Cannelle's Baby Blue World

December 17, 2025

Cannelle Ferragu’s world started in the French countryside and surfaced through the early internet before ever entering the club or touching a stage. What began as a Tumblr-era escape hatch has grown, pixel by pixel, baby-blue hair by baby-blue hair, into a full-fledged visual and sonic universe. Part sincere party girl, part club resurrectionist, part everything-artist, Cannelle “wants to touch everything.”

Fresh off a show with Live From Earth in Paris, office caught up with Canelle about stage-fright, the perfect outfit, and transforming her early-internet tendencies into something actualized yet untameable, but so viscerally her own.

Photography by Lulu Syracuse
Styling + Creative Production by Cassie Jekanoski
Makeup by Marla Vazquez at The Wall Group
Hair by Joc Vega
Interview by Alice Mercy
Drone OP and Lighting by Augie Syracuse
Special thanks to Derek Perlman

CANNELLE wears JACKET by SPENCER BADU ℅ EMCEE STUDIOS, DRESS is VINTAGE from STYLIST’S ARCHIVE, BIKINI by LOS ANGELES APPAREL, JEWELRY by MARTINE ALI, and SHOES are CUSTOM from STYLIST’S ARCHIVE.

CANNELLE wears BODYSUIT by NO SCENE GIRL, SKIRT by 1XBLUE, JEWELRY by OGBFF, and HEELS by ROMBAUT.

How are you doing, what have you been up to?

CANNELLE– I'm good! I'm staying at my sister’s in Paris right now. I had a show this weekend with Live From Earth. It was really fun. So yeah, I’ve just been back home, doing my shows, seeing artists.

How do you divide your time between France and the US?

I'm both in France and America, but I've been working more in America because I wanted to expand my art and see new things since I grew up in the countryside. As a countryside person, I've always wanted to see the city life, see more stuff. I’m mostly in the US now.

What’s your relationship to the internet like, especially as an artist?

Social media helped me have people who could really see me. I've always been at home. I wasn't really going outside - especially as a teenager… I had a lot of social anxiety. That's the age when people start judging you. I've always been on social media - like the early days, early Instagram days, early Tumblr days. It was a tool for me to expand my photography, my fashion, creative direction - I have a strong relationship to [it]. I was more of a social media girly, now it’s the music. I'm really grateful to have a community that can enjoy the music as well, now that I'm expanding. It's good that both can collide.

Yeah I totally agree. It used to be that mostly people who grew up in cities, or random people who were super lucky, got to pursue these creative things.

Exactly.

But you’re coming from more of a rural area…

Yeah literally, I’m from a village. There are no Black girls here, there are no alternative people whatsoever. I downloaded Instagram when I was 11 years old, that’s when I was like ‘there are people like me.’ There are people who do crazy stuff; there are people who do all the shit I’m thinking about. That’s how everything started. Content creators weren’t really a thing back then, it was just cool people.

CANNELLE wears VINTAGE DRESS from STYLIST’S ARCHIVE, BIKINI by LOS ANGELES APPAREL, JEWELRY by MARTINE ALI, and SHOES are CUSTOM from STYLIST’S ARCHIVE.

When did you start making music?

I started music for fun two years ago. I didn’t plan to have a music career. My sister and my dad are both musicians, so I always grew up around that and I played the synth when I was a kid - but I started making music for fun. I was a big fan of my friend’s production on a song he made, so I reached out to him. I was like “hey, can I hop on this?” because I really wanted to make a music video. I wanted to challenge myself - like ‘if I’m doing this music video, then I can do a song.’ If you can be the creative director, if you can be the stylist, you can also try to be the singer… so I said ‘fuck it.’ I made the song. It had really silly lyrics, just a catchy song. Now I’m listening to it and I’m like ‘this is so stupid.’ But it was fun, people enjoyed it. It was raw. I didn't take myself super seriously, even though I take my vision seriously, the lyrics themselves weren’t serious. The passion started from that first song and now it’s an everyday thing. I’m producing, song writing, I also started song writing for other artists… which is insane. I grew so much from it in only two years. I’m just super excited for the next year because I’m gonna drop a project.

It’s such a relatable thing to just want to make a music video but to have to have like something to base it off of.

Yeah, I couldn’t just do the music video… and I didn’t want to give my vision to someone else. I just had to do it myself.

Do you think visually a lot?

