Blog: Let's Put The Music Back In My Music Career, Shall We?

Did you know the last time that I released a song was “Missed Calls (Acoustic Version) back in November of 2024?! That’s almost over two years ago. Looking back & seeing that’s actually how long it had been, it’s entirely fair for me to confess that I really don’t love that. So, what the hell happened? Let’s dive into the nitty gritty & get down to brass tax & all that jazz.

At the end of 2024 I had an opportunity spring up. This opportunity, while still tentative, required that I keep my schedule fairly clear, basically through the entire first half of 2025. I was initially told that I would know whether or not it was locked in place by around the first of the year, I didn’t end up hearing anything until the very end of March. At that point the window to release, to plan shows for the summer, to have a plan to put music out had all but closed. In addition to the lack of content that I had for distribution & appearance, the rejection from what I thought was something I had on lock really took a toll on me, much more than I thought initially it had.

Even though it was entirely up in the air, those who had presented me with this chance that eventually fell through, painted a very promising picture at the point in which I was asked to go forward in the process. It got my hopes sky high that maybe this would finally be the thing that got enough eyes on me to elevate me out of obscurity into a place even slightly higher up the career ladder from where I viewed myself to be. The rejection of that ended up making me question my worth & my value as an artist & a singer, even though the rejection email I received specifically told me that none of that was in question. I spent far too many months after that sulking, struggling to get excited for projects or writing at all.

In addition to all of that, I felt a growing estrangement from my family that weighs near constantly on my mind & heart. I felt like an outsider when at home as well as an outsider when I went to visit them & it felt like I was the only one of us who was doing something other than ignoring that feeling & sweeping it under the rug per usual. I felt isolated, angry, frustrated, heartbroken, worthless, othered.

It wasn’t until the summer that my dear friend Leena reached out & offered to set up a standing write with me every week to help us both get back on the horse, something we still do to this day! We’d go back & forth each week or so on whose ‘turn’ it was to have a song written & by the time the end of summer rolled around we’d both started to build a pretty decent collection of songs that we both enjoyed. It here that I started reaching out to producers to try & get some of these songs ready for release.

I first reached out to Jess Grommet who had done the production for “Consequences Of My Honesty” & “Missed Calls.” Jess had recently secured a much deserved pub deal at Warner Chappell & when I’d texted him in June/July to set up studio time, he’d told me they’d booked him up through September. Again, major props to him! So, I went about looking for some other production options.

Incase you are unaware, a song in Nashville, TN will cost you, at minimum, around $2-2.5K to have it produced. At minimum. That minimum became very apparent the more producers in town that I reached out to, a lot of whom quoted me 1.5-2 times that number. Truly no shame to them, know your worth y’all. It’s just hard, financially, to be a singer-songwriter in these streets. I then turned to yet another avenue & looked abroad.

Max Hurrell, Leena’s husband, had been a former producer at Atlantic in LA. He & she now have a studio in Adelaide, South Australia called the Songbird Society. Max had previously worked with me on the release of “Obliterated” that I did with Hektor Mass back when covid struck. I ended up reaching out to him & we discovered that I could fly to Australia & do a song with Max for cheaper than I could in Nashville. So, at the end of October/beginning of November that’s what I did. I flew to Australia to work with Max on music.

At this point I’d already started work on a track with Jess, we’d picked a song that I wrote a while back with Reid Zingale, Chuck Callahan, & Mandi Mapes called “Some Days.” The song appears on Zingale’s album The Good, The Challenge, The Change, but was an idea that had lived in my notes app for years. The premise is simple, it’s a take on the struggle with mental health & is an acknowledgment that a lot of days are going to suck, but you have to hold on to the ‘some days.’ The days that are brighter & where the ice begins to crack & you find yourself renewed. Jess & I chose to work on this for a number of reasons. One, Reid’s version is his own, but there are certain sections of the song that we wrote that ended up on his cutting room floor that I, personally, find pertinent to the story being told. I also had a deep affinity for the song before it even into being & went through a crisis around ‘giving it away’ in the first place. The second reason was that I wanted a feature on the song in one of the sections that had been previously omitted. Jess & his wife, Carli’s, band, Pacific Midwest, fit that bill perfectly. We started work on “Some Days” in September of 2025 & finished it in March of this year.

Back to Australia, Ev & I ended up there for a week & a half in Oct/Nov of 2025. Max & I decided to work on a song that Leena & I had written called “Don’t Look Now (It’s The End of the World),” a song about political apathy & the frustration of dealing with people who refuse to read the book on this open note test we’re dealing with right now. We cut almost all of the guitars, keyboard parts, synth parts, & the entirety of the vocals for the project. Once we left Australia we got hit by the holidays & the song got put on hold for a while.

