Grace Potter Performs Live and Previews 'Trespasser' Album

Summary

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Podcast Summary: Grace Potter Performs Live and Previews 'Trespasser' Album

Podcast: All Of It with Alison Stewart (WNYC)
Host: Alison Stewart
Guest: Grace Potter
Release Date: July 13, 2026

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Overview

This special episode features acclaimed singer-songwriter Grace Potter ahead of the release of her album Trespasser (out August 21st). Potter joins Alison Stewart for a candid conversation about her musical process, the personal stories behind her new songs, creative community, and her dual life between Vermont and California. The episode is interspersed with intimate, raw solo performances of songs from Trespasser, offering an exclusive glimpse into her evolving artistry.

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Key Discussion Points & Insights

The Making of Trespasser

• Inspiration and Themes:
  Trespasser draws on travels through small towns, Main Streets, and personal crossroads. Songs are inspired by wanderers and the freedom found in movement.

  • "It is full of songs inspired by Main Streets, wanderers, and cross country road trips." (01:25)

• Multi-Instrumentalism:
  Potter showcases prodigious musicianship, playing a plethora of instruments herself — organ, percussion, piano, guitar, Wurlitzer, flute, harmonica, baritone, ocarina, and more.

• Wild Human Noises:
  The record features contributions from family, friends, and community members who provide unconventional background sounds.

  • Grace Potter: "Those wild humans are my people... they're my joy, my family, dear friends. There's kids, there's elders — a bunch of weirdos together to make the most insane, jungle noises you could ever hear." (09:06)

• Recording Locations and Mosaic Approach:

  • The album was crafted over several years in various studios: RCA Studio A in Nashville, her own Topanga studio in LA, and a new home studio on a Vermont farm.
  • Grace Potter: "This album's more of a mosaic... a chronological layering going on with this record." (10:23)

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Personal Stories and Artistic Philosophy

• Songwriting in Response to Loss ("Love Me Not")
  The genesis and emotional core of the lead song, inspired by the sudden loss of a friendship.

  • Grace Potter: "This was the last song I wrote... meant to be a song about free will... but it was much more personal. I was going through my own inner journey with the loss of a friend who just ghosted me." (02:36)

• The Role of Improvisation and Solo Performance
  Potter revels in the freedom of performing solo, often eschewing strict setlists.

  • Grace Potter: "I'm one of those musicians — rehearsal is futile for me. I never do the same thing twice. The setlist is just a suggestion." (08:02)
  • Cites the repetitive poetic style of David Whyte and the ritualistic power of repeating lines for resonance.

• Community and Returning to Vermont
  The pandemic made her reconsider the importance of being physically present for the community that shaped her.

  • Grace Potter: "This record is about what I want versus what I actually need and what feeds the soul... To make myself available to them is a great gift, both for myself and my community." (10:36)

• Bi-Coastal Creative Life
  She thrives on the creative tension of moving between the comfort of Vermont and the wild diversity of California.

  • Grace Potter: "It's not necessarily a comfort zone. It's a discomfort zone that every creative needs to allow in." (12:35)

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Unique Performance and Communication Style

• Playing by Ear:
  Legally blind, Potter’s approach is intuitive — emphasizing deep listening and flexibility over traditional notation.

  • Grace Potter: "I play by ear. I'm legally blind, so it's hard to read music... When you're listening, you can really find out what you need it to be in that moment." (18:46, 19:03)

• Band Communication:
  Uses signals, inside jokes, and a shared intuition to lead her band — sometimes with invented cues like "Wizard of Oz" endings.

  • Grace Potter: "It's a shorthand... sometimes we'll just wink at each other, or a wizard hat hand gesture. My band has learned to use my intuition and lean into it for their own music as well." (20:12)

• Improvisation on Stage:
  Embraces chaos and creative spontaneity, even when collaborating with famous artists.

