KGNU’s Monte Dube interviews Alan Sparhawk at the Big Ears Music Festival in Knoxville, Tennessee. They discuss Sparhawk’s recent solo album, “White Roses, My God,” which he describes as an experimental project born from grief. He also shares insights about his collaboration with the band Trampled by Turtles, highlighting their long-standing friendship and musical connection. The conversation touches on the challenges Sparhawk faced while transitioning from his 30-year career with the band Low to his solo work. (Interview date: 3/28/2025)
Monte Dube: This is Monte Dube from KGNU and I’m coming to you today from beautiful Knoxville, Tennessee, where it’s day two of the four day Big Ears Music Festival and I am thrilled to be joined today. With Alan Sparhawk, who’s just hit the road again you mentioned, the records you’re promoting, last, what was it, September out came, your first solo album? White Roses, My God. And you’re also playing tunes from your upcoming soon to be released next album, with Trampled by Turtles. Another sub pop record.
Alan Sparhawk: Trampled by Turtles is a group originally formed in Duluth, Minnesota, where we’re from. And long time friends, they’re very successful, more in the acoustic kind of jam band and the jam base scene. A very successful band. They play Red Rocks a lot and tour all over the place. And, I’ve been able to play with them over the years. Mimi and I would get up and sing with them sometimes and they would cover Low songs even. It was inevitable that we’d work together.
Monte Dube: I look forward to talking to you about that to-be released album, but first, White Roses, My God. It’s really impossible to talk about that album without talking about the context in which you released it, which is, how did Sub Pop say it? It was an album, born by Grief and an Exorcism. Do those words sound right to you today?
Alan Sparhawk: Yeah. Maybe in hindsight, yeah. At the time when I was sitting down to do this, it was really just experimenting and trying to engage with music without hearing things that were loaded for me. I had a hard time with my voice. Even playing guitar felt weird. For those of you who don’t know, I was in a band called Low for 30 years, and we were known for being quiet and atmospheric and varied and eclectic, back catalog. My wife was the drummer in the band. She sang, we would sing harmonies together, the core and sound of the band. And, she passed away about two and a half years ago, from cancer. So I guess, yeah, so I’ve been living. Our adult kids live in the same town, so we’ve been able to be close and do music together. And, yeah, the first year or two there, I was really in the wind. Grief is a really varied process and it processes through people differently. And, it’s also isolating, at least for me. It very much threw into question a lot of things and made things feel, it was a question of what am I doing? And in the meantime, I’d been playing music with my kids and they were into music. So the tools were around, and the flow was there and I found myself messing around with some instruments that I wasn’t familiar with as much, and surprised myself with coming up with some things that I could share with other people. At first, it was just really for myself. And, the appeal of singing through an effect that made my voice sound different was really powerful. At the time I was struggling with my voice and struggling with who I was by myself, what my voice was, even, without that other harmony. To be able to do something that was different and do something again that used my voice but was a different sound, was in many ways really unlocked a lot of things in me. It was a lot of the stuff, pretty much the whole record improvised and all the lyrics just came out of me at the moment. There were some surprises in there and there’s a couple songs in there that are very poignant and very pointed at grief, and some of ’em are just complete chaos. And to be honest, that’s how it feels. It’s unpredictable, there are times when you’re very in touch with it and it’s overwhelming. And then there are times when your brain seems to be disassociating grappling with other things that are loosely related but not direct. So, I don’t know. It was weird. It was an accidental recording. I started out only experimenting and listening to what would come out of me and at some point I think my kids heard some of what I was doing and said it was cool. And then I brought in a friend of mine, Nat Harvey, who heard it and really encouraged me to finish it and said that they would help me with editing and that’s the moment that it became an idea for a release. It’s definitely different sounding from what I’ve done in the past, but I don’t know. Low is always looking for something new and every record we wanted to surprise ourselves. And I don’t know, to me it’s a continuation of that. But at the same time, very much born outta chaos and grief and, the explosion of the mind that happens when life really kicks you in the ass,
Monte Dube: So when it comes to psychology, disassociation doesn’t sound like a great thing, but when it comes to music and creation, I was actually thinking, it felt like this was free association and we’ll get to your lyrics in a second, but it almost sounded to me like, I don’t know, speaking in tongues, having the spirit move you. Yeah.