At a certain point during revisitation Max & I discovered that we had tracked the song in the wrong time signature which was causing some of the synth tracks to not sit well in the rhythmic pocket. The problem with that is that the song has a lot of different parts that are each doing very active motion & if they aren’t all perfectly lined up, it ends up being a bit of a mess. It took Max a while to find a fix for this, especially since we had already done so much work in the old time signature. Eventually it was fixed, I flew over bass parts, a keytar/guitar solo, & a few other items & we got back to work on the project from abroad. Thankfully, now, we are in the final minor adjustments where production is concerned & are starting to toy with mixes.

I feel it’s worth mentioning that none of this was to plan. My plan was to do a release in spring of this year followed by another a month & a half later & a third falling along a similar timeline. With that in mind, & had all things gone according to the plan I had in my head, we’d now be well in the weeds on single #3 & its promo. But we aren’t & that’s okay. Timing is everything. It’s also worth noting, to give insight into my headspace the past year, that up until a couple of weeks ago, I hadn’t played a show since June of 2025. Other than a few releases by other people with songs I’ve cowritten, my music career has basically been stalled in the water.

I’ve written many a post about my struggles with my physical & mental health over the last two years, that has also played a major part in all of this unfortunately. It’s put road blocks in my way that I hadn’t anticipated & honestly has left me with a lot of self doubt. It’s made me question my worth, my talents, my abilities, whether or not this is a dream I should even keep working for. I’ve had a hard time singing in general & where our house used to be filled with near constant music & musical creation, it has since dried up & become quiet. It’s something I’m still working to change & something where I find myself afraid to play the piano or the guitar & very afraid of singing. My musical voice has been compromised & I am still working to reconnect with & recover it.

Now, where are we? What’s the update? Well it’s the end of September, “Some Days” is done, its album art actively in the works & a plan has been laid to try & have it out to you all within the first couple weeks of November. Surprise, I guess! “Don’t Look Now (It’s The End Of The World)” is in its final stages & Ev & I are looking to shoot artwork for it at some point this week! From there I anticipate the song coming out within the first month or two of 2027. Each song will also have a corresponding acoustic version release, of course, & I anticipate a return to the studio here shortly to begin song #3 which I hope to have out in March or April of next year! We are doing it. We’re coming back. My mental & physical health hurdles aside, it is well past time to jump back on the horse & dig in! I can’t wait to share it all with you!

Until then, much love to you all,

-C

Blog: Trying To Bridge The Disconnect

Lately my career, specifically where music is related, has taken a turn that I don’t think I expected. For those new here who read that first sentence & said to yourselves “wait, you do music?!” welcome to CharlieRogersMUSIC.com, nice to have you. The turn I seem to have made lives in the writing world, & no, not this writing world, the songwriting one.

I’ve been writing songs since I was sixteen, so almost half of my life at this point. I started in my bedroom writing about my life as a high schooler & while a lot of those first songs were definitely not the greatest, I am still proud that I took the step to start somewhere. From there I went to college where more often than not, I was writing for myself still. It wasn’t until around the time that I graduated from Belmont that I really started to write for other people. I had a hard time with that at first, removing myself from the art, from the narrative, but I soon found that that is where the empathy of the artist really comes in handy. Even though I may not have a specific lived experience, I can still, to some degree, project my own life experience into the writing & inject my own personality & life into crafting a song that is entirely to do with someone else’s point of view & story. Even though I had shifted away from being entirely self centered in my narrative, I was still writing a lot for &/or about myself, though the shift allowed me to create songs that were still about me but were filtered through the lens of an alternative character. See Jericho. This continued for a very long time until I kind of lost my way.

I would say around 2020 it became incredibly difficult for me to write. Probably in part due to the pandemic as well as a lot of personal change that I went through, my creative mind seemed to have departed my being almost entirely & when at long last it finally came back, it seemed to have left my introspection behind, wherever it had gone. However, what seems to have come back with my creativity was this new found ability to draw entirely personal stories & details out of those I find myself writing for & inject that into their songs.

I found myself entering rooms & leaving with songs that, to me, felt disingenuous. I knew a lot of my cowriters & their backgrounds & a lot of what they were projecting into the writing space was very counter to who they are as people or what their lived experience is. That’s not to say that we can't play characters as writers, but I feel like when writing for oneself, there needs to be a level of authenticity in the project or the audience sniffs it out near instantaneously. I started to get fed up with vague generalities & instead found myself craving the deep intimate details of each song being written. I wanted to know the story behind the prompt, how it made the writer or artist feel, what in their mind the specific imagery surrounding the song consisted of, any specific memories it brought up. It was no longer enough for me to play into an interesting rhyme or idea just for the hell of it, I wanted the music I was a part of creating to bear signatures of the soul of those who worked on it.

I’ve gotten very good at this practice, in fact, it’s one of the main reasons I get drawn into sessions these days, because I don’t settle for the generic in terms of the song’s personality signature. I am, however, finding myself incapable of extending this practice into my own writing for myself. I find myself utterly blank when I ask the same questions about a song & its premise that I drill my fellow writers & artists about during a write, I can’t seem to refocus the lens on myself & make something deeply personal. Maybe it stems from years of projecting an idea of who or what artist I wanted to be. Maybe it stems from years of censoring myself because I know if I said certain things in songs that it would offend or upset people close to me. Whatever it is, I can’t, at the moment, seem to shake loose of it.

