Wolastoqey Sounds Like This: Jeremy Dutcher - Live On KEXP

“Our language is a land acknowledgment, you know, when we use that language, it automatically imbues our world with life force. We're not going to cut down that tree. And if we do, we're going to offer something, you know, because it's a being just like us.” ~Jeremy Dutcher, Member of the Wolastoqiyik People of the Neqotkuk 

Today we’re listening to music that is an act of language revitalization and a crafted response to the crises we collectively face.  

Recently, Nia Tero brought musician and storyteller Jeremy Dutcher together with a group of young Indigenous creators and culture bearers to talk about the intersections of artistic practice and Indigenous sovereignty. During this gathering, Jeremy performed on “Live on KEXP and shared a powerful conversation with musician and long-time KEXP DJ Gabriel Teodros.  

Jeremy Dutcher is a member of the Wolastoqiyik People of the Neqotkuk (formerly known as Tobique First Nation) in eastern Canada. Jeremy is a Two-Spirit song carrier, a classically trained musician and composer, an activist, and ethnomusicologist who writes and sings music in their Native language as an act of language preservation and Indigenous sovereignty. In this episode, Jeremy shares songs from their first album, “Sakomawit”, as well as their new album “Motewolonuwok ᒣᑏᐧᐁᓓᓄᐧᐁᒃ”, which came out October 6, 2023. 

We greatly appreciate this unique collaboration with our long-time friends at KEXP. This episode was hosted and produced by Jessica Ramirez, with story editing and audio mix by Jenny Asarnow. 

More information: 

• Learn more about Jeremy and find their music here. 
• Keep up with Jeremy’s album release and current tour dates by following them on Instagram. 
• Get to know KEXP! Listen to their live content via their website and catch up with a rich treasure trove of past episodes of Live on KEXP here. 
• Get to know Gabiel Teodros on Instagram, and follow his post-KEXP journey here. 

Mentioned in this episode: 

• Elder and Language Keeper Maggie Paul 
• Buffy St. Marie 
• Kehkimin Wolastoqey language immersion school  
• 4th World Media Lab 
• Seattle International Film Festival 

Seedcast is a production of Nia Tero, a global nonprofit which supports Indigenous land guardianship around the world through policy, partnership, and storytelling initiatives.

Enjoy the Seedcast podcast on the Nia Tero website, Apple Podcasts, Spotify, and your other favorite podcast platforms.

Keep up with Seedcast on Instagram and use the hashtag #Seedcast.

Transcript

Live On KEXP with Jeremy Dutcher
Seedcast Season 3 Episode 10
October 11, 2023

[00:00:00] Jeremy Dutcher: Our language is a land acknowledgment, you know, when we use that language, it automatically imbues our world with life force. We're not going to cut down that tree. We're not going to—and if we do, we're going to offer something, you know, because it's a being just like us.

[00:00:13] Gabriel Teodros: It’s a relationship.

[00:00:14] Jeremy: It's a relationship, that's it, what I'm saying. So, you know, not to be too grandiose, but I really do believe that Indigenous ways, and Indigenous ways of being and thinking, are going to save the world.

[00:00:25] Gabriel: One hundred percent.

[Seedcast theme song begins and plays in the background] 

[00:00:28] Jessica Ramirez: Hi, this is Seedcast, I’m Jessica Ramirez, here today with a special collaboration with our friends at “Live On KEXP”[3] [4] . We’re featuring the music and the stories of Jeremy Dutcher. He’s a member of the Wolastoqiyik People of the Neqotkuk  (formerly known as Tobique First Nation) in eastern Canada. Jeremy’s creative process is one that roots them in their Indigenous identity, and they’re committed to the preservation of their language, and beautifully share it with listeners as a form of Indigenous sovereignty. One could consider it as a crafted response to the crises we humans are in today. 

[Seedcast theme music, “Rooted” by Mia Kami] We are standing, hear our calling, we are rooted to the ground we’re here to stay. No staying quiet, we stand united, we are rooted to the ground, can't tear us down, we’re here to stay…

[00:01:35] Jessica: Jeremy Dutcher has literally sung duets with ancestors—they rescued old recordings of elders singing in Wolastoqey to create duets. They’re a Two-Spirit song carrier, a classically trained musician and composer, an activist, and ethnomusicologist. Their new album just came out, and it features their songs in English with the aim to reach a new audience. They’re an incredible storyteller, and so earlier this year Nia Tero brought Jeremy together with other Indigenous storytellers on Coast Salish territory in collaboration with our partners at KEXP. 

