RAYE’s maximalist masterpiece is the hope we need

No, not at all. I'm so sorry, so my taste base. You're all right, right?

“Yes, exactly. I'm so sorry, I'm so sorry. I just understand.”

I'm so sorry, I'm so sorry, but I'm so sorry. I'm so sorry, I'm so sorry. I'm sorry, I'm sorry. With what? I'm sorry. Megan Rpino here. This week on a touch more.

We've got two insiders to help us unpack the WMBA's new CBA. Three-time champion and WMBPA Vice President Alicia Clark, A-K-A-A-C, and ESPN basketball analyst Andrea Carter. We're also going to take a look at our NCAA brackets and check out what's next in March, Madness.

Check out the latest episode of a touch more wherever you get podcasts and on YouTube.

Nate, I've got a challenge for you. I'm always up for a good challenge.

I'm going to play you song and then I want you to read me the lyrics. Alright, I texted you the lyrics and if you could recitation at tempo, please. I would like a ring. I would like a ring. I would like a big diamond ring. Ah, let me try this one. One more time. I would like a ring. I would like a ring. I would like a diamond ring. I'm a wedding finger. I would like a big and shiny diamond

“that I could wave around and talk and talk about it. And when the day is here for”

give me god that I could ever doubt a dental death. I do what I do. I do what I do. I do what I do. I do what I do. I do what I do. I do what I do. I do what I do. I do what I do. I do what I do. I do what I do. I do what I do. I do what I do. I do what I do. I do what I do. I do what I do. I do what I do. I do what I do. I do what I do. I about about it, if this man is testing me,

uh-huh, help me, help me, help me, Lord, I need you to tell me, wow, whoo, oh my gosh. Now that, that was my first time. I could, if I practiced that thing a couple of times, I could be, whoosh, I'm in, yeah, it's a mouth test.

That's a toughie. Today, Nate, you do not get a diamond ring. Fair enough, but you do get a crown. It is your birthday. Happy birthday.

Ah, so happy to celebrate you. This is clearly of what a metaphorical crown, I don't, you're not holding anything. You're not. There's no package waiting for me at the door.

When you reach core, mid-life milestones, your presence are the presence of your friends. Yes. Welcome to Switched On Pop. I'm songwriter Charlie Harding.

And I'm musicologist, Nate Sloan. We just heard, raise, where is my husband? One of my favorite songs at the moment. Major viral trend, trying to say the lyrics, I cannot believe you pulled that off.

It's a real tongue twister. This song is so virtuosic, and it comes from her forthcoming album. We are recording this on the eve of the release of this music may contain, hope, great title. Great music from an absolutely fabulous artist.

This is Rachel Agatha Keen. She's 28. She is from the UK. She is part Ghanaian, part Swiss, part English. She grew up in the church where her father

directed the music and her mother sang in the choir.

She first sang publicly to Nat King Cole's Let There Be Love.

I know you weren't Nat King Cole ever. I am. Her first song that she learned on the piano was summer time, the Ella and Louis version. At age 13, she started making music and garage band.

She went to two years of the Brit school, which is a famous free public art school. Yeah, alums included a Dell, Amy Winehouse, FK, Twigs, Olivia Deen. That was a long thing to do.

She gets a record deal with Polydore at 17 after her song "Hot Box" is discovered on SoundCloud. And she spent years writing hits for other people. Beyonce, Charlie XX, John Legend. There are lots of hits that you knew,

but you didn't know the name behind them. Because in 2021, she goes on Twitter and says, "I feel like a toilet." She feels like she's being used by her label to make music for other people, to put out a constant slow singles of her own,

but not get to put out an album. She follows up with a huge hit called Escapeism, O-Juring, '07 O-Shake.

“- I remember when I first heard this track,”

I'd never heard of this artist.

And I just had the sense that she was really going to make an impact. This song had so much happening in it. It had her virtuosic powerhouse vocals. It had these lyrical turns of phrase that you'd never heard before and went from really emotionally intense

The production combined old school soul

“with contemporary hip hop, it was like a statement.”

And I feel like audience is really responded to this.

When you first heard it, you believed in it.

She had a lot of self-belief, because she went on to self-fund her debut album, 21st century blues. Wow. It dealt with really heavy themes of substance abuse,

body dysmorphia, assault. It boldly crossed many histories of pop music genres. And it was a huge hit in the UK. She's one of the biggest stars I know without a top 10 song in the US.

