Please note, when selecting the Print at Home or Mobile Delivery method, you will not have access to view your tickets until 14 days prior to the performance.
Fine Thanks and You began taking shape during a period of major change in my life. Though none of these songs are about my dad’s death, the reality of that experience sparked vivid, existential reflections—questions about embodiment, agency, and what it means to move through this moment in time like a visitor. Those sparks became imagery: heat shimmering back at me (Hot Pavement), sidewalks stretching into infinity (City Walkin’), painted hills slicing the sky (Wild Ride), and the pull toward the light, reluctant to let go (Second Thoughts)....
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Please note, when selecting the Print at Home or Mobile Delivery method, you will not have access to view your tickets until 14 days prior to the performance.
Fine Thanks and You began taking shape during a period of major change in my life. Though none of these songs are about my dad’s death, the reality of that experience sparked vivid, existential reflections—questions about embodiment, agency, and what it means to move through this moment in time like a visitor. Those sparks became imagery: heat shimmering back at me (Hot Pavement), sidewalks stretching into infinity (City Walkin’), painted hills slicing the sky (Wild Ride), and the pull toward the light, reluctant to let go (Second Thoughts).
Musically, I wanted the album to feel grounded and sensual—steady pulses, confident rhythms, bass hooks, warm synths—like high heels clicking through the hallway of some surreal life. The songs are full of searching, but never lost.
During this period, I found myself wandering big box stores with no intention of buying anything. Their neutrality became a strange kind of sanctuary—blank aisles where I could pace until a line, hook, or full song emerged. “Can I help you find anything?” I’m looking for a new state of mind (Inspiration). “What are you looking for?” Something real that feels amazing (Feel Amazing). “How are you today?” Fine thanks and you.
I worked near Trash Treasury, where producer Cameron Spies—whose work I’d long admired—recorded. At first it felt too obvious to choose him, but the more I revisited his records, the clearer it became that he was the right fit. We recorded mostly at Trash Treasury and partly at our own space, Friendly Ghost, with Rob Oberdorfer (bass), Evan Railton (drums), and me, Tim Perry (guitar, vocals). The studio became a playful, creative shelter where we could try anything.
A major addition to the record was Mira Stanley, whose voice floored me during a co-write over Zoom. She later drove from Nashville to contribute vocals, fit in instantly, and ultimately moved to Portland—now a full member of the band.
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