← The Bobby Bones Show
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- [00:00]
Andrea Forster
Foreign.
- [00:08]
Bobby Bones
Welcome to episode four of the official Yellowstone podcast. This means it's the halfway point of the podcast. It's crazy. I'm having so much fun talking to like the people that make the show happen. I love Yellowstone so much. We've had amazing actors that have told us not only behind the scenes stories from Yellowstone, but also their careers. So go check it out the last three episodes. If you're a massive fan, I think you'll love. And if you're a fan of the show, you probably also love the music of the show. I do, and we're going to do that. First we talk with music supervisor Andrea Forster. She's the one who calls the shots when it comes to which artists and songs are featured on Yellowstone. So obviously Yellowstone is so music intensive, it helps set the scene for so many things.
- [00:53]
Andrea Forster
But.
- [00:53]
Bobby Bones
But she's also been the music supervisor for the movie 500 Days of Summer, which I love. Lioness, which I love. Love. That show is awesome. Landman and a bunch of other awesome shows. And then after Andrea, we get an artist who Andrea kind of featured and discovered for the show. So first, here she is when it comes to picking music for shows and setting the scene, she is a Andrea Forster. So many artists that I know, even friends of mine that got their first look from you whenever you were looking for music for Yellowstone. So how long ahead of the series launching did they bring you in and what did they tell you to look for musically?
- [01:43]
Andrea Forster
I met with Taylor over the phone once. I had already sort of met with a couple other people who had recommended me. And so Richard Glasser, who was the head of music at the time of the company, had referred me to the head of post who then referred me to Taylor. And. And we talked and we kind of got along right away. I mean, we both started talking about how Unforgiven is one of our favorite movies immediately. And we just kind of clicked. And I don't know that we ever said the music needs to be this, this and this. I think there was just an understanding because his writing is so clear and he wrote such amazing strong characters that the project and the characters always tell you what they want. And so you're not inventing it, you're just listening. And so when we discussed kind of the songs that we like, it just sort of made sense. And I was brought on. Gosh, I don't know at what point it was. It was definitely. I think we might have been shooting, but I'm not entirely sure anymore. Six years ago.
- [02:38]
Bobby Bones
And do you watch scenes or do you read parts of script and then start in your head assigning sonically what it would feel like? How does that process work?
- [02:46]
Andrea Forster
So I'll get the scripts and I'll read all of them, and then before we shoot and then sort of flag anything if there's an on camera. So if we have any bands that might need to perform or if there is someone singing aligned for some reason, or if there's also, like, Lady Mae when they're Rip and Beth or dancing in the arena, you know, you want to know all those things ahead of time so you can clear the songs and then, you know, we start shooting. And the amazing thing about Taylor's voice and I is just that everything he writes, it's exactly how you see it on screen. So by the time I happen to see a scene, it's exactly what I saw in my head from reading the script. So there's no change. So it's very easy for me to stay consistent that way and know what I'm looking for music for. And then we just had. We have a very narrow lane of music that we use on Yellowstone because it's red dirt country. It's. It tends to be more reserved or quiet. I. I always say quietly epic kind of music where it's almost like a journal entry, right? You know, like being set to music because everything is very introspective, and no one's ever. Well, most people aren't normally joyous on the outside, except for the bunkhouse boys. So that's usually where we would have more fun or a rodeo. But other than that, usually it's sort of more from the perspective of the person's mind that you're watching on screen.
- [04:01]
Bobby Bones
I've been friends with Lani Wilson for a long time. Even before she had her first song that was a success. And even talking to her on microphone before she had any success or a single that's out, she was like, man, my music's been on Yellowstone, and this is like baby Lainey. Not an actual infant, but baby. So what about Lainey? Was it that drew you to going, man, this unknown artist, Like, I love what she's doing.
- [04:24]
Andrea Forster
It's hard to explain the X factor that I think everybody feels or hears when you hear something new. I had gone between season one and season two of Yellowstone to Nashville and met with a ton of people. Totally forgot to schedule lunches in there. So I just had meetings from eight in the morning till nine at night for five days and met with labels and publishers and managers and agencies and I had gone to William Morris and Brandy Brammer had set up a bunch of meetings for me to meet with each agent. And they brought in know the music that they thought fit. And I heard Laney, and it was the song we ended up using in the bull in the bar scene. But I said, she's it. She's. She's the Taylor verse. You know, this is. This is good for us. And sure enough, we did use it in a scene. And then we kept coming back to the well, because she's so talented and she has that perfect blend of kind of it's. It's somehow along the lines of traditional country music, but still super contemporary. And so she has just a really wide appeal. Like, she's sort of like a. I said she was sort of the next Miranda Lambert, but I can also see her a little bit in the Dolly Parton kind of universe as well.