So here in lies my struggle, the bridging of this disconnect that I have had the last couple of years. Having the ability to be almost overly analytical & receptive to the lives & ideas of those I collaborate with but lacking, almost entirely, the ability to be introspective & open with myself & the things that I want & need to say as a writer & artist.

Maybe there are conversations that need to be had that will allow me to feel like I can express my feelings, my history, my emotions openly in song without fear of retribution or backlash, maybe there’s inner work that needs to be done. Whatever the answer it, it has become abundantly clear to me that I am, at my current state, far more comfortable with being open & honest through the lens of other people than I am through my own works. Which as someone who strives to be an open & authentic artist, is incredibly discouraging for me. I think I’m writing some of the best works I’ve ever written, & am more proud of what I leave writing rooms with then I ever was before, but I would certainly like for the elevation to extend to myself & what it is that I want to work on.

As always, much love to you all,

-C

Blog: Fine, I'll Do It Myself...

When I started recording “When He Was Me” I knew instinctively that I also wanted to put out an acoustic/stripped version of the song along side its more produced counterpart. Initially I had what we are now calling the “acoustic version” for its own full release, but after talking it out with PR & some other friends in the industry it was decided that we would treat the secondary release as supplemental. At the time of this decision the only version of “When He Was Me” that was completed was that of the original version, or what I’m calling the OG version & the timeline for the acoustic work’s completion was very tight. I began my “hi, let’s do a song together” texts to the normal avenues & producers I know but quickly found them all occupied with their own ambitious & excitingly full schedules so I found myself a bit at a loss of what to do. That’s when it hit me, what if I just…did it myself?…

Call it divine intervention, fortuitous winds, whatever, but the stars really aligned on this one. At the beginning of this process of doing something I had never done before, release something I produced/engineered/recorded/played entirely in the spare room upstairs, all I had was my MacBook with Logic Pro (recording software for those not familiar), my Lauten LA 320 microphone that I’d been using for voice over & demo work, & my Apollo Twin interface (how you connect your microphone/instruments to your computer). I was in desperate need of some studio monitors, a better workspace set up, & some plug-ins (effects added into Logic to make tracks sound or behave in a certain way), but I guess fortune favors the bold.

First came the desk. I was writing with the abundantly talented Frye in LA a few times ago when I was there & commented about how much I love her simple but hella effective studio set up. She sent me an entire gear list, including the studio desk she was using which sat around $300 on Amazon. I’d saved it to my wish list & never really thought much of it, that was until I started this project at which time I got a ping from Amazon telling me that the desk was on sale for a third of its normal price, $100. So here I sit, laptop propped up on my bright yellow studio desk!

Second came the monitors (speakers). I happened into McKay’s here in Nashville one day in search of an iPod for my niece. McKay’s is a used book/video/tech/etc warehouse by the way. While I was perusing the tech section I noticed a pair of Rokit 8s up on the shelf for the price of $190 for the pair. Now Rokits are fairly solid studio monitors & 8s are worth about $300 a piece brand new. So it was a steal. I asked the attendant about them, he said they’d been brought in a few hours earlier & worked great, so on home with me they went. I’m actually sitting here in between them listening to focus music as I type!

Last came the plug-ins. I was running a version of Melodyne already, I’d purchased it at a dizzyingly low price during their Black Friday Sale but I needed to upgrade the software to have it be affective at editing not just vocals, but polyphonic instrumentation (multiple notes being played at once, think of a guitar, ukulele, banjo, mandolin, non-MIDI piano, etc.). Once again, in waltzed a deal, $99 bucks to upgrade, normally $250. Now the deck was stacked in my favor!

With all of the pieces of my studio Infinity Gauntlet now assembled, it was time to get to work!

The first thing I did was lay down a rough. Rough vocal over simple piano chords tracked on my Roland RD-700, the only technically non-acoustic instrument that I played on the track. Tracking live piano is next to impossible to make sound good in a setting outside of an actual studio. From there I added rhythm guitar, a simple chorded finger picked pattern on my Collings Triple O that was also supplemented by full swinging strums panned left & right in the latter choruses. That’s when I hit my first snag.

You see, I don’t own a bass. What I do own is a cello, the only problem was that the bow of my cello had popped meaning the fastening holding the hairs in place had broken on one end. Another problem was that my local music shop was currently out of bows & would have to order me one. However, in the interim, I decided that I was going to track cello like a bass, using it as a plucked instrument to fill out the lower range of the song. With the bones set it was now time to fill in the intricacies of the song.

I knew I wanted to pay homage to the slide & dobro in the original version but I lack both a pedal steel & a dobro so instead I opted for a simple bottle slide on my acoustic. Tracking it in two octaves I still felt it lacking so I waited for my new bow to come in & added in the cello part later.

