The Spirituality of Song with Lowland Hum
Artists, creatives, and music lovers, join us in welcoming special guests, Daniel and Lauren Goans, the musical duo who make Lowland Hum.
In their chat with Dan and Rachael, Daniel and Lauren share a bit of their stories as creatives, talking about their lives as artists, their journey of creating music, and the changes they experienced after becoming parents. They reflect on the mysterious and healing nature of singing and songwriting, how music comes through them, and the importance of being present in the moment.
The conversation also examines the significance of the passage from the fifth chapter of Ephesians, focusing on the invitation to be engaged and connected with oneself and with others, rather than solely pursuing a disembodied spiritual practice.
Join us as we explore the artistic journey, some of the complexities of transitioning into new life stages, and the transformative nature of music and the creative process.
About Our Guests:
In the fall of 2023, Lowland Hum (Daniel & Lauren Goans) plans to release From Self With Love, their eighth and most expansive album to date. The band has spent the past eleven years touring the nation, sharing stages with indie songcraft mainstays such as Josh Ritter and Jesca Hoop, and pop folk darlings like The Oh Hellos and Penny and Sparrow among others. Along the way they’ve carved out a name for themselves as a DIY power pair and one stop shop, arranging, producing and recording their own original songs and pairing their work with Lauren’s distinct aesthetic as a visual artist, designer and video collage filmmaker. In addition to his work with Lowland Hum, Daniel produces recordings for other artists and makes improvisational instrumental music under the name Windshook. The prolific Goanses are also co-founders of Golden Hour, an immersive listening experience, alongside friends and collaborators David Wax and Suz Slezak of David Wax Museum. These boundary bending performances have garnered the praise of NPR’s World Cafe, and countless attendees who claim it as their all time favorite live music experience. When Lowland Hum is not on the road performing, they can be found fumbling through early parenthood, gardening and recording new material in the barn-turned-studio at their rural homestead outside Charlottesville, Virginia.
Photo credit: Eric Kelley
Dan: Rachael, you know I love doing what we do. But there are days and privileges that sometimes exceed even the normal, shall we just say sweet joy? And I just, let me confess, Taylor Swift, is great, she’s great. I listen, but I wouldn’t drive 60 feet to go see her. But I mean, I just don’t like crowds and whatever. But let me just say I am a fanboy. I am a fanboy. And particularly of the remarkable couple that we have today. So before we introduce them, just a thought, Rachael, on, have you ever heard me confess I’m a fanboy?
Dan: So what do you do with that?
Rachael: It says a lot to me about the impact of what you’ve experienced and what you’ve taken in that you would call yourself a fanboy. On public. In a public sphere.
Dan: Yeah. Well, I would drive way more than a few hours to see a particular band called Lowland Hum, but particularly Daniel and Lauren Goans. And this is a remarkable couple. So first of all, let me just tell you a little bit about Daniel and Lauren. Artists. Lauren is a visual artist, a creator of all sorts of remarkable visuals. Sometimes they move on screen, but also an extraordinary musician, a beautiful, beautiful voice and soul. And her husband Daniel, you just can’t even begin. The fact that she married him already is an indication there is grace in the universe. Can we say that’s true, Daniel and Lauren?
Daniel: Yes, that’s totally true. Yeah.
Dan: But a producer, a musician, a lyricist, I mean, if we start, all I can say is go to their website, Lowland hum. And you will be phenomenally blessed. I mean, again, if I were to go through the albums that I love, Thin, Native Air, songs, look, I don’t even like Christmas songs, but I love your Christmas songs for Sisters, Glyphonic, but most recent At Home. So we’re going to talk folks, I obviously I’m promoting and I would think you would be less than wise to not partake of the beauty of what they offer. But today what we’re going to be thinking about is a passage out of Ephesians chapter five. One that I, I’m actually somewhat ambivalent about, but we’ll talk about that later. It says, “Therefore, do not be foolish, but understand what the Lord’s will is. Do not get drunk wine, which leads to debauchery. Instead be filled with the Spirit speaking to one another with Psalms, hymns, and songs from the Spirit. Sing and make music from your heart to the Lord.” It’s a glorious passage. But first of all, Daniel Lauren, welcome.
