Hazlett

Matt talks with Hazlett - singer, songwriter of some really heart wrenching Indie Folk music. They talk about the journey of Hazlett across continents, finding his place in music, what a U.S tour means for him to his unexpected love of the Chicago Bears, and more.

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Transcript

Matt (00:00)
Okay, welcome back. This is episode seven of Fuego Stein's Music Club and I am like genuinely so proud of the work that I've put in for this and how far it's come. And on this particular episode, I've had the opportunity to sit down with somebody that I kind of stumbled upon by happenstance and has slowly turned into one of my favorite artists. He has a new EP out called Goodbye to the Valley Low. And this is a conversation with Hazlitt.

Matt (00:26)
All right, so yeah, happy to have Hazel on the podcast, man. I appreciate you taking time. I know it's the time difference over there is a little different for us, but happy to have you on and taking the time out for us.

Hazlett (00:37)
I'm happy to be here man, I appreciate all the support that you've given me along the way so it's the least I can do.

Matt (00:43)
I appreciate that. So I guess the first place I want to really start off is, you know, from Australia, moved to Sweden. What does that journey kind of look like for you, you know, while making music and listening to music? your taste changed over time, you know, being immersed in different cultures or has it kind of been steady?

Hazlett (01:04)
I think it's definitely changed. One of the reasons when I moved up here, I was just starting out and the whole, there's a big pop music scene in Sweden. So I moved up here with the intention of, okay, I'll fund my Hazlitt artist career by doing pop music and writing songs for other people. I made a niche here of, I guess, being the lyrics guy. I was the go -to lyrics guy for like,

people are like, we've got a really catchy song, but the lyrics suck on it. Like, Hazlitt, can you come in and like do something? So in that sense, I guess I saw this weird, like, I don't know, behind the scenes thing of music, I guess how the sausage gets made in like the pop music world. was a bit like confronting, but at the same time, as much as I was like, this is taking away the romantic side of music, also like helped, I guess, you know.

you almost get this weird thing of flushing out all the ideas and stuff that you have making space for your own music. And because it's such like a pop heavy focus up here, I guess I started listening to more and more in that. then, I mean, it also helps that a lot of my favorite artists are kind of like Swedish, know, like First Aid Kit and Tors Men on Earth and stuff like that. So it's like, I got to experience seasons and fall and autumn. So that's like helped my musical journey as well. But yeah, it's definitely been a lot different to living in Australia.

Matt (02:25)
So you mentioned that like pop kind of rules the scene up there. Have you noticed, I mean, at least down here too, you know, you've noticed like this big push in the indie folk space. Has it kind of been the same way up there?

Hazlett (02:38)
I think so. mean, historically speaking, like I was saying, like the tallest man on the first aid kit, you know, the Scandinavian artists, know, like Heisekart and stuff like that. It's like they have such a strong history in that, but there also seems to be a bit of like live music scene is dying a bit in Sweden. Like all the middle class kind of venues got cut out and it's either tiny small clubs and like big arenas now. So it's like that kind of

indie folkness, I mean it's everywhere because I feel like it's always such a it's like an entry point for a lot of people wanting to do music as well it's like pick up a guitar write a song go play said song so it's like in that way it's like a rite of passage but I don't know I haven't really felt as big of a hit in that kind of like genre exploding or anything up here compared to you know when I was in the US last and stuff like that

Matt (03:31)
Yeah, I feel like here in the States is really, there's this real resurgence of like this Americana, indie folk, like folk rock type stuff. And it's, it's gained a lot of traction probably over the past like two years, I really feel like it's really, you know, kind of taken off and, you know, with the help of like artists like Noah Khan and even Zach Brian to a point kind of in that Americana space. So it's interesting that it hasn't really.

Hazlett (03:37)
Hmm.

Yeah.

Matt (03:58)
grassed, you know, elsewhere, I guess.

Hazlett (04:01)
Yeah, I think, I mean, I feel like it's so embedded in kind of like US culture, like the troubadour -y folk stuff as well. I guess it's like, I mean, in that sense, like people still, there's a, you know, there's a thirst for it and stuff up here. Like, but yeah, it's just, it's a bit different to Gage, I guess. I was shocked when I went to the US recently and, you know, I was like, no one's really going to care about, you know, me picking up my guitar and playing some sad songs. And I was like, people actually like...