Escapeism only went number 22 on the Billboard 100. Her song we heard in the beginning, whereas my husband went to number 13. It's currently sitting at 17 as of this recording. It's climbing again.

Yet she has over 10 billion streams of her songs.

In 2023, she won six Brit Awards in one night making a record. 2024, she was nominated for multiple Grammys, including Best New Artist. And now she's bringing us her second album. This music may contain hope.

It's 17 tracks, roughly 75 minutes. It's got over 80s three performers, including the likes of Al Green and Hans Zimmer. It features multiple recordings of the London Symphony Orchestra, Ray Love's Big Sounds.

I'm a maximalist when it comes to production and vocals. Every bit of paint we can throw and then we rain it back. This is an album where she is artistically needing to find hope internally.

“I think at a time that we are needing to experience hope collectively.”

And there's a nice progression there from her first album.

21st century blues, now we're entering into a moment of hope. I like that. This is an album that honestly needs to be experienced in full no skips, no distractions. She literally frames it as a four part album based off of the four seasons.

Part one, autumn, then winter followed by spring. And of course, summer originally this came from over 50 songs. So we're going to record for what next seven hours. And talk through this whole thing. I would really like to.

I think that that would be an injustice to everyone's individual experience of listening to it. But I think we can do is serve as a maybe field guide for the various musical lineages to help understand what she's trying to say on this massive word. Let's start at the beginning, the first song intro, girl under the gray cloud.

Allow me to set the scene.

“Our story begins at 227 a.m. on a rainy night in Paris.”

Cues de Thunder. The Attrics. Oh my gosh, guys, dark. A woman in her late twenties walks from a bar to her hotel. She has no umbrella, she has seven new groanies deep.

And she knows as a whole, she is desperately trying to fit. Wow, right. Well, we have this narration. We're really kicking things off. We are in a thunderstorm in Paris.

She has autumn leaves underneath her feet. Ah, that's what I was hearing. Autumn leaves. The jazz. Yes.

And scoring the whole thing of these just classic Hollywood strings. The song sets the scene as a journey through desperation, eventually toward hope. The desperation continues on track to I will overcome. It's kind of the want song for the album. The I want song is what we call the number that usually comes like right at the beginning

of a musical where our main character basically outlines their goals and hopes and dreams for the very clearly for the audience. Yeah, and then the rest of the music will be us following her success or failure at achieving those dreams. And I feel like, yeah, that's a cool way to describe this ray of sort of outlining what

she wants to happen. And there's almost like also a Greek chorus of sorts here adding to the theatricality. There's this corner response. She sings and then the chorus response to her. Yeah, I also just I love that harp in the background.

It's a really nice touch. This is very auspicious beginning so far. We're going to hear a lot of interplay between the orchestra and contemporary production because it quickly turns towards a very contemporary style beat with heels clicking on the call stone, walking drunk and alone through the streets of Paris.

Mm-hm.

to drum underneath, giving it that contemporary feel.

So we've set the scene narratively and she's also setting the scene musically. It's music that's going to be both from the past and from the present.

“And throughout she's going to constantly make reference to all the most important genres”

of pop music, including some of the greatest artists of pop music. Mm-hm. So she sings about critics saying that she reminds them of Amy and that she may succumb to the same fate that was brought on to Amy by the sharp tongue and constant derision that she received.

This is of course Amy Winehouse, the artist who is so responsible for the sole revival UK sound of the 2000s who was also a alum of the Brit school. She died at 27 a dark tragic death from accidental alcohol poisoning. Yeah. So I should say, went on to collaborate with Mark Robinson, the producer who worked with

Amy Winehouse, Ray made a song with Mark back in June 2025, a song called Suzanne.

“And so the comparisons are appropriate, both genre wise, collaborator wise, and I think”

narratively within what's happening in their life. Even though we've just listened to like two tracks at this point, I feel like it's already

capturing what I love about Ray, what I loved about her first album, what I love about

the live performances of hers, I've seen she crosses different genres, like over the course of a single melodic phrase, she does this with her voice, she's constantly shifting her voice, it'll become a little operatic, and then it'll become a little bluesy, and then it'll become like a little bit of hip-hop flow and then it'll be classic jazz, Billy Holiday.

It's like she can turn on a dime like that. And as we've discussed, the music is doing something similar. It's going from jazz, piano to orchestral swings to hip-hop drums, so I feel like that might end up being one of the themes of this record, because that is that fair guess at this point, there are many themes to explore on this album.

