I mean, you've worked with so many incredible artists just like Janelle and that you've mentioned and Julie Black.

What would you say was the defining moment that led you on that pathway to working with all these major artists?

Like, was there something that sparked and then it kind of just snowballed into you just getting other artists to connect with?

Pretty much, yeah.

It's a very light snowball, but, you know, a small snowball.

But yeah, you know, just.

God presented me with the opportunity to work with Janelle through one of her producers, Chuck Lightning.

And he found me in a studio session in Atlanta and asked if I could work with him and his band, Deep Cotton.

And this is before Janelle had a record deal or an album out.

And, you know, she heard us working and she liked my.

My work, my guitar work and asked me to work with her as well.

And then, you know, she got signed about, I don't know, maybe a year later or so.

And here we are 15 years later.

Wow, that's incredible.

It's pretty amazing.

What's your production technique like?

Because just like film directors, some.

Some producers are very hands on and want to affect everything from the harmony to what distortions are being used and all that.

And then some producers leave more that to the engineer.

What's your style of production?

I'm more of a live producer.

I want to accomplish the sounds here for like, you know, in the analog stage first before post production.

I just feel that I'm more capable of having an uncompromised or unlimited array of sounds when I do it that way.

It's kind of ironic because you would think it's the other way around, but there's certain tonalities and certain effects that like choruses and modulation effects that I feel like digitally I've not found the way to come close to the quality that I get from some of my analog pedals.

Okay, so you prefer to add those effects in the analog stage mostly as guitar pedals.

Would you say yes?

For guitar pedals?

Yes.

Now for vocals?

Definitely not.

That's going to be post production for sure.

You know, so I basically treat myself like a rock artist when I record.

And I'm finding that less is more the more experienced I get in production.

It's way easier for me to produce artists with less instruments.

You know, as a rocker, I'm so into like multiple, you know, instruments, multiple.

Tracks, you know, like Rush, Double Everything, Layer everything.

Exactly.

So many layers, Rush, all this.

Bands like huge layers.

But I'm really enjoying bringing it down.

Simplifying everything.

Kind of like with hip hop, you know, you hear like three or four instruments and then you're good.

You know what I mean?

Yeah, yeah, yeah.

Nice.

Nice.

Well, hey, guys, I'm gonna welcome myself to the show.

I've had some tech issues here, so I'm joining a little late.

Great to have you.

I guess I should say that officially.

Kalindo, what's it like for you?

Co writing and co producing.

I know you're working with some of the best in the industry now, so what's the experience like each time you sit down?

It's an honor, you know, I don't take it for granted ever.

And it's a lot of fun.

You know, it's.

It's different because I.

I've known Janelle Monae for so many years that I've known her before she was famous, so I know her as the person, you know, so I'm not like, oh, my God, I don't believe in a best Go to the house, which I would be, of course.

Yeah.

If I just.

So I.

I'm going to see my sister.

You know what I mean?

My good.

My.

Like one of my best friends.

Yeah, yeah.

You know, and.

And so we talk to each other that way.

I mean, we're very honest and open with each other.

And, you know, I mean, we.

You know, we've spent.

Gosh, I spent more time with Janelle Nae than I have with my girlfriend.

I really know her really well.

That shows the closeness.

Yeah, that's some closeness.

You know what I mean?

Yeah, yeah.

Everything about me, and I know everything about her, and so we're super duper close.

And yet I'm very, very grateful because I do get where I am in my life.

So thankful to God and to Janelle and team Chuck and Nate, you know, and everyone who helped make these albums so spectacular.

Yeah, it's been an amazing.

Can I ask.

I'm going to be asking the uncomfortable questions.

Oh.

I mean, so when you're.

I'm going to stick to the production side when you're producing, especially if you're a player.

And I think the more as a producer, you know, the more likely you are to at least at one point run into some sort of friction with an artist on a part where you're like, this doesn't work right.

It's just straight up, this is harmonically wrong or whatever.

Do you ever have a line that you're like, seriously, like, we have to do it this way because the other way is dissonant or whatever?

Or at one.

At some point, you're like, this is your song and I'm done.

And how.

What do you do?

How do you handle that?

Great question.

I'm honest.

I say exactly what's wrong.

I hear a rub, you know, and this has happened a few times, really, where I've heard a minor second kind of rub or, you know, or it's like there's a major chord, but the melody, someone's singing, you know, the major second.

And that rub is wrong.

And usually what I get is.

I'll get.

No, it's.

I like it that way.

And then when the record is released, switch to the suggestion that I made.

You know what I mean?

So if it doesn't have.

So I don't fight it on the spot, you know, if the, you know, the main producer or the artist is like, nah, I like it that way.

I'll be okay.

You know, have somebody listen to that kind of situation and then turn to you and be like, how'd you let that happen?

Not really, because they actually, honestly, they don't allow it to be released that way.

Like, they're always.

What's great about the people I work with, Janelle and the team, even if they say no to the suggestion, by the time the album comes out, they've ironed it out and they fixed it.

Seriously.

Enough people get involved and they're like, you can't do that.

Interesting.

So it's a great question.

Yeah.

