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October 11, 2016 - Special Guest: Ménage À Garage

^^Episode Is Live Now - Click Above (might take time to buffer/load, refresh page if issue)^^

National Podcast:  iTunesGoogle PlayStitcherPocket CastsPodBeanPlayerFM, or THIS URL in your app of choice



  1. DC Artists can submit their projects released 10-01-15 to 9-30-16 for consideration for the Wammies (Washington Area Music Awards).  I'm leaving this link here in case it comes back online, the WAMA email said it should still work, but as of 10-11-16 I tried this link and it's no longer working
  2. Aaron Tinjum and the Tangents Day is today, Oct 11th.  A DC band now, the band used to be in Austin.  They had their holiday proclaimed by the Mayor in 2012
    See the Video Here:


  1. Tongues - Aaron Tinjum and the Tangents (Folk/Rock)
  2. Die in a Fire - Ménage À Garage (Punk/Pop Punk)
  3. Sweet Dreams - Sara Curtin (Indie/Pop Rock)
  4. Falling in a Dream - The Split Seconds (Punk/Pop Punk)
  5. Alone in the Seas - Calm and Crisis (Indie/Punk Rock)
  6. State Tengo Champions - The Hartford Pussies (Punk/90s Rock)
  7. Better Luck Next Time - Curse Words (Punk/Punk Rock)
  8. Intro/Outro music by Fellowcraft (Hard Rock/Blues)

->Follow The Show's Spotify Playlist<-




Ménage À Garage DC Music Rocks

Ménage À Garage (MÀG) is an energetic poppy punk trio from Washington, DC. Since forming in 2015, MÀG has been immersed in the growing music scene in DC, performing at many local venues including DC 9 and the Rock & Roll Hotel. MÀG performs all-original music from the trifecta of rock storytelling (teen angst, corrupt politics, and outer space), and have become known for their energetic and heartfelt performance style, affecting melodies, and meticulous attention to song-craft and lyrics. MÀG is Jenny Thomas on bass, Alyson Cina on drums, and John Nolt on lead vocals and guitar.



Ménage À Garage DC Music Rocks


Brian:  Ménage á Garage and their track, "Die in a Fire." So guys, tell us about that track.

Jenny:  John. What it was with that track, it has a long story, but we'll make it short.

John:  We have another song called "Ugly Duckling," which is kind of about someone who's been bullied. 

John:  During one of our practice sessions, the gang was like ... Well, we had some new chords and we were kind of running through these new chords, and I asked, "what should this song be about," and it kind of turned out that everybody said, "Well, what if we did a response to another song?" It turned out to be "Ugly Duckling," and so this song's lyrics are kind of a response as if we are responding to someone who wrote us a letter about the song "Ugly Duckling."

John:  "Ugly Duckling" being about bullying, this song, these lyrics, to me ... There's always been a little bit of tension in my mind about peoples' tendency to tell folks when they're troubled that it gets better.

Jenny:  It gets better.

John:  Because there are certain people who their outlook on life, they don't believe you, right? You can say, "No, it'll get better, don't worry, kid, it's going to be fine," and that kid's going to say, "You know what, don't tell me that." Adults always say things like that, and there's a certain mindset that responds better if you say, "Well, I don't know if it's going to get better; this is just the way life is. Life doesn't owe you anything. What are you going to do?"

Brian:  I see.

John:  "Are you going to give up? Are you going to turn tail and run? What if it never stops raining? What if it never rains again?" All of this stuff is an unknown, so that's kind of what the song is about. It sounds on its surface like it's very pessimistic and down, but it's really kind of a call to action about, what are you going to do if things don't go your way?

Brian:  I dig that message, and let's get to know you guys. So what I want you to do is, if you would introduce yourselves. I want to find out about who's John and who's Jenny, and then also tell us about Ménage á Garage and where the ... The brief history. You don't have to give me the long ones here, but the brief story about the band.

Jenny:  Oh sure, sure. Well, we met at Flash Band, which is an amazing little organization in D.C. It's a great resource for musicians, and it the theme was trios, so hence Ménage. It has actually no other overtones. It's just about three people.

Brian:  Got it, okay.

Jenny:  But music, we're a trio, a power trio, and both John and I have our long musical histories. I've been in a couple bands, and he's been doing all sorts of really educated musical things.