The one that I want to pursue with you is how she switches from musical tradition to musical tradition. From the get-go, I feel like we've heard a bit of the cabaretial song to begin in Paris, she literally narrates the opening of her song. The shawl song is a form from France that developed in the 16th century of theatrical songs,

and she makes a direct call out to one of the great French singers, Edith Peoff, in the song, Oliver Cumm. Peoff rejected the label of the shawl song, released who sing songs of hopelessness, instead she wanted to sing songs about the Shwada Vive, she wanted to sing songs that had opened them, like "Love Y'all Rose".

And like Amy and at times Ray and her life, Edith Peoff struggled with alcohol, she eventually

“died from liver cancer, so I think there's a lot of self-interrogation going on in making”

these comparisons. There's so much self-awareness to the record, we've already established that it has these theatrical quality, like caparet, this is a tradition where you will have an omniscient narrator who's going to tell you what's going to happen.

We've already heard that feeling being like, "Here's what's going on, and we hear

that throughout the rest of the album. We're going to hear her tell you about what the songs are before she plays them." This song is called, "I hate the way I look today." This is a song about the greatest heartbreak I've ever known. This song is called Nightingale Lane.

You kind of feel like you're at a concert with her listening to the album totally, and I don't mean to jump to gun here, but the whole thing ends with a six-minute long song, the majority of it is her just reading the credits of all of the people who participated in making

Alright, thank you to Grandma, Granddad Michael.

“My sister's armour and absolutely, my co-producers, Mike Sabov, Tom Richard, Chris Hill, Pete Clements,”

Jordan Riley, tone-world, punctual, hands-in-man and his team at Bleeding Fingers. I love this for a few reasons.

Not only is it like watching the credits scroll at a movie, but I'm someone who always

takes the liner notes out of the CD or the LP. Oh, yeah. And reads every person in the acknowledgment, just to see if I might learn something interesting. So I appreciate an in-age where it's harder to get liner notes when we listen to so much of our music digitally that Ray is giving us the acknowledgment as part of the album itself.

That's really cool. To make such an over-the-top, maximalist record, you need a lot of collaborators, and she's giving them credit as somebody who is in control of this entire thing. She is the writer and she's a producer in every song. The role of narration here isn't just for introduction and conclusion.

“It really helps set the scene, it helps emphasize the drama of things like heartbreak on”

a song like "What's App Shakespeare?"

He's still out there, Romeo Ford, he's a six-two-six, one of the five-months minimum recovery from a sweet glide to the all-out Shakespearean voice note of he, don't let the clarifier know what did die in the story, but I didn't decide when I found out I was one of seven of the leading ladies started in the new romantic set-up, no way. We have moved from the world of theatrics into the world of jazz, oh my goodness.

How did jazz we're here in there? This is like classic big band swing of the '30s and '40s. The kind of thing you hear, say, Count Basie or Benny Goodman playing probably. Yeah. This need is that she's got this giant orchestra with her to be able to play these

kinds of tracks, but it's not the only source of inspiration from the genre. She's also going to take things all the way down to the sort of the small combo size on a song like "I hate the way I look today." This is giving me like Village Vanguard vibes. What do we listen to here, Nate?

Yeah, this is more in the vibe of a kind of post-bop singer that is like after World War II, folks like Sarah Vaughn, Anita O'Day, Ella Fitzgerald, certainly a small swinging group. There's a lot of interaction between the singer and the individual musicians, they're unlike with the big band.

The singer is almost like another one of the instrumentalists, they're part of the combo themselves. It's a much more intimate, I don't know, a spunky sound. It's really cool. She actually lets the instrumentalists have their moment, so yes, she really knows her genre. Check out the solo.

Oh my goodness, yeah, yeah. Wow.

“Charlie, this is giving me life, are you kidding me?”

A ripping sax solo. Yeah, gang vocal responses throughout. Cat, call it as one point, yeah, Ray and the sax are perfectly in unison together. This is, man, why does it excite you? I mean, obviously I know you're a jazz scholar, but what about that sound gives you that

feeling? Well, it's the sense of improvisation, the sense of playfulness, and frankly just in general the sense that like an artist of this caliber and fame is not afraid to risk it all by playing jazz.