Daniel: Thank you so much. That introduction was so generous and it in and of itself was also evidence that grace exists in this world that could happen. We thank you. Yeah. We’re so grateful to be here.
Dan: Yeah. It’s impossible to not look and to say that Rachael’s husband is a beneficiary, of significant grace and Lauren, the fact that you would marry such a beautifully troubled, complex, rich, deep man, equally so and no question people know only too well that the greatest con-job ever pulled off was getting Becky to marry me. But all that to say, tell us just enough about you, your work, your lives. I put a few words to it, but I want people to have a context before we jump into Ephesians five.
Lauren: Yeah. Okay. So we’re a band of sorts, kind of usually a duo, but we make music, we write songs together. We now spend a lot of time at home. We just had two children over the course of the pandemic and find ourselves with a very different life than we used to have. We used to spend most of our time on the road…
Daniel: Yeah, for the first eight years of our marriage, we spent between six and 11 months of the year traveling and performing. And most of that was performing as in playing Lowland Hum concerts. But we would also, throughout that time, I produced albums for other bands. But all of it was not stationary. And then the last three years has been primarily us here and we turned an old horse stable behind our house into a studio. And we’ve been making our records in there during this more stationary time.
Lauren: We used to pine for time at home. And now it’s true. We really have a lot of time at home. It’s not all that we thought it would be, but it’s other good things that we didn’t know it could be. So
Daniel: That’s right. Well said.
Dan: Well, and following you, even though we have not had much contact over the covid years. Two children, a studio built and burned down, a dear, dear friend passing and you bearing the rich but heartbreaking labor of honoring his legacy and countless other artists being produced within your burned down rebuilt studio. Let’s just say your lives have been complex.
Lauren: Yes, yes. Yes, they have. It’s been, I think, the most complex season in our lives. And I feel like we keep saying that. We feel like we’re turning a corner where maybe we’re about to learn something very important. We don’t know what it is yet. I mean, we’ve obviously learned a lot of things over the course of all those things you just mentioned, but things are getting shaken off and shifted around in a way that’s probably good. We don’t know what the final picture is yet. Maybe we won’t know until we’re there.
Daniel: But something I’m, something I love about the passage that you read as it relates to what we’re talking about is this invitation to, or what you said, how it puts kind of disengagement and engagement, or at least the singing part of that verse is connected to going farther into the moment or sinking more into the experience of the actual passage of time. And the invitation of being stationary for us has been to allow all that we’ve experienced in the overwhelming oversaturated life of travel. Let all that has occurred and happened within us begin to emerge and to have to live through that. And then the invitation of singing as a practice and of writing songs. We always think, let’s write songs that aren’t about us and that aren’t about our experience. And then we realize only thing we know, we don’t know anything except for this very specific thing, which is what is happening with us and how do we invite people into it or create space with it. And so I was comforted by the idea that the invitation is not to walk away from the blessings of the world and to walk into a kind of disembodied spiritual practice of discipline. But it is actually become more, be more. That’s the invitation.
Lauren: And not be more than you are. Or become more than you are. But Be, Be, yeah. more.
Dan: When I was listening to the songs Half Here, Half Gone two different songs, I found, even though I’m not a young parent as you both are, there was something that resonated with memory, also with connection to my own children’s engagement with the reality of young children. And in some ways it is such a spiritually rich song and a found my heart being drawn back into both wonder, a sense of honor and praise, the goodness of God, even in the midst of the craziness of other portions of my life. So what I’d love for you both to talk about is do you see both of those songs as spiritual songs? And did you write them with any of that sense?
Lauren: I think at the time I did not.