  • Grace Potter: "We took our shoes off and ran around... It wasn't show business, it was creative business." (21:19)

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Visual Artistry and Filmmaking

• Microfilm Series:
  Instead of traditional music videos, Potter is making a set of short, interconnected films for the album, inviting fan participation and weaving them into the album’s folklore.
  • Grace Potter: "We're working on this microfilm series... the band and audience gets to collaborate and call in and say, 'I saw Grace,' or 'report a crime,' and we can create that crime into the microfilm series." (21:56)
  • "It's expensive, and I'm paying for a lot of it myself... but it was five years in the making, just like this album." (23:00)

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Memorable Quotes

• On Artistic Freedom:
  "If I do decide to wander off, which I do often, I never really do the same thing twice... The setlist is just sort of a suggestion." — Grace Potter (08:02)

• On Community and Belonging:
  "The people we love the most are more important than our desires... To make myself available to them is a great gift." — Grace Potter (10:36)

• On Discomfort as Growth:
  "It's not necessarily a comfort zone. It's a discomfort zone that every creative needs to allow in." — Grace Potter (12:35)

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Live Song Performances (with Timestamps)

• "Love Me Not" (03:26–07:20)
  Acoustic performance. A gut-wrenching song about loss, questioning, and seeking closure.
  Standout lyric: "Do you love me? Did you ever even like me a little? I know I come in a little hot but you're so cold you won't meet in the middle."
• "Run, Baby, Run" (14:49–17:36)
  Upbeat, forward-looking anthem about self-discovery and letting go.
  Standout lyric: "Head for the hills, run, baby, run, run to the wild blue yonder. Hit the highway, he ain't the one, distance will make you stronger."
• "Main Street, USA" (25:03–28:04)
  Rousing, nostalgic ode to longing for community and belonging.
  Standout lyric: "Take me down to Main Street, baby, Main Street, I'm looking for a place called Main Street, USA."

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Notable Moments

• The Origin Story of Her First Guitar:
  "This is my first guitar I ever bought. At Dick's Guitars and Guns, Upstate New York. Upstate — you never know what you're gonna get upstate." — Grace Potter (07:45)

• On Bagpipes:
  "I can't believe I didn't break out the bagpipes... Turns out goat guts are hard to keep." (17:53, 18:02)

• On the Album Title:
  "The album's name, Trespasser, was slightly inspired by the missing verse from 'This Land Is Your Land' about the 'No Trespassing' sign and how the backside of that sign doesn't say anything — that side is made for you and me." (24:23)

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Important Segment Timestamps

| Segment | Description | Timestamp | |----------------------------|------------------------------------------------------|---------------| | Introduction & Album Preview | Album background and Potter’s instruments | 01:25–02:26 | | "Love Me Not" Live | Song story and emotional background | 02:36–07:20 | | Discussion: Solo Performance | Improvisation, catharsis, and poetry | 07:34–08:56 | | Wild Human Noises | Community contributions to album | 09:03–09:44 | | Album’s Recording Journey | Studios, COVID-19, and going home | 09:47–10:36 | | Vermont vs. California | Creative discomfort and growth | 12:24–13:36 | | "Run, Baby, Run" Live | Radio-worthy anthem, journey theme | 14:49–17:36 | | Playing by Ear | On her musical learning approach and blindness | 18:45–19:03 | | Band Communication | On "Wizard of Oz" endings and signals | 20:12–21:18 | | Theater vs. Show Business | Creativity in live performance | 21:42–22:49 | | Microfilm Project | Visual storytelling beyond music videos | 22:56–23:59 | | Album Title Inspiration | Woody Guthrie, trespassing, Main Street | 24:23–24:52 | | "Main Street USA" Live | Nostalgic, high-energy closing number | 25:03–28:04 |

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Conclusion

Grace Potter’s All Of It session is an unfiltered window into the heart and mind of a prolific, restless artist committed to innovation, empathy, and connection — both in the studio and on the road. The conversational tone stays warm, genuine, and spirited, offering listeners a deep appreciation for the stories and spontaneity behind Trespasser and Potter’s unique performance style.