Gibberish. Yeah, this is nice. I like America. I might come back sometime soon.

Matt (04:29)
Right. So kind of in that sense, being an international artist, traveling feels like it should be a little more time consuming than maybe, just like a little East Coast run here on the States. Does the extended travel affect like your mental space sometimes? it make it harder, easier to kind of process things?

Hazlett (04:36)
Yep.

I don't think so. mean, coming from Australia, it's like, yeah, a flight, any flight less than 10 hours, you get pretty, you're fine with it. Just because it takes so long to get anywhere. think it takes like 15 hours to get to the US. It takes me 27 hours to get to Sweden from Australia. So it's like, I've now just like, I've developed like a, I don't know, I just really zone out with traveling and stuff like that. It hasn't really.

affected me or drains on me or anything like that in the mental space and then in terms of being on the road and traveling around it's like yeah, that's fatiguing but it's also like it's where you get the juice and the energy to kind of keep going at the same time. So I think if anything moving up here by myself has probably been the biggest drain like it's Scandinavians are kind of like very closed off at the start when you meet them. So it's like going to a foreign country and moving here and you know.

Being a bit isolated has probably been the biggest, the toughest thing and being that far away from home.

Matt (05:50)
I mean, how do you kind of in that same thing, someone previously has mentioned that like touring is really where you get, you know, it's like the most rewarding part of being an artist. I think a little bit in that same note, how do you feel about like social media in terms of its integration into being an artist and like the being such a necessary evil, it feels like for some people nowadays, does that?

Hazlett (06:01)
Yeah.

Yeah.

Matt (06:17)
I mean, obviously it's kind of helped a lot of artists really gain traction, you you like it, hate it kind of thing.

Hazlett (06:25)
I mean I have a, I think like most people I've a love -hate relationship with it. it does, I think it's like you have to be careful with how you're using it. And obviously it's like it's brought me, you know, to so many like nice people and I love like building a community and things like that. it's such a fine line that it can turn from, you the sword then becomes social media and you live by the sword and die by the sword and if a post doesn't do well.

It's a reflection of your whole musical career and it's so hard to not fall into that when you're like, I guess promoting music and even, you know, to some extent labels are like, you know, they're pushing, well, our release plan is whatever you put on socials and you think, okay, well, what if I don't put anything on socials? Like, can't I just be romantic and think that music is just going to do its thing? But yeah, I mean, I

I for me the biggest thing is being self -aware of when is this not fun anymore. also being able to, I try and schedule out time to use it, which sounds really, I don't know, it makes you feel like it's forced work, but to some extent it is work a lot of the time. So it's like, okay, here's X amount of hours on a Monday where I write back to as many DMs as I can, and here's X amount where I...

I create the stuff that I want to do so I don't get stuck into, I'll do it when I get a chance. Cause that's when you get caught up in like the doom scrolling kind of like, like it's, like setting yourself boundaries almost of how to use it. Because it's like, it's so important that I think it's, it's, I can't just ignore it and be like, I'm never going to do it ever again. But yeah, I mean, I go through times where I'm like, I've got nothing to say. there's, there's no point in me putting something out there. That's like,

fake on social media, I'd rather wait till I'm recharged and have the energy to put like a hundred percent effort into it kind of thing.

Matt (08:15)
Yeah, I can't relate more to the idea that like you can get lost if you don't schedule it and I'm still something I'm working through like scheduling it. It's it's it's right there. It's. And then you're gone. You forgot. Yeah, you forgot what you went there for. You didn't even do the thing you were supposed to be doing. And you scrolled like 40 posts and yeah, it's really easy.

Hazlett (08:22)
Yeah.

Because it's right there. You're like, let me just check. And then half an hour later, you're like, there goes my day.

And now I've bought like a new way to juice lemons for some reason, like from this ad that I got given.

Matt (08:47)
Yeah. And, I know for me, like kind of living with the same thing you'd mentioned living by the sword, dying by the sword with this too. This is for me has become a lot of like, you know, my livelihood and, that notion of like not attaching yourself to posts and like the, how good or bad one does is such a hard thing to do. I feel like it's something you really, really have to work on.

Hazlett (09:11)
Yeah.

Matt (09:11)
Or at least maybe just me at least.