Brian:  So does this go all the way back? Are we talking like, elementary school, and ...

Jenny:  I think probably so, yeah, for both of us.

Brian:  Back there. 

Jenny:  Lifelong learning.

John:  Oh yeah, yeah. Absolutely.

Brian:  Got it, and at what point did you guys decide that, even as adults, we're going to keep doing this music thing, or has that always been the case? Did you stop and then come back to it?

John:  I never considered ... It never occurred to me that I could stop.

Brian:  Yeah, yeah. I don't believe in, like, "once a musician, always a musician." Sometimes you may have like a dry period, where you're just, whatever, not plugged into whatever you're ...

John:  I could see people stopping and doing other things, and I used to do that, and I've met plenty of people that have done that. It just never occurred to me to do that.

Jenny:  No. Doesn't occur to us.

John:  Nothing wrong with it.

Jenny:  That's why we're middle-aged people who play rock music and just embarrass ourselves publicly, and that's just what we do.

Brian:  It's a calculated embarrassment.

Jenny:  It's a skill. No no no.

Brian:  It's a skill. That's even better.

John:  It's owning our skill.

Jenny:  It's a true talent.

John:  Owning my embarrassment.

Jenny:  You know, yeah. It takes extra-special skill.

Brian:  There it is. So, briefly, then tell ... How did you get into music, way back in the beginning?

Jenny:  Okay. Well, my older brother ... I was always surrounded by music. My older brother listened to a lot of really great albums, and he was kind of into the punk scene in southern California, and so I got to listen to things like Hüsker Dü and all those things like, way back in the day. I've always just been attracted to music, and went to my first concert, Roxy Music, when I was 14, and that was a pretty good start. So both just being a musician, and I always ... Music has been a survival mechanism. I mean, it's like I can't live without it. So there was just no question.

Brian:  Wow. Okay. Committed to it. What about you, John?

John:  Well, my mother started me on piano lessons in second grade, and then she started me on cello lessons in third grade, and then I started myself on drum lessons in fourth grade.

John:  To get back at her for making me play the piano and the cello. I played all three of those things the whole way through high school, and into college where I went to Millersville in Lancaster, Pennsylvania for music education. So that was until I was 21, 22, something like that, and after that, played a lot of weddings, played a lot of string quartets, church cantatas, that sort of things. But I love pop music and taught myself guitar when I was working at a movie theater, running movies, and when you run the movies, you usually have a lot of down time, like 45 minutes while everything's playing.

Brian:  That does make sense.

John:  So I would bring my guitar in and be up in the booth, just playing and writing songs and teaching myself how to do that, which is what I really always wanted to do while I was learning how to play Mozart on the cello.

Brian:  That's amazing. All right. So what do you love and appreciate, I like to ask folks, what do you love and appreciate about the D.C. music scene?

Jenny:  Sure. Well I mean, I don't even know if this is unique to D.C., but it's just been my experience of D.C. which is, there's so many good people in the scene. Maybe we've just been fortunate to plug into various musical communities. I just find people are very welcoming and supportive of each other as musicians, so one of the best things, which is why I love that we're here today; one of the best things is just getting to listen to all of this D.C. music and learning about it, because otherwise, I mean, we're not very ... Or a a show, and the live shows that happen around town, you know we wouldn't know about all this great music.

Brian:  That's true. John, what about you? What do you love about the scene?

John:  Well, there are, like Jenny said, there are a lot of talented, generous people in the scene, such as yourself and your band mates, and some of the folks, well I guess all of the folks that we're going to play today.

Jenny:  No, no just some. We're going to call them out.

John:  Well, there's one ...

Jenny:  Who will remain unnamed.

John:  But that's really what it is. The quality and the level of proficiency of the music in D.C. is very high. Historically, D.C. has a great tradition of a professional level of music, and the even the DIY and amateur scene keeps that level up, which is what I appreciate because I don't consider myself a hobbyist. I mean, I aspire to a professional level of quality, even though it's not how I make my living. I think that's what you have to do if you're a passionate musician, unless you're just going to be at home playing the guitar and playing Jimmy Buffett, which is perfectly fine, and there's nothing wrong with that, but it's not me.

Brian:  Right, and what you say is really true also. I've got to say, in doing this show, I've gotten to hear so many of these really talented people who, they do this on the side, and they're professional caliber. But they do it on the side as their hobby, and they make their living another way, and it's truly incredible to see.