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Transcript

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[Alison Stewart]

Every Mazda CUV offers you an elevated driving experience and refined performance. Discover it at your local Mazda dealer today. This is all of it on wnyc. I'm Alison Stewart. In August, Grace Potter is releasing her latest album. It's called Trespasser and it is full of songs inspired by Main Streets Wanderers and cross country road trips. And Grace flexes her musical chops on the album by playing more instruments and you can count on one hand organ, percussion, piano, Wurzer, flute, guitar, baritone, harmonica and the ocarina as well as showcasing her powerful voice. Trespasser is out on August 21, but in the meantime, Grace Potter joins me now for a special preview of the album and also to perform some unleashed songs from the record in a solo acoustic set. Grace, it is so nice to see you.

[Grace Potter]

I'm so happy to be here Alison. Thanks for having me.

[Alison Stewart]

I am so happy to have you as well. Our first song we're gonna hear is called Love Me Not. What is the story of the song?

[Grace Potter]

So this was the last song I wrote for the record and it was meant to be a Song about free will and, like, what good is our will if it isn't free? Like, if this is all gonna happen. And we were working on the song and I realized that the song was much more personal. Free will is this very universal idea. But I was going through my own inner journey with the loss of a friend who just sort of like, ghosted me and just decided, we're not doing this anymore. But I couldn't really understand why. And it felt so real in the moment that I just completely reimagined what was supposed to be one song, turned it into this song. And it hurts my heart to not have a song like this, but this song is about finding the levity in those moments when you're broken.

[Alison Stewart]

Let's hear Love me not.

[Grace Potter (singing)]

When I'm dead and gone? Will you still say I was wrong? When I'm flying up on high? Will you wave as I float by? I need to understand. Why you let me go. And if death doesn't work? Mmm there's just one thing I need to know. Do you love me? Do you love me not? Do you love me? Do you love me not? Do you love me? Did you ever even like me a little? Do you love me? Do you love me not? Do you love me, do you love me not? I know I come in a little hot but you're so cold you won't beat in the middle. Woo. Do you love me, do you love me, do you love me? I'm not dead and gone yet still ringing your bell? I guess you're too busy ghosting me to set my soul free? You had a wild side back when you knew me but you're all grown up now and I'm still unruly? Oh baby you made it clear you're going nowhere you locked me out I can't pretend I don't care cause I do cause I do and I miss ya? Cause I do cause I do and I miss ya know. Am I coming in too hard? Uh oh. Do you love me? Do you love me not? Do you love me? Do you love me not? Do you love me? Did you ever even like me a little? Do you love me? Do you love me not? Do you love me? Do you love me not? I know I come in a little hot but you're so cold you won't meet in the middle of the great divide I went to look inside? Now I'm down at the bottom Waiting, waiting, waiting for? Tell me, tell me, tell me? Do you love me? Do you love me now? Do you love me? Do you love me now? Do you love me? Did you ever even like me a little? I'm trying to right my wrongs but you won't tell me how I wanna be your bride or die, girl Feel like the dead one now you made it clear. We're going nowhere. You locked me out. I can't pretend I don't care. Cause I do. Cause I can't take the heartbreak. Was it you? Was it all just a date? I hope this song is stuck in your head. I tell it to the mic and I put it to bed. Send it in the box to the record shop. Am I coming in too hot? Old do you love me? Do you love me not?

[Alison Stewart]

That was Grace Potter. She's here to perform live and preview her new album called Trespasser. You can catch her live in Emma Gansett and at Red bank as well.

[Grace Potter (singing)]

Wow.

[Grace Potter]

That sounded really good.

[Alison Stewart]

You know what? It sounded so good on your guitar. I've heard it on the album.

[Grace Potter]

Right, right.

[Alison Stewart]

But hearing you play on the gorgeous guitar. First of all, that's your guitar.

[Grace Potter]

This is my first guitar I ever bought.

[Alison Stewart]

Really?