Hazlett (09:14)
I think it's like having such heavy social media work like you have is like very similar to also musicians as well. You're in this weird cross -section of you have to be your own person and independent and do your thing. But also at the same time you have to have people like you for what you do and also interact with what you put out there otherwise you can't live off it. So it's this weird thing of

I'm my own individual and I don't care what anyone thinks but please I desperately need the validation of what everyone thinks to survive.

Matt (09:48)
It's such a weird place to be. Yeah, it really is. Especially me, I I don't make music. I'm just sharing other people's stuff. it's like, really, you have to find this. I've really worked to try to carve out this, like, I am a person outside of it. And kind of in the same space where we talk about mental things, where, I do believe it's a very big deal. so, kind of it's a very odd place to be in. So.

Hazlett (09:50)
Yeah.

Yeah.

Matt (10:11)
Often times on your socials you describe like your inspiration or you your drive or your want to keep doing this as like people. Can you just elaborate a little bit on what that connection is with people and how it really you know drives you to continue to do this and want to do this?

Hazlett (10:29)
I think like, I guess when you start out doing music, you there'll always be some random person that gives you advice about shows. And it's always like the same thing of like, when you play a show, all matters is if you've won over one person or one person like connects with your music. And I guess when you hear it when you're younger, you're like, okay, cool. Thanks. Like old sage man in the back of the bar telling me this wisdom passing it down.

But then I guess the more and more you dig into it, like I just come out and I started writing songs because I was like, I have stuff that I need to work out. Let me do it through music. And then you think it's so much about yourself. And then the more and more you put stuff out that I've found, it's like, someone else has connected this in a completely different way. And this is no longer, this is no longer my thing. Like this is other people's thing to hold onto. Similar to like, you know, me listening to forever, forever go bon over.

the memories that I have with that music is probably like, you know, sometimes even more so than I guess Justin Vernon in creating it. Like I have a different set of memories that are different to him and you forget that other people are going to do the same thing with your music, which is a weird thing to come to grips with growing up as just a fan of music that other people would do similar things to you. Like, so in that sense, it's like, yeah, just figuring all that out. But yeah, I mean, the live thing is the biggest thing.

I mean, I've been caught up in the numbers and social media and even though you've got Spotify for artists where you dig into stuff and things like that, which is great. They're all great tools and they make you feel validated sometimes, but it's like nothing is ever better than you play a show and you get to talk to like one person after a show who just genuinely loves what you did. that's, there's, I played like one of my worst shows ever in Boise.

and it was, it was just like, I was a support act and you could tell the crowd was just ready to party. Like it was a Friday night. They were not in the mood for sad guy, long hair playing guitar on stage. And even I had like in my headphones, the sound guy, like I think we got maybe a few songs from the end of the set and he jumped on the microphone in my ears and just said, maybe we should wrap this up like a couple of songs early. And I was like, okay. So I walked off the stage thinking it was like the worst show of my life.

and the sweetest girl came up to me at the back of the venue and I was like just like kicking myself and she told me how much like the music meant to her and I was like it's just this wave of realization of like it's not about me like that's the whole point that you write songs you get them out of your system you've done your part and then kind of the music does does the rest

Matt (13:05)
Yeah.

Yeah, yeah, I I think I relate on a very, very, very small scale to that in the sense that like I've had random people approach me about, like, like, if you didn't share the song or like you share you sharing music is kind of rekindled my love for music. And that for me means so much just because like music is always

Hazlett (13:30)
Mm.

Matt (13:34)
been a very, very safe place for me in life and a place where I go to try to heal, try to hide sometimes, whatever. So I get that.

Hazlett (13:37)
Yeah.

Yeah. And you wouldn't have expected that when you started doing it as well. It's like, that's the thing. You're like, I didn't write these songs to expect that reaction to people. Same way you putting out stuff you didn't expect people to say, like, thanks for like, even like just saving me in general. And you're like, okay, that's heavy. That's great. But like, wow. Okay.

Matt (14:01)
It's heavy.

Yeah, it's, yeah, that human connection really does. It does make such a big difference, honestly. so you recently signed with network. is that right? Yeah. So congrats on that. And how does that, is that feeling different from being like somebody who's fully independent? You know, me personally, I'm still trying to work through the hierarchy or the, it looks like for an artist based on with her, they're with a group or a label or independent.

Hazlett (14:10)
Mm.

Yep. Yeah.