Yes, I do. It’s definitely helping me through the lyrics, I have visual ideas, concepts, locations. I’m always wondering how I can make a sound that fits these vibes. I think they need each other. Sometimes I can make a song and I don’t have an idea for a video, but sometimes I have a video idea and I’ll need a song for it.

Is the creative direction you’re going in extremely clear to you?

I feel like I already know the direction I want to go in, the only thing that I wanna keep on building is the stories. I don't necessarily have the biggest budget to do all the crazy stuff yet, hopefully soon, if I work enough. I definitely wanna do crazier ideas than what I've done. The world itself is just so amazing, being able to put these ideas, all these references into, you know, me… it’s super… it’s a passion.

I actually got to see you perform at the No Agency party which was really fun.

Oh yes, that was my first show ever!

Yeah, it was awesome… the whole bar was blue, and your hair was so blue.

Yeah, it was so cute. I was nervous because it was my first time performing ever. I did it, then I threw up so much after that. I was so scared. It was actually horrible.

I don’t think anyone could tell you were nervous. You were great. How do you feel about performing now? Do you view performing and music as one in the same or are they completely separate things to you?

When it comes to performing I feel like I’m always slightly nervous. It’s a good question because I just did a show, and that experience was crazy because I was so not nervous. I don’t know if it was because my friends and my family were there… it was also an early show, when it’s an earlier show I’m less anxious. But when it’s a late show and I have to wait the whole night, I’m thinking about it like “oh my god it’s 8:00pm, it’s 9:00pm, it’s 10:00pm oh my god,” but since it was 7:00pm I was like I’m gonna eat, I’m gonna do the show right away. I wasn’t nervous at all. In the moment, I’m always interacting with the crowd. I want to bring the best energy I can because I’m not the best singer in the world. I didn’t grow up a singer. I didn’t even have autotune. I was just yelling into the mic, but I love the raw energy. People were dancing, and that’s my goal, I wanna make people dance - make people have fun. I don’t want them to be like “oh, let me hear her voice and see if she can actually sing.” That’s not my point. Even I could agree, if you think I’m not good at singing, I’d be like “sure, I don’t care. That’s not what I’m here for.” Performing is really important when it comes to world building in real life. That’s how people see you and your musical and visual world. So I always ask to have a set design, lighting design. I want the world in front of people's eyes. So yeah, I think the performance is important for the music in my opinion.

CANNELLE wears BODYSUIT by NO SCENE GIRL, SKIRT by 1XBLUE, JEWELRY by OGBFF, and HEELS by ROMBAUT.

If people aren’t seeing you live and they’re listening to your music, where would you want them to be?

That’s a really good question. If they listen to my music I think I would want them to be in the dark with a lot of lights all around… I’m literally describing my live performance. I feel like that’s the best place they could listen. Live… in the dark at a club… with a dream-state energy. You know when you’re falling asleep… and you see the stuff in your eyes.

When you’re thinking of your personal style, what are the things that make you feel correct?

First of all, I really like my baby blue hair. I feel like it's really my outfit. Not even clothes. Just my hair is my outfit. I like a cute pair of heels and I love wearing mini shorts. Just looking feminine. Before I used to be into over accessorising, which I love, but now I'm kind of maximalist in a minimalist way. I’ll have the maximalist hair, maximalist shoes - but that’s it. I love having this feminine, confident… just a bold, strong visual style, but I’m not accessorising too much anymore. Which is really funny because I do love accessories. Now I’m gonna wear a really good necklace, and I’m good. A really big, chunky necklace and that’s it.

I feel like it shows that the world you’re making creates a larger context, like you have your signature now.

Yeah yeah, because I used to put everything into my outfit and pictures and now I feel like I can breathe.

In the beginning I feel like you have to ride so hard for yourself and when it starts working you can just…

Exactly. I was trying to show a lot of things because I felt like I couldn’t speak for myself, but now I’m speaking and showing another dimension of it. I feel like my body can rest. If that makes sense.

Yeah totally, resting stylistically. If you could define the world you’re building in three words, what would they be?

I have a list of words in my notes. Glitter, cinnamon, cuz it’s my name, and that last one, I think chic. Glitter, cinnamon, chic.

What have you learned in 2025?