[Grace Potter]

At Dick's Guitars and Guns, Upstate New York. That's right. Thank you. Upstate. You never know what you're gonna get upstate.

[Alison Stewart]

Never know what you're gonna get upstate. When you're playing a song like that, what do you get out of playing it solo on the guitar? No band.

[Grace Potter]

Catharsis of knowing I don't have to. That I won't be the one messing up an arrangement. Or that if I do decide to wander off, which I do often. I never really do the same thing twice. It's just I'm one of those musicians. That rehearsal is futile for me. Because I will never do the same thing twice. And the set list is just sort of a suggestion. It's not really a set list. So in this moment, I get that catharsis of really taking a moment if a lyric feels like it needs to be repeated. One of my favorite poets, David White, will often take a piece of a line and he'll repeat it many times. Maybe three times, four times, to make sure it really sinks in. And when I listen to him read, sometimes he's doing it for him and sometimes he's doing it for you.

[Alison Stewart]

Oh, interesting.

[Grace Potter]

And I think that's what makes an audience and a performer understand one another. Is that that line between the two?

[Alison Stewart]

It's interesting because on the albums I read in the credits. There's a group of people contributing what you called Wild Human Noises.

[Grace Potter]

Wild Human Noises, yes.

[Alison Stewart]

What's a wild human noise.

[Grace Potter]

A wild human noise is everything that happens on this track when the track goes off. So the idea was, I love the idea that I would put out a song where it sounds like, oh, Grace Potter finally grew up and made, like a really grown up radio song. And then it goes completely off the rails, you know, in this way where it feels like somebody unscrewed the light bulb and put in a disco light, you know? And those wild humans are my people. They're my joy, and they're my family, and they're some dear friends. There's kids, there's. There's all of the elders of our community. And I brought a bunch of weirdos together to make the most insane, you know, jungle noises that you could ever hear.

[Alison Stewart]

So where was this album recorded?

[Grace Potter]

So we did this over the course of many, many years. It's actually the Trespasser. The song on the album was recorded in 2020.

[Alison Stewart]

Oh, wow.

[Grace Potter]

And that's why this album's more of a mosaic between recordings. We did in studio A at RCA in Nashville, at our studio in Los Angeles, where we live in Topanga, we have a small stud. And then over the course of this whole project, we also bought a farm in my hometown in Waitsfield, Vermont, and built it out and slowly got all those wild human noises over many years. So there's a really cool sort of chronological layering going on with this record.

[Alison Stewart]

Why did you want to go home to Vermont?

[Grace Potter]

I didn't.

[Grace Potter (singing)]

You didn't?

[Progressive Insurance Announcer]

No.

[Grace Potter]

My husband did. I wanted to go home to Vermont to be somebody who could visit there and be with my family.

[Grace Potter (singing)]

But.

[Grace Potter]

But with COVID I think there was a deep level of understanding that the people we love the most are more important than our desires. But when you say want, I just want to make sure that it's clear that this record is about what I want versus what I actually need and what feeds the soul and feeds the community of people who brought me up and made me. They need me sometimes, you know, and to make myself available to them is, I think, a great gift, both for myself because of what it brings me, but also for my community. And now I'm delighted to be there. Obviously, Vermont's a wonderful place.

[Alison Stewart]

What is the bi coastal life like for you?

[Grace Potter]

It's good for me because it's what I grew up. I mean, when I was a young cub at 18 or 19, heading out on the road, crossing the country is just sort of part of my migration. But even before I went to college and started my band, the Nocturnals. I was already feeling that pull. You know, like the movie Moana really, really resonates with me. This just, like, you never know how far I'll go. Like, I need to see what's around the next corner. That was always built into my system, and it wasn't so much about, like, I want to go to the bright lights in the city. It was just like, what is that over there? What's that going on over there? So for me, I think that willingness of my family to join me on that journey is the part that gets tricky, because it is destabilizing for a family to be moving around. And my husband and my son are not gypsies, and they're very happy settled in somewhere with a system and a role to play. But, yeah, the tour bus is not the life for them, but it is for me.

