefully we’re on the other side of COVID for the most part at this point. What, what are the next couple of years, sort of as you look out, what do you what are you hoping to accomplish?

Ryan Lindsay  34:26

Well, I’m excited to tour as much as I can. This fall, I’m going down to Texas, and going to do a two month tour down there. And it’s the first time I’ve toured in the States. So I’m really excited about that. And just Yeah, it feels it feels fun. This idea of taking this this music that’s inspired by this, this prairie boy that used to guide in the in the rock keys and then take this music out and read to reach people with it, go to Texas and see what they think of it there. And, and I don’t know, just and, and be influenced by other places too. I’m looking forward to that. Just sort of, yeah, getting out of Alberta as much as I can and, and, you know, the Alberta music scene has been great to me here. But it’s it’s time to, to get this music on the road and more excited than ever coming out of the pandemic. You know, I haven’t been able to travel very much with it. So I’m pretty excited about that.

Seth Anderson  35:38

That’s awesome. And I think the other thing that you and I have in common is, is hometown area. I was doing some rough math, JP and

JP Gaston  35:48

I feel like all your math is rough.

Seth Anderson  35:52

I think I believe Ryan is the 10th Wainwright area guests that we’ve had on the pod, so no way. Yeah. Wow. We’ve really tapped in. There’s a lot of amazing people in that area. Yeah, I’m

JP Gaston  36:06

seven more people. We got the whole town cover.

Ryan Lindsay  36:08

We got. That’s so cool.

Seth Anderson  36:11

I mean, you know, you got Connor McLennan, who’s, you know, one of the best junior hockey players in the world. yourself. We’ve had with Parker Mackay on the show. And Roy had Parker in parks on Yeah, I played hockey with Parker. Back in the day. So yeah. And I know you know, Derek Pfister. He’s been on as a as a guest correspondent a couple times. So yeah, we’ve really dove into the Wainwright area. So and I know, I think you said your parents moved away from there. So you might not be getting back as often. But it is it is neat, like the concentration of cool people and talented individuals in that little area.

Ryan Lindsay  36:45

That’s cool. It’s really inspiring to hear that really special. We just actually went to Wainwright for Canada Day and played the Canada Day celebrations during the fireworks. Man playing music during the fireworks is the most terrifying thing ever. You know? You’re like trying to imagine trying to be on rhythm and you’re shopping. Every time a firework goes off. But anyway, it was a great show. And I just love going back to that that area if it’s home for me. And yeah, it’s so cool to get the opportunity to bring back this music to a place like that. Because it’s and that’s that’s where it started. And that place raised me and so yeah, it’s so cool to hear that there. Is that kind of talent coming out of that place? I don’t know what it is maybe something in the water.

Seth Anderson  37:49

Definitely an aroma for the athletes.

Ryan Lindsay  37:53

Man, it’s yeah, it’s it’s pretty competitive. It’s really competitive there. Yeah, they’re there. Their softball team to is always so dominant every year. The Irma softball team is just like,

Seth Anderson  38:10

yeah, when I coached the bisons, I think we had five or my kids by the last year and like they are competitive at everything. There’s nothing like super ball before the games, like every every single thing they do is a competition. And I think it’s just wired in them from when they’re young.

Ryan Lindsay  38:29

That’s awesome. Yeah.

Seth Anderson  38:32

Yeah, no, it’s been an absolute pleasure connecting with you, Ryan, one thing we’ve been asking every guest this season, and I’m sure we’ll kind of string it all together at some point. But just curious, how do you define creativity? What is what does that word mean to you when you hear it? Man? Well,

Ryan Lindsay  38:49

I think it’s a really big concept. But for me, maybe I’ll share this. When I song right. I went through a period where I sort of started to get a bit in my head, about songwriting I never used to be when I first started. And then I think when you have an audience, and you know, people are listening to it, you think a little more about their expectations. And sometimes that, you know, you get a little bit in your head or that can get into you. And what allowed me to get out of that was realizing that, like the ideas and the songs, they don’t come from me. They come from, like, growing up in Wayne rate and being influenced by going to these small town, you know, festivals on little farms and stuff growing up and, and going out to the mountains and guiding in the north and being on the road playing shows, and the people around me and all that stuff. It’s all environment. Mental and, and sometimes I feel like I’m just a vessel. So these ideas don’t come from me, they come from out there. And the more you can just let that flow through you and sort of drop the ego, the more I find creativity. So I think it’s not exactly a definition for you, but but somewhere in there in lies creativity that is where it sits in that space of just sort of being like, it’s connected. You know, being creative is being connected. Love the Yeah. Yeah. And I mean, that’s how I wrote wild too is that song I sort of was inspired by an experience I saw, I saw a wolf in the back country on a trip and he came up this hill while we were watching some caribou. And, and this wolf came up over a ridge and looked me in the eyes and, and just really cool moment that I’ll remember for a long time, but I I lay had sat down in my sleeping bag that night, and the wolf was camped right beside us, like, felt like he was right beside us, and he howled all night long. And I thought I want to write a song with howling as the melody. You know, so that was a gift, that song. And, you know, I didn’t, I didn’t craft that. It was all about being in the right place at the right time. So that that concept for me has just been the most inspiring thing ever, because now I’m just, I live my life out daily. Sort of just keep trying to keep my mind open and being on my toes for opportunity and possibilities with music. Love that.

Seth Anderson  41:54

That’s a great way to to end to end the show today. So thanks. Thanks so much for coming right I’m gonna try to pop down to your show on Thursday there

Ryan Lindsay  42:01

yeah, thanks so much, you guys. Awesome. Thanks, right really nice seeing ya debt. Take care.