Moving to the US, leaving home and stuff… I don’t know if it’s too cliche, but you really have to be your own best friend. Just be your own everything. Even if it’s hard, you really need to keep on pushing. Even if people are talented, if there are amazing people who can do it for you, no one is gonna do it better than yourself. So just be your own everything. And everything’s gonna come to you naturally. You have your own rules, your own vision, you know where you’re going. At the end of the day, people will never know what you want and how you work, what you stand for, so you just have to be your own everything.

What’s been a highlight for you in 2025?

I did a performance in Paris at this exhibition place called Cinq-Quatre. It was fun because it’s such an interesting place. It brought so many cool artists. I met Frost Children and Kim Petras, who I’m really a big fan of, and Margot, who is my friend now, she's an amazing producer. The show was insane. It was my biggest crowd yet, I've never done a crowd like that before. People really showed up even though it was early, so I was happy about that. I feel very proud. If I could describe the show, it was just some fire, club, French shit. I wanna bring this club scene back, especially in France. And looking back at it, I feel like it happened that night. People were enjoying the show and nobody was on their phones - we were just jumping around. I had blue wigs for the crowd, I was throwing them. People wore them after. It was my second show in Paris. I’m always gonna show up for French people. I’m French - I’m always gonna show up for France. Always.

CANNELLE wears BODYSUIT by NO SCENE GIRL, SKIRT by 1XBLUE, JEWELRY by OGBFF, and HEELS by ROMBAUT.

What are you looking forward to?

I'm excited about the mixtape that I'm dropping next year. This is gonna be my first body of work ever, so I'm just really looking forward to it because I plan to put out a good amount of songs. I have a rule, and everybody’s got their own opinion, but I didn't really wanna do an EP because I have too many songs. Even if they’re not all perfect, I just want to throw in everything, not overthink it. I want to have over 10 songs… not a five, six track EP. I’m still building my sound, I’m still building my audience. I don’t have to be at the top or whatever, these are the moments where I’m allowed to fail. You know?

For sure. It’s definitely real of you to not try and hyper-curate everything like that. In terms of being involved in club culture, it requires this rawness.

I think music is raw, period. In any city or country, people are here to live in the moment and forget about their problems. And you just wanna make memories. In ten years people are gonna look back and say “do you remember these parties?” I want to make good memories. Memories are all that matter.

You make really good music, but you also think in so many other ways. Are there any other long-term pursuits that you're curious about?

If I'm being honest, I'm curious about everything. I wanna touch everything. But my main goal is definitely to pursue this music career. I wanna drop as many projects as I can, and do as many shows as I can. I want to go on tour. That’s my dream. After the music, I love fashion. If I have the opportunity to make clothes or design stuff, I’d love that. I designed for a jewelry brand. I did a little collection for them, so that was one of my first things as a designer, which is fun but I definitely want to tap into something more serious for my own thing. I want to connect the visual, the music, and the fashion. It has to be a whole thing. I don’t want to just stick to the music, but music came to me, and fashion will come to me. In the music world, I’d love to write for artists, even produce for artists. I started producing, I'm not the best producer yet, but give me five years. I really want to put my vision into other artists. That would be the dream. For real.

Music

Inside Naïka’s ECLESIA Tour

“One of the things that makes me the happiest,” she says, “is seeing the diversity in the crowd: people from everywhere, all walks of life, all ages, just coming together. It’s everything I dreamed of.”

Born Naïka Richard, her identity has never been static. French and Haitian, born in Miami but raised across multiple countries, shaped by languages and cultures that don’t always align neatly — she exists in a kind of constant translation. “My upbringing, my family, my friends, we’re so diverse. Multiple languages, ethnicities… It's a big blend. So it’s cool to see that physically in front of me.” You can hear this blend in her music; the seamless switch between French, English and Haitian Creole, shifting gears between love songs, personal reflections and even political undertones. Her rising popularity, a tribute to true World Pop. There’s no fixed center, no singular origin story she returns to. Instead, there’s fluidity, between places, between sounds, between selves.

That blend is precisely what sets her apart. In an industry increasingly obsessed with hyper-specific niches, Naïka operates in the opposite direction. Her artistry isn’t about narrowing identity; it’s about expanding it. The result is a kind of radical openness: come one, come all. “My top priority is always connecting with my audience, and putting together the best show possible.” At a point in her career that seems to be constantly progressing, it’s clear Naïka finds stillness in her team, her audiences and her own creative journey.

It’s now 1:30 p.m. and I’m meeting her and her team for breakfast at Toastique, in the heart of Washington D.C.

