Summary

This week at the Dive Bar Music Club, we meet one of the Regulars, the incredible Rachel Cholst, who’s here to take us on a deep dive into the colorful world of queer country and Americana. Get ready for some surprising insights and music recommendations, including jazz for non-historians.

As we sip on our metaphorical cocktails and kick back, Rachel Cholst helps us explore the magic of live music venues and how they create a sense of community, especially for those of us who don’t fit the cis het white dude roots music scene mold. And if you're a fan of Lilith Fair 90s vibes, you're in for a treat, as we also chat about how the past has shaped the music we love today.

Dive in to broad influences from peers to NPR with Rachel Cholst.

Links

Chapters

00:00 Introduction to Dive Bar Music Club

03:12 Entering the Music World

04:53 The Intersection of Music and Identity

07:23 The Importance of Community Spaces in Live Music

09:53 Exploring the Music Scene in Upper Manhattan

13:17 Introduction to Dive Bar Music Club

Takeaways

1. Vibrant, Inclusive Vibes: Dive Bar Music Club is the ultimate hangout for music lovers of all kinds, where everyone can share their current obsessions and discover fresh new tunes
2. Community & Live Venues Matter: We chat about why live music venues are more than just places to hear music. They create a sense of community for both fans and artists, and that’s what makes the music scene so special.
3. Queer Country & Americana: We dive into genres like queer country and Americana, exploring how they reflect personal stories and cultural shifts, making for some pretty deep and powerful music.
4. Witty Banter & Musical History: Expect fun conversations mixed with deep dives into music history. We’ll navigate how genres and identities blend together to shape today’s music scene.

Recommended If You Like

1. Dive Bar Music Club, Rachel Cholst, Americana music, queer country, 90s alt rock, indie music podcasts, emerging songwriters, underground music scenes, live music venues, music communities, music recommendations, music reviews, jazz influences, Southern rock, intersectionality in music, music blogging, music playlists, artist highlights, cultural music discussions, music nerd culture, Yahoo, Pandora, No Depression, Good Country, Two Cow Garage, Karen and the Sorrows, Rainbow Rodeo, Penny Jo's, Rockwood Music Hall, Lilith Fair, Bad Bunny, Alt Latino, Adobe and Teardrops

Transcript

Speaker A

00:00:00.960 - 00:00:05.120

Hey, everybody, this is Rachel Cholst, and you're listening to Dive Bar Music Club.

Speaker B

00:00:05.760 - 00:00:52.390

Welcome to the Dive Bar Music Club podcast, where the guest hosts drop in and out, but the opinions are always passionate and the playlists loud. It's like cheers if everyone at the bar had a strong take on 90s alt rock or a suspicious number of burned CDs.

Around our table you'll find an emerging touring songwriter, a former cult band favorite whose work since then is even more interesting, a portrait photographer with a not so secret metal penchant, a record store owner who learned about Swifties the hard way, a retired folk singer who regrets nothing, and a zine maker with more cool music projects than we can count.

We're all just here to share what we're currently obsessed with and maybe convince someone that, yes, that weird Icelandic synth folk band is worth a listen.

Speaker C

00:00:52.790 - 00:00:54.550

Okay, that last one's probably me.

Speaker B

00:00:54.710 - 00:01:01.950

Sloane Spencer. It's Dive Bar Music Club. Low key, high taste happy hour for music nerds.

Speaker C

00:01:02.510 - 00:01:08.990

Rachel Cholst, I am so excited to have you be part of Dive Bar Music Club. What are you up to in the world of music these days?

Speaker A

00:01:09.710 - 00:01:34.600

Hey, Sloane, thank you so much for having me. I'm really excited to just nerd out with all my Twitter ati bluesky ati people.

Now you can find me editing Rainbow Rodeo, the only queer country site zine. And you'll also find my work in no Depression. I have a monthly column there, as well as the Nashville scene and good country from time to time.

Speaker C

00:01:35.080 - 00:01:54.230

I'm so excited to have you be part of this. I have learned so much about music that I otherwise would not have known, and for me, the barrier was the country part of it.

You know, I'm not really a country music fan and you've really opened my ears to some fantastic work over the years. So I'm really excited to learn more about what you're listening to these days with Die Bar Music Club.

Speaker A

00:01:54.870 - 00:02:18.070

Thanks. I've actually been listening to a lot of jazz in my free time.

I think 20 years of writing about Americana and country and roots rock has kind of made me really hate three chord songs. I'm just kidding.

