Hi friends! This week we have a god damn classic tune, and one of my favorites, "New Year's Day" by U2.

I've been hearing U2 for as long as I can remember. It started as little bits around the house, since my dad loves them, and then I can distinctly remember being a little kid and loving the singles off of Achtung Baby. Probably around 7 or 8, I took War from my dad, and became obsessed with the first half of it (I wasn't used to deep dives on albums yet). I know they tend to get crap as a band; some people find them pretentious and self-important. Some don't like the aesthetic choices they've made. Some people are still mad about that stunt where an album magically appeared on their phones (side note: that album is actually real good). All I know is, U2 is hugely important to me, as a kid and as a musician. I saw them twice back in 2001, as I was starting to play music, and those were some of the shows that cemented my desire to do this. Starting Mercy Union, I needed to learn how to be a lead guitarist, and the Edge is one of the people I took a bunch of cues from (I think all but one of my major guitar influences, at this point, will be found in this series).

A few years ago, The Chapter had discussed doing this song for a compilation, but we never actually got around to it. Being that the guys, and I, haven't done much in the last couple years, I saw this as an opportunity to not only get together, but also to fulfill a goal. Thankfully, everyone was really into the idea, and we got underway. Unfortunately, Matt was crazy busy and wasn't able to do the bass for this one, so we flashed back to that one show where I played bass (Warhouse FOREVER) and the track got put together. We kind of approached it in a pretty relaxed fashion; just take the cues from the original and have fun. If we came up with something, let's try it, and if nothing else, we got to hang out. My bandmates are some of the best musicians I know, and getting back in a room (even in smaller groups, with masks) to make music was a blast. I think we're gonna have to do more...

When it came to singing this song, I knew I COULD do it, but I didn't necessarily want to. I've known Jonah for over a decade at this point, and have always looked up to him as a singer/songwriter, since I first heard a couple onelinedrawing tunes back in high school (and then afterwards, found Far, and New End Original, and then Gratitude). We've played a few shows in that 11 years or so, and I had him at the Court at least once, but overall I've mostly enjoyed our chats about the world, justice and empathy. When I asked him if he'd like to be involved, and if he'd like to do this song, I got back an enthusiastic yes, which made me so excited. Getting to collaborate with people for the first time is always a bonus level of fun.

Jonah sent me his vocals this week, and I was so taken with how he approached the song. The original has Bono's signature belting and passionate wail, but Jonah took it in this really contemplative and melancholic direction, which reminded both of us of great goth bands. Once I heard it, I immediately knew I had to add more atmosphere, so I layered in some synth pads to give it a sense of space, and then some really verbed out background vocals to add some dreaminess. What came out in the final product was something that is the original song, and isn't. It has all of the pieces of the original, but through a totally different lens. I couldn't be happier with the way things came together, and this is one of the first times I've ever gotten to switch gears this far into the process, and it wasn't damage control. This is why I prefer working with other people.

Like all songs this month, proceeds will be going to the National Independent Venue Association. In about a week, they'll be hosting a benefit "concert" with acts like Foo Fighters, Miley Cyrus, Phoebe Bridgers and more, just to raise awareness and funds to support independent venues. Miley goddamn Cyrus never had to slug it out in a van, relying on the kindness and generosity of a lot of these clubs and halls to just make it to the next town, and she sees the importance of protecting them, so I think it should be pretty evident to everyone, but even still: this is such a crucial thing for our culture and our society. If these places disappear, then so do the careers of thousands, if not millions of people, who don't even appear onstage. Your favorite band may not be able to play anywhere near you when this is done, if all we're left with are giant rooms owned by major corporations, and restaurants that have managed to survive. Please consider donating to NIVA, or just see how you may be able to help your favorite spots directly.

Thank you all so much for the support, and remember, VOTE!!

Cheers!