Fort Frances

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In early October of 2020, I arrived at Stephen Shirk’s studio in Chicago with a few songs that echoed with the emptiness of a pandemic that was surging, a justice system that was failing and a campaign season that seemed to be closing its doors on democracy. The songs felt like they were traveling the same road— one long highway I had driven a million times before. Shortly after that first session, I came down with covid. I spent a week unable to move more than a few steps at a time. It was the reminder I needed that time is precious and that songs should reflect the gift to live and work and laugh and cry. I started writing with an optimism that has been elusive for most my time as a maker of music. Then, my wife and I received the news that we would be welcoming a little person into the world. In fact, I’m writing this from the neonatal intensive care unit after my son just turned five days old after arriving much, much earlier than we expected. It’s been exciting and overwhelming and terrifying— and most importantly, it’s reassuring that the world can offer a meaningful weight that is well worth carrying. That spirit shapes every minute of "Look At What Tomorrow Brought Us". I have spent the past 10 years creating music about my fears that the universe is teetering on the edge of doomsday. That might still be happening, but I’ve finally learned that, if it’s true, we may as well enjoy it all while we can.