[a clip from Live On KEXP’s intro plays] 

KEXP is a listener-supported station that envisions a connected and compassionate world embracing curiosity and a shared love of music. Check them out at www.kexp.org. And now I’ll turn it over to my dear friend and collaborator, Gabriel Teodros, who invited me on “Live On KEXP” to feature the songs and stories of Jeremy Dutcher.  

[Audio from “Live on KEXP” begins] 

[Jeremy Dutcher’s music begins to play, a selection in what sounds like a stringed instrument being played in pizzicato]  

[00:02:48] Gabriel: Welcome to “Live On KEXP”. I'm your host, Gabriel Teodros. On the show today, we've got Jeremy Dutcher… 

[Jeremy’s music continues to play, and we hear them begin to sing in Wolastoqey alongside a growing number of instruments]  

[00:03:57 Gabriel: We also are joined by my good friend, Jessica Ramirez, host of Seedcast. How are you doing, Jessica? 

[00:04:03] Jessica: Hi, Gabe, I'm good. Thank you so much for having me. I'm joining you and all the listeners from Coast Salish Territory. And yeah, I'm the host of the “Seedcast” podcast where we get to share stories alongside Indigenous Peoples globally. And we were so happy to be able to do this collab with you and KEXP to share more stories from Indigenous folks, and to bring Jeremy Dutcher to Seattle for this really special live in-studio with KEXP.  

[00:04:38] Gabriel: Yeah, and he wasn't just here for the in-studio, by the way! He was here for, was it the Fourth World Storytelling Lab? Is that what it was called?  

[Jeremy’s music continues to play softly in the background] 

[00:04:49] Jessica: Yeah, totally! So Nia Tero, one of our fellowship programs is a filmmaking fellowship for beginning and mid-career filmmakers, and they travel to different festivals all over North America. And one of the festivals is Seattle International Film Festival. And what's really great about this cohort is, right, they're all learning alongside each other together with varying levels of experience and learning from each other; just the different creative aspects of self that they can share with each other—and Jeremy Dutcher was here to be able to share his creative process with all of these filmmakers. And what felt really cool about that is, as an artist, as a creative, our processes really do inform each other, no matter what the medium is. And so it felt really exciting to get to see, to witness Jeremy be in conversation with filmmakers, which is a medium that he doesn't work in.  

But, you know, some of our biggest learnings—at least for me as a podcast host, and as someone who's only working in the audio sphere is to tell a good story—you have to be able to really transcend what is something that you are looking at on a screen, and bring people into the story. And so it felt really cool to have this really exquisite musician, with this incredible depth of knowledge of his Indigenous peoples, his Indigenous language, and be able to share that in a room full of other Indigenous creatives. It was really powerful.  

[00:06:30] Gabriel:  Yeah, it was. It was so powerful, like, having everybody in the room. You know, I've never done an in-studio where we had an audience in the room with us. But it just felt right, you know. And I think it added a lot to the conversation, having everybody in the room. After the in-studio, I was talking to different people, and there were so many people who said they were crying in the middle of the conversation, you know, which is something that it's really rare, you know, it was, it was such a beautiful and powerful conversation. Yeah, thank you. Thank you for bringing it to us, you know?  

[Jeremy’s music continues to play softly in the background] 

[00:07:08] Jessica: Oh my gosh, we're so happy to have KEXP as a partner, and to have you to support this work! A really cool part of our podcast is that we are also just trying to shed a light on who Indigenous peoples are. Indigenous stories and knowledge and cultures are modern, and they're contemporary, and they're really vital and important to building the world that we want to live in today. And so we're so grateful for you, Gabe, and the opportunity that you create for Indigenous Peoples to have a platform on KEXP. So thank you.  

[00:07:44] Gabriel:  Thank you, it’s gonna continue for sure! Let's get into the in-studio! Yeah? 

[00:07:49] Jessica: Yeah, let's do it!  

[00:07:50] Gabriel:  Alright! So Jeremy Dutcher's got a new album on the way called “Motewolonuwok”. It's coming out October 6th on Secret City Records. He started this performance with the track from his debut album though, called “Sakomawit”. Before we got into a brand new song titled “The Land That Held Them”. Let's get into it. It's Jeremy Dutcher. Live On KEXP, in partnership with Seedcast.  