Next came the vocal texturing. I feel like Josh & I always end up with a stack of “Ah’s” in most of the songs we do & the OG is no exception having them lay essentially the pad for the bridge. So the “Ah’s” got tracked. Then came the Gregorian section.

I always feel like Rami Malek in Bohemian Rhapsody when I bring up the Gregorian section, to me it bears the same energy as him saying “now comes the operatic section” & while the Gregorian section was essentially just a pad in the OG version, I wanted to do it myself in the acoustic. This ended up being the lowest I’ve had to sing since the time I sang bass in Kansas State Choir for an old Russian Hymn. We’re talking Ab2’s low. (My music nerds will get that one.)

The last bit of vocal flavoring I added in were what I refer to as the “call & response” parts. These can be found in the second & third chorus & are essentially just repeating the chorus lyrics back after they’ve been sang. They mad the original recording so I felt the need to replicate them here as well.

With all of that in place I set about tuning, adjusting, equalizing, adding reverb, etc. etc. etc. which took me the span of several weeks. From there I got some feedback from friends who felt it needed a little more drive to it, so I added Cajon & Shaker into the mix. With all of these parts established it was finally time to go in & retrack the lead vocals.

I think I ended up doing around twenty-five different takes of the song mostly all of the way through. There were times where I’d listen back & feel I was still missing the line & would go in to add another five or six takes just to make sure I got it. Then came vocal compiling, cutting & reassembling the vocal lines into the one you hear today. After that I went in to make sure the timing on certain lines fit well & certain notes that were too quiet were turned up & those that were too loud, softened. This is an entirely baseless, stupid, & not meant to be a “brag” because I have no issue with the tech, but I actually barely tuned the vocals at all, I wanted that raw performance. From there I added chorus doubles & a single layer of background harmonies to keep things simple.

Finally it was time to send off to mix. Jonathan Roye was more than patient with my steep & fumbled learning curve & allowed me ample opportunity to go back & fix the numerous mistakes I made along the way, including at one point having to go back & entirely redo the Melodyne of all of my vocals (quantize tempo, reduce loudness, increase softness, tune, etc.). After a few back & forth between him & I we passed it along to Mike Monseur who mastered the track effortlessly!

All in all it was definitely a struggle for me. There were many times where I felt like giving up or trying again to find someone else more readily equipped to do it, but I’m glad I pushed through. This is definitely going to be one of those tracks that I’m not going to be able to enjoy for myself for quite a while, simply because of all the work & stress around it. It doesn’t feel real to me that I’ve put it out, it doesn’t feel real to me that I’m not able to be hyper critical of it anymore & make tweaks, because it’s out. It’s done. It’s time to move on to the next thing & let the song be what it’s going to be!

If you’d like to stream When He Was Me (Acoustic Version) you can find it in the button below!

As Always, Much Love,

-C

Release: When He Was Me

I first heard When He Was Me about five years ago now. I believe it was 2018 but it very well could have been 2019. I had a session with Josh Gleave at his studio on music row. When I walked in Josh was wrapping up work on a demo for the song that Shay Mooney had just recently come in to lay down vocals on. He played me the song in whole since I was present & it immediately grabbed ahold of me. It was one of those songs that catches your breath from the first line & doesn’t let go until the final chord strikes. Time went on & I patiently waited for When He Was Me to make an appearance on a Dan + Shay album, but it never did. As soon as the track listing for the duo’s third album came out I & I saw that the song wasn’t among them I immediately texted Josh to find out if he could reach out to Shay to see if I could cut the song myself. Shay gave not only his blessing but also sent over a folder of about six other songs of which I chose two; When He Was Me & Something To Do (we’ll get to her at a later date). Then began the process.

Being an independent artist can make getting a big boy industry song cleared amongst the big boy music industry a bit of a daunting task. After a few months of my former manager not making any headway on securing the rights we parted ways (for a number of reasons outside of the song itself). The task then fell upon Evan & I, but mostly Evan who loves himself some admin work, to get the song cleared. Of which he went through multiple different sources to find the proper avenues to secure the song.

We ended up doing the recording of When He Was Me right before the pandemic hit but I found that the more I sat with the recording, the more I felt it was lacking something, specifically where my vocal performance was concerned, so once we had a dip in quarantine restrictions & covid numbers, I headed back in the studio with Josh & Greg Breal to do a different vocal take, which I much prefer to the one we initially had. We also added a few more sets of BGVs to the song & a bit of vocoder!

After the song was sent off to Jonathan Roye for mix & Mike Monseur for master it sat. For almost three years it sat. Why you may ask? Well this is one of those songs that I wanted to put out right. I wanted all of my ducks in a row & everything to go smoothly, & thus far it has! Additionally, remember how I said I was dealing with big industry things with clearing this song? Well, that was beyond true! Evan counted last night that it took 78 different emails to different people to get this song cleared. That’s not counting the direct messages, phone calls, intermediary texts to find contacts, etc. This song took this long to put out in part because of my status as an independent artist.