And to me, that in itself is like such a powerful statement, and it makes me feel like

kind of hopeful. Oh, there we go. There's some hope as a rising. Maybe young people are going to listen to this and be like, hey, maybe I should check out some of those singers I mentioned, Sarah Vaughn and Nido Day, elephant's Gerald.

Maybe I want to try scat singing like that. What a cool. That would be such a cool outcome. I'm Charisa and my experiences with all entrepreneurs start a job as a footballer, right? I want to be the first day of the show.

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as you were for matters.

“While that's worth it for you, the günstig makes smart minutes from 490 by McDonald's.”

The unforebindigial price in the film and teilning the rest of us. Hi, I'm Renee Brown. And I'm Adam Grant. And we're here to invite you to the curiosity shop. A podcast that's a place for listening, wondering, thinking, feeling and questioning.

"It's going to be fun. We rarely agree. But we almost never disagree, and we're always

learning." That's true. You can subscribe to the curiosity shop on YouTube or follow in your favorite podcast app to automatically receive new episodes every Thursday. She's not just getting people excited about jazz singers of the post-war era.

She's going broke. Ooh, not broke. But broke. We're talking back. Oh, there it is.

There it is. Mmm. Wow. That is the Valdi. Valdi.

From the 460. More seasons? Why are we doing enough 4 seasons?

“Well, this album has a 4 seasons, like, concept to it.”

So that's very appropriate. Which season is this in Valdi? Is it winter? I'll give you a head. This song is called Winter Woman.

Yeah, yes. And so this is the winter part of Valdi's 4 seasons. Kind of spent some quick facts about Valdi. He's such a fascinating character. He was this violin virtuoso of the 18th century.

He called him the red priest because he had this, like, voluminous bright red hair and at one point in his career. He was studying to be a priest. Spent most of his time in Venice where he led a group at the Ospedale made up entirely of young orphaned women who were some of the best musicians in Europe and many of whom

went on to have their own spectacular careers as virtuoso performers and composers.

And his writing and first strings and concerti, especially, was super influential, including

on our friend Johan Sebastian Bach. So Valdi, very cool to hear that in this ray track here. Okay, so what did she do with Valdi? She is using the sound of winter to reclaim a sort of pejorative term used about women. So often women can be called frigid icy or cold.

And she is basically saying the reason why I might have to put on this cold personality is because of the things that have been done to me and I will put on a big winter coat even when it's summer outside to protect myself. She also, I should say, came out with her first EP in 2014 called "Welcome to the Winter". So it's part of a larger world building.

“The Valdi is very earned, I think, in this moment.”

But it's not my favorite classical moment on the record that hands down goes to click "Clack Symphony" featuring Hans Zimmer. The great composer of every film score you've ever loved, we're going to get a bram here, Charlie. There are no brams.

Okay, so let's just break this down for a second.

Okay, we've got send the call out, send the call out, calling all my baddest women, it's about to go down, click "Clack Symphony" I need that. So the song starts with her narration that says, "Do you know the odds to be born on this earth are 1 in 400 trillion?" I conquered those odds, yet I can't conquer leaving this house.

And this is a song about sending out an SOS signal to your girlfriends, pick a dress, pick a time in an address, we're going out tonight. And the chorus continues by saying that her legs are hurting but her back is still arching and this sound reminds me that it's going to be all right. The act of getting together, getting dressed up, even in heels that might hurt, they are

worth it for the collective sound of the click "Clack" on the cobblestones that we heard of reference to earlier on when she had set up because, you know, of course she's going to do that and we're going to go experience some joy even when I'm having trouble getting

How do you back it up with a score by Hans Zimmer?

What? Because watching Interstellar all of a sudden, except the whole time you've got those click, "Clack, click, "Clack, the click, "Clack Symphony, going to laws to let us on the pavement." She's so good at taking the most relatable idea, you know, like, "I don't want to leave my house, but I know it would be good for me."

And like turning it into something that is just so transcendent and epic and majestic, it's a really cool transformation. This is the most over the top dramatized way of saying, "Hey, you know, go out and hang out like I'm having a tough time." She has turned this into a heroic act, almost a political act of getting out being strong

even when things are getting you down.

“You'll never be able to hear heels on pavement the same way after this, will you?”

So there's orchestration all over this album with Hans Zimmer.

Hans just has one track on the album. I just keep picturing like a rapper, like, you know, little John being like, you know, "Oh sure," and "Hons Zimmer!" Anyway, what are we saying? Oh, what was I saying?