- [05:31]
Bobby Bones
What is your background in music and how did you end up doing a job? Like, not only this. I've looked at your resume. I'll get through a lot of that later. But how did this all happen?
- [05:38]
Andrea Forster
I always knew I wanted to be in entertainment since I was very young. And then I went to USC film school and then for production, and then double minored in music business and music reporting. And all of that means nothing to what I'm doing now. But I, you know, I knew I wanted to be in Los Angeles, and I knew I wanted to be where entertainment was. And so I just kept getting entertainment jobs. I worked as a PA in commercials and music videos. I did event production for trade shows, for film gear and music videos. And then I got a job with a supervisor. Not. Well, actually, my first entertainment job was at Disney in the live action feature feature soundtrack department for Buena Vista Motion Pictures Group. So I worked on as an assistant to another person. I worked on soundtracks for gone in 60 seconds, high fidelity, Coyote Ugly, Armageddon. I can't remember the other ones, but I was just a temp there. And then I went back to school for one year, and then they said they'd hired me out of school, and they did. So then I worked there for a little longer, and then I ended up working for a supervisor. And I didn't know what a music supervisor was, but my dad always, you know, like, take the meeting. So you take the meeting. And so I met with a gentleman named Kevin Edelman, and in his garage as he was moving. And then it turned out he was moving to a mile away from my house. So then I worked for him and Worked on Roswell, vip, Providence, popular Ryan Murphy's first show. And then I worked for another supervisor, Alex Potsavis, and did like, you know, as a coordinator and ended the OC and Grey's Anatomy and things like that. I finally was like, you know what, I think I can do this on my own. So in 2006, I started my own company with absolutely nothing and just kind of started over. And luckily, you know, I got work and you get what you're supposed to get, you know, so it's like you can't force anything. It's gotta be the right fit. So I feel the same way about music as I feel about me getting jobs.
- [07:28]
Bobby Bones
What was the first job that was yours, meaning you're the head.
- [07:33]
Andrea Forster
I know I was on Modern Family, but they didn't need me consistently, so I was on sort of episodes, I think. And then I was also on Jake in Progress and Kitchen Confidential is mainly like half hour comedies. And then I started, you know, finally getting like, the Holy Grail is an hour long show for any music supervisor, you know, and especially if it's a drama and you get montages, you're like, ah, you know, you get to like have a song really showcased. And that's, you know, what I was always hoping for. And then I got Dollhouse, which was really fun. And then I got a bunch of other sort of hour longs. But Scream was one of my favorite ones that I did for MTV because I got to use, you know, really like new artists because we didn't have a budget. So I used Billie Eilish before she was signed and published. And then. And she had ocean eyes out at the time. And then, yeah, the, the same person that. So Richard Glasser was the head of music or on Scream. And then he knew that I liked, you know, like he just knew my personality because we'd been on panels together around the country in North America. And so then he said, I got someone for you to meet. And that's how I ended up getting onto Yellowstone.
- [09:04]
Bobby Bones
I feel like Yellowstone 4 for country music now is what Grey's Anatomy kind of did for that soft rock singer songwriter. There are a lot of parallels between the two because Grey's Anatomy set a lot of music culture in that area. And that's very much what I, what I listened to then. And it's funny to see Yellowstone do it now. And, and the ability that you have to showcase your taste with these artists. When did that culture become. Instead of you searching, people were then just throwing stuff at you.