Suitcases pushed against the wall, and a little black dog curled under the table as the group of four women enjoyed their breakfast. Naïka’s fighting a cold, having played four shows in Montreal, New York and Philadelphia, she’s exhausted. The day before was spent on vocal rest. Today, she’s downing immunity shots with her meal. “There is no typical ‘day in the life’ on a tour,” she tells me when I ask. “It's weird how quickly time goes, because I feel like it was yesterday that we were putting the set together and the visuals. Now it's already come to an end.”

But soon, she’ll be on the road again — just a few days earlier, she announced 15 new shows over the months of June and July, with various stops across Europe. Naïka is no stranger to tour life. “My first tour was a little more backpack-y,” she tells me, “now I’ve got a bus, I’ve got a team, it’s a whole new beast.”

That “beast” is also a family.

Her manager and longtime friend, Marta Trapella, operates with a quiet steadiness that anchors the chaos. What started as a college friendship became a long-term collaborative relationship, always in step with one another. “I knew that if she had the right team around her, she would be unstoppable,” Marta says. “At first I said no [to being her manager] because I felt I couldn’t give it my all, but after a few months, I knew I had to join her.” Naïka laughs, “I knew she’d come back.” Set designer Lorr Volatier is in near-constant motion, pausing only briefly before shifting to the next task. She does it all. “What she doesn’t do is an easier answer,” Naïka says. The band is made up of fellow musicians Naïka met while studying music in Boston. Her childhood friend Galliane Puechavy flew up from Miami to travel with the team for a couple of the U.S. stops before heading to Miami where Naïka will close off this leg of the tour. The group functions like a living system, each person adjusting to the rhythm of the whole.

At 3:30 p.m., we make our way to the venue for tonight’s show, Washington’s 9:30 club, where the bus is unceremoniously parked on the side.

The tour bus takes about 14 strides to go from front to back — it’s hard to imagine 14 people (and a dog, introduced to me as Leo) cramming into this vehicle every night. But, still, it’s home-like; shoes are removed at the door, flowers sit on the table. The word zobodobodo is scribbled across a little white board by the kitchen. Coffee and incense hang in the air. Lemons sit in a basket by the sink, her favorite go-to snack. “I always have lemons and honey,” she says. She takes a lemon wrapped in a paper towel and puts it in her purse for later.

For an artist on the rise, it’s ironic that motion itself seems to be the only downside of the experience.

“My least favorite part is sleeping on the bus, just because I don't sleep very well because of the movement.”

By 5:30 p.m., Naïka’s had a 30 minute nap and banked content for her socials before starting soundcheck.

She takes a moment to sign a few vinyls for the merch stand, saying, “I’ve been practicing this signature my entire life. I always knew I’d be creative in one way or another.” Midway through her second soundcheck song, the doors for the meet and greet are opened. Around 20 of her biggest fans and supporters are escorted through the empty venue, their eyes widening as they realize Naïka is an arms length away. There’s excited giggles, shushing and then attention; this is what they came for. Her audience follows no clear demographic guidelines; women, men, older, younger, all diverse ethnicities and backgrounds. One has a Palestinian keffiyah wrapped around her waist. Another is donning a Haitian soccer jersey.

They’ve traveled too, in their own ways, to be here.

Doors open at 7:00 p.m. sharp. After the meet and greet, we’re whisked backstage for hair and make up. As they do on every stop, Naïka’s team has tapped a local hairstylist to prepare her for the night. Tonight, it’s Jasmine Washington from the District Hair Lounge, just down the street from our venue. Naïka does her own makeup. “It’s rare I let anyone else touch my face,” she says.

She takes a second to change into tonight’s look; an asymmetrical skirted look, dripping in sequins, complete with elbow length gloves and a feathered jacket for the opening number. “This outfit is fire,” everyone in the room agreed. The bare midriff, a staple of all her performance looks, brings to mind less of a fairy tale mermaid and more of an amazonian warrior. She looks so strong. Complete with thigh-high tassel lined boots designed with Jimmy Choo, a huge milestone for the artist and her team. “It was such an incredible experience, something truly new for me. I’d love to design my own line one day.” I can visualize it already, crowds clad in Haitian-inspired garb, born from the mind of Naïka and the women that surround her. I note another form of creative expression here.

