Mandy Moore

No, but I mean like. No, you're right. Behind you, you have an instrument called a bouzouki, which is not a typical American folk instrument.

Wow.

Wow.

Wow.

Yeah, that guttural scream.

Yeah, that guttural scream.

Yeah, that guttural scream.

And I start singing.

And I start singing.

And I start singing.

Also beautiful, but like.

Also beautiful, but like.

Also beautiful, but like.

You just playing it now, I'm like, I could weep. It's just like, there's something about it that like, you're right. It's like, you feel safe, but you're like, this feels familiar, but yet totally new. Yeah. I don't know. It's just brilliant.

You just playing it now, I'm like, I could weep. It's just like, there's something about it that like, you're right. It's like, you feel safe, but you're like, this feels familiar, but yet totally new. Yeah. I don't know. It's just brilliant.

You just playing it now, I'm like, I could weep. It's just like, there's something about it that like, you're right. It's like, you feel safe, but you're like, this feels familiar, but yet totally new. Yeah. I don't know. It's just brilliant.

And on a creative level, you've just talked about this in recent episodes, the breakdown scene. Yeah. Where you had externalized a bunch of this stuff. Yeah. And Ken Olin came to you and said, no, it's here.

And on a creative level, you've just talked about this in recent episodes, the breakdown scene. Yeah. Where you had externalized a bunch of this stuff. Yeah. And Ken Olin came to you and said, no, it's here.

And on a creative level, you've just talked about this in recent episodes, the breakdown scene. Yeah. Where you had externalized a bunch of this stuff. Yeah. And Ken Olin came to you and said, no, it's here.

It's right here. Yep. And there's something that you just did for us with that song, where you were externalizing and moving. And there was all this movement in the vocal. And then you brought it here and you focused it down to these notes and there's something about it. The song is still so full, but it leaves room for other notes, for the audience, for the listener to,