The orchestra is all over the album. It's not all classical music. I don't even quite know what to call the orchestra on the final track, "Fair." It's giving, maybe. You're not.

I don't think you're saying that. It's "Fair." "Fair." "Fair." "Fair."

"Fair." "I dropped things before." I was very early.

“"Fair is giving Mary Poppins, Jim Chimary."”

"I thought you'd find your way to dance. Be so busy. Give up with me, no my friend. We have my own." It's very fun.

Like, the stuff just pours out of her, I'm like, "God, it's like, what is going on in her brain? It's so rich and complex and so entertaining." Oh, yeah. I don't know.

This is really unique. She's going to use the orchestra in every way you can possibly imagine. One of the great performances is her live version of the song, "Night and Gail Lane," "Live at Abbey Road," with full orchestra, brass band, everything, highly recommend watching it.

You can hear the way that she uses the orchestra on that track is very different from what we've heard with Hans very different we heard at the end. The screen didn't freeze, I'm in a state of shock. That is powerful. It almost goes into power ballad.

There's a power ballad on here that I'm not going to play for you because you have

“to go experience yourself that I think is a direct nod to prints and purple rain.”

There's also dance music on here. There is definitely rap flow and hip hop swagger, but the other two genres that I think

are most important on this album are soul and gospel.

Yeah, I was going to say polka and heavy metal, but that seems to be more appropriate. So, well, you mentioned Al Green, are we going to hear some of the reverend now or is that in the gospel part? We're definitely going to hear some soul Al Green on the track "Good Buy Henry." Wow, he sounds great.

That vocal. This is something about the kid I was, I saw Al Green live at the Beacon Theater when I was 16 or something by myself and he was an amazing show. There's something really funny I remember, which is that he had one point in the concert. He reached into the piano and took out a red rose and gave it to a woman in the front row

and the whole place of law. We were like, oh my god, that's sexy and romantic and cool. And then, as the show progressed, he took out about 40 more roses from the piano ever given that. I mean, like, I have the audience at a rose by the end of that show.

heard from in a long time, I think.

“No, I mean, I think in a certain way, she is giving Al Green a rose.”

I mean, one of the great legends of soul music, she even makes a nod to his lyrics in this song. Al Green, of course, sings this song, "Love and Happiness." Al Green, of course, sings this song, "Love and Happiness." There's a sample of a Retha Franklin's rock steady.

It forms the foundation of her soul and skin in bones.

“And that's not all James Brown is also on this record.”

Here is Dam Wright. I am somebody, a track that he did for Fred Wesley in the jv's. Mr. A, are you somebody serves as the foundational sample of her song, Joy, cool. We're not going there yet. So she's bringing in so many great soul artists of the past.

One of my favorite tracks here, though, is something original. It sounds like if the Supremes made thriller. It's a song called "Boware the South-Funded Mudder Boy." Yeah, you know, everyone at some point in their musical career has got to use that baseline.

That baseline originally comes from "You Can't Hurry Love" by the Supremes.

There might be a precursor, I'm sure there's a precursor, but that's always my favorite.

The name is "Jamerson Plan the Base." Iggy Pop does it on "Lust For Life." Jet did it on "Are You Going to Be My Girl?" And of course, Amy Wine has did it on "Marc Ronson's Track Valerie." And here is Ray doing it on "The South-Funded Mudder Boy." Beware.

The South-Funded Mudder Boy. Music is like a compliment to where as my husband, as well.

It's got this powerful groove and this like minor chord swells.

It's a song which is a warning to other women of like, "Watch out for that guy who is swallowed, he's showing up in a black car, promising all these nice things with nice words, not a safe guy. Watch out for him." And she offers that warning a number of times, one of those times switches the song up

into a totally different genre and I need some help identifying what we're hearing.

“Wow, kind of like a detective-private eye kind of thing?”

Yeah, that's a good description.

pop these days. And the cellarando. Oh, yeah.

“We actually speed up the tempo slowly as we move out of that detective noir breakdown back”

into the Valerie can't hurt her love as Motown Groove, which is just another little

auditory treat for us. Oh, yeah. There are songs on this record that beyond just changing time also modulate all over the place. There's one song out here.

I'm not going to give it away. You've got to go find it. May modulate more than Beyonce's love on top. It just builds and builds and builds and builds. Oh, that's a tease right there.