- [09:35]
Andrea Forster
Well, fun Question. So the thing is, I'll say the number one thing that makes a difference for music working in a show is the writing. If you don't have it in the script to have space for music and you're not just fixing it in post and throwing a song on it, it will never work the same way that it does in the OC and Grey's Enemy and Yellowstone and a bunch of other shows. So it's got to be in the writing first. And so it's great when writers have music in mind, it doesn't have to be the actual song they don't have to write something in. But just keep it in mind for Yellowstone. Season one kind of people didn't know who we were and our network was new and all the rest of it. So by season, when I went to Nashville in between season one and season two, almost no one had seen the show. So I had to explain it over and over again what we wanted. And we didn't want the Nashville sound, we didn't want super produced, we didn't want a ton of reverb, we didn't want what was on country radio at the time. And so we wanted it to be kind of more raw, more words and guitar. That was the focus. And because you can't have big production songs against these sort of quiet, reflective moments or it would turn into a music video instead of you being able to live in the moment of the scene. I'd say probably season three is when people started finding me. And nine times out of ten, it's not something that we would use on the show, but with trusted sources as far as managers and agents and publishers and labels or even just some independent people finding us, or Taylor recommending something he heard on the radio or whatever, then things worked out or people learned our sound. And it's evolved since season one for sure. And I'm very sad that it's come to a close.
- [11:23]
Bobby Bones
Whiskey Myers playing on stage, to be able to actually go and do this show feels like the greatest compliment because not only is your music being played, but also you're being seen. And I feel like that's gigantic for a band. And those guys have been around and I've known those guys forever, especially living in Texas. I was in Texas for 10, 12 years and so I've known of Whiskey Myers. But it's got to be pretty cool to be able to find guys like that that are wildly talented, but then open the door to a brand new audience. Like that's gotta be one of the best parts of the job, right?
- [11:55]
Andrea Forster
Absolutely. I mean, Whiskey Myers was a Taylor special. You know, he. He requested them, and we had him on camera. And that entire explosion is because of him writing it in and knowing that he wanted them. I had never heard of them before at that point, and, you know, it just took off. And it's really fun to be a part of someone's story and to give them a platform. And obviously, it's not even my platform. It's Taylor's platform. And I'm honored to be able to help put things, you know, into that universe. And it's. It's really fun to be able to watch people grow, because a lot of the people that we use in Yellowstone in general, even up to season five, they sort of went from, you know, one level of their career to sort of to the stratosphere very quickly, and it's really cool to watch that. But the only bad thing is that I can't afford them for the horse shows that I booked for. They got too big.
- [12:44]
Bobby Bones
Another one that I remember. And again, I'm not going to know the exact scene or song, but I'm going, okay. What can I think of that moved me musically? A lot of music I've seen every episode. But what moved me, there was a. Like, a wide open field scene where you're playing a Zach Brian slow song, and maybe you can help me. But you. There was so much of the song. It was one of those rare times where I go, gotta go, and just save that to my playlist. Can you remember what I'm talking about?
- [13:08]
Andrea Forster
Even was it Tisha Mango? It might have been. We used that song for a very long time.
- [13:14]
Bobby Bones
Whatever it was, it was. Yeah, it was a lot. And I remember going, oh, and my wife's from Oklahoma, so she was already a big Zach Brian fan, but because she was such a fan, I was like, nah. But that was kind of what convinced me was like, hearing it in the show and going like, oh, I'm kind of moved by this. So the show, even on this show that, you know, we've been able to feature a lot of people that got their breaks there who, for you, has been super exciting that you featured before they were even known. And now it's like you're watching them blow up and there is some credit to you and the show.
- [13:45]
Andrea Forster
Yeah. I mean, I always want to be careful. Like, I think people take too much ownership for things that, you know, if you give it a platform, that's amazing. But you're not the talent. Like, if you're Their parents, you can take credit. But so I. That's why I like to say that we're a piece of the puzzle, you know, and. And. And you need people to be prepared to kind of have any success as well, because a lot of people, if you use their music and they're not online anywhere, they don't have it on, you know, digital service providers like Spotify, then it's a wasted opportunity.
- [14:11]
Bobby Bones
So.