“Do you want to see something REALLY fire,” she extends her hand; in it, a lighter with her photo on it, a remnant from her ECLESIA launch party.

Minutes before calling her team for their collective pre-show prayer, Naïka and Lorr are doing jumping squats in the dressing room, then popping into a 2-minute plank on the floor. “She’s done a 5 minute plank before [a show],” Lorr says. “It gets her in the zone.”

It’s 8:57 pm and the energy in the air is palpable. Naïka is fully dressed and her team is huddled in the crew room for a quick prayer before the show. You can hear the hum of the audience outside, three hours from the moment many of them began to line up. The crew, the band, the team and the artist are hand in hand, her eyes are closed. But the vibrations in the room are high, a mix of Sunday Service and the Superbowl. Naïka begins to address the team:

“Dear God. Thank you so much for this new day. Thank you for these opportunities, and thank you for this purpose that you've blessed each and every one of us with. I pray that you might please help us do what we do best tonight, so that we can fill everybody's cup so they can feel more whole, more alive, more love, more light. I pray for an amazing, amazing, amazing show in Washington, DC, in Jesus name. I pray Amen. Amen.”

She hits the stage at 9:05 p.m. From start to finish, the show goes smoothly; an empowering display of feminine energy and intimate connection between Naïka and her fans. There’s rarely a moment you can’t hear the crowd singing along. ECLESIA was released barely two months prior but the audience obviously committed it to memory. Naïka trusted them to carry the chorus of F.I.S.H with a cheeky smile. She listened as they asked her, “Where you really, really from?” during LAYERS, an ode to the third culture kid. And during WHAT A DAY!, you could barely hear over the audience’s reaction to the lines, “What a day for crime, kids are dying in Palestinе/ Blood is paving Congolese mines, and thе world keeps going.”

At 10:22 pm, Naïka takes her final bow. After the show, Naïka is bouncing with energy, running to the green room to greet Leo with a kiss. “The cold I was fighting earlier? Gone,” she says to me with a laugh. “I’m so full of energy. It’s going to hit me like a brick when I get on the bus.” I’m reminded instantly that after so much exertion, her day isn’t over yet - after greeting a few folks after the show, showering and changing, Naïka and her team still have to make the nearly nine hour drive to Atlanta overnight. The packing has already begun as we say our goodbyes. Lorr is taking Leo for a walk, and Marta is managing the last few guests who want to say hello to the artist before she departs. Galliane is there with a warm hug and words of encouragement from friends and family abroad shared in their communal group chat.

Naïka is in motion again — continuing on to another city, to connect with another crowd and to continue to build a world that is distinctly her own but universal to all who welcome it.

Music

Lolo Zouaï' Releases "Reverie"

April 24, 2026

The French-born American artist, producer, and songwriter, Lolo Zouaï, presents her third full length album, Reverie. With fourteen tracks in both french and english, her vocals will place listeners in their own trance of pleasant daydreams. The album flows through alternative RB, hip-hop, pop, and Arabic sounds, overall building a dark world with sensual and cinematic visuals. Each song explores her past; wounds, memories, and dreams open up to flood out passionate melodies. Reverie sparks reflection and escapism, as well as explores the boundaries of identity.

From headlining with the likes of Blood Orange, Slayyyter, Shygirl, and SadBoi to collaborating with Yves on their recent single "NAIL", the songwriter (whose credits include NewJeans "Right Now" and H.E.R.s Grammy-winning self-titled album) continues to make her own headlines from the liked of The Fade and Rolling Stone. Catch her before she takes flight to international stardom: listen to Reverie out midnight April 23rd and watch her lead single "Baggy Jeans".

"This record was made through three years of grief, growth and reflection. I had to lose myself to find myself again."

Music

Dublin Hip Hop Collective Bricknasty is a Welcome Contradiction

April 13, 2026

“Singing in Ballymun is a good way to get a brick thrown at your eyebrow,” declares Bricknasty lead vocalist and guitarist Fatboy. Despite a hometown snubbing, the experimental, chaotic, and exceptionally talented Irish hip-hop collective—of which Fatboy is the frontman—is rapidly gaining traction throughout Dublin and beyond.

The five-piece, whose lineup includes percussionist Korey Thomas, producer Cillian McCauley, saxophonist and keyboardist Sam Healy, and bassist Chris LaMotte, is full of contradictions. Their music is layered, violent, and soulful, while the players themselves are lighthearted and goofy.