[music plays from Jeremy Dutcher’s live performance. Jeremy performs the songs “Sakomawit” and “The Land That Held Them”.] 

[00:16:04] Gabriel: You just heard Jeremy Dutcher with the songs “Sakomawit” and “The Land That Held Them”. 

[Live on KEXP sonic ID] 

Gabriel: Now here’s more of our live session with Jeremy Dutcher.  

[music plays from Jeremy Dutcher’s live performance. Jeremy performs the songs “Take My Hand” and “Skicinuwihkuk”]

[00:25:26] Gabriel: Beautiful. Jeremy Dutcher, live on KEXP.  

[we hear applause and enthusiastic cheering from the in-studio audience]

Gabriel: All right, yo, that was so beautiful. Thank you for bringing your music, your medicine to KEXP. How you feeling?  

[00:25:47] Jeremy: On top of the world right now. This is a dream come true. You know, for a lot of young musicians, these flashing lights mean a lot to us. So it feels like a fruition of a dream to come here and share music and to have some beautiful people here present to witness. That felt really good, I'm on top of it!  

[00:26:07] Gabriel: I love it. So this is the first time I've hosted an in-studio where we had an audience that was actually in the room, and it feels really special. So, I was wondering if we could talk about actually, like, what brought you to Seattle? ‘Cause I know we have a collective, basically, of Indigenous filmmakers, yeah? From around the world?   

[00:26:26] Jeremy: That's it!  

[00:26:27] Gabriel: Shouts to Tracy Rector. Shouts to Jessica. Shouts to Nia Tero.  

[00:26:26] Jeremy: Nia Tero! That's it, you know? I got this invite. Well, it actually came through and I had some Nia Tero people approach me at the welcoming event and say, like, how'd you hear about us? How'd you get here? And it was actually Yo-Yo Ma.  

[00:26:44] Gabriel:  Wow.  

[00:26:44] Jeremy: I did a gig with him last year and he said, “Hey, there's this organization, you gotta check them out, Nia Tero.” And I said, “Okay!” So when I saw that email coming, I was like, “Alright, I'm there!” You know? And when we gather, we gather people like this, creatives, you know, young Indigenous creatives, it's a really magical space and time because we get to share notes essentially, you know, like how it is out there, what it's like to tell our stories and create.  

So, you know, even though it felt like when they sent me the invite, I said—this is part of a SIFF as well, the Seattle International Film Festival. And I said, “They know I don't—I'm not a filmmaker, right? Like, I just play the piano and do some singing.” And, [they] said, “Yeah, yeah, yeah, yeah, we know, we know, but it's about practice. We want to talk about practice.” You know?  

And that kind of, it crosses boundaries and borders between filmmakers or musicians or visual painters or, you know, it's like, we kind of all share that story of practice and trying to tell stories in a good way. So I was just really happy to come and have this conversation, you know, getting invited to KEXP felt like just a cherry on top, you know? This is great. 

[00:27:50] Gabriel:  Ayeee, I love it. I'm so happy it worked out. I'm a big fan of your music, you know—had your vinyl, had your record on my shelves for, you know, and in rotation for some years now. I wanted to ask you about that, about your first album you told me how to pronounce it today, [Speaks in Wolastoqey slowly, carefully] “Wolastoqiyik Lintuwakonawa”   

[00:28:09] Jeremy: That's pretty good! With my elders, we always talk about flow, 'cause it's not, you know, there's a lot of silent speakers and people that are just learning their language that feel like, oh, the F word “fluency” is like a real high bar, you know, so we're taught always to talk about flow. Like, can you flow in your language? And we'll work on the flow, we’ll work on the flow. But you got the vowels right!  

So I might say my first album was called, [Speaks in Wolastoqey a little more quickly] “Wolastoqiyik Lintuwakonawa”  

[00:28:44] Gabriel:  There we go, yeah!  

[00:28:44] Jeremy: Yeah. And it's called, “The Songs of the People of the Beautiful River”.  

[00:28:48] Gabriel:  So, I've had this record on my shelves, like I said, for a while. I didn't understand what I was looking at when I looked at the cover of your record. You worked with wax cylinder recordings of songs from your people that were a hundred years old—I'm guessing probably the first time you've heard many of these songs and you use these recordings on this album. Can you talk about that process and even describe—what is a wax cylinder recording? Because I'm guessing a lot of people out there don't know what I'm talking about.  