But I think, you know, I'm definitely excited to expand my own horizons because I know you've got a lot of people with really exciting tastes coming onto the podcast as well.

Speaker C

00:02:18.640 - 00:02:30.480

That's the plan is that hopefully we all like different things, but we all have enough of an overlap to be able to turn people onto other things. I'm super into like early 1970s soul jazz. It's like comfort music for me.

Speaker A

00:02:31.200 - 00:02:40.800

Yeah, totally.

And you know, when I say queer country for Rainbow Rodeo, that's just because it's a nice alliteration, you know, it's mostly Americana, I think, is how we would describe it nowadays.

Speaker C

00:02:41.280 - 00:02:52.830

Sure. And I think that's important to clarify for folks, because if you're like me and you're like, I don't listen to country music, I'm not sure.

I've told the listeners of this particular podcast. I worked in pop country for 25 years. I've listened to plenty of country music in my life.

Speaker A

00:02:53.550 - 00:03:04.670

Yeah. For pop country, I don't really listen to it as much in my free time either.

But it is interesting to see, like, the sort of 90s sounds come back into fashion, for better or worse. Agreed there.

Speaker C

00:03:04.670 - 00:03:19.570

Yeah, I think we'll probably end up chatting about that at some point in an upcoming podcast because that's come up in a couple of these different little bio conversations. So, Rachel Coelst, we've known each other digitally for a pretty long time, but how did you end up working in the world of music?

Speaker A

00:03:20.290 - 00:05:23.469

I'm a millennial, kind of right there in the middle, born in 1988. So I was like in my tweens when the Internet became a thing.

And so I was just kind of used to if I liked something, doing what I could to find everything about it. And as much as streaming has really been damaging to the music industry, I think it's been great for music listeners.

I never would have found my way into altcountry in Americana if it wasn't for services like Yahoo. Radio and Pandora. Try to keep it really brief. I am like New York City kid.

My family is like third generation in Ellis island, so there's no real particular roots in what you would consider like classical country music. They don't listen to it, but I just really fell in love with sort of Southern rock and twang, for whatever reason.

And as I got older and my own politics continued to develop, I found myself gravitating towards this sort of intersection between punk and country and singer songwriting.

So not necessarily so much like the Bloodshot record bands that are really in your face, but those bands that were kind of made famous on the revival tour or artists so like Tucal, Garage, Lucero, those kinds of people.

And I noticed as I was going to more and more shows, as I was reading more and more blogs about those artists, they were almost universally featured straight white men. And I was almost always the only woman there at these shows who wasn't there with her boyfriend.

So I wanted to figure out who those other people were. This was also 2011, so kind of like as the ideas of intersectionality and like Occupy Wall street were all entering the mainstream.

So I decided to just start my own blog, Adobe and Teardrops, that tried to highlight artists of marginalized identities.

So queer artists, bipoc artists as we would call use the term now, and all people who are working somewhere within the root space and also just artists who I liked. So that also included like 2Cal Garage and Abigail Lucas and people like that.

Speaker C

00:05:24.270 - 00:05:44.760

And this is where I first discovered your work and I kind of gravitated into this field or this sort of genre is not exactly the right word. It's sort of community in around 2009.

So similar era with what I was doing back then for me to kind of get away from that world of pop country that I had worked in for so long. Professionally.

Speaker A

00:05:44.840 - 00:06:16.180

Yeah, I think maybe this could be for another episode. But I wrote about the Lilith Fair documentary that came out recently.

And as I was watching the documentary I realized like, how could I not be a country music fan growing up in the 90s? Like, all those Lilith Faire artists were using sort of folk and country modes in their music.

And then of course we had the great 90s country that crossed over into mainstream pop as well. So I was listening to country music without listening to country music. It was just there excited to kind.

Speaker C

00:06:16.180 - 00:06:25.860

Of tease that out there for our listeners. So you've always got a lot of different projects going on regarding and related to music. Where would you like people to find you or your work?

Speaker A

00:06:26.180 - 00:07:03.700

The easiest place to see my non Rainbow Rodeo work would be my Instagram account, Adobe and Teardrops. If I have an article in another publication like no Depression or Good Country, I'll write about it there.

I'm also sort of slowly wading back into non Rainbow Rodeo music blogging. I'll just sort of. If I hear an album I like, I'll just dash off a little review about it there. But for the most part, my focus is Rainbow Rodeo.