These days, it is difficult to stand out in music. And yet, Bricknasty has done just that. They have unleashed an irreplicable sonic fusion—one that combines traditional Irish folk music, neo-soul, jazz, and more—and are determined to push boundaries, even if that means risking a brick to the eyebrow.

Before their sold-out U.S. debut at Nightclub 101, the collective chats about their latest project, Blacks Law, early musical influences, and the importance of not taking things too seriously (something most Irish people I’ve met are experts at).

Words by Sophie Abeles
Photograpy by Dylan De-Jong Dougherty
Photography assistant Stephanie Rodriguez

Sophie Abeles: I want to know—where did you guys meet?

Korey Thomas: We all came up through music, just in different places. Some of the lads were making music around the country, some of us were in Dublin. Eventually, we ended up in the same place, doing it together.

Cillian McCauley: Have you seen Oppenheimer? You know when the bomb goes off? It was kind of like that—we just… collided.

Chris LaMotte: Sam and I have known each other since we were kids.

Sophie: Noted. A bit of chaotic synergy. Who writes the songs?

Korey: I had four notebooks full of songs before I met this guy—gestures to Fatboy—and we started jamming in college. Cillian was doing house music. We just took the best parts of everything and built our first project from that.

Sophie: And Fatboy—were you just born a singer?

Fatboy: No, I was shite. Where I’m from—Ballymun—singing’s a good way to get a brick thrown at your head.

Sophie: Why’s that?

Fatboy: It’s just not what we do. We like bikes. You’ve got a bike, I’ll have it. Pass it on to one of the lads. That’s business.

Sophie: Was your family supportive?

Fatboy: They said it was a nice hobby. Thought I had a terrible voice, but I didn’t take it personally. No one really gets offended like that where I’m from. I just kept learning—and I still am.

Sophie: Who were you listening to growing up?

Fatboy: Akon, Dr. Dre, Oro Sólido—my stepmom’s Mexican, so I heard a lot of Latin music too.

Sam Healy: D’Angelo. Big fan.

Chris: The Roots. The Notorious B.I.G..

Korey: Slipknot.

Cillian: Pop—whatever was on the radio. Early 2000s stuff.

Sophie: What about traditional Irish music? I hear it, especially on Blacks Law.

Fatboy: Definitely. It’s a huge influence. A lot of that music is about resistance—or just being a bit mad, honestly.

Sophie: There’s that tension in your sound—vulnerability and anger.

Fatboy: Yeah. It’s angsty.

Sophie: I found Bricknasty by accident and got hooked—especially Blacks Law and “imperet illi deus.” That switch-up is wild. Has your sound changed much over time?

Cillian: There’s a through line, for sure.

Korey: The band’s like… clumpy glue.

Sophie: That makes sense. It all sticks together somehow—layers on layers.

Fatboy: And when you peel them back, it’s worse than an onion.

Sophie: I think that complexity is what makes it work. Let’s talk about making Blacks Law. What was that process like?

Fatboy: Like getting infected with a World War Z virus. After four months, I came home covered in sores—my mum started crying. It was rough.

Sophie: What made it so hard?

Korey: Everyone was fully committed to making something good. You can hear that in the record.

Fatboy: My mum always asks why I can’t make “nice” songs. But I like when a track sounds like someone might die. If you can mix that with melody and rhythm—then you’ve got something. My family hates it, though.

Sophie: Do you think the music will translate in the U.S.? How’s the tour been?

Sam: It’s different—especially New York. The level here is insane. But we’ve put the time in. Weeks of rehearsals. Chris and I were constantly traveling back to Dublin to meet the lads.

Chris: The last tour nearly broke us. We were still in school—failing assignments while on the road.

Fatboy: Sam loves to complain about sleeping on couches.

Sophie: Dream co-headliner?

Fatboy: Dijon or Mk.gee. They’re doing something different.

Sam: Junior Mesa.

Fatboy: He’s class. I love Liim as well.

Sophie: When people listen to your music, what do you want them to take away?

Sam: Yup Ireland.

Fatboy: Yup Ireland.

Sophie: Beyond that—what should they feel?

Korey: To really listen. Analyze every note.

Sophie: That’s impossible.

Fatboy: If you’re listening to Bricknasty—fair play. You’re probably sound, good-looking, and have a bright future. And don’t take yourself too seriously—that’s the main thing.

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