Yeah. Well, it's like, we're technically it's licensed to network. I'm with, so Freddie, who I connected with up here, who I write and record everything with, he started his own label called blank, with his partner, Anna. And so we released independently through them for, for awhile. And then network came along and offered to help out, you know, for us to reach more people in, you know, the U S and UK and stuff like that. And basically just kind of.

Matt (14:37)
Okay.

Hazlett (14:58)
be more machinery for us to reach more people. Yeah, I mean, it's strange. got, when I first started, signed, I did the typical signed a major label deal that I think everyone has like kind of one of those stories to like a tale as old as time. Like you're a smaller artist, you get sucked into the lure of a major label and then you kind of just sit on the shelf at the label until...

Maybe they let you go, which I was lucky enough that they let me go and I got to do things independently. I mean, ever since then, it's been very, I guess, insular, like me, Freddie and Anna, but like really protected everything that we've done and kept it as internal as possible. you know, letting someone like network in recently has was like, it's, it's tough because, know, you, you're bringing, you know, a lot of more voices and things like that into the fold. But I mean,

We got a good dynamic going on where Network's great, where they let us do our thing. And we bring that to them and kind of can say, here's our vision. Can you help us execute this? And in that sense, it's been a really good setup where nothing's really changed except that we have a chance of getting the music out there a bit more.

Matt (16:13)
Yeah, I mean, I think that's... Yeah, I've heard stories, you know, from many people with a major label thing where it's kind of, you know, it ends up as a horror story. feels like almost like nine times out of ten. So, yeah, I'm always just curious.

Hazlett (16:19)
there.

I feel like they have a time and place as well. like I would never, you know, it's just like if you're still, I signed like a lot of people do when you're still trying to find out who you are as a musician. Like I signed my deal I a year after I, or two years after I learned how to sing. So when I was like 27 or something. So I didn't know who I was, which, you know, how is a big giant corporation going to know who I am? So it's a, they definitely have a purpose and a time and place. It just wasn't the right one for me.

Matt (16:54)
Yeah, I mean, I get that. think, yeah, the musical like hierarchy is always super interesting to me and how it works with artists and what it, you know, what it provides to them. So I'd like to try to get everybody's, you know, background on it a little bit. So kind of speaking to, I guess, touring. So you're to be headlining a US tour here shortly.

Hazlett (17:10)
Yeah.

Matt (17:18)
What's that? What's that kind of mean to you? I know for a long time it's been like kind of inaccessible to get to the States. So just kind of curious on your thoughts.

Hazlett (17:27)
Yeah, I mean like it's so expensive to if you're not from the US like I think it costs around I guess in total like six grand in like visa fees to try and get a lawyer to help So you got the best chance of getting it possible. So that was always the biggest hurdle It's like I would love to just come and test the waters and play in the US But it was this thing of okay I know some people might want to hear me But I really need like a bunch of you guys to get together and be in one place at one time to do this

And doing that, that Laney tour earlier in the year, like I just opened up so many doors because that's, you know, being the support acts, which I've been basically my whole career. It's this nice safety net that you have of, you know, I, I, they're not reliant on me to bring the whole crowd to the venue. So at least you have like somewhat of an inbuilt audience. And, so yeah, this tour is going to be the first time, I guess, stepping away from that safety net. So I was a bit terrified of.

I mean, I'm always very pessimistic when it comes to myself and music in general. like, okay, people are listening, but like how many people are going to turn up? Like, why would people turn up? What, like who, who's going to spend their Thursday night in Salt Lake City coming out to this? And then I think we announced like presale of the shows and they sold out like within a week, most of them. And then we had to upgrade a bunch of venues and I'm still like,

I'm still under the impression that something bad is going to happen and I'm going to turn up and it was just like a big joke and no one's actually going to be at the venues. But yeah, I mean, it's, it's huge and I don't think it's quite sunk in yet, but like that's the whole reason I wanted to do music when I first started was to play live as nervous and scared as it, as it made me originally in the start. Like, yeah, it's the whole reason for doing it. So.

to have some shows on the cards and yeah, sold out funnily enough is a bit surreal.

Matt (19:23)
Yeah, I mean, so in terms of like, future, right, does selling out, you know, one set of headlines in the US like, give precedents to do it again, do that like, I'm trying to think of the word for it. Does it like strengthen your ability to come back in terms of like pulling stuff?