- [14:11]
Andrea Forster
So you do need that kind of team in place. I will say Zach Brian was really fun for me because, like, all those fans, I found him on Twitter and YouTube and when Twitter was still Twitter. And so, you know, I just watched his videos and I reached out and, you know, I DMed all of two people in my entire life and that I didn't know. And he got back to me, and so he was still in the Navy when I contacted him. I just said, listen, if you can get yourself to Nashville, I'd love to, you know, introduce you to Dave Cobb and then, you know, get these two songs recorded. Because the production was, you know, I think it was an Airbnb that he recorded the songs in. So, you know, we needed something a little better for tv. And so then Dave Cobb produced two tracks, and we used one of them at the end of the show, and that was condemned. And just watching him rise and rise has been so awesome. Anybody that I've known for a while, you know, we've all seen them in various clubs and whatnot, but they just haven't kind of had a platform yet. And then watching their sales go up, like, 400% or, you know, suddenly they're charting on charts they'd never been on before. It's really fun to be able to see that for people, you know, who just. They. They're working their asses off, and they're making great music, and they deserve to be seen and heard.
- [15:17]
Bobby Bones
I have, like, three more questions for you. I was looking through your resume, and one of my favorite movies ever is 500 days a summer. It's just. It's the best. And one of my favorite musical scenes in any movie is when they're playing hall and Oates, making my dreams come true. Were you involved in that?
- [15:35]
Andrea Forster
Yeah. So the. The writers of that movie were fantastic, and Scott Newstter and I, like, had very similar music tastes, so I was thrilled that, you know, the Smiths were in there, and, you know, it was fantastic. And you make My dreams was written in. And so we had tried to, you know, get the hall notes on camera. We just wanted them to kind of sit on a stoop and, you know, kind of get a little shooter fingers. Like, hey, when Joseph Gordon Levitz walking by in a post coital, you know, a happy dream sort of phase. And then they didn't want to be on camera for whatever reason. I don't remember. And then we were like, well, we really want someone on camera, so, you know, maybe we can find something else. I mean, I think we reached out to just about every 80s act. We also, like, we were like, how can we change, you know, Everybody have Fun Tonight by Wang Chung? How can we change Duran Duran's Rio to Summer? Would they do that for us? You know, like, we just. We went wide and it never really worked better than you Make My Dream. So we're like, all right, we just want to have them on camera and we'll have the song. And that was the best day of shooting ever because we were in downtown la, right outside of a courthouse. There was a fountain that we got to control. And, you know, people are just like, what is happening? There's a whole, you know, like, everybody dancing, and then there's a marching band. And it was. It was really fun. And you Make My Dreams is kind of like the song that never ends. You can just. It can start and stop anywhere and everyone's still happy. It never got boring. But that was. Was my first studio film, and it was an absolute joy to be a part of that film.
- [17:04]
Bobby Bones
Two questions left. I love Lioness. I didn't know I would love it as much as I did. And we just started. It ate up season one. It was right as season two was in the middle of it, which is also how we found Yellowstone. Because I don't think we saw season one while it was happening. We're not that cool. But all our friends were like, you got to watch it. So maybe like through, like halfway through season two, we got in.
- [17:26]
Andrea Forster
But.
- [17:26]
Bobby Bones
But Lioness is so good. One and then two is even better. What's the difference in, like a lioness type show where it's very military? It's not, you know, in Montana. Like, so what kind of music do you look for when you do that show?
- [17:42]
Andrea Forster
Well, with every show, you always want to have, you know, sort of the conversation of breaking down characters of the overall sort of sound and whatnot. But Taylor and I kind of just have the music mind meld at this point. So would, you know, sometimes they'll say, okay, I want something that's still like Whiskey Myers, you know, that would still fit some of the soldiers in it and so then we'll stick with that. But then, you know, you have Zoe Saldana and her character, and she's not, you know, like this sort of rock music, so. Or southern rock. So we do something that fits her and her husband better and then we have music that fits the daughter better. Or then there's just source music for a club so it's more situational and more sourcey. We don't have montage songs in that so much.
- [18:26]
Bobby Bones
My final question, there are things that I'm involved in that I can't really consume just as a pure consumer because I'm involved. If it's, you know, audio, stand up, comedy, it's like I'm so invested in my life, it's hard for me to watch it. Just as a fan. Is that hard for you to watch, like a movie or a show and not pay attention to every musical element without going, oh, that's great, or oh, that's tough.
- [18:48]
Andrea Forster
I never turn off the work ears ever. But I've been. I mean, that's why I was a film school kid too. Like, I've always sort of broken down things and analyzed them and loved them for that. So there's no joy taken away from being analytical with the work brain happening. But sometimes I'll watch something and if it's not good, all I do is figure out the budget of the songs.