[Alison Stewart]

When you're on Vermont and when you're on the west coast, what does each place give you? As an artist,

[Grace Potter]

no one has asked me this question, and I don't know why no one's asked me this, because it is a really important piece of this. I feel that the connection to a large, vibrant community of people that aren't like everyone else is a really important access point for creatives. When you're living in an echo chamber where people are all maybe matching in thought, in lifestyle, in health, in the school system, you know, everything about the way Vermont operates is the most incredible. It's kind of an iconic microsystem that I grew up in. And so to go away from that and to watch how my character adapts and how also my community, my team, my production people, my band have to bend and move with the world around us. I think it's really important. And so it's not necessarily a comfort zone. It's a discomfort zone that I think every creative needs to allow in.

[Alison Stewart]

We're talking to Grace Potter. She has a new album that's coming out. It's going to be called Trespasser. You can see her tonight, I believe. Yeah. In Amagansas.

[Grace Potter]

That's right. What is it?

[Grace Potter (singing)]

Tonight?

[Grace Potter]

Yeah.

[Marshalls Commercial Announcer]

Yeah. Tonight. Yeah.

[Alison Stewart]

And then Reddit in red bank on July 15, and then at the end of the month, end of August, on the 27th and 28th, at Forest Hills Stadium. Let's hear another song.

[Grace Potter]

Sure. I would love to. This is.

[Alison Stewart]

Yeah, we're gonna hear.

[Grace Potter]

I'm gonna. Well, Alison, you know, I thought about. I love your show, and I listen all the time and I rarely hear music on, so I wanted to do just like A really good what I think belongs on the radio, on your show, but also what feels the most true to this record. If this record hadn't been called Trespasser, it would have been called Run, baby, Run. This is my. This is my. Let's help someone else find their way while also giving ourselves a new direction to run in.

[Grace Potter (singing)]

I never knew I needed you so badly? I found love and then I lost my way Every time every word you say gets under my skin? Goes over my head and I don't want to spend my life drowning out this voice inside saying head for the hills? Run, baby, run? Run to the wild beyonder? Hit the highway? He ain't the one distance to make you stronger? I drove away to nowhere in the hurry I can't explain why I still feel unworthy And I know I need to take this chance to feel the strength in my own two hands? And when I think about turning back? Your voice inside gets louder. Shout and head for the hills? Run, baby, run? Run to the wild blue yonder? Hit the highway? He ain't the one distance will make you stronger and love I feel it getting closer with every mile we're apart? I don't need happy ever after? I just need somewhere to start? Head for the hills? Run, baby, run? Run to the wahl y' all run. Hit the highway? He ain't the one? You're already gone so far, baby rolls. Run, baby, roll? Run, baby to the wild blue yonder? Hit the highway? He ain't the one who already.

[Alison Stewart]

Grace Potter. She's here to perform live and preview her new album called Trespasser. I named a list of instruments that you use on this album that you perform on this album. Just going down the nose. I was like, she did that.

[Grace Potter]

It's a coat of many colors. Yes.

[Alison Stewart]

It's amazing.

[Grace Potter]

Yeah. I can't believe I didn't break out the bagpipes, because that was an instrument I played when I was a kid.

[Alison Stewart]

Oh, do you still?

[Grace Potter]

Well, they're expensive to maintain.

[Alison Stewart]

They are. They are.

[Grace Potter]

Turns out goat guts are hard to keep.

[Alison Stewart]

Well, what was the first instrument that you learned?

[Grace Potter]

Piano. So my mom was a piano teacher and like an after school babysitter slash piano teacher, all the kids would trundle off the bus and we'd walk up the hill, eat us out of house and home. All the Nilla wafers gone by the time the lessons were over. But I just remember watching the kids learn from my mom and realizing what an inspiration she was and that these kids were looking up to her. So why wouldn't I take a page from this incredible woman's book? And so she'd sit with me, and I'd just follow her fingers and pretend that I was reading music. But I really got a lot of influence from that.

