Good things take time.
This is certainly true for verygently, consistent collaborators for years prior to the band’s creation in 2024. Prompted by the positive reception of a residency-style writer’s round at Analog at Hutton Hotel and an offer to open for rock group Augustana by frontman Dan Layus, the trio consisting of talent Tristan Bushman, Drew Erwin, and Joey Hendricks soon grew into a touring act.
SORRY, SARAH, their first full-fledged album, is the next step in an evolution of well-crafted collections of songs and showcases a newfound purpose as both songwriters and musicians.
Deeply confessional with tongue-in-cheek brevity, the eleven-track record details love and existential fear compounded by a life on the road. Their signature Laurel Canyon three-part harmonies and witty lyricism remain consistent features, refined here in the spirit of a more fully integrated project to resonate with listeners.
We spoke with band about their new album, their origins, and more.
Can you talk about the origins of the band, and how did you know you would be compatible with each other as a group?
We were three solo artists who also happened to be friends, and we sang together one time at a Nashville writers round. It only took one time to realize we had something special, and we’ve just been following that ever since.
When you were getting established in Nashville, did you have any local bands or mentors you looked up to who influenced you along the way? If so who, and how did they inspire or help you?
We were all heavily influenced by Augustana, The Fray, Ruston Kelly and many others, but we’ve been extremely fortunate to have opened for the artists named.
Your new album, SORRY, SARAH, recently hit streaming. Can you talk about any connecting themes or motifs throughout the album and any primary influences behind it?
Sarah just so happens to be the all encompassing muse behind these songs that cover topics of heartbreak, healing, personal growth and personal shortcomings. All three of us are similar in age, so it was an incredibly cathartic experience to share in the beauty and challenges of this part of our lives.
What recording techniques allowed you to get so close to capturing the magic of your live performances in this album? And did you have any notable challenges or hurdles when recording the album?
Capturing what we do live in the studio is always a challenge for us, but SORRY, SARAH has felt like the most authentic representation of who we are so far. We recorded the foundations of all the songs on the floor together and wanted to keep overdubs to a minimum. Ultimately, it was less about specific recording techniques and more about letting the harmonies and songwriting be the focal point.
While I can imagine all the tracks are meaningful to you, are there one or two that you’re most proud of and excited for fans to hear? Why?
“I DON’T WANNA DIE” is the most fun. “IT WASN’T LIKE THAT AT ALL” was such a beautiful day in the writer room with our producer Jarrad K, and turned out to be such a moment on the album. “ANTIDOTE” is one of the songs we were playing live early on before this band was even a thing, so it’s become such a crucial moment in our live set and the trajectory of our sound and harmonies.
What does collaboration mean to you (or has come to mean to you) after so years making music together, and how have you changed as writers and musicians because of it?
Better writers, better musicians, better at understanding each other. All of it.
Are there any lessons or mentalities you take with you from your experience supporting artists such as Augustana or The Band Camino on tour?
Just what it means to really build something, to really respect and love the craft of songwriting and music, and to work extremely hard and how to treat others in the process. Those guys are just class acts and super inspiring to us.
What are some of your goals – musically or otherwise – for the rest of 2026 and into 2027?
To tour as much as possible and write and record the best album of all time. No sophomore slump for us.
Photo Credit: Jaime Lynn De La Cruz