But alas, we’re here now! The song has been released! It is out in the world for you all to make your own & to listen to & share amongst your friends & family & in all honesty, I feel good about it. For once I’ve got a release going smoothly with more things to follow. For once I’m not at a place where I’m sick of the song by the time it’s been released & that feels good. I’m at peace with it & am ready to see what comes of it. I’ve released the art to you all to do with as you see fit. I’ve done my part in its execution & now it’s time to let it fly!

When He Was Me was written by Shay Mooney & Benjy Davis. It was produced by Josh Gleave & vocal produced by Greg Breal with drums by Lester Estelle Jr., bass/keys/programing by Josh Gleave, & acoustic/steel/electric/dobro by Devin Malone. It was released through Distrokid & promoted by Trend PR. A special thanks to all who helped this song along the way: Noreen, Patricia, Kendall, Ashley, Alison, Amanda, Ben, & Hunter. A special thanks to Evan for all of his incredible hard work & beautiful content creation & a shoutout to The Fox Bar & Cocktail Club for allowing us to use their venue for photos!

I’ll place a link to the song below though you’re more than welcome to search it on whatever your favorite streaming site may be!

Much Love As Always,

-C

Blog: Stumbling Through Life

This past week when I arrived back home from Arizona I received an email from a site called Feedspot. In the email they congratulated me on being placed as one of their 70 Best Nashville Music Blogs & Websites in 2023 to which they assigned me the 35th place. Now, I never applied for this site, nor had I honestly heard of it until I received the email, additionally I know absolutely zilch about the site or company itself but at the end of the day I’m honored that I was even considered to be on the list at all. After all, this blog is often just a journal of my ramblings & misadventures, a collection of my thoughts & feelings. The crazy thing is that, for whatever reason, it connects with people & that is what I am most grateful for.

So be honest, I’m not entirely sure what I’m doing each Friday or Saturday when I post a new entry in this crazy chronicle. What started out as a way to share my travel expertise & taste has shifted into a bit of an enigma that I’m still not entirely sure I have a grasp on. I’ve mentioned it before in previous blogs just how random & unexpected this is at times but in all honesty it often feels like I’m just stumbling through life, randomly landing on the occasional accomplishment.

I think this is true of most things I do; I put out music & it often sticks in the most random of places but seldom the ones that I intend. Same goes for this space. The blogs I write out of pain, frustration, or exhaustion are often the ones that are still read to this day. So too are the ones that I write from random spur of the moment travels, not the ones I spend weeks crafting trying to give my best possible recommendations for the many places in the world that I have frequented. To say I feel a tad unmoored or aimless in my day to day would be an understatement.

Maybe that’s all a part of the human experience, maybe I’m preaching to the choir here, but it feels like most days I wake up with a big, fat question mark floating above my head. I spend most of my mornings trying desperately to figure out the course of my day. Do I still have lists of tasks & work that I do each day? Of course, but it feels a little like I’m going through the motions a bit with no real end in sight. I don’t mean to say I’m depressed, quite the opposite, of the most part I find myself content, which is something that I believe we should all strive for, but I wish I had a better sense of direction or overt purpose than what I feel on my average day.

Again, maybe I’m preaching to the choir here, or maybe this is entirely taboo to you as a reader but there are so many days that I wish someone would just grab me by the shoulders, look me dead in the eyes, & say ‘this is what you’re meant to be doing & this is how you get there.’ I wish there was an overt light or guide holding my hand through the blackness & pulling me towards my destination instead of feeling like a mast-less ship adrift in the middle of the Pacific surviving of a steady supply of rainwater, fresh fish, & a library of assorted books, musical instruments, & games. Did that analogy land or did it sink?…I’ll leave.

At the end of the day I am grateful. I am grateful that I get to spend my life creating in different fashions. I am grateful that I get to see & experience the world & all of the incredible beauties it holds. I am grateful that I have the space & lack of pressure to do something that is soul sucking & I am grateful to each of you out there who read or listen to the inner machinations of my mind & find them interesting enough to keep coming back. I am just longing for clear direction as so many of us do but in the mean time I intend to stay in my contentment & learn as I try to grow towards whatever end awaits me.

As always, much love to you all,

-C

Blog: Just Another Late Night

On a chilly November Wednesday evening, back in 2017, gathered around my kitchen table with Evan Michael & Kate Cosentino was where “Just Another Late Night” was originally conceptualized. The title had been a note in my phone for even longer & for whatever reason the timing was right for this midweek write. Back in 2017 Kate, Evan, Kimi Most, & I used to do weekly Wednesday night writes. This song came out of one of those sessions as well as Kimi’s “Happy Birthday To Me," a song called “Dumb Drunk Self” that I still desperately hope Kate cuts, & innumerable other songs that we each have sitting on the shelf waiting for the timing to be right on their potential tracking. Given that she is not credited on this song, Kimi was obviously not a part of this particular week’s write for whatever reason so it became a collaboration between the three of us.