Alan Sparhawk: That’s a term I’ve come across growing up in religion, that term was definitely there and it was always this weird, distant thing, didn’t necessarily know what that meant. But yeah, there have been times over the years where there’ll be moments where vocals ambiguous. I was in a band called Black-Eyed Snakes. I would do blues and a lot of the lyrics there, I had forms and I had ideas and lines that I would loosely work with, but a lot of times the vocals would be improvised. So that was the beginning of that. But yeah, improvising, speaking in tongues. Yeah. If you open that concept up a little bit and take it away from its religious connotation, it’s really just, we use language all the time. We interact in it and it kinda spreads out and its own gray edges and touches into other things. And, if you’re in the right situation and the right motivation and stuff is moving you, and you have the faith and are willing to open your mouth and just let come out what comes out. You’d be surprised, sometimes it takes a minute.
Monte Dube: So in a way it sounds like it’s a combination of, both an act of faith, trust that whatever is supposed to emerge will.
Alan Sparhawk: A lot of it is trusting that you. You’ve been speaking your whole life, you’ve been singing your whole life those, your subconscious and your immediate, spontaneous creative brain cells are very much in touch with the foundation that you’ve built, what you’ve built. When a musician improvises, they’re letting go and trusting that their hands and their mind have been working in these melodies and working through its harmonic movement, long enough that it will subconsciously guide you through it. And it does, it’ll surprise you. I think anyone is capable of that, I think in anything that they spend time with, anything that they’ve have to be creative with, over time, you have to trust that you’ve built some. You’ve built vocabulary, intuition, and you’re a smart person. You’re gonna come up with things that’ll surprise you. And, so yeah, doing that, trust that if you know the feeling and the intention of what’s going on and what’s inside you, or just trust that you have intention and feeling inside you and that if you allow that channel to open up, it will talk. It will speak to your subconscious and therefore speak up to your upper conscious and words will come out of you and melodies will come out of you and ideas will come out of you. And it feels like randomness and chaos, but if you just trusted it, you’d be surprised. That was the thrust of that record, trusting the improvisation. Trusting what needed to come out of you and not be consciously standing in front of it, editing the whole time,
Monte Dube: yThat trust, I think was particularly deep because of your I don’t know, newly emerging identity, having lost your beloved partner, being a single parent doing a solo album that’s unchartered territory, and yet you were able to let yourself go there.
Alan Sparhawk: Again, I didn’t, I wasn’t intending it. I didn’t set out to make a record or set out to say okay here’s who I am now. And to be honest, looking back to the past that’s the moments when the most. Creative things happen when you’re just letting go of what you think she should be doing and what you, what you think will be a technically, tangible end product. When you let go of that, and just trust what comes outta you. I’ve had a lot of experience with that over time. Songwriting is the process of little tiny moments like letting things go a little bit and giving room for what needs to come out of you.
Monte Dube: Tell me if I’m misinterpreting this, but there seems to me to be a bit of a, in terms of your choices for the record, an intention of self-effacement to some extent. What do I mean by that? Your face is digitally pixelated on your heaven video and on your tour posters, at least some of them. Your voice, as you alluded to, was so heavily digitally modulated that, not only was it unrecognizable as your voice, but it was hardly recognizable as a human voice. It sounded somewhat robotic and cold. And I gotta tell you, listening to it again yesterday and seeing you live where you’re auto tuning. Some of your stuff, it almost sounded like Alvin and the Chipmunks when you hit some really high notes. So were you trying to, you weren’t performing as low, you were performing as Alan, evolving Alan.
Alan Sparhawk: Yeah. Like I said, the recording. It was unintentional. I wasn’t really looking to be like, here’s me, and the more I got away from that idea, the more creative, it became more spontaneous, the more true and honest and accurate it felt, I dunno. Yeah, the imagery. The photos where I’m blurred out. I think that came a little bit from the fact the voice is blurred and I think that, we thought that would be an interesting parallel. Also, the self-consciousness about your own voice and hiding your own voice, it’s very much hand in hand with also not me wanting to be seen. I always joke, you go to. It used to be that you could go to a radio station or a record store or something and play your stuff for people. It’d be cool, but everything’s, now everybody wants to capture it on video too. And just put it out live. And I just remember the first couple times I had, I’m like, man, I didn’t get into music to be seen. I just wanted to be heard. That’s the reason I went to music, because I didn’t have any confidence in being seen,
Monte Dube: I found this to be incredibly poignant as I was doing some background stuff in preparation for today, Alan. You probably don’t remember this or maybe you do, but about a decade ago, you and Mimi were interviewed in Philadelphia by this kid Elliot. This 10-year-old kid. It was actually quite beautiful and I wanna reference it a couple times. He asked your question, he said, “I’m in high school. I’m a choir singer. How do I do better? How do I improve?” And you said,” work on your breath. ’cause it’s a muscle, it’s like a marathon that you need to prepare for.”
