The change to originals brought excitement from Mikey Pop, who would willingly volunteer to become my drummer. Wanting a bigger sound, I posted an advertisement on Craigslist, scanning the New York City area for anyone interested in joining my original project. I would get a response from a professional pianist, which would lead to what followed. His ability to play any style, in any shape or form, blew me away. After visiting his living room studio, where he improvised layers of sound over my records playing from his phone, I became convinced of our ability to execute the show I wanted to book at Wicked Willy’s. Taking that stage as an original act would help remove the stigma of being a “tribute band singer”, and I would gladly grab that bull by the horns. Brenna and I leave work and head downtown to the venue where we are met by the waiting band members. Co-workers in the crowd, pull Brenna to the side to discuss how famous they believe I will become. With little practice, the band used their knowledge of the recordings available to them, and organically followed along. I was so eager to “make it”, that I created a launch event for a subpar demo recording, and tried upselling the performance. The journey to knowledge is long and gruesome, and as naive as I was at that time, this event would serve its purpose in solidifying my transition into originality.

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