- [19:10]
Bobby Bones
Really appreciate the time again. I mean, it's been musically a culture changer what you guys did on Yellowstone, the same way that Grey's Anatomy was then, that this to me and us is what you guys did now and loved all of my friends that you helped and I guess even though you didn't even. I don't care about him because I don't know him that well, but I think you did an awesome job. And so thank you so much for being with us and talking about it. It means a lot to me and I hope you have a great rest of the day.
- [19:33]
Andrea Forster
You too. And thank you for just elevating even more, you know, information about Yellowstone because it's. It's certainly been a ride and it's been really fun. And luckily we are sort of continuing our music style in the Taylor verse on Landman. So I recommend anyone who loved Yellowstone to check out Landman.
- [20:14]
Bobby Bones
Andre is a big deal in so many people's lives, including this artist. This is country music artist Danny Rose. Danny's had a total of five songs featured on Yellowstone. Danny has a new song being released February 28th called I Ain't Living. That was featured in season five. So you may have heard it on the show and searched for it and couldn't find it. But it's about to be out now, so make sure stream it, support her and you can follow Dani on Instagram and check out her music. D A N I R O S E Annyrose okay, Dani Rose. Here she is. On with us now is Danny Rose. Hey, Danny, how are you?
- [20:57]
Dani Rose
Hey. I'm doing well. How are you doing?
- [20:58]
Bobby Bones
Doing pretty good. I was looking at your music and obviously this is a Yellowstone podcast. I didn't realize that basically you've been on every season musically except for season one, but you've pretty much been there through the whole thing. How in the world did you get hooked up with the. The people that cast Music from Yellowstone?
- [21:12]
Dani Rose
Oh, my gosh. Well, it's a great story. I was at a birthday party in LA and I was just hanging out, meeting friends and I happened to meet the music supervisor, Andrea Von Forester for the show.
- [21:24]
Bobby Bones
How does the conversation come up that you do music that fits perfectly in Yellowstone?
- [21:28]
Dani Rose
We were just all hanging out. I mean, I'm a very. I'm very much energy oriented. If I gravitate towards a person and I'm chatting with them and we like each other, you just assume everybody does music or everyone's in entertainment. So it was just a normal party and we were hanging and she told me that she was a music supervisor and I said, oh, great, I do country music. And she said, awesome, I'd love to hear it. And I said, send it to her. And then I didn't hear anything from her for a couple years. And then randomly out of the blue, she just messaged me and said, hey, I love your music. I'd love to put it on Yellowstone. It's this brand new show. You might hear something about it. And at the time we had no idea what it was. So I was just like, yeah, I'd love to have music on a TV show. And that's how it happened.
- [22:13]
Bobby Bones
So when you met her, she wasn't overseeing a show that you knew of as Yellowstone. She literally was just someone who specialized in finding music, like sync music for TV shows or commercials or whatever.
- [22:24]
Dani Rose
Yeah, like, I had known her name because she had done stuff for Grey's Anatomy, which was a huge show. So anybody that does music on these kinds of TV shows, you're always like, wow, I would love to show you my music, but I also, I want it to be right and I never want to be pushy with any of my Stuff. So I literally just sent her the music and she liked it and then kept asking for more. And I was very grateful. And at the time, we didn't know how huge Yellowstone was going to be. I didn't know. I just thought, oh, you know, it's a paycheck. It's money that I can use to put towards all of my other music. Bobby, you know all about this because every dollar that you make goes back into your craft or whatever you're doing. This is more money I can invest.
- [23:03]
Bobby Bones
In my music whenever it is on the show. Did you feel an interest that you hadn't felt before or like people looking to find who you are or following you on social media?
- [23:13]
Dani Rose
Absolutely. I mean, at first, because when season two came out, it was just kind of starting to bub and everyone kind of knew who Taylor Sheridan was and again, so grateful to him for all of these opportunities. Without him, it wouldn't happen. And it was just like, okay, this is a new Taylor Sheridan show. You know, what is the response? And people were just kind of starting to get excited about it. It wasn't until season three, I think, that people really started to have this obsession with the show and it just blew up almost overnight. And then people started to find my music, people started to book me for shows, people started to ask me about music for other TV shows. And it just kind of was this tumbleweed of energy and momentum from there.