Hazlett (19:41)
Yeah, I think I mean, I'm very new to all of it as well. Like I was saying, like I'm used to being the support X guy. So it's like, don't have to worry about these things, but yeah. So what I've seen of how it all kind of works is like it goes in stepping stones. So, I mean, the good thing is like the booking agent that I'm working with used to, it still does, is the booking agent for Noah Carton. So it's like, he's seen like the progress and you know, a great blueprint.

of how to do it. it's, you you play a set of venues and then you come back relatively soon and you step up maybe double the capacity or even just, you you go from 500 cap rooms to 1200 cap rooms and you get from 1200 to like two and a half thousand. That's just kind of the way it seems it works. And especially if you sell out shows, like it looks really good to, you know, future tours and festivals. And it just becomes a bit of a snowball effect from what I know, but

I'll let you know when I get through this first tour and see what happens on the other side of it.

Matt (20:42)
Yeah, no doubt, man. even maybe not on tour life, but just in general, like what do you think is like your best or like your go to form of, either mental health care or self care or something you always go back to that always feels like it fills your cup up a little bit and, you know, kind of brings you back.

Hazlett (20:55)
Mm.

I'm a big like pick up basketball guy so if I've got the chance to play pick up I'll do that and I get way too competitive for my own good so it's like I think I dropped like a C -bomb on a court once when I was in the US and the guys did not like me using that language on the court but yeah that's I think anything physical I think gets me like out of my head a bit you know

I grew up playing basketball, so it's like a way to just switch off and you just go into muscle memory and you're not thinking about anything else because you're just so in that. And same with like gym or running and things like that. Anytime where you don't have time to think basically, which sounds like you're shutting it off. But I think it's also like, it just gives you a bit of a respite from, you know, being so heavy in thoughts. If you've got heavy thoughts going on that you can come back to them a bit. Cups a bit fuller and you got more.

more clarity, I guess, to think about things again.

Matt (21:57)
Yeah, I've found for me kind of in that same, my pickup basketball days are pretty much over. think at this point, I get it. Yeah. I mean, I was, I was never great at basketball, but I played it, you know, growing up and in high school and all that stuff. But, having played a game of basketball in a minute, but yeah, for me, it's just the physical thing. Or like I go for like a long walk or a hike or.

Hazlett (22:04)
Mine should be,

Matt (22:22)
Just try to be out in the sun and that usually helps a little bit at the very least. let's, I guess, trying to change gears a little bit is give me an artist or someone that you think deserves a little more love than they're getting.

Hazlett (22:41)
more love

I like I've got to dig into one of my playlists that I've got here to bring this up.

I think Leif Vohlbeck is a big one. He's like very kind of like, I think there's a bit of running joke around like other kind of folk artists that, you know, he's every folk artist's favorite artist. He's like your favorite folk artist's favorite. So it's like, I think he's a really, really good one that I like. Have you listened to much of him?

Matt (23:03)
Yeah, it's funny that it's funny that you say that because literally, I forget who else I had on the I think said the same exact person. I've listened a little bit. I feel like I need to do a full deep dive because, know, one one is. Yeah, I have to I'll have to do a deep dive because one person saying it is one thing and then two artists saying it feels like I should really pay attention to it.

Hazlett (23:11)
Yeah.

He's great

Yeah, he's really, lyrically he's great and he's probably one of my favorites at the moment. I've had him on repeat. I've had...

I'm just trying to find why my playlists aren't organized. I feel like I'm making bad podcast content right now.

Matt (23:44)
We're all good. I make bad podcast content daily. what about, while you're scrolling through, what about a song? What's a song that you think is super underrated, under the radar? Maybe not even by, you know, Lee Fullback, but somebody else.

Hazlett (23:49)
That's good.

I've heard nothing more than that by the Paper Kites on repeat at the moment. It's from an album of theirs. The whole thing I just listened to start to finish. It's on the train ride home. And it's become one of those kind of everything albums. To me, it's like I listen to it before I go to bed. listen to it when I'm literally... You get this, not self -sabotage, but you get that thing where you just want to...

do the thing that teenage you would do and put your headphones in and stare longingly out the window on the train or in the car and just like really embrace the fields for a while. So I'd say that is probably one of them.

Matt (24:40)
Okay, what about...