[00:29:22] Jeremy: Fair enough! It's a very old technology, right? Like that's some of the very first early recorded music, is on those wax cylinders. And so it was a real look into the past, or a bit of a snapshot of how our ancestors lived, how they made music. It's quite different from how, you know, certainly how I do it [laughs] but how many of our even traditional music makers make music now. So it was such an insight into a past, but also a breathing past. Like one that felt alive to me, because when you listen to those recordings, it's not just the songs. They're telling stories, they're contextualizing the songs, they're laughing and dancing. And you can hear all that. So it's like this beautiful snapshot. And for me, you know, I was pointed to those recordings by an elder of mine named Maggie Paul. And she said, you know, “Go there and bring those back for the people.” And you know, barring actually going and physically stealing the copies of the wax cylinder—you know, they're these little kind of canisters, probably not much bigger than that, you know, but hollowed out. And then it's wax on the outside, and the sound waves get etched into the wax. And then when we reverse it, we can turn it around and listen to that wax. So it's this, you know, sort of proto record technology that just so happened to be ancestor songs. And so when I got to go and sit down with that material, like you said, stuff I'd never heard before. Why was that? You know? That for me was kind of the whole problem. And artists or creatives are all about solving problems in my mind. You know, we see what's unacceptable. What we see is, we make solutions to fix it. You know, we offer something to the human family to say, what about this? There's a great quote by an Indigenous thought leader, artist, musician, educator, Buffy Sainte-Marie. She says, If what you want is not on the menu, go into the kitchen, cook it up, show them how good it tastes. [From Buffy Sainte-Marie’s song “Jeremiah” - “Some will tell you, some will tell you / Tell you what you really want ain’t on the menu / Don’t believe them, don’t you believe them / Cook it up yourself and then prepare to serve them”]   

[00:31:21] Gabriel:  Mm hmm. 

[00:31:23] Jeremy: This, for me, is the—that, when I heard that, it like, immediately oriented my artistic philosophy. Because as much as it was a problem that these recordings were taken from the people and put in this institutional museum space and kind of unable to be accessed; what can I do about that? You know, what is my creative solution to that? So, getting to actually duet with them, those ancestor voices from over a hundred years ago, it felt like that was the best way to be able to do that. To infuse my own sense of music into those ancestral songs and try to find the...something that spoke to this moment today, right?  

Indigenous people are not stuck in the past, even though we often get portrayed in that way. But we lean on the past. We learn from the past. And we bring all that energy forward to this moment to send it forward to those coming.  

[00:32:11] Gabriel: That's right.  

[00:32:11] Jeremy: So, for me, it was important to have those ancestral voices actually on the record. You know, to be able to duet with them. It becomes like time travel, in a way. You know, because we get to have that conversation in time, through music. So that's kind of, I always credit Maggie Paul, you know, I speak her name in this space. She's my teacher, and she's the one that really pointed me to those recordings and said, “Hey, go and get them and bring them back.”  

And that, my whole first record was, all eleven songs are based on archival research that I did. You know, it's a little, I guess, yeah, it's a little bit of a different way to make music, I guess. But definitely my practice is super grounded in research and in trying to pull all of that forward and show it to people. And to be a mirror—I guess I saw my goal as to be a mirror. So collecting all of that institutional knowledge that sits behind that archive into this mirror and reflecting it to the people and saying, “Look how beautiful we are. Isn't that stunning?” And then when I realized it's not just my little nation on the east coast of Canada. You know, these museums hold all of our stuff, you know, from coast to coast to coast. So, you know, yes, I was talking about archives and language and love and community and family. I'm also talking about repatriation and rematriation of our objects back to our communities.  

So, hoping to start lots of different conversations. With the new record I'm also hoping to expand that, share music in English, maybe to connect with a new audience in that way as well.  

[00:33:50] Gabriel: I'm so excited about the new music as well. So glad we got to hear some new music today. I wanted to talk a little bit more about this topic of language revitalization because I think it's such important work, right?  

[00:34:05] Jeremy: You know, my mother was very intent on letting us know that our language is severely endangered, and it's you—it’s your generation's job to bring it back to health. And that’s, I guess, a lot of pressure for young people. [laughs] But it did spark  a kind of curiosity, or a kind of wondering about like, okay, there is a language and it didn't get up and walk away, you know?  