And Mimi said, “find your voice.”
Alan Sparhawk: Yeah. Find your voice. Everybody has their own real voice. Sometimes that’s a big challenge is to let go of your preconceptions of what you should sound like. Sometimes people will wanna sound like something that they’ve heard a lot, and you’ll hear that from time to time. And your voice is very pliable. You can really bend it and shape your mouth. you have really a lot of range in the way you can make your voice sound. So it’s very easy and natural to tweak it a little bit, to make it sound the way you think it should sound, or the way someone else sounds even like fear. Like sometimes just the fear of hearing yourself will shape your own voice, you’ll hear it out of the speaker and there’s a tendency to wanna shape it to it so it sounds the way you think it sounds in your head, but it doesn’t.Your voice sounds different from what you hear when you’re speaking, so it’s a bit of a shock. And it can be hard to find what’s my true voice? When your brain is saying oh, that doesn’t, I don’t recognize that. What is that?
Monte Dube: Yeah, it’s hard for me when I look in the mirror and I realize I’m not 40 anymore. It’s a bit of a shock. About the sound apart from the voice, a lot of distortion, a lot of electronic and digital manipulation. I think from what I’ve read, some of your fans were surprised, because what you were just saying is you weren’t trying to subvert anybody’s expectations. You were just playing your last two albums before Double Negative and Hey What, both had heavy digital manipulation, so this wasn’t a really brand new sound for you.
Alan Sparhawk: No, I’ve been, I’m fairly open, yeah. Even from the beginning we were always pretty in touch with what are the possibilities of recording? What are the limits? What can we push? What can we push further out? The last few records were very studio, we would go in and just try to find sounds that we’d never heard before and make something that would surprise us. We were trying to make something new. We’d have the songs, we always had songs, we could write songs and we could sing together and messing around with how far out everything else could be. That was always part of the recording process for us. Finding sounds, it was a pretty simple process with those records. We’ve had songs, it was always great singing, so that was always solid. And it was just a matter of how far out can we go with this?
Monte Dube: Speaking of far out, if we can move for a second from the sound to the lyrics, ’cause on this album, they can be a tad cryptic or abstract. And before we get into a couple of examples, I’d love to hear about it. I noticed you on social media the other day reading a poem by Gerard Manley Hopkins. Yeah, the Jesuit priest from the Victorian era. Are you a poetry buff?
Alan Sparhawk: No, I’m not actually terribly literate in poetry. Some would argue. I don’t know, I love it and I definitely work in it and I see the movement and when I do read it, it’s pretty fun. And as a writer it’s pretty delightful to hear really great poetry because you see oh, I see what you’re doing there. Clever bastard. Yeah, I did a bunch. I did a few Emily Dickinson poems too. That stuff is so surprisingly deep and so strong. There’s so much humor and darkness in it, and so much sarcasm. Yeah, it’s so good.
Monte Dube: And to be an artist who can use words to as best as possible, describe. There aren’t words, when talking about God, the divine spirituality. It’s hard to use words. It’s really more about one’s experience, I think.
Alan Sparhawk: Yeah, I think anything you write on it is, reflecting the experience, of course, and then defining, I guess. I like stuff that struggles with. the question of what are we doing here? And the absurdity of it and the uncertainty of God. Those are good.
Monte Dube: I can ask you that big question in a bit, but let’s wait ’cause that’s the whole, that’s the $64,000 question for each of us. But in terms of lyrics, and by the way, if you don’t read the liner notes or go online, there’s, I don’t think, any way to, it’s a treasure hunt to figure out what you’re saying.
Alan Sparhawk: No, I like making up words, making up odd phrasing for phrases and, yeah, there’s a lot of, I like making up words.
Monte Dube: Speaking of which, and I’m sure these words have not been rhymed much before in modern songwriting. “Do you want a big thrill? Do you wanna get real? Do you wanna sit still? I’m a wanna make a deal deal. 80 acres of trill. Everybody on strip pill, body on drip kick, and it’s so much wicked thrill still trill strip pill.” In retrospect, can you believe you wrote that stuff?