John:  It's an avocation versus a vocation.

Brian:  Exactly. Exactly. Well, very eloquently put. I dig it. Tell me about your best show that you've done here in town. Well, not even in town, just in general. What's the best who you've done? 

Jenny:  Well, I mean, we're having a little debate about this, but ... So John ... There was one particular show at Wonderland Ballroom where we were, just because stuff happens, we were forced to really ...

John:  We had a hard stop.

Jenny:  We had a hard stop. We were the last band, and suddenly there was just no more time left at all, and we had to pretty much figure out how to play our nice, cozy 35-minute set in about 20 minutes.

Brian:  Oh my goodness.

Jenny:  We were just like, you know, jumping on stage, and we just said "Let's do it," and we just throw down ...

John:  [crosstalk 00:08:48] tucks. No pedals, no nothing.

Jenny:  The crowd that was there, they were great. They went crazy. They were bouncing off the walls dancing. They thought it was just amazing. I mean ...

John:  They knocked the monitors over.

Jenny:  Our music is well-suited to having to go really fast anyway, so it worked out okay.

Brian:  This is true. The punk genre, it definitely ... Good upbeat tempos, upbeat energy; I can imagine that was one heck of a show.

Jenny:  Right, right, and I would say we're definitely more in the pop-punk realm, just not to mislead anybody. But punk in spirit, all the way, so you nailed that.

Brian:  Got it. Now what about ... What's the future look like for you guys? Let me just ask it. What's the future look like for you guys?

Jenny:  Long. There are a lot of years.

Brian:  A lot of years, so you're not going anywhere, okay. So is there a goal you're working toward, or just want to keep making music?

Jenny:  Always, yes. That is the point. Oh, and now we've got our trailer guy, right behind us, so we're ... Yeah. He's trying out.

John:  We aspire to play at every venue in D.C.

Jenny:  That's right.

John:  It would be a great achievement. That would be a milestone for us.

Jenny:  Yeah.

John:  We've still got some to tick off that we're working on, but that's what I think the future would hold for us, and more recording. We're kind of thinking about different approaches to recording and how to put out music in 2016, like how does it work today? What's the best way? We've recorded and EP, and we've watched a lot of our friends, including Fellowcraft, release their EPs, and we're trying to learn from that and figure out, what is the modern ...

Jenny:  Exactly.

John:  What is the way for the 90s to do it, you know?

Jenny:  So we do have an EP coming out, and we want to continue to record because we already have a bunch of songs that we are chomping at the bit to like get to the studio, and even if we're just doing one at a time, just getting them out so folks can enjoy them. As for all those venues that we're going to play, venues out there, we're looking at you.

Brian:  Very excited.

Jenny:  Yeah, here we come.

John:  We write a lot, and it will be great to have our songs out there for people who come to the shows to be able to hear in advance and maybe look forward to them, rather than a more traditional approach of recording it and then working on it, and then six months later, you release it, and then you play those songs. We're just thinking about different approaches to that. So I think that's in our future; some experimentation.

Brian:  One of my favorite questions to ask is one piece of advice you would offer to musicians?

John:  Join Flashband.

Jenny:  And be yourself.

Brian:  Best, most succinct answers yet. Join Flashband, and be yourself. What about a special message for your fans?

Jenny:  All of our fans, so wait, how many is that? 

John:  Jenny's fans?

Brian:  All of those fans out there. 

Jenny:  We love you. I think I'm going to try to get this guy, who's drilling the door, to be our fan. We were super excited when actually ... Just so you know, the inner workings of a musician's brain, right, that we were really excited when we met our first fan who we did not know.

Brian:  Ah, yes

Jenny:  They were not someone's friend, or ...

Brian:  It's the transition.

Jenny:  I mean it, ended up it was somebody's friend, but she legitimately said, like, "No no no, I came because of you guys, not just because I know your friend over here. That's just a coincidence." So...

John:  I don't think she's been to a show since that one.

Jenny:  That's true. Oh well, we're working on it.

Brian:  There's been so many others since then.

Jenny:  So we're asking, won't you be our fan? Please?

John:  She just did that to get us to buy her a beer, I think. I'm in a band.

Brian:  There you go.

John:  It worked.

