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Well, I guess because we were all in the Premium la galaxy 2023 shirt But I will love this same shoes, we could kind of commiserate about how impossible it was. And it was really emboldening to listen to people that I have so much respect for expose themselves in the same way. Although it was very annoying how Mac DeMarco could not write a bad song. He just was incapable of writing a bad song. Every single song he sent, it was like, is this on a record? But I tried my best. Some days, I just did an a cappella lullaby to not be disqualified, having not had time that day. I just didn’t want to get booted, or voted off the island or whatever. [Laughs.] But the songs did continue to change through the live shows too. That was something I’m unaccustomed to doing, playing brand-new songs in front of people, having not really concretized them for myself. So that felt quite vulnerable. I actually intended for them to be done by the time the show started, but then the workshopping nature of the show lent itself to giving myself increasing amounts of permission to show the process as it was happening in real-time. If we’re inventing a new context for people to relate [to each other] inside of a concert setting and toward the “concert-ness” of the concert, then why can’t everything else be allowed to be reinterpreted on the fly?

Was there something about the Premium la galaxy 2023 shirt But I will love this songs that you felt lent themselves to this reverse-engineering of making an album—touring them first, and then recording them after letting them evolve along the way? Probably having done the album endeavor a bunch of times now, I was glad for a topsy-turvy approach. Nothing about me felt familiar anymore at that time. I had just become a parent, which is really a knock on the head. It’s incredible, and it’s so challenging. I didn’t really know how I would approach the old songs if there hadn’t been this moment when the theaters were asking for shows with very few people. We had actually come up with the idea years ago—we had developed the whole show with Rob Sinclair, the production designer, and we had the whole show thought out. And then we found it impossible to stage because I needed it to be so few people, that economically it wouldn’t hold water. So this moment of the pandemic allowed the show to be set as a kind of target on my calendar, where I had the personal goal to finish the songs in time for that. It then became an album, of course, but at each step, I was just looking at the next goal, which was to play one time in Hamburg…okay, play it 17 times in Hamburg. [Laughs.] And then we ended up doing it 90 times around the world.I also read that before you embarked on the shows, you felt you had nothing performative left in you anymore. What did that feel like, as a professional musician whose lifeblood is touring?

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