It was on the end of a strap, you know, it was through religious indoctrination, through assimilation politics, that these languages—and it wasn't always just the kids in the school, because there was a sense of like, we believed it ourselves. Even some of the parents, like my mom's parents, didn't even speak the language around the kids anymore because they knew it wasn't safe. And so we're lifting all of, we're clearing all that right now. It's this generation. And so for her to, you know, be silenced as a child, to have to go to those schools and be unallowed—she, right now, is taking that and making her healing, our healing, you know. So she is going and creating that institutional space, like a classroom space, where we can learn our Wolastoqey language—the first of its kind, by the way. We have not had an immersion, total immersion program. So, you know, we're kind of doing this from scratch. Like, we got a curriculum committee together. We're like doing the whole thing. It really takes a community effort, you know, and it's just been, we've been open for only one year now, and it's just started with one class of four year olds.  

[00:35:48] Gabriel: I love it, I love it.  

[00:35:49] Jeremy: But we're gonna grow with them, too! We're gonna keep growing with them. And as they grow, we'll bring in new students and the school, if people wanna know about it, is called “Kehkimin”. And “Kehkimin” in our language means, “teach me”. It's an ask to teach me, “Kehkimin”, but the important part, and I think is the essential part, the verb, [Wolastoqey word], means, “to teach”. It also means, “to learn”.  

[00:36:15] Gabriel: Ah, that's beautiful.  

[00:36:16] Jeremy: Yes. So it's encoded within our language that there is this reciprocal relationship between, you know—and we see these kids as the future, as you're saying, as our dream. You know, we've been talking about this for a long time. We started our first year, and we already have kids that are playing in the language. We already have kids that are asking questions in the language, that are correcting the teachers, you know, it's like, it's the highest dream. It's exactly what we could have hoped for, and it's been amazing to see that come to fruition, because it's a space that I didn't have as a young learner. I had to go in and just listen and learn, you know, and kind of trial and error, and get corrected a lot.  

And so, anyway, it's a new day right now for our language on the East Coast, but as you're pointing to, it's like, it's everywhere right now. Like, these languages hold the key. 

If I may be so bold, to say like, we haven't been listening to the whole human family for a long time. And I'm hopeful that this is the moment where all of that's done. And we're seeing these, you know, these death throes of fascism or white supremacy in this country, and it's scary. It can be scary. But also realizing that that is ending. You know, and we're coming to a much better place where we can actually have real discussions about real history, and shared responsibility, and how we're going to take care of this place, you know.  

There's the ecological thread that runs underneath that, too, because when we talk in our languages, you know, there's this thing around land acknowledgments. You know, when we get together, we do this land acknowledgment. Our language is a land acknowledgment, you know, when we use that language, it automatically imbues our world with life force. We're not going to cut down that tree. We're not going to—and if we do, we're going to offer something, you know, because it's a being just like us. 

[00:38:18] Gabriel: It's a relationship.  

[00:38:19] Jeremy: It's a relationship, that's it, what I'm saying. So, you know, not to be too grandiose, but I really do believe that Indigenous ways, and Indigenous ways of being and thinking, are going to save the world.  

[00:38:29] Gabriel: 100%. I agree.  

[00:38:31] Jeremy: So, you know, and we're—the same logics which got us into the mess we find ourselves—on the, you know, the verge of ecological collapse—is not the same logics that will find us out of it. 

[00:38:42] Gabriel: That's right.  

[00:38:43] Jeremy: So let's start getting creative about reimagining what those seats of power actually look like. You know, as a matriarchal people, it looks very different from what's going on right now, like maybe we need to abolish these governments and just put some grandmas, you know, some matriarchs—just let them drive the bus for a while. Let's see what happens!  

[audience laughs in agreement, with a few claps] 

[00:39:03] Gabriel: That's right. That's right.  

[00:39:05] Jeremy: Okay, I'm going to get in trouble. You should go to the next question!  

[audience laughs] 

[00:39:07] Gabriel: I love it, nah, I love it so much! Yo, that language revitalization. Like I said, yo, so, so, so important. I also love that like, I read a whole book by bell hooks called “Teaching to Transgress” to understand what you broke down in one word, to teach and to learn at the same time, you know, that's really beautiful.  