Alan Sparhawk: I don’t know. It’s rhyming. I watch my kids have their friends over and they stand around the beat and pass the mic around and freestyle. Hip hop are, that shit’s magic. People can get really fluid with words and really good. There’s people who are super human improvisers and to do that with language and to be able to, whatever, everybody’s seen that, eight mile. You see what, like really talented people, they can pull it right out the back of their head and throw it down. And it’s sharp.
Monte Dube: One of the bands planned here, Big Ear is Clipping. David Diggs from Hamilton. Just amazing sounds, amazing words.
Alan Sparhawk: Yeah. I’m in awe of people who can really put that together. I’m very much more of a random, every once in a while something will make sense. I don’t begin to think that I’m like an mc or a rapper, but, those, yeah, that’s, those are definitely people I look to. Andre 3000, big boy, Kendrick, listen to a lot of Earl Sweatshirt. Danny Brown. I like Danny Brown a lot. There’s, yeah, I don’t know. I don’t pretend to think that what I’m doing is approaching what they’re doing, but I see that it’s really inspiring to me. That’s like top tier, that’s like standup comedian level artistry to me.
Monte Dube: You mentioned before the process of the writing of the song, the range of emotions in it are stark.
Alan Sparhawk: Yeah, man grief throws you all over the place. It’s unpredictable. Right down to just when you have fits of crying, it comes randomly and unexpectedly and times when you think you’d be feeling something, you’ll feel nothing.
Monte Dube: One of the two songs I wanted to talk about. One is Feel Something, and the other one is I Made This Beat. I Made This Beat sounds like pure, playful, wonderment, and surprise. I Made This Beat, you couldn’t frigging believe it.
Alan Sparhawk: Yeah, that’s exactly what happened. And I was tweaking the machines and I grabbed the mic and that’s the first thing that came outta my mouth. And I said it again and I said it again. And it just felt so good to say. And I found new ways to say it. That’s all I wanted to say at that moment and it felt, I don’t know, anybody who’s tweaked with machines and got it honed into something that really resonates with you, even though you don’t know why. That’s the feeling, you’re just like, wow, I can’t believe this. I can’t believe it.
Monte Dube: To recognize that fun, and wonderment, is not mutually exclusive with grief. Had to have been a bit of a relief actually.
Alan Sparhawk: Sure. Or it’s a scream for, I’m okay. Okay. I’m okay. I’m okay. I’m okay.
Monte Dube: You can be with me, as opposed to Feel Something, which is to my mind is a prayer. It’s a mantra. It’s a yearning for help me to not be numb and disassociated, as you said.
Alan Sparhawk: yeah. It’s reaching out to someone else and looking for, do you feel something? I wanna feel something, do you feel something? Can you feel something? Yeah. The trajectory of that it asks, do you feel something? I wanna feel something. I think I feel something here.
Monte Dube: Do you want to talk about who the “you” is in your mind when you wrote that? Who’s the you?
Alan Sparhawk: I don’t know. It’s whoever’s in the room, whoever I’m singing to it can be a stranger.
Monte Dube: Higher power.
Alan Sparhawk: No, that all took quite a turn for me. Yeah, I don’t know that there’s, yeah.
Monte Dube: Meaning and faith as part of a process of grief it’s how can’t that be? How can’t that be, that just feels so human? So human.
Alan Sparhawk: Yeah, I mean I grew up pretty spiritual, pretty tied to a particular religion and really from childhood formed my perception of the universe based around that and I had things that I had faith in and things that I could not see or know that I trusted in, and for better or worse, they shaped my life made me who I am and got me through some hard times. Maybe was the catalyst for some difficulties even. I guess I would say the process of really knowing someone and something, to have something be so real and then to disappear is pretty powerful and it really puts in perspective the things that you hope and that you believe, because something that was very real disappears. And, there’s a lot of hope, the human race, we have a lot of hope. And our radar is really out there, large and open looking for signals from beyond. And we can live off just the slightest scraps of indication that there might be something transcendent or beyond. Yeah, I don’t know if I’m just still in shock, but I have to admit that a lot of the things that I thought I felt. And the presence that, for a lifetime I thought was there, really disappeared and left a question of okay, what are we really, where are we really? And if it’s something that clearly cannot be known how important is it that I stress about knowing it? So I don’t know. I believe in love. I believe there are probably some higher, deeper, and ancient forces moving within us that we don’t understand and that we’re not aware of, that still have bearing on our experience and everything. But, yeah. I’ve definitely, for the first time, had to ponder deeply the idea that we are just here and we are just, accidental bacteria on a little speck of dust that is going trillion miles an hour as it’s expanding in this explosion that is the universe. It’s quite a miracle that we’re here and that we have language, that we have art that we create, that we have love, that we have family and friendship and a chance to learn and fail and get back up again. And we can feel pain and joy. I think it’s really, really quite beautiful and very well quite within the parameters of the possibilities of a, of the universe.