So that's Rainbow Rodeo Mag, Instagram, Blue Sky Threads, Mastodon, which I'm still a champion of, even has its viability, seems to be fading into the distance.

Speaker C

00:07:03.940 - 00:07:08.340

You're the person that got me to open an account in Mastodon, and I still don't understand it.

Speaker A

00:07:08.820 - 00:07:16.210

Fantastic. We can do a whole episode on that too. There's some really interesting music projects going on there that I'm reading about myself.

Speaker C

00:07:16.530 - 00:07:21.650

I believe it and I Have a lot of room for growth, personally in understanding how that works.

Speaker B

00:07:21.650 - 00:07:22.290

But yeah.

Speaker C

00:07:23.890 - 00:07:32.370

So one of the threads for all of us is the love of live music. What are some venues that you've been to and just really the venue is as important as the music to you?

Speaker A

00:07:32.610 - 00:08:38.140

Yeah, totally. I was thinking about this. There's a little bar on Union street in Brooklyn near the R called Union hall.

And they pretty much only do stand up comedy now. There's like a fire in the basement where the venue was about 10 years ago.

And once it reopened, for whatever reason, they just haven't been doing live music in there, even though the room looks exactly the same. But before they did that, they often had a lot of great Americana and all country bands there. And whoever was a sound engineer sounded perfect.

It was a small room, but you could stand anywhere. And like Two Cow Garage, which is very kind of screamy. Well, not screamy, but blistery band.

Like you could stand anywhere in that room and you could hear the lyrics over the music. And I always really enjoyed going to see shows there.

But also I would have to shout out Brandon Saloon, also in Brooklyn, because that's where the queer country monthly shows took place. Those were hosted by Karen Pittleman of Karen and the Sorrows.

And that kind of helped me feel like I wasn't alone in appreciating this music while also being someone who wasn't like a cishet white person from the south.

Speaker C

00:08:38.800 - 00:08:55.280

Yeah.

So venues really are important spaces, especially spaces that offer that sense of community and welcoming that there's just something magical about that. I really appreciate the magic of music. Spaces that are able to provide that and create that for community.

Speaker A

00:08:56.080 - 00:11:11.260

Yeah, I'm very interested. I think New York is just like its own sort of animal when it comes to live music because there's only so many places you can perform.

And so it's not like any one venue can really afford to have like a brand, you know.

But I am sort of interested in the idea of like a venue where you could just show up without knowing who's playing and know that you'll probably like it. I think Rockwood Music hall came the closest to that in my experience because that was a venue that really focused on singer songwriters. Yeah.

Breaking the mold. I live in upper Manhattan and there's just not really a lot of storefront space up here, which means there's just not so many places to perform.

There's a big Dominican and increasingly Mexican community up here. So I know that there's like a whole sort of scene for like mariachi and DJs and things like that, that is just like totally off my radar.

But in terms of like rock or singer, songwriter and jazz, not too many places up here.

So one of the things I would like to explore is figuring out how to have more of a folk slash root scene in Upper Manhattan because a lot of musicians do live up here and the neighborhood is increasingly becoming more affordable than the places in Brooklyn that young people have been gravitating towards. So one venue I want to shout out is Penny Joe's. It's a bar on 163rd and Broadway.

I've been doing semi regular shows for Rainbow Rodeo, but for the most part they do jazz. Every night from 9 to 11 they have different jazz bands. The neighborhood is a really big jazz community.

Obviously it's close to Harlem, but also because it's very easy to pop down to Times Square, we have a lot of actual working musicians up here who work on Broadway or in jazz or classical music. So the people are here. We just need the physical space. And it's a really nice cocktail bar.

Some of the best drinks above 125th street and they've got really nice soups and salads so you can walk in and it just feels like a regular bar. It's not like bougie or anything like that, but they treat you really well and everything is just very thoughtful.

And they have a big rainbow flag in the back, so that always helps. But it's a really nice spot and I'm very happy that they've welcomed Rainbow Rodeo because it's so different from what they usually have there.

Speaker C

00:11:11.660 - 00:11:20.220

That is very cool. I love to hear that. Is there anything else about the music that you have coming up that you want to be sure people know?

In a bio episode for my picks.

Speaker A

00:11:20.220 - 00:12:50.020

You can mostly depend upon me for anything that has sort of crunchier rock sound. But I'm probably going to be bringing some jazz too. One of my friends recently asked me to describe the kind of jazz I like.