Daniel: But why don’t you tell a little bit about how those songs happened? Cause I think it could be helpful. The context could be helpful.
Lauren: Yeah. So I think we were about two months into being parents with our first child. And I think my parents were in town for some miracle. We were able to get out to the studio to try to write, and we were pulling up old songs that we’ve been working on before kids and in our former life. And I just looked at Daniel and was like, I can’t do this.
Daniel: I was trying to push us to finish this one song, which we still haven’t finished, but the beginning of it, it seems like really important to finish it. And so every time we’d a writing session, I’d be like, okay. We’re doing this. Today’s the day.
Lauren: I just said, I can’t do this. I’m, I’m feel like I’m literally half here right now. I don’t know where the rest of me is, but it’s not here and I can’t do this. And Daniel just said, well, why don’t you go up into the loft? There’s a little loft in our studio. Why don’t you go up into the loft and write about that?
Daniel: And for some reason when she went up to do that, I just started having this idea. And this kind of represents our differences as people. But my song that I was working on in that time was called Half Gone.
Lauren: But it wasn’t, I mean I hadn’t written half here yet, so
Daniel: No, I’m saying that you said that thing. I was thinking about you feeling that way. And then I was trying to start to think about what am I feeling? What’s happening with me? Then writing that one, I was writing Half Gone in the other room and the way we work is one of us usually starts the song and then takes an unfinished song that has some momentum but not too much to the other person. And then we kind of pass it back and forth until we finish it together.
Rachael: Wow. I love that.
Daniel: So we each did not do that with these, so I’m trying to explain that’s our old way of working. Oh yes, yes. We have this new way now, which has happened kids and maybe of other things too.
Lauren: But in this situation it was, for me, it felt like the song just kind of wrote itself. It’s like I just started with the first line, I’m half here, and it just kind of, each line led to the next line and it took maybe 30 minutes and then I was like, that’s exactly how I feel. And I don’t know how I was able to, I really believe it came from beyond me that I was able to just get it all out there. It was kind of being at an excavation site and I was just kind of brushing away, oh yeah, that’s the next line. That’s the next line. It felt really like I was discovering each line, even though each one felt very much exactly how I was feeling at the time. And then Daniel was, we sat together and he came up with this wonderful bouncy guitar part that made it feel breezy and light, even though it’s kind of like a devastating song. And he shared with me what he been writing. And it really, yeah, it wound up being more than what it would’ve been I think if we just sat down and plow through that song that I could not work on.
Daniel: And part of what was amazing to me was Lauren was not able to articulate where she was to me other than saying, I’m, I’m only half here, I can’t even have a conversation with you. So how are we going to write a song? This is not possible. And then she comes down with this song that pierced me and I could see her in this song. And then I also was able to articulate, I think part of when we were reflecting on what we were going to talk about today, we were having some conversations about how both singing and songwriting is something that it comes through you. Literally when you sing, you bring air into yourself and then you push it back out in some way that you don’t really understand. You can have some control, you can gain more control over it, but
Lauren: It’s not like you’re saying, ok, now I need to make my vocal chords vibrate so I’m going to do this thing. It’s like you just do it. It’s so bizarre.
Daniel: And sometimes a melody comes to you, but not like it’s, you put your voice on the melody that existed already, which I don’t understand that at all. I will sing something I’ve never heard. And it’s beyond intention. All of these things seem like metaphors that help us realize the nature of things. We aren’t in control. We we’re, we’re drawing air into our bodies without thinking about it. And then we push it back out and we can become more mindful about how that’s happening. We can become more aware of how that’s happening. And I think that is healing and that’s part of the invitation of singing and breathing and humming. But the purpose of it isn’t something that we think of and intend and put out there with the kind of grand vision. And songs are that way in many cases. It takes a lot of hard work to get the phrasing to be as close. I mean, words are symbols, so you’re never saying exactly what you want to say, but to get it as close as you can takes work. But even the way it happens is very mysterious and is kind of reorienting, if that makes sense. Yeah.