[00:39:28] Jeremy: And I actually had that experience, I should say, like hanging around with these Fellows too. I had that experience. That's what happens when people get together from all different corners, is, I might say something in a way, in one word. It literally happened to me yesterday, where somebody came in and I was blabbing on for ten minutes and they said one sentence. And it was, it was the perfect—but that can only happen through these cross-linguistic bounds, these cross-cultural bounds, you know, it's like, there's such generative space in the middle of us.  

[00:39:59] Gabriel: Yeah, absolutely, absolutely. Oh man, this has been just such a joy and pleasure! I definitely could talk to you all day, and maybe we will talk off the mic some more. But I just wanted to ask you, like, you've already answered this in so many ways, but it's always—this is kind of like the final question I ask everybody, it's become a thing. What is one thing you hope everyone gets from your music?  

[00:40:26] Jeremy: Oh, I really, I want to honor that question. I want to think about it because it's beautiful… 

…Just the story.  

[00:40:36] Gabriel: Mm hmm.  

[00:40:36] Jeremy: Our stories aren't ours. We gather them and we're giving them—like Maggie gifted me that story with the archive, and sent me on a path. I hope that when somebody can come to my music, whether or not they have a literal understanding of the words, I hope they feel that story and can see themselves reflected in a story of resilience, right? 

Because just by singing that language that I'm not supposed to speak, I'm not supposed to know, you know; it is a sovereignty statement. It is a statement of our current acts of revitalization, all that work that is happening. So when people listen, I hope they feel that resilience. You know, they might not be Wolastoqiyik, they might not be Indigenous. They might not be, but we all carry the story of resilience in a different form, you know, and so I hope somebody can hear what I'm talking about with language, with community, with the power of music as a healer. I hope people see that, and feel that, and they can also bring forward their own gift, their own sense of wonderment in this plane, and their own vision for what/how we're going to fix it. 

I think, yeah, there's a whole young generation now that knows that we're in trouble because this is not a climate crisis. It's a human crisis. Like, the world will be fine. We are the ones that are in peril, and the young ones know this. And so they're on fire with solutions, and with how we're going to turn it around.  

And so for me, it's just about kind of you know, giving the mic. Being a bridge between communities. The between-space, I think, is really important; that I hope we can explore and that I hope people that listen can explore too, right? Because it's about identity. We sit so heavy in it sometimes. And that allows us to make an enemy out of someone else, or at least draw ourselves as different from them. But I think the truth, and when we go to like the elders, they say we're all brothers and sisters, we are all kin. So yes, we honor the difference, but we don't draw the line, we don't build a wall.  

So, I hope—because Indigenous people haven't been given the opportunity to tell their own stories on their own terms—I hope that now that we are doing that, that we are in that moment, it can't help but change things. It will shift things, but it's going to be uncomfortable because they don't know us, you know? They—the big, you know, capital USA—they don't know us. They've been looking at reflections of themselves the whole time. You know? Getting Italians to play us in movies, you know? Not even having us in writers rooms when we're trying to tell these stories, you know? It's like, all that's done. Yeah. All that's done. Because look what we have in this room.  

[00:44:05] Gabriel: Got a room full of storytellers! That's right! 

[00:44:06] Jeremy: We’ve got our people telling our stories. And that for me is a celebration. So, to answer your question, I hope people feel a sense of celebration and resilience. 

[audience breaks out into applause] 

[00:44:24] Gabriel: And that was our live session with Jeremy Dutcher. You heard the songs “Take My Hand” and “Skicinuwihkuk”. We'd like to thank Jeremy Dutcher for stopping by, and a big thank you to Jessica Ramirez and the Seedcast podcast for this collaboration.  

[upbeat rock music plays in the background] 

To hear more Indigenous stories like this, you can listen to Seedcast wherever you get your podcasts.  

And if you enjoy “Live On KEXP”, also, check out our brand new “El Sonido” podcast, exploring the meaning of place for modern independent Latin music artists. Search for KEXP wherever you listen to podcasts, and as always, be sure to check out the video of this session. You'll find that and all of our featured sessions at www.youtube.com/kexp. This show is produced by Julian Martlew and Isabel Khalili and the Seedcast podcast team. I'm Gabriel Teodros, we'll see you next week. This is “Live on KEXP”. Peace.  

Live on KEXP is made possible in part by the Corporation for Public Broadcasting.