And I'm just not schooled enough in the history to really like or really anything. And I think that's what I like about it because I don't know a thing. So it's either like I like this or I don't, you know, And I don't.

It doesn't feel like homework. Like if I'm listening to country or Americana, I'm already writing the review in my head for jazz.

I have like no idea what I'm listening for other than my own response.

And so I'll probably be bringing in all kinds of stuff, but I am a bass player, so it will have inevitably some kind of strong groove or melodic hook.

It's not gonna be a lot of modern jazz tends to be, like, really discordant and kind of very intellectualized, and that's not the kind of jazz I'm into. But I will be bringing in whatever contemporary stuff I come across. There's just some really cool, cosmic stuff out there.

And also, like, my favorite music podcast in general is all Latino. Yeah, I speak Spanish.

But I love how the hosts, Felix and Anna Marie, they just love everything they talk about and you can tell they really care about the music they're picking. And they're so knowledgeable. And even if I don't always connect with the music, I care about it because they care about it.

And I also think it's an interesting model of how to feature art by people who have a specific part of their identity in common. But that doesn't mean that all of the music sounds the same by any stretch.

Speaker C

00:12:50.420 - 00:13:04.960

Ooh, definitely. I think you also turned me onto that particular podcast. And I will say that the first two episodes I listened to were their two episodes about.

About Bad Bunny. And I absolutely recommend that to everyone, especially folks who are like, who on earth is Bad Bunny?

These episodes are for you all Latino, easy to find from npr.

Speaker A

00:13:05.200 - 00:13:15.360

Yeah, it make me cry regularly. Just the. The passion, but also the defiance and, and strength in the music that they share.

And, you know, that's certainly what draws me to Queer country.

Speaker C

00:13:16.240 - 00:13:25.120

Definitely. Definitely. Well, Rachel Cholst, I'm so excited to have you be part of the regulars.

That's our recurring...

Hey, everybody, this is Rachel Kolst, and you're listening to Dive Bar Music Club.

Welcome to the Dive Bar Music Club podcast, where the guest hosts drop in and out, but the opinions are always passionate and the playlists loud.

It's like cheers if everyone at the bar had a strong take on 90s alt rock or a suspicious number of burned CDs.

Around our table you'll find an emerging touring songwriter, a former cult band favorite whose work since then is even more interesting, a portrait photographer with a not so secret metal penchant, a record store owner who learned about Swifties the hard way, a retired folk singer who regrets nothing, and a zine maker with more cool music projects than we can count.

We're all just here to share what we're currently obsessed with and maybe convince someone that, yes, that weird Icelandic synth folk band is worth a listen.

Okay, that last one's probably me.

Sloane Spencer.

It's Dive Bar Music Club.

Low key, high taste happy hour for music nerds.

Rachel Colst, I am so excited to have you be part of Dive Bar Music Club.

What are you up to in the world of music these days?

Hey, Sloane, thank you so much for having me.

I'm really excited to just nerd out with all my Twitter Adi blueskyottie people.

Now you can find me editing Rainbow Rodeo, the only queer country site zine.

And you'll also find my work in no Depression.

I have a monthly column there, as well as the Nashville scene and good country from time to time.

I'm so excited to have you be part of this.

I have learned so much about music that I otherwise would not have known, and for me, the barrier was the country part of it.

You know, I'm not really a country music fan and you've really opened my ears to some fantastic work over the years.

So I'm really excited to learn more about what you're listening to these days with Die Bar Music Club.

Thanks.

I've actually been listening to a lot of jazz in my free time.

I think 20 years of writing about Americana and country and roots rock has kind of made me really hate three chord songs.

I'm just kidding.

But I think, you know, I'm definitely excited to expand my own horizons because I know you've got a lot of people with really exciting tastes coming onto the podcast as well.

That's the plan is that hopefully we all like different things, but we all have enough of an overlap to be able to turn people onto other things.

It's like comfort music for me.

Yeah, totally.

And you know, when I say queer country for Rainbow Rodeo, that's just because it's a nice alliteration, you know, it's mostly Americana, I think, is how we would describe it nowadays.

Sure.

And I think that's important to clarify for folks, because if you're like me and you're like, I don't listen to country music, I'm not sure.

I've told the listeners of this particular podcast.

I worked in pop country for 25 years.

I've listened to plenty of country music in my life.

Yeah.

For pop country, I don't really listen to it as much in my free time either.

But it is interesting to see, like, the sort of 90s sounds come back into fashion, for better or worse.

Agreed there.