Dan: Well what I want to do quickly, Rachael, when you heard Half Gone, where did it take you or Half Here?
Rachael: Well, I listened to both of them and in some ways I could relate to both of them. But it was interesting because I thought, I think my husband could definitely relate more to the Half Gone. I don’t know if there’s something of the difference of experience of your body’s relationship to a new human. There’s just so much mystery there. Well, mostly I had tears. It made me weep cause it just was so relatable. I mean, I’m eight, eight and a half months postpartum. And I think that feeling like I’ve talked about this season of my life as just a holy breaking. And Dan, you’ve talked about how I’ll have Evelyn’s DNA in my body for 20 something years,
Rachael: Yeah. And there is this mystery of even just the literal nature of, I think I really did give half of my soul looked to her and I’m still breastfeeding. So there’s also, she’s still taking my nutrients and my language. And I think about mostly also where I went just in the half years I imagined myself before having her, because I love to sing. I’m just going to sing to her all the time. She, I’m going to have all these songs I’m going to sing to her. And then I found out my brain doesn’t work that well and I can’t remember anything. And so I was holding myself to this, what are the songs? I know songs and it’s like I can’t access them. And especially at four in the morning when I’m also filled with rage and I’m feeling like a terrible mother and just this ideal of myself. But one thing I could do was even if the Hum was a really sad, almost a funeral dirge, which I’m like, sorry baby, that I’m humming this really minor melody over you that could feel really sad and that maybe you’ll be in one of those videos where you start crying and I’m like, sorry. But there was something really soothing about being able to hum. And I talk a lot about Romans eight and the hope of the groaning spirit, which I of course hear the birthing groaning. But I also like that spirit who prays with us in the language without words, I do think is a lot of melody too. And so for me, I have found in those moments when it does feel like a prayer, I literally, I don’t know how to pray in this moment. I don’t even know. I’m still learning, becoming, I was birthed. I’m becoming something new and I keep waiting for the other half of me to arrive. And I’m like, I don’t think it’s go. I don’t think it’s what is coming back. I think I’m being made into something different and I don’t know what it is yet. And I don’t know if I’ll ever fully know. And I think, that’s part of the nature of becoming a parent in general. But the rest I find when I can just land in a melody and almost let the spirit mother me and sing over me. Yes, I’m attempting to live into my fantasy of showering my daughter with beautiful music and letting her feel like the resonance in my chest. And so to have so many spiritual songs that feel like just a desperate plea for help and that makes it sound like it’s miserable and it’s not. I’m more in love than I’ve ever been in my entire life. And I’m more happy that I’ve ever been. I’m just also more exhausted and more unknown to myself at the same time. And music has been a gift. So your song, it did feel like, here is someone who’s labored to put words to this experience. And I’m so grateful. Thank you for your faithfulness to let those words be birthed and for your honesty and vulnerability. I love hearing that story because I think sometimes those really human moments where we’re just like, I can’t do this thing, but because there’s actually something else that needs to come so deeply grateful.
Lauren: Wow. I’m so glad this is being recorded. Cause everything you just said is like, it’s like you just wrote your song and I want to go listen to it now later because I feel what you said so much. Every single thing you said, it’s just yes, it’s, it’s such a recreation of the self becoming a parent and you don’t know what the finished result is. And yeah, where is the other half? Is it coming back? Prob probably not. You’re right. Probably not. Dan’s nodding so I think he knows. But yeah. Oh man.