Brian:  Clever. Clever. I dig it guys. For those folks who want to find out more about Ménage á Garage, where do they go? What are the best places to find you?

John:  All the places. 

Jenny:  All the places. You know, Facebook. I know. We know that it's a struggle for people who don't know French that we have all these accents, okay, but it's ...

John:  You don't have to type the accents. You'll get to us.

Jenny:  You don't. It's spelled ... it's not Nicki Minaj spelling; it's men-age a garage. That's like the easiest phonetic spelling I can kind of give over the radio.

John:  If you type that in to any convenient search box, you will probably find us

Jenny:  Just Google.

October 4, 2016 - Special Guest: Ardamus

^^Episode Is Live Now - Click Above (might take time to buffer/load, refresh page if issue)^^

National Podcast:  iTunesGoogle PlayStitcherPocket CastsPodBeanPlayerFM, or THIS URL in your app of choice



  1. DC Artists can submit their projects for consideration for the Wammies (Washington Area Music Awards).


  1. Outstanding - II D'Extreme (Hip Hop)
  2. How Sexy Can You Get (feat. Jas Funk) Rare Essence (R&B/GoGo)
  3. Devil Needs a Bodyguard - Nappy Riddem (Funk/Reggae)
  4. Live Your Life (feat. Kokayi) - Ardamus (Hip Hop/Trip Hop)
  5. I'm Not The One - Ardamus & C Royal (Hip Hop/Trip Hop)
  6. Quite Fresh (feat. Chaquis Maliq, RNL, and Fleetwood DeVille - Ardamus & C Royal(Hip Hop/Trip Hop)
  7. Fire Saved The Day - Drive TFC (Rock/Alt-Rock)
  8. Intro/Outro music by Fellowcraft (Hard Rock/Blues)

->Follow The Show's Spotify Playlist<-





Hailing from Nashville, TN. to reside in Washington, DC to obtain an undergrad degree at Howard University, Ardamus was honing his skills as a rapper as well. Over the yrars of developing a style of his own from being a part of various open mic movements and battles, Ardamus soon earned a rep for being one the most premiere hip hop artists in the DM area. Known for being part of such groups as FAR EXP, Ingelside Collective, ARDAPLUS, The Lucky So And So’s, DropLockers, and the music-collective/label, Delegation Music, Ardamus has become a DC hip hop visionary and legend. Fresh off of delivering his Philin D. Blanks remix series, Ardamus now delivers his newest solo effort in an album series entitled “I Can’t Replace Me” divided into an EP (Before I Replace You) and a 2-part album (Part 1: Improve and Part 2: Develop) via Delegation Music. The project consists of production from Ardamus himself as well production from Kev Brown, Hezekiah, Oddisee, Vherbal of Anno Domini, Tom Delay, Slimkat78, Chase Moore, and many others. The album features appearances by labelmates RNL and Prowess as well as Open Mike Eagle, Kokayi, Seez Mics, Chee Malabar, Poem-cees, and a hosts of other guests.


Brian mentioned remembering a show where Ardamus comes up and freestyles at a Fellowcraft show.  Toward the end of the video, you can watch it here.

Interview Transcript

Note: Transcription is not 100% accurate with artist names referred to.  Please reference video for actual pronunciation, and reference artists connected with Ardamus to find those who are referred to.

Brian:  Let's meet you. Introduce yourself personally. Who's Ardamus the person and then tell us about Ardamus the artist.

Ardamus:  Ardamus the person is very complicated. Yeah, me as a person, I'm very laid back, chill. I try to help out as many people as I can and [crosstalk 00:00:23].

Brian:  When did you get up to DC? You said you came up to DC from Tennessee, right?

Ardamus:  Yeah, yeah, yeah, yeah. I'm from the South, from Nashville, Tennessee. I was born and raised there and I decided to move here for college. Just had a lot of energy to get out. Down South at the time I felt like I couldn't, so I came to DC just for a challenge, man. I loved it here and decided to stay.

Brian:  Where did Ardamus the artist, the musician, the rapper, where did he come from? When did that happen?