Yeah, I think we'll probably end up chatting about that at some point in an upcoming podcast because that's come up in a couple of these different little bio conversations.

So, Rachel Coelst, we've known each other digitally for a pretty long time, but how did you end up working in the world of music?

So I was like in my tweens when the Internet became a thing.

And so I was just kind of used to if I liked something, doing what I could to find everything about it.

And as much as streaming has really been damaging to the music industry, I think it's been great for music listeners.

I never would have found my way into altcountry in Americana if it wasn't for services like Yahoo.

Radio and Pandora.

Try to keep it really brief.

I am like New York City kid.

My family is like third generation in Ellis island, so there's no real particular roots in what you would consider like classical country music.

They don't listen to it, but I just really fell in love with sort of Southern rock and twang, for whatever reason.

And as I got older and my own politics continued to develop, I found myself gravitating towards this sort of intersection between punk and country and singer songwriting.

So not necessarily so much like the Bloodshot record bands that are really in your face, but those bands that were kind of made famous on the revival tour or artists so like Tucal, Garage, Lucero, those kinds of people.

And I noticed as I was going to more and more shows, as I was reading more and more blogs about those artists, they were almost universally featured straight white men.

And I was almost always the only woman there at these shows who wasn't there with her boyfriend.

So I wanted to figure out who those other people were.

So I decided to just start my own blog, Adobe and Teardrops, that tried to highlight artists of marginalized identities.

So queer artists, bipoc artists as we would call use the term now, and all people who are working somewhere within the root space and also just artists who I liked.

So that also included like 2Cal Garage and Abigail Lucas and people like that.

And this is where I first discovered your work and I kind of gravitated into this field or this sort of genre is not exactly the right word.

So similar era with what I was doing back then for me to kind of get away from that world of pop country that I had worked in for so long.

Professionally.

Yeah, I think maybe this could be for another episode.

But I wrote about the Lilith Fair documentary that came out recently.

And as I was watching the documentary I realized like, how could I not be a country music fan growing up in the 90s?

Like, all those Lilith Faire artists were using sort of folk and country modes in their music.

And then of course we had the great 90s country that crossed over into mainstream pop as well.

So I was listening to country music without listening to country music.

It was just there excited to kind.

Of tease that out there for our listeners.

So you've always got a lot of different projects going on regarding and related to music.

Where would you like people to find you or your work?

The easiest place to see my non Rainbow Rodeo work would be my Instagram account, Adobe and Teardrops.

If I have an article in another publication like no Depression or Good Country, I'll write about it there.

I'm also sort of slowly wading back into non Rainbow Rodeo music blogging.

I'll just sort of.

If I hear an album I like, I'll just dash off a little review about it there.

But for the most part, my focus is Rainbow Rodeo.

So that's Rainbow Rodeo Mag, Instagram, Blue Sky Threads, Mastodon, which I'm still a champion of, even has its viability, seems to be fading into the distance.

You're the person that got me to open an account in Mastodon, and I still don't understand it.

Fantastic.

We can do a whole episode on that too.

There's some really interesting music projects going on there that I'm reading about myself.

I believe it and I Have a lot of room for growth, personally in understanding how that works.

But yeah.

So one of the threads for all of us is the love of live music.

What are some venues that you've been to and just really the venue is as important as the music to you?

Yeah, totally.

I was thinking about this.

There's a little bar on Union street in Brooklyn near the R called Union hall.

And they pretty much only do stand up comedy now.

There's like a fire in the basement where the venue was about 10 years ago.

And once it reopened, for whatever reason, they just haven't been doing live music in there, even though the room looks exactly the same.

But before they did that, they often had a lot of great Americana and all country bands there.

And whoever was a sound engineer sounded perfect.

It was a small room, but you could stand anywhere.

And like Two Cow Garage, which is very kind of screamy.

Well, not screamy, but blistery band.

Like you could stand anywhere in that room and you could hear the lyrics over the music.

And I always really enjoyed going to see shows there.

But also I would have to shout out Brandon Saloon, also in Brooklyn, because that's where the queer country monthly shows took place.

Those were hosted by Karen Pittleman of Karen and the Sorrows.

And that kind of helped me feel like I wasn't alone in appreciating this music while also being someone who wasn't like a cishet white person from the south.

Yeah.

So venues really are important spaces, especially spaces that offer that sense of community and welcoming that there's just something magical about that.

I really appreciate the magic of music.

Spaces that are able to provide that and create that for community.

Yeah, I'm very interested.