Dan: Well, the intersection again of what you just put words to, I entered far more because it’s more recent. The reality of my children’s giving birth and their exhaustion. And when Becky and I listened, it did take us back to conversations about our early years as a parent. And again, it wasn’t sweet. Let me just say it was not an easy conversation because there were so many heartbreaking failures. But one of the things that Daniel you said was, no, I’m sorry Lauren. You said that it’s a certain despair and yet the actual language of the guitar in some senses, this incredible contrast. So you’re left in my language, would be death and resurrection. You’re left between something of despair. And yet is there life here? Oh my gosh, there is life here. Even being able to listen to the song and let it open our hearts, we didn’t end with, yeah, I failed a lot, but more, we are so grateful that we have gone through it and we’re not going to go through it again. Yet it also was so wildly formative of exposing both our brokenness, but also the immense beauty of what love brings. So to me, that’s where we can begin to talk about, this is such a beautiful contrast to drinking wine. And what implied is you, you’ve got basically two choices. You either drink or you sing, you need comfort, you need arousal, you need to be able to walk into the wildness of the heartache of life, but also the great comfort of what the Spirit brings. So you’re either going to numb yourself or actually intensify the realities that are there. Does that describe what I, I’d love to hear both of you talk about the intersection between being drunk and singing.
Lauren: Yeah, I is all, so we just released Half Gone, I don’t know, 10 days ago or 15 days ago. And we were talking about, so they’re the first couple singles from an album that will come out in September. And when we, I’ll, this will connect to exactly what you just asked. It just might take me one minute, but ok, do please. So when we had our first child, I think we spent all this time trying to get everything to go back to what it was like before he was born. Not because we didn’t love him or something like that, but we only knew one way to work, which was the way that we worked together before he was born. But when we had our second child, we kind of realized, oh, that doesn’t exist anymore at all. It’s not that we just have to get our parenting sealegs and then we’re going to go back. Not no one could ever find it again. And not honoring to the fact that two eternal souls are a part of it now to pretend like, no, we’re going to return to the previous mode of operation. It’s gone. And so we were with the second really, which is the second pregnancy, we realized, oh, that was already gone. It’s been gone for years. We just didn’t know because, and so we have to learn a new way of working. And these two songs were the doorway into a new way of working, which this new album is songs that were written in this new way and in this new time. And I think for me, honestly, it has been very, very difficult. And I’ve dealt with a lot of despair as I feel like so many things have been destroyed by it or torpedoed by it, or however you would describe it. There is also the joy, and I do love both of our sons in ways I can’t put words to at all. And maybe I will someday or maybe I’ll never be able to. But it’s been devastating. But at the end of Half Gone, so I guess what I’m saying is my temptation has been to drink a lot more wine was going to say. But I think, and this is where I think the spirit was helping me while I was writing Half Gone, the very last line is half prayer for a whole delivery, meaning I’m doing what I can do, which is not a lot. And I’m bringing this very meager. I’m basically just, maybe I’m just turning my head a little bit. I don’t have practices anymore that’s gone. I don’t know what I don’t know how to do now. I don’t have contemplative time in the same way. I don’t know. I don’t where to find it. I don’t have friendships in the way I used to. I dunno how to do that. It’s like all this stuff is different. But I think the invitation of leaning in instead of checking out. Also, I think wine is good for you. I think there’s a time a for wine,
Rachael: It’s a really good nuance.
Daniel: But I just think the temptation to not feel is not a real option if you want to be substantive. I don’t know. It’s like, I’m still trying to understand how to talk about this. But what I think the song that came through me is teaching me as now other people are hearing it. And I’m hearing from them a little bit. It’s teaching me that to lean in is the way to actually find joy. I just said to somebody the other day, I’m having lots of doubts and I may be depressed. But one thing I am feeling very deeply is that mastery is not an option, but joy might be. And I think that that’s what I was hearing in this verse. I was hearing something you can’t control that could actually touch you at the central part of who you are. That can happen only with presence and singing. I’d like you to talk about the merge, the merging thing you were talking about earlier.