I remember writing down the title in my notes as almost exactly how it ended up “I need someone that will love me right, not just another late night.” To me the song sparks a memory from the early 2010s but for whatever reason I still hadn't found that “someone who would love me right.” Naturally it had been a while since any of the events in the memory had taken place but I still felt deeply attached to the idea & the song kind of poured out of us in the session.

From there the song became a staple in my set, I’ve been playing it in live settings ever since that night in 2017. I played it so much & so often that people who came to a lot of my sets began to know the words & I would get asked over & over when I planned to release it but for whatever reason it just kept getting pushed down the “to record” list. Cue 2020/2021.

I had just put out the acoustic mix of “Obliterated” & had gone in to record another song that is as of yet, still to be released. We wrapped the song & I felt I needed to put out something with a little more movement, enter “Just Another Late Night.” Going back in studio with Josh Gleave, we set out to finally bringing “Just Another Late Night” to life.

I wanted “Just Another Late Night” to feel almost like two separate songs because in the song, much like in life, we have moments of waining clarity. The verses act as the “quiet before the storm” that is each encounter the chorus brings. The verses are much more reserved allowing more space for the clock & hours to tick by in reflection. The chorus is cacophonous, it’s rambunctious & wild. It’s unhinged & without hesitation. Then we come to the bridge. The bridge to me is the “eye of the hurricane” it’s nothing but vocal & percussion that features a begging ultimatum from the narrator of the story. I wanted the song to reflect life, to have those moments of clarity that we all reflect on after & before the fact before we ultimately buy into the thing that’s destroying us one more time.

We’re now a week int the release of this song that we poured so much love & life into & I’m floored by the response I’ve had for it! Many blogs, playlists, websites, have all reached out asking to feature it. So many people have shared & as of this second we are sitting around 25,000 streams on Spotify!

I’d like to thank any & all of you who were a part of this song:

Evan Michael & Kate Cosentino for helping to write it!

Joshua Gleave for producing & dealing with my crazy artist ideas in addition to bass, keys, synth, & program instruments!

Lester Estelle Jr. for lending his mad drum skills!

Cole Phillips for crushing the guitar!

Jonathan Roye for mixing it so perfectly!

Mike Monseur for mastering!

&

OneRPM for distribution!

If you haven’t streamed or purchased “Just Another Late Night” I’ll drop the link to it here:

As always, thank you for reading! Thank you for allowing me to do the art that I love & be the artist I am!

I’d also love to know your thoughts on the song & how it relates to you personally, so feel free to leave a comment below!

Much love to you all!

-C

Travel Blog: Maui-Part Three-Food For Thought

Previously On

…

PART ONE

PART TWO

Now, back to our regularly scheduled content!

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SECTION TWO: MAUI CONTINUED

DAY FIVE

In case you were unaware, Maui is home to a very popular local restaurant, Mama’s Fish House, which is located on the north shore in Paia. I have very fond memories of going to Mama’s as a twelve year old lad & was understandably invested in going back this trip. However, COVID regulations being what they are in the state of Hawai’i at that moment, Mama’s wasn’t taking any walk-ins & their reservation list was booked out until August. I had called a few days prior to Sunday to see if there were any random cancellations but had, until that point, no luck. I was advised by the receptionist to try & call or “walk-in’ right as the restaurant opened at 11 for their lunch seating.

Sunday rolls around, Evan & I pack up the car with all the things we figured we’d need throughout our day & we headed up Paia. We arrived at the gate of Mama’s around 10:40 & pulled into a spot. Within a few minutes a line of cars had already began to form behind us. I made the call a few minutes before 11 to see if by any miraculous chance something had opened up & BAM!!! SUPERPOWER STRIKES AGAIN!!!! They had a table available at 11:20. Feeling rather hungover from the previous evening & needing to burn some time, we went back down the street to Choice Health Bar where I grabbed a Tropical Beets pressed juice & a Noni shot, a local ‘cure all” that I will definitely agree with them, is an acquired taste.

Juiced up & nearing the time of our newly minted reservation we headed back to Mama’s, immediately found a parking spot up front (superpower), & were shown down to the lower host stand. After around five minutes staring at the collection of autographed photos they have by the restaurants entrance we were shown to our table.

The vibe of the fish house was exactly as I remember it; deep Koa accents with open breezeways set nestled in the side of a hill, bay front, just off a grove of palm trees. We sat, order a little bit of the hair of the dog, & enjoyed the warm sea breeze sweeping through the venue.

