As an American Indian songwriter and Native American songwriter, as an American songwriter, I would say you lead people gently to a brutal truth, especially in our histories.

And so you can be an angry Indian and suffer from historical trauma, so much so that you write just angry songs.

But you can be a Disneyland Indian that is so numb to our history.

And so you kind of got to develop a code, a metaphoric code, you know, using metaphors and kind of camouflage, protest.

You know, I call it a modern protest.

And people like Floyd Westerman would talk about the modern protest and, you know, the way that most of us would play music and his style, he would say, my style would be kick him in the shins, you know, with the truth.

And I like that old style folk.

But he goes, I like this new style of, you're playing, you're making people follow you, you know, like a Pied Piper kind of thing.

You play a song and then let everybody play their own song.

And and that's where that communication kind of comes in to where I really like it, being a musician.

And you learn all these things to play on your chords and play and it's almost like you're not in a studio, you know, I can see different things where I can paint my masterpiece of audio sound in the studio.

But tonight I'm going to paint an audio sound of live music and let it unfold.