ifitbeyourwill Podcast

• ifitbeyourwill S06E20 • Eades

  A granddad blasting Pink Floyd at school pick-up and a jealous six-year-old’s first guitar lesson—hardly the start of a band, but that’s where Eades began. Frontmen Harry Jordan and Tom O’Reilly trace how a bedroom project became a songwriting engine that produced 50-plus lockdown tracks and the refined Final Sirens Call. From four-mic drum kits and happy-accident compressors to Dylan, Lou Reed, and Wilco-inspired craft, the duo reveal how trust, vetoes, and risk shape their sound. We dig into sequencing headaches, translating dense studio layers to the stage, and chasing the live spark on their next record.For fans of post-punk energy, garage roots, and Wilco-era ambition—this episode dives inside Eades’ engine room.Send us a textSupport the showlinktr.ee/colleyc

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• ifitbeyourwill S06E19 • Ada Lea

  From a shy kid singing Christina Aguilera behind a bedroom door to teaching voice at Concordia, Alexandra Levy the power behind Ada Lea has lived every side of finding your sound. In this episode, she talks tendonitis, creative do-overs, and the three-day songwriting challenge that sparked When I Paint My Masterpiece. We dig into mentorship, Montreal roots, and the art of building a music career you can actually live with.If you’ve ever felt late, stuck, or told you’re “not a singer,” this one’s for you.Send us a textSupport the showlinktr.ee/colleyc

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• ifitbeyourwill S06E18 • sundayclub

  A happy mistake at a concert.A guitar rediscovered in the back of a closet.Two students on totally different paths who somehow found the same sound.That’s the origin story of sundayclub, a rural Manitoba duo whose music feels like it was pulled from an ’80s Polaroid—warm, hazy, and quietly intentional. Their new EP, Bannatyne, captures that balance perfectly: pop instincts wrapped in dream-pop atmosphere, four tracks that melt into one continuous mood.When you talk to Courtney Carmichael and Nikki St. Pierre, you get the sense that their process is equal parts chaos and craft. Courtney writes with a diarist’s honesty, often chasing the feeling a moment left behind. Nikki builds the sonic world around those words, leaning on production chops and an obsession with tone. A simple tuning shift to open C cracked something open—suddenly, new harmonies and melodies started falling out of the guitar.They work fast to capture the spark, then slow down for the final stretch, refusing to rush a lyric or sand off a rough edge just to be “done.” That patience shows. Bannatyne isn’t a playlist of singles—it’s a short film in sound, one that breathes and unfolds with intention.Their path to Paper Bag Records came with its own lucky breaks—a well-timed mastering grant, a few key community ties, and a lot of persistence. Listeners have already gravitated toward Nuclear Fallout, a track that wasn’t meant to be the standout but hit something unexpected. Courtney and Nikki say that kind of connection means more than any genre label could.Looking ahead, they’re teasing a reimagined “Last Christmas”, a run of Canadian shows, and new singles that stretch their sound without losing its heart.If you’re into indie pop, dream pop, odd guitar tunings, and the craft behind a cohesive EP, this one’s for you. Stream the episode, spin Bannatyne front to back, and see which moment sticks. And if you love what you hear, share it with a friend—because that’s how good music travels.Send us a textSupport the showlinktr.ee/colleyc

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• ifitbeyourwill S06 E17 • Mirrorball

  Dream pop isn’t about turning everything down — it’s about tuning everything in. That’s the pulse of our talk with Mirrorball, the Los Angeles duo behind those lush, cinematic songs that somehow still feel like they’re whispering right to you. From the first late-night demo to a surprise label release, their story drifts through noisy beginnings, an obsession with sound, and the quiet confidence that comes with learning when not to play.We get into how they write: Scott starts with grooves, guitars, and synths in Logic. Alex listens, and melodies spill out — sometimes all at once, sometimes over time. Some songs bloom in a day; others sit for months, waiting for the right mood to arrive. Recording, for them, is a kind of home — layering overdubs until the room disappears and only the song remains. Playing live, though, demands something different: less control, more trust. The goal isn’t to be louder, it’s to make people feel. Small choices, big emotion.There’s honesty, too, about what it means to be an indie band now. Without a label, they’ve handled everything themselves — the videos, the press, the endless scroll — keeping things moving with a steady run of singles. Now they’re building toward a full LP, something that captures the whole arc of who they’ve become. With producer Chris Coady’s touch — tiny shifts in timing, arrangements that breathe — the songs pulse and shimmer instead of shout. At home, Alex tracks vocals dry, chasing raw takes; Scott trims the noise, staying closer to what feels real.If you’re drawn to guitars that glow, vocals that drift just out of reach, and rhythms that dance a little behind the beat, this one’s for you. Press play, sink into Red Hot Dust, and stay awhile. If it hits, tell a friend — the dream gets brighter when more people are in it.Send us a textSupport the showlinktr.ee/colleyc

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• ifitbeyourwill S06E16 • Tiberius

  A clarinet in fourth grade doesn’t usually lead to fuzz pedals, pedal steel, and a packed tour van, but that’s the path Brendan Wright of Tiberius traces on Troubadour. We start with the spark—how a quiet kid found a home in melody—and follow the trail to the moment those bedroom songs finally stepped into stage lights. Through it all runs one through-line: honesty. The kind that feels safe when you’re singing alone, and the kind that feels a little dangerous when a room goes silent to hear it.Brendan talks about walking that line between catharsis and the reality of sharing their work. They used to write like they were passing secret notes to themself. Now the notes have to breathe among strangers. They open up about shifting from super-specific diary lines to lyrics built around wider feelings—anxiety, persistence, the weird fog of transition—so more people can slip inside the songs. It doesn’t dull anything; it actually sharpens it. You can hear it in a line like “Why do I try to keep on trying?” and in the way the band lets silence hang before a chorus hits.We dig into the making of Troubadour, from the piece-by-piece construction of Fish in a Pond to focused sessions at The Record Co. in Boston. Drummer Ben Curell, bassist Kelven “KP” Polite , and guitarist Christian Pace helped pull the songs into their live shape, with Nate Scaringi behind the board helping the drums land just right. The result is a sound Brendan jokingly calls “farm emo”—folk bones, a little country dust, and an emo heart—wrapped in those loud-quiet-loud dynamics that feel as much Neil Young as they do modern indie. It’s tender one moment, towering the next, built for small rooms that don’t stay small for long.We close on motion. The northeast run—Burlington, Portland, Boston, Albany, Philly, New York—feels like both a celebration and a goodbye to a set they’ve lived inside for two years. New songs are forming. Brendan’s headspace is shifting again. That’s the promise here: a record that captures exactly where Tiberius is right now, and an artist already leaning toward whatever comes next.If this one hits you, tap follow, share it with a friend who needs a cathartic chorus, and leave a quick review—it helps more listeners discover Tiberius and stories like this.Send us a textSupport the showlinktr.ee/colleyc

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