At the recommendation of the waitress we ordered the Macadamia Nut Crab Cakes & the Toko (Hawaiian Octopus) for an appetizer. The crab cakes were up there as some of the best I’ve ever had, as was the octopus! For our main course we split the Mama’s Curry & their daily special of Mahi Mahi. We’d had three separate people in the restaurant rave about the curry & boy, were they right! The fish was so fresh & so perfectly prepared, it practically melted in your mouth. Dessert was espresso & a Polynesian Black Pearl, Mama’s signature dessert. The black pearl is a Passionfruit Mousse topped with Chocolate Ganache with a Cookie Shell & Passionfruit Drizzle! I’d had it before & I had never forgotten just how incredible it is!

We wrapped up at Mama’s around 12:30/1 & were absolutely stuffed, the problem with that being that we had another dinner reservation at Merriman’s at 4:30. While doing my initial restaurant research for Maui I’d stumbled upon Merriman’s & had managed to snag their very last reservation for the foreseeable future. Say it with me folks, superpower. So hoping to burn through a few calories, aid the digestion process, & having just made it through the 24 hours elevation limit following my dives, we went up to ‘Iao Valley to hike!

We were under the impression ‘Iao was a longer hike than it was but it was stunning nevertheless. The drive up to ‘Iao was very reminiscent of the Road to Hana in the sense that you go from one ecological biome to another in almost the blink of an eye. You go from Hawaiian hill country to lush rainforest. It was raining up in ‘Iao but we didn’t mind. In all honesty we were pretty hot & sweating from sitting down at Mama’s. We basically did the hike in 15 minutes then spent the next 45-ish just wandering around the park, going down to the river, contemplating swimming, trailblazing, etc.

Having a little extra time between our hike our & early dinner we decided to go back & change as we’d gotten a little muddier than we’d initially anticipated. We cleaned off & got back in nicer clothes before we climbed back into the car & went up Lahaina way.

Dinner at Merriman’s was set right on the edge of a cliff overlooking the north shore to the backdrop of a wedding happening just below us. It was served grand prix style so we got to pick from a few options in each category; appetizer, entree, dessert (naturally). Evan & I once again split everything we ordered getting Ahi Poke & once again, Octopus. Evan favored Merriman’s octopus, I think I favored the Mama’s one, both were exceptional though. Our entrees were Shrimp & Scallops as well as a Macadamia Nut encrusted Mahi Mahi. Dessert was Passionfruit Pot De Creme & a Flourless Chocolate Cake. I wish we’d gone into dinner a little more hungry but I don’t think either of us regret getting to do both restaurants even if they were bumped a little close time wise to one another.

We went back to Kihei & ended up once again sat at the bar at Nalu’s before calling it an early evening. I had a dive that departed from Lahaina at 6:45 AM the next day & we were going to need to leave our condo around 5:45/6 to get there.

END DAY FIVE

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DAY SIX

As I stated above, Monday started with an early morning. We left the VRBO at between 5:45/6 AM & went back up the coast to Lahaina. My check-in at Lahaina Divers was at 6:45 at their shop. I checked-in, grabbed a wetsuit, collected the rest of my gear & walked through old town Lahaina from the shop to the harbor. Aboard the ship I was shown to my BCD & tanks for the dive before we did one last check & headed off to Lanai. Evan went on his way to explore Lahaina, landing somewhere with a chocolate croissant on a beach.

The dive Monday was to the Cathedrals of Lanai, a series of lava tubes off the southern coast of the island of Lanai. Our first dive spot was Cathedral One, a lava tube with a large stone in the middle they refer to as “the alter.” I was paired with a dude from Colorado but the total population of our dive group was 8-10 people. I think I decided at this early point in my dive experience that it might just be worth it to pay the extra bit of cash to have a private dive guide or at least to get a smaller dive group. The amount of times I got kicked in the face, run into, etc was alarmingly high. That’s not to say I didn’t have fun, I had a blast, truly. It was just a lesson learned at 40 feet below the surface.

At the first cathedral we swam upon a series of rare crabs, several sharks lounging in a cave, & a massive porcupine puffer, not to mention the breathtaking, pun intended, cathedral itself. We exhausted our tanks, returned to the boat, & went off to our second dive location.

Our second tank of the trip was reserved for Sergeant Major, a dive they can only do when the current conditions are right. The site is named as such due to the large quantities of Sergeant Majors, a striped yellow & grey damselfish, that school there. The main draw to Sergeant Major’s lava fingers however is the presence of the Javanese Eel. A Javanese Eel, otherwise known as the Giant Moray, is just that. Giant. They can reach up to three meters in length & weigh up to sixty-six pounds. Did we find the eel? We sure did. Was it magnificent? It definitely was!

At Sergeant Major I felt the pressure of the close quarters especially when it came to getting the whole group to see the fauna of interest. In one such occasion I did my best to get out of the way of a less than observant fellow diver & ended up with a three inch gash across my thigh from a run in with a stony coral.

I don’t mean to sound down trodden on the dive, it was a blast & truly an amazing experience. I honestly can’t wait to dive the cathedrals again & my dive guide was awesome! I’ll just definitely be doing so in a smaller group.