Hazlett (24:41)
I just love the paper kites, how they've evolved over the past few albums.

Matt (24:48)
Are you an album listener or like a, feel like today we can really get caught up in just song by song by song. Or are you like an album listener or are you trying to jump around sometimes?

Hazlett (24:59)
I like to try and find, probably I think it's similar to how you like to do things where you find a song that you like from someone and then you just dig into their discography and that seems to be the way I like doing things. Probably because I mean, I really care about, know, albums that I make and the order and things like that, that I try and just put that care onto other people. I'm like, surely they think the way I think. Like I should give them the time of day. But yeah, I mean, I've

Matt (25:06)
Mm

Hazlett (25:24)
I myself am caught up in lot of the scrolling through songs and listening to bits and pieces and then just creating, I guess, a bit of a hit list of people that I want to dig into more. Manova is the person that think you would really like, that I think needs more attention.

Matt (25:42)
Yeah, I've, I feel like I've listened to Minova like this. It sounds so familiar. I probably have. What about, let's talk about a song by yourself that, you know, maybe it's not your most popular, but like you're just super, super proud of.

Hazlett (25:48)
Yeah.

Yeah.

It's, I, know this answer very, very quickly. It's, I had a song on the blue mountain album called, everybody hates me. And it was, I mean, I hate the title. It feels very cringe. I don't like how in your face and blunt it was, but it was at like the height of me moving to Sweden and the pandemic was on. and yeah, I was just like, so isolated and reading into anything.

that came my way, like a friend would send a text message and have a full stop at the end. I'm like a full stop. Like who, who puts that at the end of the text? Like what's, what's going on there? And I was just, yeah, definitely in this mood. That's why I ended up naming the song just that. was like, it's, it needs no romantic dreamy metaphoric title. This is straight up how I was feeling. And it was also a bit of a branch out musically. So it's not like, I mean, is it my, is it my favorite song? No. Do I play it live?

Not very much, but it was like a song that I'm glad that I wrote and glad that I guess I pushed myself and didn't try to, I don't know, dress it up too much in covering up what I was feeling. It was like one of the first times that I've now kind of carried through in other writing is, you know, you have to have space every now and then. can't be

Shakespearean on every single line of a song, otherwise you're just going to isolate people. You need to have those moments where you can invite people in because they see themselves in certain things and stuff like that. I think that's really helped. Writing that song has kind of unlocked a lot of other ways that I've been writing as well.

Matt (27:34)
Amazing. Love it. So for those people who maybe aren't watching or listening, Hazlitt always has a Chicago Bears hat on. I've asked him before, you know, being the Vikings fan that I am, the story behind how an Australian became a Chicago Bears fan. if you just tell us the story one more time.

Hazlett (27:58)
So my dad, worked at a, it was like a machinery company and they worked with a lot of, they were a big international company. He was in the Australian office, but he did a lot of traveling for work and someone started working at the company who used to, he played one season, I think, for the Chicago Bears. So dad became good friends with him and he sent me and my sister Chicago Bears merch for Christmas one year when I was like,

four or five or something and it was this like miniature Chicago Bears helmet and then he would just constantly send more and more stuff so that's weird association of how I became a Chicago Bears fan when I was a kid. I was brainwashed for years of torment and you know being unsuccessful but this year we're gonna turn it around so it's okay.

Matt (28:47)
Yeah, I mean, turn it around. it's a I live that life of hey, this is our year. So I get it. Well, man, I appreciate you being on taking the time and yeah, just chopping it up here for a half hour. What about we take the last little bit here, you know, plug something for yourself, your tour, maybe album, whatever you got going on.

Hazlett (28:55)
Yeah.

Yeah, the tour coming up September, October through the US doing my own shows and then also opening up for John Vincent III. And then yeah, the album comes out October 4th, which I kind of spent a lot of time of the past year or two that I went and recorded that one in the cabin in Sweden. that's, it's probably gonna be my favorite achievement to date is getting that album out.

and a European tour end of the year and then I'm going to maybe get some time off over Christmas and New Year's and then hopefully come back to the US again in February or March. So I'm not planning to stay away too long. So I'll be back.

Matt (29:47)
Amazing. Love it, man. I appreciate you being on and yeah, hope to catch you when you're over here for sure.

Hazlett (29:49)
Sweet man, I appreciate you.