Lauren: Yeah, we were talking earlier and I was recalling, I think it’s in the Weight of Glory. I read it a long time ago, C.S. Lewis. But I just, what stood out to me was kind of his description of when we encounter beauty or glory, whether it’s a sunset or a song or a person or whatever, we have this instinct and deep desire to inhabit it or merge with that beauty. And even just the other day, I, there’s a field across the street from our house that our neighbors own, and they let us walk in it sometimes. And I took our two-year old out there, and right now it’s filled with really tall grass. And there was this big gust of wind and the grass started rippling like the ocean. And we even have a song lyric about that. Cause that image has always been stirring to us when we’ve seen it. And he was like, oh, oh, he was so excited seeing that. And he said, I want to go closer. And so we got off the path and went into the middle of the waving grass, and it was like totally, even this two year old has this desire. He sees beauty and he’s like, I want in that. I want to be in that. And it brings tears to my eyes just thinking about it. It was such a profound moment. But I think that that is part of the blessing of singing. And it doesn’t really matter what kind of sound you’re able to make. The gift of singing is being able to merge. It might be the only way that we’re able to merge with beauty in this part of life. Like bodily, you can’t merge with a sunset. You can bathe in it, you can look at it as long as it exists. You can’t merge with these other things. But with singing, you’re using your body. Air is moving through you in this mysterious way we were talking about earlier. You’re making a sound. You feel the vibration in your chest and in your throat. And you’re hearing, I mean, you are emerging with beauty or you have the opportunity to,
Daniel: And even if you don’t get to the note, meaning even if you’re singing flat or you can’t get there, you’re reaching toward it and it’s pulling you toward it. And your sound is literally mingling with that sound and your sound is mixing with the sound. Yeah. So I really liked that merge that way of saying that using the word merge, I thought was, you can see that in your mind. It’s kind of like aligning with it or joining it in some way. Embodying it. Yeah. Yeah.
Dan: Well, you put words earlier, Daniel, to the fact that when you heard what Lauren was, the lyrics or the words that it was piercing. And in that sense, it’s almost the opposite of the kind of union. We need to be disturbed. We need to be able to have in some sense the cacophony of rage, a protest of grief and groaning. And to know that, I mean, there are more Psalms of complaint and lament than praise and Thanksgiving. So it was interesting. One particular, shall we say, not so good afternoon. I was listening to a new Smashing Pumpkins album and then moved to something that I needed even more. And that is Nine Inch Nails. And then from that, I literally, I wasn’t even aware of all that I was needing in that. And then I moved into one of your older, maybe even the first albums. And the intersection here was unlike the cacophony, the anger, the rage, that in some sense opened me up to naming what’s going on. There was something about your capacity for complaint that also intersects with the notion of quiet music that actually holds even more this interplay of comfort, but also distress, anger, and yet something of wonder, awe, and joy. So part of me just goes, does that surprise you? Is that your intent? Are you aware of that as you create spiritual music?
Lauren: That that also gives me tears, very emotional these days, but I don’t think it’s just hormones. And that is kind of part of what just was such a gift when we met you in person, Dan, at one of that strange little house concert years ago. Ridge Island. When you seemed to understand what we were trying to create better than anyone, really, that was close to us for years. We had friends and even some family that just were kind of like, yeah, the way y’all sell when you sing together is nice, but your songs are kind of a drag. But I think what we’ve always been hoping to create, and it brings me tears to hear you say that it created that for you is space for more of the human experience than just like yay and lovely and happy.
Daniel: Or even just even transcendent that kind of feeling when you hear a song and you just want to, it’s like your heart’s going to explode and you want to down the windows and kind of stretch your arms out and drive really fast or something. I love that and do that a lot. But that’s one very specific part of this whole thing. And our hope, even in our Christmas album, our hope was that we would welcome people on all different parts of the spectrum of emotional spectrum engagement
Lauren: and maybe even potentially a little bit more. It’s a little lopsided. I feel like there’s a little more space in our music for sadness, lament, maybe anger. I don’t know. Then cheer and joy, just because I think that that end of the emotional spectrum sometimes gets neglected a little bit. I don’t know.