[Alison Stewart]

And you play by ear?

[Grace Potter]

Yeah, yeah, right. I'm legally blind, so it's hard to read music. And even when I'm writing out charts, you know, guitarists love, like, those little squares where they tell you where the fingers go. Unhelpful to me. Completely unhelpful.

[Alison Stewart]

What has playing by ear taught you?

[Grace Potter]

I think most important is how to listen, to really hear and understand what you're being given. The gift of collaboration. I'm collaborating with this instrument, which, oddly enough, I always look at instruments as almost like an obstacle between me and my creative idea. Or a computer is a better analogy, because computers get in the way all the time of really bringing something around the bend and finishing the thought. But when you have a band, you have a concerted flow of momentum toward the actual intention of what that music is meant to sound like. But it's filtered through so many different people's vision of what that creative element is. And as long as your ego can be removed from it and the ear can be opened, I don't care what the chart says. You know, I don't need a chart to tell me what it should be together. When you're listening, you can really find out what you need it to be in that moment, and also what the audience needs to it to be.

[Alison Stewart]

I wondered, how do you communicate with other members of the band about your vision, about what you hear?

[Grace Potter]

That's a cool question. It's a shorthand. It's usually some kind of skullduggery look from me. Like, I turn around and we have this thing called the wizard of Oz ending, which is very bizarre. It's a sort of creation of an ex bandmate and my ex husband, who I'm still very dear friends with. But Maddie came up with this idea of wizard of Oz. Wizard of Oz Wonderful, wonderful Wizard of O Wizard of Oz Wonderful, wonderful, wonderful wizards. It just sounds like jazz camp, you know? But sometimes when we throw that in at the end, it just blows minds. And so we'll just like, wink at each other, maybe like a wizard hat kind of hand gesture. But there's a lot of different ways that my band has learned to use my intuition and lean into it for their own music as well. And it's fun to watch them go do their own solo projects and then come back and Feel more confident every time with knowing that, like, we do not have a real set list. We do not know what Grace is gonna do from one moment to another. I did it to Kenny Chesney at the Sphere two nights ago.

[Alison Stewart]

Really?

[Grace Potter]

And he wanted me to do it, though. He was like, my band is so good, and they're all so good at collaborating with you now, that he was like, just do whatever that wild stuff is that you do. And I chased him around the stage and tried to get a vinyl red jacket on him. And, yeah, we took our shoes off and ran around like, we just had a wild, wonderful time. And it wasn't show business. It was creative business.

[Alison Stewart]

You know, that has got to be really interesting when you run into somebody who does show business.

[Grace Potter]

Yes.

[Alison Stewart]

Is that a difficult obstacle? Was the word you used?

[Grace Potter (singing)]

Yeah.

[Alison Stewart]

For you?

[Grace Potter]

No.

[Marshalls Commercial Announcer]

No.

[Grace Potter]

You know why? Because I'm a theater kid at heart. Theater kids just know how to mess it. They mess with it, but they make it better. I think the goal is always to elev. It's not to place yourself or your ego into a situation because you think only you can do this thing. Well, it's. I think I know how to prompt everyone with a yes. And it's got sort of elements of the Groundlings energy. And I think also, like, I build the sets and I design all these cover artwork and the things that come through the visual landscape. We're working on this microfilm series, which, instead of a music video, we're doing all these tiny short films, and the band and the audience gets to collaborate and call in and say, like, hey, I saw Grace, or, I'm gonna go see Grace here. And they can report a crime, and then we can create that crime into the microfilm series.

[Alison Stewart]

It's a really fun thing to watch.

[Grace Potter]

It's wild.

[Alison Stewart]

You can see it on YouTube.

[Grace Potter]

It's wild.

[Alison Stewart]

What has been challenging about doing those films?

[Grace Potter]

Well, it's expensive, and I'm paying for a lot of it myself.