Ardamus: That happened actually when I was back in Nashville. When I was around eight, I actually wrote this ... I was in church and I wrote this battle rap for some reason. I can't remember what it was for. It was for a talent show thing and I wrote this rap for me and these other two kids. We were just battling. By then, I was introduced to a lot of the rap's greatest hits that were out, like Roxanne Shanté, UTFO, and Run DMC. From then, I think I want to say around when I was thirteen, I got serious about it because I would listen to Cypress Hill's first album. I got really into that. I got into Masta Ace's second album SlaughtaHouse, Ice Cube's Death Certificate. A lot of those albums kind of just started influencing me.

Brian:  It started as a rap battle in church and then it turned into, "I'm going to keep doing this" and then it never stopped?

Ardamus:  Yeah, pretty much. It kept me out of trouble, to be honest with you. Out of everything. That's funny. Out of everything that could keep you out of trouble, doing hip-hop. 

Brian:  Hip-hop and rap keeps you out of trouble. I dig it.

Ardamus:  Yeah. It got me into some other trouble, but it wasn't like that. It was good trouble, it was good trouble.

Brian:  In the songs, they always talk about how it seems to get you into trouble, so it's great to hear that it also kept you out of trouble. I like that, man.

Ardamus:  It's crazy.

Brian:  One of the fun questions I like to ask is what do you love and/or appreciate about the DC music scene?

Ardamus:  Oh, the DC music scene is actually always bubbling with a lot of talent. There's always people creating, always trying to make their maneuvers. Whether it's in a solo effort or a group effort, a lot of people just are driven here to do that. I think it gets slept on wholeheartedly because there are not a ton of commercial outlets. I think that feeds the hunger for a lot of people to want to do more.

Ardamus:  I think that's one of the main things I like about it. It made me focus on doing that myself along with other people within my circle or even outside of that.

Brian:  Was there somebody, was it one person or a few people in particular that kind of pushed you to keep going and record and more albums and this latest series?

Ardamus:  There were a lot of people. I actually got to shout out quite a few people. The homies [Poe MCs 00:03:19], actually. If you know about [Poe MCs 00:03:22], they were on Def Poetry Jam, two of the dopest brothers I had seen on the mic. They actually inspired me because they were just so different from a lot of people I had heard. I actually ended up doing some production for them later on on their last project that came out, but they inspired me. Asheru, who is part of Unspoken Heard. Shout out to Asheru and Blue Black. They was doing their thing. Amphibians, Infinite Loop.

Brian:  There's a lot of great ... It came from a group. It wasn't one person, it was a lot of people that have pulled you and pushed you along and helped you?

Ardamus: Yeah, I mean, Miscellaneous Flux. I could keep going.

Ardamus:  All of them influence me.

Brian:  Yeah. Tell me the story about the best show you've played. What was it? Where was it? 

Ardamus:  There are a lot of shows that have stuck out to me. I could say in particular one of the best shows, I actually got two. They're tied. They're both and Rock and Roll Hotel.

Ardamus:  One show was when I opened up with the homie DJ Metaphysical, shout outs to him actually, for this group called Das Racist. 

Ardamus:  For those who don't know who Das Racist is, it's D-A-S R-A-C-I-S-T. They are actually a three person group. They broke up now but they were very big a couple years ago and they have solo careers now. From what I remember they sold out the venue and that was the first time I got to play a sold out show.

Ardamus:  It was a crazy show.

Ardamus:  They sparked a lot of controversy too with a lot of the topics they covered with racism and everything.

Ardamus:  That was a dope show. Then actually Souls of Mischief, they were on their tour for the 93 'til Infinity celebration of just having that classic album out for years. Shout outs to my [farks-p 05:31] homies. We opened up for that show and it was an amazing show. Those are two of the most ...

Brian:  When you say amazing shows, is it because the fans are really into it or is it because you nailed the performance or all of the above? What makes it an amazing show?

Ardamus:  Just everything. The experience, the atmosphere, the people. I'm seeing people that I haven't seen in years up there.

Ardamus:  People who don't even come out to the shows that I do on the rag. They're coming out now, "Hey, didn't know you were doing a show." It's like, "I told you I was doing a show."

Brian:  "I told you I was going to be here." Wow, okay.

Ardamus:  I got to say, making new fans too. That's another thing that trips me out because for a while doing music I never thought about it. I was just like, "Yeah, I'm just going to do this. I'm going to put it out there, I'll just see what happens."