Daniel: Yeah, I mean, some of it I think comes from feeling like certain parts of us are welcome and certain parts of us are appealing and certain parts of us are not. And I guess that’s what I mean. And I think that for me, whenever I would’ve strong negative emotions, the feedback that I got from many people around me, many of whom I deeply respect, but the feedback was kind of come back when you’re different. Cause this is scary and I don’t too much, I don’t like what you’re, you say when you’re like this, you destroy things when you’re like this. You dismantle things. And when you’re excited about something, you grow things and it’s beautiful. But when you’re not, that’s that’s really repulsive. And I think something about vocation for me, I’m to I, I’ve never really been able to not be even knowing that and receiving that message thousands of times. Next time I would see those people, I would do the same thing again. And not because I’m principled, but because I have no control over, I just answer. I just say things and then later I’m like, I wish I didn’t say that and I stay up in the night. What did I do? But that not being able to, just me being the same way everywhere I go and trying not to be and just sucking at that and always wanting to be a calm, collected person, but never being that. I feel the responsibility in some ways in the music to say everything that I can say, but then to leave space because that space can both be the scariest place. But it’s also where healing I think can happen. I’m hopeful that it can happen, and I’ve experienced that sometimes. And so if we could do some minor version of that for anybody, I would be very grateful.
Dan: Well, what research has indicated over the last 15 years is that music, that notion of Zephaniah 3:17 of having a lullaby sung over you. There’s something that soothes something that we know. We just know this to be true. Something changes in our neuroplasticity. We literally, in the middle of having music that pierces touches, unites, creates that sense of, I love the way you put it, Lauren, that I want to be in it and I am in it and I want, but I am, that picture of your son is stunning. I would suspect that will eventually be a song. But nonetheless, the reality is that our bodies change, are stressed by our chemicals lower, but also beautifully, our bodies begin to actually engage endorphins. And so there is this sense of stress is lowered, our body feels pleasure, even in music that bears the power of the minor key or the power of exposure like Smashing Pumpkins. So when we begin to actually know that, you know what we sing in church, I’m not going to say is anything but lovely, but it’s not enough. I need the music that indeed opens my heart to praise and thanksgiving, but also allows me the intersection of lament, but hope even in the middle of it. And I think in so many ways, the wildness of your lives, your music bears that intersection of heartache, despair, and yet death does not get the final word. It does not hold our hearts either in cinisism or rage or discontent, but actually raises the, in some sense, the anticipation. It may not be today, it may not be in the next moment, but it will be in part largely due to the fact that beauty will capture us and your lives and your labor and your music is just that, it is capturing. So I thank you, thank you, thank you for how you have created and how you will continue and maybe we’ll get a chance at some point after the release of the album to be able to do another run through ofthe songs that have not yet come.
Lauren: Oh, that’d be lovely. Yeah. We love, yeah. Thank you so much for Thank you. We’ll cherish these words as we continue on. Yeah,
Rachael: And I just wanted to add that if you are listening to Lowland Hum, and maybe you already do, maybe you’re going to discover them in this podcast, but I know you can support them on Patreon, and that is a huge way to support artists who are creating music, especially, I just wanted to say your album, I’m assuming at home could relate to a lot of people who have lived through the past three years of our world. And so I just wanted to throw that out there. I think that’s a really important way for us to make sure artists and who are writing the songs of our life can keep doing the work that they do in a world that’s changed because it’s not just becoming a new parent, that we have to kind of live into this death and resurrection, liminal space. I think all of us can relate to that, that we’re not going back to what was, and we’re still trying to discover what is in this new season. So such a delight to hear from you and also to meet you.
Daniel: Yes. Thank you so much, Rachel. Lovely to meet you. And yeah, our thought in those two songs, Half Here and Half Gone, and what we’ve heard from people who aren’t new parents was this somehow seems to be about the last few years for those of us who haven’t experienced also the child thing, but we all have, as you just said it very well, but that our hope is that people who aren’t in this exact place would also feel welcome in these songs and would join us in that conversation. Anyway. Yeah. Thank y’all so much for talking.