Oh, yeah. No, you've got to go here. You've got to go listen to this.

“Maybe we can we can leave today with a trip into the world of gospel.”

We heard gospel at the very beginning in the song "I Will Over Come." This is, of course, kind of her take on the U.S. civil rights anthem. We shall overcome, which was originally a him called "I'll Over Come Some Day" by Charles Albert Tindley, who was a black methodist minister in the founder of gospel music. We have gospel in here.

We've got the background on chorus. We have this call to the song, which is popularized by Pete Seeger and John Bayez and the counterculture quoted by Dr. Barton Luther King Jr. as a song of hope. And yet, she's kind of playing it in this dark minor personal place. And in some ways, it doesn't feel gospel at all because it's not about the communal.

It's not about the congregation. It's about ray. And so it's really appropriate then that the album takes a very different turn towards gospel towards the end on a song called Joy, which features her sisters, Alma, and absolutely backing her up.

Sounds with a four to the floor, dance groove, with that James Brown sample. I mean, we have comfortable circle. We've got the Trinity of Sisters singing joyfully in this four to the floor, drumbeat, gospel choir. You know, ordinarily I am kind of repelled by albums like this.

I'm going to be totally honest. I tend to gravitate towards albums that have a really coherent sound throughout. This is not that, right? As we've discussed in depth, every track has something different. And then within each track there might be like three or four different things.

Yes. And yet, my predilection for coherence, it does not apply here, because what I'm realizing to this conversation is that there's a coherence in the lyrical themes in rays, voice being this anchor throughout the album in the way she creates this theatrical experience. And so as a result, anytime where I might be kind of feeling like, oh, there's too much

happening here, it's all warranted, because this is more than just an album. It's like this cinematic experience that you're listening to. It's a musical review of all of the best things I want to hear.

And basically the only question I have at this point is, like, how are people going to experience

this album themselves? Are they going to listen to it from front to back?

“Are they going to, you know, home in on certain tracks?”

Like, that'll be kind of cool to see, I think, whether this demand that sort of attentive listening that has been lost, frankly, from a lot of album length works right now, or will it find a way to exist in this ecosystem we have of like de-rassinated single tracks, just, you know, circulating. I feel like this album is going to crush live.

Oh, my gosh. Yes. So I'm already like where we're going to, where do I got my tickets for the, this music may contain hope tour, because this is going to just bring the house down. I'm really glad that whereas my husband has served as a hook to bring people in, I want

more people in the U.S. to be paying attention to Ray, I think in some ways her music

is big and over the top and away that is not necessarily always easy.

It demands sitting down and listening to the entire thing, I think. You want to go all the way through. I got to experience this in a big listening room with a bunch of other people in an early preview and everybody was dancing in their chair and clapping between songs, hooting and

I recommend that kind of listening environment if you can.

And I just think that this is the kind of album like Lily Allen's West End girl, an album that takes you all the way through a relationship meets like Rosalie as lucks the over the top orchestration, you know, bolti genre powerhouse, maximalous albums.

This isn't in those traditions and if anything that really gives me hope is it in this moment

of conversation about how do humans belong in the world of music making when we feel like we're being replaced, nothing is replacing this. This is totally.

The most virtuosic, most practiced, performed, but also loose and improvised is the most

“human album I've heard in the longest time and I think it contains a good deal of hope.”

I would like a ring, I would like a diamond ring, I would like a diamond ring, I would figure I would like a big diamond diamond that I could wave around and talk. I thought about it over the day and say, oh it's hard man, it was pretty good. Switched on pop is produced by Reina Cruz, edited by Lisa Soob, Engineer by Brando McFarlane, Illustrations by Iris Gottlieb, Video by Necrips, our theme song is by Xenario and

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of Vulture, which is part of New York Magazine, you can subscribe and I'm Ag.com/pod. Go to our website, switchampop.com, sign up for our sub-stack, we're blasting extra little doses of music criticism to your inbox each week. You can also, while you're there, hang it on the switchampop.com website, grab some merch. I'm currently decking myself out in T-shirts, getting a lot of confidence on the T-shirt

FYI, Charlie.

“Oh, nice, I'm rocking the mug, let's see, do you have the board shorts yet?”

I don't know, watch it. I have the bucket hat, but I have a worked up the fridge to wear it yet, so let's see. And what else, we'll be back next week with a brand new episode and until then, thank you.