Monte Dube: If I might suggest, Alan, I would suggest that perhaps you really did hear that still small voice in the creation of your album. Something spoke for you.
Alan Sparhawk: I’ve made a life of listening to that voice, I have counted on that, and I still do. It’s just that voice comes from a lot wider and a bigger possibility and a bigger unknown to me. For sure.
Monte Dube: It is harder to be attuned. But in terms of disappearing, I have to talk about your song Heaven. I’m pretty sure it’s the shortest by far song on the album. It’s only a minute plus. It has, I think, the least distortion of your voice. The lyrics are the clearest.
Alan Sparhawk: Yeah, it’s pretty easy to tell them,
Monte Dube: “Heaven is the loneliest place when you’re alone. I wanna be there with the people that I love.”
Alan Sparhawk: Honestly, I’m still open to the concept, and certainly can feel the sentiment even if you don’t know whether it’s reality.
Monte Dube: By the way, just, back to this Elliot interview from 10 years ago, he asked you and Mimi what your favorite songs were to sing live. And, you said, “I like it when Mim sings holy Ghost,” you gave, as an example. Do you, when you’re up on stage, do you hear her voice? Do you feel her presence behind you on the drum?
Alan Sparhawk: The answer’s no. I don’t, she’s gone, it was a very thorough and vivid process I can appreciate, there are people who tell me that she’s come to them in dreams and that she reassures them. I’m open to that concept and I’m grateful that those people have that force in their life. She’s in me in other ways and she’s around me in other ways. She is all around in our house. She’s in my children and she’s in the music every time I write something, I feel that lack, I feel the missing of the voice, the reassurance. The process of playing the song for her for the first time was always very crucial to me . It was the moment when a song really was born and, not having that has been disorientating. My confidence is a little shakier. I do check in with people every once in a while that I trust. Am I on a way off base here just. Make sure, tap me on the shoulder if I’m getting too close to the cliff or something.
Monte Dube: But that’s exactly what friends are for, aren’t they?
Alan Sparhawk: Yeah. I have to remind ’em ’cause I always had someone, was very much that force and without even speaking, just her presence and her vibe and her participation demanded and you know that the aesthetic that we developed, and, she made me, she trained me, she formed me. She kept me outta danger multiple times and she was where I would go with every time everything that I would create, the minute I was ready to share it.
Monte Dube: Yeah. Which is why, I think throughout your tour, after you sing Heaven, you sing Screaming Song. That’s what follows it. I think often, when you flew out the window and into the sunset, I thought I’d never stop screaming. Of all your songs, and this is gonna be on the new album, right? Yeah. Trampled by Turtles. The courage both to put that on vinyl and then to perform it night after night. I saw you perform it last night. It’s hard not to get chills as a witness, but is that always cathartic for you? Is it something you dread to sing? Is it a little bit of everything? ‘Cause you are screaming for the last X seconds of that song.