After our dive was finished we all boarded the boat & headed back to Lahaina. Evan met me at the dive shop where I picked up a t-shirt & a sticker then we headed down the coast towards Leoda’s to get a post dive pie or two.

At Leoda’s we got one of their Famous Banana Cream Pies & a Pineapple Macadamia Nut Pie. As much as a banana cream pie fan as I am, I think the pineapple one was my favorite! In addition to the pies we went to the small local convenience shop next door & grabbed a few pieces of Spam Musabi.

Once we’d returned to Kihei I went down for a nap after feeling sapped from the morning. Pretty sure we returned to Nalu’s yet again that night. We’d made friends with the bartender/manager, Sue, & were going there to hang out with her & exchange stories.

END DAY SIX

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DAY SEVEN

Our last day in Maui.

Our flight out wasn’t until around midnight & I’d asked our lovely VRBO host for an extension on our checkout time since we had nowhere to go until then. She graciously gave us the entirety of the day!

We slept in a tad as we knew the day & night ahead of us was going to be a long one, especially with that red eye flight out. After waking up a bit later than usual we set out to grab one last snorkel before we had to say goodbye to Hawai’i. We ventured down to Wailea to Makena Landing & got to snorkeling amongst the divers. Was I fairly jealous of the fact they could stay down while I had to come up for air constantly, yes, but I enjoyed myself nonetheless even seeing two separate turtles & almost running into one!

After our morning swim we headed back to start cleaning the apartment we’d called home for the past week. Since our host had extended our time for free we decided to make it as easy as possible on her & cleaned majority of the place ourself, including laundry. Once we were satisfied, we packed our stuff into the car & headed off to get one last shave ice from Ululani’s.

I got the same flavor as before, the guava, mango, passionfruit mix with macadamia nut ice cream but instead of a second POG I got a Thai Tea with Sweetened Condensed Milk on it! Shaved ice in hand we went down the road to return Evan’s snorkel gear & bid the Maui Dive team one last fond farewell.

We’d been invited by Sue to come sit at Nalu’s with our bags until it was time to catch the shuttle from the rental service to the airport. So that’s exactly what we did! I wasn’t mad about that decision at all, especially since I wanted to grab one last bowl of poke before we left. Sat at the bar of Nalu’s we met a couple from Fort Collins who were on the last leg of their trip too. We sat exchanging drinks & stories until I received an urgent call from the shuttle service saying they needed us to get on the earlier shuttle to the airport. I honestly didn’t know it was an option but the driver disclosed that we could also just drop the car at the parking lot across from the terminal & they would come pick it up in the morning. We opted for that option & sat at the bar for another hour or so.

After many a hug & sad goodbye we drove to the airport dropping the car exactly where the rental company had asked. The airport looked like a ghost town, especially compared to the week before. We breezed through the livestock/produce check, check-in, & security & made it to our gate with an hour to spare.

END DAY SEVEN

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END SECTION TWO: MAUI

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SECTION THREE: KANSAS TO NASHVILLE

We’d received a comp upgrade on our seats & were each put in the exit row. I guess no one else thought to try & do the same because the exit row, on both sides, was completely empty. So, we took advantage of that! I took the left side of the plane, Evan the right, & we had our very own economy class lay flat beds!

Getting surprisingly more rest than expected & landing in Phoenix, we got to our gate & took an additional nap followed by another nap on the flight from Phoenix to Kansas City. We picked up dinner on the way back to my parents & met my sister & her family there for dinner.

The next morning, before heading back to Nashville we met my sister & niece at Snooze AM Eatery for breakfast before swinging back by my parents, picking up the dogs, & heading back home to Nashville.

END SECTION THREE

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END BLOG

EPILOGUE

I hope you enjoyed my stories, I hope I was able to capture even the slightest bit of majesty & magic that Maui has to offer & transport you there for even the briefest moment in time. Maui is an other worldly place full of immense beauty, personality, love, & culture. It is a place all its own & if you let it, it’ll readily make you feel welcomed & right at home. Much like any place I travel I have found that the people are truly what makes them special. This world is a colorful tapestry of life experience, trials & tribulations, & all of us are searching for the same things, identity & home.

Maui was already a special place in my heart but now it has cemented itself there. I’ve found myself over the last few weeks having a very hard time leaving it behind not to mention how much its sabotaged my sleep schedule. I urge anyone to find a way to Hawai’i but if you go, do so with respect. These islands are someone else’s lands, someone else’s home, someone else’s traditions & they are worth celebrating. Treat the land with respect, treat the people with respect, & do your best to leave it as you found it for those who come after. Yes, Hawai’i is beaches & ocean but it is so, so, so much more than that. It is a thriving culture & community that deserved to be preserved & passed down from generation to generation. Mahalo Maui for an unforgettable week. I’m grateful for the lessons you taught me, the friends I made, & the amazing opportunities you laid in my path. I can’t wait to see you again & I truly hope it is sooner rather than later.

-C