- [23:56]
Bobby Bones
You bring up a good point is that I wasn't on the forefront of watching Yellowstone. I had friends that were like, hey, you should watch Yellowstone, because we just got into it and season one's over now, but you should start it. And then when season two started, I was kind of just now caught up with season one. It was one of those word of mouth shows that, yeah, season three was when it really exploded. It was a bit of Breaking Bad ish, which I wasn't on the early seasons of Breaking Bad when they came out. But the show got so big and it was so popular, word of mouth that then I got in and you're right. Like season two, season three was when I was really like fully immersed into Yellowstone. That's cool that people would, like find you and book you for shows because they heard your music on Yellowstone. That's pretty cool, right?
- [24:35]
Dani Rose
It was amazing. I mean, people put me on playlists and people were very excited to hear what I was up to and what kind of music I was making and they wanted to know me. Rolling Stone reached out. Billboard reached out. I've done so many shows and then I was able to meet some of the Yellowstone cast from it. It's such a community there. It's so family oriented. Everybody at Paramount, Sabrina Del Peor, they really put together such a wonderful family. And then from that last year I was at Stagecoach or this past year I was at Stagecoach and Yellowstone asked me to come over and do some social media posts with them. So I was in the tent and then I got a chance to meet like, I mean we had kind of met just from social circles, Ian Bowen and Jen Landon and Luke Grimes and just kind of like all hanging out. And so it's just, it's one big family and it's kind of crazy to think that I'm included in that because I think of myself as like literally just no one. But I get to do this awesome stuff and I'm just so grateful to be able to have music in the show and have that kind of as a propelling factor in what I'm doing next.
- [25:40]
Bobby Bones
There was a song of yours that was in a recent episode and we're recording this. Did they take an unreleased song of yours and play it?
- [25:45]
Dani Rose
They actually did. So I wrote a song with Brent Cobb and Jesse Alexander and that hasn't been released yet, but they did play it on the show. This was this past Sunday.
- [25:55]
Bobby Bones
Do you feel like you have to keep up with it though too now since they've been so invested in you? Like, are you watching every episode?
- [26:00]
Dani Rose
I mean, I was such a fan to begin with, so it didn't matter. It's really exciting to be able to watch a TV show that you're into and then want to actually watch it and then also see your music in it. So it's like a two part thing. I'm watching because I want to hear my music, but then I'm also watching because I want to know what's happening.
- [26:18]
Bobby Bones
You've had a song in season 2, 3, 4 and 5 at this point. Are they like, okay, which song do you want us to use of yours for. For this season? It feels like, listen, it's a very relationship based industry anyway and you're also really good. So do they come to you and go, hey, we're, we need a song that feels like this or do they just go through your entire library?
- [26:35]
Dani Rose
They go through my entire library. Anytime that I've been in a room where somebody says, need a song for this movie and here's what it needs to be like. That song never goes anywhere. It's always the songs that are about truth and are about meaning to me that are real songs that get the placements. So I will have songs. I won't push any music. But I'll wait for one of the supervisors to ask me, hey, what have you been listening to? And what are your new favorite songs that you've written? And I'll just send them on.
- [27:02]
Bobby Bones
Where'd you grow up?
- [27:03]
Dani Rose
So I grew up in Virginia, but then in fifth grade, we moved to Tokyo.
- [27:09]
Bobby Bones
The juxtaposition of Virginia and Tokyo, that is. Yeah, that's. That's. That's a wild. So Tokyo. Why Tokyo? Was your job. Like, one of your parents have a job over there?
- [27:19]
Dani Rose
My dad's a chemical patent attorney, so he moved us to Southeast Asia, to Japan.
- [27:24]
Bobby Bones
That's awesome.
- [27:24]
Dani Rose
And from fifth grade until ninth grade, we just traveled Southeast Asia. So I became, like, a very. I went from, like, Chantilly, Virginia, where, like, you do nothing. And then we moved to Japan, and my entire world just kind of opened up. I met so many different kids from all over the world, and that network really broadened my head. And then when we moved back in high school, because we went back to the same house and I went to Chantilly, it was so depressing because I went from going on trips with my friends in seventh grade. I mean, I was taking the subway by myself in fifth grade and. Cause my dad was like, you will do this. I am sick of taking you so literally. We would just tour all over the place.
- [28:02]
Andrea Forster
We would go to the Great Wall.