Alan Sparhawk: Yeah, I mean it, I’m surprised I wrote that song honestly, because I don’t know. At the time I didn’t really feel like I had any channel or any way to gather my thoughts to create anything, in fact, I don’t even remember writing that song to be honest. It was just in some cloud of haze there within the first few months, I think, and I don’t even know what, but yeah, it’s a very direct song. it really does reference the moment that she passed and, so yeah, it’s the, to me it’s the center of the set. When I envision the set as basically a review of all of the phases and all of the things. And there’s moments of hope, there’s moments of frustration. There’s the moment of things breaking there with the screaming song. And my son and my daughter were there at that moment and they heard me scream. And, it was a sound that came outta me and I’d never heard before, and it lasted a long time. So it’s that moment every night and I honestly have to be careful. I’ve noticed I’m having to be very careful with myself. On tour, I have to be careful about how much stress I have during the day. Because it takes a lot. And then like to debrief after a show. Talk about disassociating later. I’m a big disassociator and it’s hand in hand with my autism and trauma, and so after, a lot of times after we play, I’m in a daze. And I’ll interact with people and it’s nice and I’m able to kinda keep my composure, but usually once we start packing and loading up, it starts unraveling. Dissociating, it’s a mechanism that the brain does to protect you. If you’re in something that’s instead of running away, your brain will just shut up and you’ll be like, “oh, I’m just thinking about this now.” Your brain would go I’m not even here right now. This isn’t even happening to me. It’s just your brain will just escape and stuff will just be happening to you, but you’re watching outside of your body watching it and indifferent. And of course once that disassociation falls away, you still went through the trauma, you still went through the associative trauma. So then you start feeling that and you end up feeling it then after the smoke. The end of the day is fragile.
Monte Dube: Yeah. the trauma gets stuck and isn’t discharged.
Alan Sparhawk: It’s because sometimes that’s the right thing to do. Sometimes the emotion is too much. And if you’re in the middle of something that is not gonna be able to take the overflowing of emotion or if your emotions are gonna make the situation you’re in even more emotional and more stressful, then it’s, it’s very useful. Yes, it’s a very useful habit. and as long as you recognize it okay, I’m not feeling this right now, but I’m gonna feel it later. Just watch yourself because you’ll get done with something and three hours later, suddenly now you’re going through the trauma, but you’re doing something else. And is it what I’m doing right now? No, it’s the trauma you have, it’s the association from the before. A lot of people do this. It’s not uncommon.
Monte Dube: You’re not alone. Look, Alan, I can talk to you for another three hours, but we won’t. I wanna maybe end on a hopeful note despite the grieving process you are still in. And by the way, I’m really sorry for your loss. I don’t think two and a half years later is inappropriate to say that.
Alan Sparhawk: I appreciate that. I am really grateful for the reverence that people show for her and for her music. Music we made together.
Monte Dube: And for what’s been taken away from you,
Alan Sparhawk: People are taken away every day, man. Every day you can see something that’s happened to someone, children being killed violently, war going on and oppression, the othering of people and the dehumanization of people. It’s really unfathomable and I really. You don’t want people to suffer, but boy, you just, you really wish that some people would experience loss or experience something close to showing the reality of oh, we are these fragile children here, and so many things are unimportant and so unnecessary.
Monte Dube: The way the children are gonna be gathered around in your Jesus Christ motherfucker song, right?
Alan Sparhawk: Yeah man. He’s gonna gather all the children around, ’cause they’re innocent. The rest of us. If that scenario is what’s going on, and of course, as a skeptic, one would wonder why am I singing a song about what Jesus is gonna do when he comes back? And it’s it’s worth pondering. It is a powerful question.
Monte Dube: But you ended your set last night. With a very hopeful song. No More Darkness.
Alan Sparhawk: Yeah. Choose light. We all, a lot of us, we love art, we love music, we love, we have empathy for suffering and even when we were young, in some ways it was romantic. The idea of being outside of society, grappling with the harder, darker things of life, making art based on pain, and punk rock. Death metal. Goth. There’s a fascination and a comfort to a certain strain of humans in embracing that and even collective embracing. But there’s damage from that. If you swim around, you swim around close to the sharks, dancing close to the edge of the cliff. It’s dangerous, we’ve all lost friends to depression. We’ve lost friends to addiction and we’ve lost parts of ourselves and our own innocence to sometimes being too close to the darkness, in the darkness, reaching up and biting your ass, and, so I don’t know, that song feels to me just. I don’t know. It came out of me as a pleading to a friend. Just turn away from this, we have the power to choose light, choose to step away from the darkness. And I, it feels helpless, but there are things we can choose. We can choose to do something good. We can choose to turn someone we love and lift them. You can be in a lot of pain, still find something to do for someone else. 99% of the time that turns it around and you find hope and you can shed the darkness.
Monte Dube: Well, Alan, for 30 plus years in Low, and with Mimi and now on your next chapter, I just wanna let you know, I, for one, feel like you’re continuing to bring a whole lot of light into the world with your music and what’s behind it. And I wish you peace and wholeness and lots of light.