I think New York is just like its own sort of animal when it comes to live music because there's only so many places you can perform.

And so it's not like any one venue can really afford to have like a brand, you know.

But I am sort of interested in the idea of like a venue where you could just show up without knowing who's playing and know that you'll probably like it.

I think Rockwood Music hall came the closest to that in my experience because that was a venue that really focused on singer songwriters.

Yeah.

Breaking the mold.

I live in upper Manhattan and there's just not really a lot of storefront space up here, which means there's just not so many places to perform.

There's a big Dominican and increasingly Mexican community up here.

So I know that there's like a whole sort of scene for like mariachi and DJs and things like that, that is just like totally off my radar.

But in terms of like rock or singer, songwriter and jazz, not too many places up here.

So one of the things I would like to explore is figuring out how to have more of a folk slash root scene in Upper Manhattan because a lot of musicians do live up here and the neighborhood is increasingly becoming more affordable than the places in Brooklyn that young people have been gravitating towards.

So one venue I want to shout out is Penny Joe's.

It's a bar on 163rd and Broadway.

I've been doing semi regular shows for Rainbow Rodeo, but for the most part they do jazz.

Every night from 9 to 11 they have different jazz bands.

The neighborhood is a really big jazz community.

Obviously it's close to Harlem, but also because it's very easy to pop down to Times Square, we have a lot of actual working musicians up here who work on Broadway or in jazz or classical music.

So the people are here.

We just need the physical space.

And it's a really nice cocktail bar.

Some of the best drinks above 125th street and they've got really nice soups and salads so you can walk in and it just feels like a regular bar.

It's not like bougie or anything like that, but they treat you really well and everything is just very thoughtful.

And they have a big rainbow flag in the back, so that always helps.

But it's a really nice spot and I'm very happy that they've welcomed Rainbow Rodeo because it's so different from what they usually have there.

That is very cool.

I love to hear that.

Is there anything else about the music that you have coming up that you want to be sure people know?

In a bio episode for my picks.

You can mostly depend upon me for anything that has sort of crunchier rock sound.

But I'm probably going to be bringing some jazz too.

One of my friends recently asked me to describe the kind of jazz I like.

And I'm just not schooled enough in the history to really like or really anything.

And I think that's what I like about it because I don't know a thing.

So it's either like I like this or I don't, you know, And I don't.

It doesn't feel like homework.

Like if I'm listening to country or Americana, I'm already writing the review in my head for jazz.

I have like no idea what I'm listening for other than my own response.

And so I'll probably be bringing in all kinds of stuff, but I am a bass player, so it will have inevitably some kind of strong groove or melodic hook.

It's not gonna be a lot of modern jazz tends to be, like, really discordant and kind of very intellectualized, and that's not the kind of jazz I'm into.

But I will be bringing in whatever contemporary stuff I come across.

There's just some really cool, cosmic stuff out there.

And also, like, my favorite music podcast in general is all Latino.

Yeah, I speak Spanish.

But I love how the hosts, Felix and Anna Marie, they just love everything they talk about and you can tell they really care about the music they're picking.

And they're so knowledgeable.

And even if I don't always connect with the music, I care about it because they care about it.

And I also think it's an interesting model of how to feature art by people who have a specific part of their identity in common.

But that doesn't mean that all of the music sounds the same by any stretch.

Ooh, definitely.

I think you also turned me onto that particular podcast.

And I will say that the first two episodes I listened to were their two episodes about.

About Bad Bunny.

And I absolutely recommend that to everyone, especially folks who are like, who on earth is Bad Bunny?

These episodes are for you all Latino, easy to find from npr.

Yeah, it make me cry regularly.

Just the.

The passion, but also the defiance and, and strength in the music that they share.

And, you know, that's certainly what draws me to Queer country.

Definitely.

Definitely.

Well, Rachel Colst, I'm so excited to have you be part of the regulars.

That's our recurring rotating crew of folks who are going to be part of Dive Bar Music Club.

Thanks so much.

And you know, as you said, this is a collection of a lot of the same pen pals we've had for a long time.

Excited to get a chance to actually, like, talk with people.

It's going to be really fun.

Super excited about it.

That's last call at Dive Bar Music Club.

If you like the hang, follow the show, leave a review, and tell your algorithm.

Gosh darn it, we're worth it.

Better yet, share your favorite episode with a friend who actually stayed for the whole set.

See y' all next time for the.

Low key, high taste happy hour for music nerds.