- [28:03]
Dani Rose
Of China with my parents, like, three or four times. The stuff that you see in. In school books. I was actually, like, living out in real life. And then we moved back to Virginia, and it was just like, oh, okay, well, you can go to the mall and your mom. I do. And I was like, wait, I can't take the subway myself. Like, I'm used to going to Tokyo, Disneyland, like, every weekend. So it was quite a culture shock just to be dropped back to here. We are, like, essentially middle of nowhere Virginia, and this is what it is.
- [28:33]
Bobby Bones
When did you start to feel like music was something you wanted to do for your life?
- [28:38]
Dani Rose
When I was in second grade, I loved to sing. Like, you know, you get out and do, like, this land is my land. I would sing it at the top of my lungs and yell it. It's so loud. Because I was like, I have a powerful voice, but I don't think I had a great voice at the time. I think it was terrible. And the teacher would always come over and say, you know, Danielle. They wouldn't call me daniet Danielle, I think that what you should do is just be a bit quieter because we know that you love your country, but we need you. We need you to calm it down. From that age, I was always wanting to be in front of the camera doing music, being on stage, performing, singing, entertainment was always something that I wanted to do ever since I was a kid.
- [29:19]
Bobby Bones
And how long have you been in Nashville?
- [29:21]
Dani Rose
Just recently moved there full time. The beginning of the summer.
- [29:25]
Bobby Bones
You're bouncing back and forth. You were doing the go to town for a few days and write and then go back home home type thing.
- [29:29]
Dani Rose
Yeah, that's what I did. I was. I was living between LA and Nashville and then bought a house in Hermitage and just decided, I'm gonna live here full time. I had so much going on and there's just, as, you know, there's so much work in the city and you just have to be there. I hate to say that because that's such a thing that people say all the time, well, you have to be here if you want to, you know, you want to do it, you gotta be here. But I think it's true.
- [29:49]
Bobby Bones
Yeah, it's one of those cliches that I've had to say it to a couple people and I'm like, I know this sounds like the most cliche thing I could possibly say, but you have to be here. And you're right. And I mean, because there are just so many things that happen or so many things that are possible because of proximity that may not be possible otherwise. Well, congratulations on all that. And by the time this comes out, your record will be. Have been out outsiders, so. Well, give me some stuff about the record here.
- [30:13]
Dani Rose
What's happening with you outsiders is really exciting. It's all about a collection of saying goodbye to the old me and saying hello to the new me. The title track is Good Morning, which is all about having a funeral for the old me and laying her to rest. It's really fun. I did a music video for it in Nashville. It's hilarious. There's a dance at the end. As someone who has mastered the foxtrot, I think you would really appreciate the dancing at the end because I'm not as good of a dancer as you, but there's another really special song on there called Whiskey or Cold that is out right now. And that song is all about the other side of addiction. It's different in the fact that it goes after blaming the alcohol instead of the person for all of the terrible things that you have to go through when a loved one is going through being addicted to something and you have no control over it. So that's one of my favorite songs on the record, Whiskey or Cold. And I wrote it with Liz Rose.
- [31:10]
Bobby Bones
Oh, one of my favorite people and writers. He's awesome. Liz is awesome in many ways. So you guys can follow Danny on Instagram D A N I Rose DannyRose, we really appreciate you coming on talking about Yellowstone. Good luck with the record. I Hope it streams 10 gabillion streams. Thanks for the time today and good luck and I'm sure I'll see you up here in the studio at some point soon. The Yellowstone official podcast, hosted by me, Bobby Bones and brought to you by iheartmedia Podcasts and MTV Entertainment Studios. Big shout out to executive producers Jason Reed, Lindsey Hoffman, Carl Cadle and Kevin O'Connell. Also our senior manager of podcast marketing, Ali Kanner Graber for keeping the word out. And of course, a big thanks to Will Pearson, president of iHeartMedia podcast, for him supporting this show. We've also got special thanks going out to Whitney Baxter, Xavier Afri, Barbara Pareda, Emily Curry and Joe Flattery. You guys make this happen. This podcast is produced in association with 101 Studios over there, executive producer Scott Stone and director of podcast development and production Danielle Wacker. We also got to give a big nod to Michelle Newman, David Glasser and David Hutkin for their support. Thank you guys for tuning in. See you next week.