[Alison Stewart]

True.

[Grace Potter]

Which, if anybody, I went to film school, and everybody always said, like, first rule of making movies. Do not pay for your movie.

[Alison Stewart]

You have to pay for it.

[Grace Potter]

And that's been tricky because in a way, it's marketing, But I think there's a clear vision now. I've been at this long enough that people know I'm not really marketing myself ever. I'm really just jumping into the next wild cowboy pool that I can jump into to see what will happen next. And so, for me, that adventure was expensive, but also, it was five years in the making just like this album was. So I think it was well worth it to be able to source that material and get some incredibly talented people like the director, Justin Dasher Hopkins, who's putting all of this found footage and mystery together and weaving it into something that is both true and wildly legendarily folklore. You know, people can go look that up on YouTube.

[Alison Stewart]

You're gonna retune your guitar and tell people what is going on. We're listening to Grace Potter. She's here to perform live and preview her new album called Trespasser. It is due out on August 21st. You can catch her live tonight in Amagansett or in red bank on July 15. She'll also be back in town August 27 and 28 at Forest Hills Stadium. Did I talk long enough for you?

[Grace Potter]

You talked long enough. I'm all tuned up. Okay, I've decided that this song is now officially gonna be in a new. This is the Woody Guthrie tuning. And you know the album's name, Trespasser was slightly inspired by the missing verse from this Land Is yous Land about the no Trespassing sign and how, you know, the one sign says no trespassing, but the backside of that sign doesn't say anything. And that side is made for you and me.

[Alison Stewart]

This is Grace Potter.

[Grace Potter (singing)]

I sent a postcard just like a movie Bye bye. Anyone who ever knew me, I'm gone. I'm gonna give myself a new name and put a thousand miles between me and the mainframe and I hope there's still a heartbeat Huming like a freight train somewhere there I been trying to find Main Street, USA with the boys and the girls and the two by playing down at the big top Popping off, calling my name I'm cooking for the place called Main Street, USA. Hey, they're cooking true crime down at the four score. You bring the box wine I'll bring the watch for Christmas Come on, come on, catch me if you can.

[Grace Potter]

They're gonna be looking for the boogeyman

[Grace Potter (singing)]

and they'll be rocking in the cradle where it all began we'll be dancing down Main Street, USA with the boys and the girls and the M tweens down off a big time Popping off, calling my my name. There's got to be a place called Main Street, USA. Can't put my finger on have I been missing something? Did someone rip out the page? I swear I think I saw the land of milk and honey or did I hallucinate the feeling I've been chasing so close that I can taste it Let me dream, set me free Open up sesame Take me down the Main Street USA with the boys and the girls and the jukebox playing down at the big top Popping off calling my name there's got to be a place where anything can happen I said that there's I want a big time Take me all the way down the main street where anything can happen Anything can happen Anything can happen and it probably will Take me down to Main street baby Main Street I'm looking for For a place called Main Street USA.

[Alison Stewart]

Thank you Grace Potter.

[Grace Potter (singing)]

Thank you Alison.

[Grace Potter]

Thanks for having me.

[Mazda Commercial Announcer]

This season everyone deserves a little more and Mazda delivers with the extended driving range of the CX50 Hybrid so you can spend more time together. Standard all wheel drive in every Mazda CUV including the CX5 and room to bring everyone with three row seating in the CX90. Find more reasons to celebrate the season at the Mazda More to move you sales event.

[Alison Stewart]

Every Mazda CUV offers you an elevated driving experience and refined performance. Discover it at your local Mazda dealer today.

[Marshalls Commercial Announcer]

Oh my gosh. Have you been to Marshalls lately? They have all the brand name and designer pieces you love, but without the jaw dropping price tag. Alright, so here's the you should never have to compromise between quality and price and at Marshall's you don't have to. Marshall's believes everyone deserves access to the good stuff and that's why their buyers hustle around the clock. To make it happen for you, visit a Marshalls store near you or shop [e-mail].