You don't.

It's not.

You don't want to get into an argument over it because, of course, you know, it's.

It's like a painting.

You know, you go to a museum, you see.

You see artwork on the wall, and you're like, how does this person know this painting is done?

Like, voila, fini.

And it's just like, I don't know, done.

The artist knows, you know, what's right and what's wrong.

Okay.

Yeah.

What do you enjoy doing the most?

Playing, writing or producing?

Hmm.

I'm gonna say playing.

Yeah, playing and listening and performing.

You know, I like listening to the production after it's done, or at least when final mixing stages.

I'm like, yeah, man, this is great work.

The hard.

It's work.

I mean, the other.

Everything else is definitely work, and I can't take that for granted.

You know, that's not like, oh, yay, we get to, you know, party.

We're not partying.

We're working.

You know what I mean?

Work.

Yeah.

Finish product.

What's.

What's been your favorite Place to perform.

Have you ever not let artist party?

Sorry.

My favorite place.

Two questions in one.

Please.

Anthony, Mike's yours.

What's been your favorite place to perform so far?

Wow.

I don't have one particular favorite, but I will say I love amphitheaters.

I think they're incredible.

So in Denver, there's Red Rocks.

I love Red Rocks.

I love the Gorge in Seattle, I love the Hollywood bowl in la.

So outdoor venues are just incredible.

The acoustics are just heavenly.

Indoors, I would say Madison Square Garden, you know, just because it's the classic legendary arena, you know, playing there just.

It's been a dream of mine.

So I think we did it twice and I enjoyed it the second time better than the first time for various reasons, but that's another conversation.

Hey, interesting.

Why don't you share the reasons we'd love to know.

We opened for Prince and.

Oh, Prince.

It was our first time opening for Prince and we were really excited and nervous and ended up hiring a lot of musicians for the first time ever.

And so.

And we had a short amount of time to perform and to sound check.

So by hiring all these extra musicians, we had less time to sound check.

Once you get all the inputs and stuff together, we were out of time and we couldn't really have a sound check, so that freaked me out.

You want to get me nervous before a show, freak?

Like, cancel out my sound check.

That's the first step, you know what I mean?

And then we did, and we ran out of time on stage, so we had to cut out Cold War, which was.

Which is one of my favorite live songs because it's high energy.

And after the show, Prince was like, why didn't you guys play Cold War?

Oh, man.

It was that kind of vibe got you.

Do you have any weird Prince stories I hear.

Every story I hear about Prince is.

Really weird, you know, I don't.

The weird stories that I have are how not weird he was around us, which I thought was weird.

You were also expecting it, right?

I was expecting him to be weird.

I don't know, just prints.

You look at pictures, you see videos, you're expecting that person.

Yeah, yeah.

You know.

Hey, did you see the football game last week, man?

You know, like, we're like, what did you say?

Pancakes?

And he's like, no, pancakes.

And we went to his house at 3 in the morning in LA.

His LA house.

And his cook cooked Aunt Jemima pancakes.

That's so funny.

Watching this dude cook Aunt Jemima.

Just add water.

Aunt Jemima.

Like, not even.

Not Even gourmet.

See, that's weird, dude.

They were so gourmet, you know?

And then after that was done, we were all out there talking to him for a while.

At the end of the night, when the cook left and everybody else left, there he is.

There he is.

Prince.

Washing his dishes.

Washing our dishes.

Wow.

I'm just like, is that weird to you?

That's amazing.

Prince, wash your dishes.

That's a weird look, the hair.

Yeah.

Yeah.

All right.

Wow.

Wow.

I think Prince really liked pancakes because there's another story I've heard regarding pancakes with Charlie Murphy.

That's so funny.

I didn't until after that it happened.

Kevin Smith was talking about how one time they were in Minnesota and he.

He was like, it's 3:00am I want camels.

And he, like, ordered his assistants to bring him camels.

And they're like, prince, we can't bring.

It's winter here.

We can't bring you a camel.

And he, like, lost it on them.

That's what I was expecting.

But still, having.

Having a personal chef do just add water, Aunt Jemima sounds almost as crazy.

That's hilarious.

What is your absolute favorite guitar?

I'm just curious.

It was just a random question, I was thinking.

And why?

It's a great question.

And why.

Wow, that's a tough one.

Because they're so different.

It's almost like people in a weird way, or, like, looks or, like, colors, you know, like, it's just hard to say.

When people ask me my favorite color.

I.

I used to be able to just be like, oh, yeah, Green, blue, like, whatever.

Now it's like, I'm starting to like pink now.

Like, in a weird way, you know, like, pink and black are great together, dude.

Like, pink and black, man.

You know what I mean?

It's not my favorite color, but I love now, you know, favorite guitar.

I'm gonna say overall, the Fender Stratocaster is the most diverse guitar.

So if I had to have only one guitar on an island, that would be on the list?

A short list of three.

What's the short list?

The short list is easily a Gibson Les Paul custom Fender Stratocaster and the Brian May Red Special, and then maybe a big jazz 355.

I love 355s.

Electrosanic electronic body.

Yes.

Okay.

Those are the four.

Those are my four.