Ardamus:  I out here like I don't know what it is, it wasn't like I was tripping on just gaining new fans. I just thought, "Well, I'm going to put this as an ethereal, what I'm feeling, and put this on a beat and see what happens." People come to me like, "Hey man, what you did, that one song, da da da, it was good." I cherish that each time whether it's a group effort or a solo effort.

Brian:  Shout out to the fans who do that, too. Us as artists, I can't say we've talked about it before on the show but it's truly appreciated whether it's a comment on a video or you reach out on Facebook or you see us after the show, come up and shake Ardamus' hand and say, "Dude, I really loved that one thing you did." Hearing that stuff is such a cool thing. Thank you to you fans who do that. Thank you guys so much for doing that.

Ardamus:  Yes.

Brian:  Ardamus, what's the future look like for you? Where you headed?

Ardamus:  Okay, shout outs to my man Arnelle and Edward As Is, we just dropped out project droplockers. Beat Breaking Volume 1. For more information check it out at our website Droplockers

Ardamus:  We're actually doing a show with Henri Osborne and Rob Sonic, Upgrade and Kid Raphael, Vigilantics, I hope I got his name right, and DJ Zone. They're on a tour right now, we're going to be doing a show with them on October 14th at Velvet Lounge.

Ardamus:  Some of y'all in the indy hip-hop game, if you'll all know about Henri Osborne, you already know he's on his tour for his Duo album along with Rob Sonic. He's down with the Rhymesayers Crew. He's down with the Rhymesayers Crew, he's in Hail Mary Mallon with Aesop Rock. Check that out. October 15th I am dropping the last series of my Can't Replace Me album series, After I Replace You. I dropped a teaser single "Almost There" produced by the Homie Hezekiah who's worked with The Roots and Mohamed Dia. That's going to come out October 15th.  In December, actually, this is how much stuff I'm doing I guess I can say. I'm putting out a Freecember project with this label called Fake Four. Fake Four is out of Connecticut if you know about [chess-kee 09:06], Ronald, shout outs to him. He runs the label. I've been good friends with him for a while and he's creating a buzz. I'm actually going to be working on that for the next two months.

Brian:  Wow, so there's a lot of exciting things coming forward for Ardamus. No brakes, all gas. We're hitting the gas on this thing, keep it going.

Ardamus:  There's more stuff, I don't want to take up to much time.

Brian:  Wow, I appreciate it. I want to get to the tracks you brought.

Ardamus:  Yes, yes, exactly.

Brian:  Also, I got two last things that I want to ask.

Ardamus:  Go.

Brian:  One is, if you have a piece of advice that you would offer musicians what would that be?

Ardamus:  Not everybody is an A & R. Always consider this. Trust people ...

Brian:  When you say A & R, what's A & R?

Ardamus:  Artists and what is it? Artists and representation? I can't remember what it is. I just remember that it's A & R, people try to mold artists all the time.

Brian:  Oh, I see.

Ardamus:  You know what I'm saying? Yeah, right.

Ardamus:  I always forget, it's been so long since I've heard that term. I just think about this to my old days. Basically trust yourself as an artist but always know that what you say can have its rewards or it can have its consequences, but the thing is you take the risk, you take the risk. You got to stand up for what you say.

Brian:  Oh, yes. Don't let other people dictate what you're doing? Be you and at by the same token follow through on what you do and stand up for what you did.

Ardamus:  Yeah, take advice as constructive.

Ardamus:  That's kind of what I mean.

Brian:  Okay.

Ardamus:  I think that's the most important thing for any artist. Anything that's good that can build you up you take that, if it builds it down don't even bother with it.

Brian:  Yeah, okay. Last one. Special message you have for the fans, talk to them. 

Ardamus:  Shoot. Just be ready for more to come. That's all I could say. I wish I could say more but there's a lot of collaborations that are coming up aside just from the stuff that I'm doing. Just be ready for that. That's all I can say. Yeah.

Brian:  Just lots of love. He's got lots of love. Man, I'm looking forward to these things. Next up, what this next track you've got for us, it looks like "I'm Not the One."

Ardamus:  Yeah.

Brian:  Run this one through real quick.

Ardamus:  Actually this is a song off a project called The Glass is Half Full album that I did with my homeboy Scottie Royal, used to be known as C Royal, shout outs to him. The single is called "I'm Not the One" featuring Andrew Bucket. Let's just get into it. 

Brian:  Video, you guys rock. Ardamus. Yeah. Thanks guys.