The romance-themed rock quartet prefers stew to soup, so we asked them about their new vinyl record and also a little bit about feet.
There isn’t any other band like Sorry Darling in our scene. Their 50’s-fitted songwriting is played with a modern “punk” energy, but the music could fit anywhere in your OR your parent’s record collections. On top of that, the band gives out flowers after they play, dresses to the nines when appropriate, and even throws annual Valentines Day shows. Their whole thing just rocks.
Anyone who’s spent time with the bandmembers knows how sweet they are as people, but what you might not realize is that the two co-founders and songwriters of the band fight like an old married couple... Well, maybe that’s not fair. But vocalist/guitarist Liz Wagner Biro and guitarist/vocalist Stephen Bailey, though close friends, approach the project from very different angles. In my opinion, that’s probably what makes it work so well. Alongside the rhythm section of Jackie Land (bass) and blue-hair extraordinaire Dan Holodak (drums), Sorry Darling has spent the last several years finding ways to make that tension work for them. It’s been a process, but the band is finally at a point where they seem confident in who they are as a unit. The journey itself is best documented in their last two releases: 2024’s See This Through and Passionate Kisses EPs (the latter includes a cover of the Lucinda Williams track of the same name).
This weekend(!!), Sorry Darling is releasing their music to vinyl for the first time. Sorry Darling is the self-titled vinyl compilation featuring their two EPs accompanied by two brand new songs. It’s the band’s first physical release, and serves as a document of what it took for them to get where they are now. It’s awesome, and I hope you all grab one at their release show this Saturday. In preparation, I met with the band’s cofounders via Zoom on my lunchbreak at bandNada HQ, praying that Jon Daily wouldn't find out I procrastinated this to the last minute. This interview was done amid Liz moving apartments, Steve awaiting a work call, and me hastily eating a burrito bowl. We talked about what this release means for their greater story, the group’s internal dynamic, and why a band should be more than just a group of people who write and record songs.
(Hits record)
Now you can talk.
Steve: I was going to say, apparently 38 Special has announced their first new album in over 20 years.
What is your relationship to 38 Special?
Steve: I don't have one. I just love that they have two drummers for no reason at all, playing the same southern rock beat at the same time.
I don't know anything about that band. I get them mixed up with 36 Crazy Fists. I remember being like 17 or 18 at my local all ages venue. The in-house sound guy, who I knew, was outside smoking. I was like, “who's playing?” He was like “36 Crazy Fists from Alaska,” and told me that they were being kind of bitchy because there wasn't any booze - the venue was an all ages sober space. And then, all of the sudden the band stopped and was like, “thank you, good night.” And my friend’s eyes got super wide and he's like, “they were supposed to play 90 minutes, and they played, like, maybe 30.” They were old and cranky.
Steve: I mean, I would be an old and cranky band if I was from Anchorage, Alaska. That's a long way from most of society.
Liz: You’re old and cranky now.
You two are very different people.
Liz: (sarcastically) Really?
Steve: (sarcastically) Nooo.
I'm curious what brought you two together as songwriters? Because there are so many ways that I view you as different people, and your approach to music is also different.
Steve: Liz and I first started talking about doing this kind of thing way before Sorry Darling existed. You weren’t in any bands at that time, right?
Liz: I was sort of on a creative hiatus. I got out of school and was like, “I'm going to be an adult now. I don't do [musical] things.” And very quickly, [it was clear] that was not going to last. There was a reveal at Starship one day - Starship is the house that Steve used to live in that my partner also lived in - [where Steve said], “oh, you sing?” Karaoke was my outlet.
Steve: It was a big creative household. I had just started [previous band] Sharp Shadows when I moved [to New York City]. Liz would come to the shows and support us, but I don't think it was immediately obvious that she did her own music. Then, there were a couple of times that we were sitting on the couch with acoustic guitars where it became obvious that this is something we enjoy doing together. We would bat around the idea of doing [music], but were never really serious at the time.
Liz: I feel like we joked about it for literally years, though.
Steve: Literally years. But then we would move on. So Sharp Shadows continued for a while, and Liz got in a couple of bands doing more supporting-type roles - being a backing singer in one band and a drummer in another. Around the time that Sharp Shadows started to peter out creatively, she and I started talking again about doing [music again]. Initially it was her on drums and me on acoustic guitar - a very twee-oriented Sorry Darling. We had a bunch of songs we separately brought in, and from there it was like, “this is cool, but I think it would be better if we had a full electric lineup.” Things immediately got more "rock" as soon as that happened. And then a couple of line up [changes] happened, and we landed where we are. Getting back to your earlier question about our differences, I think the founding principle of what we were doing was a tight songwriting-oriented Brit rock kind-of-thing. We both like The Pretenders, we both like Heart. But at the same time, we both fell in love with that first Haim record, Days Are Gone. We like energy and things that are hooky and ear catching. When you have that as a grounding, it's a little easier to try and work your way through your differences. It's not always a smooth process, but you land on great stuff. I would say all the songs we’ve recorded have benefited from that approach: I'll bring in a song that’s 80% done, and Liz will have the 20% that'll make it sound like Sorry Darling. And I think we have a similar relationship where she'll bring in a song 80% done, and I'll bring in the 20%. Again, it's like fighting your way towards that middle point between the two of you, and trying to bring in the stuff that makes the other person go, "oh!" Excitement sustains the whole thing.
Liz: Yeah, I will say [this LP] - [which includes] the songs that are already out plus the two [new tracks] - is more of what Steve described. Because we've learned so much from that and have the desire to keep growing and challenging ourselves, we're moving away from that sort of 80/20 [songwriting approach] and more toward a 50/50.
Steve: Or a 25/25/25/25.
Liz: That’s true. We're doing more songwriting in the room now. But I feel like this body of work was a necessary step to establishing what feels like a mash up [between the two of us]. There are some things that, in hindsight, feel like they're not really so much a marriage of the two of us. I'm glad they exist. I'm proud of them. But I’m not so sure of how they represent the complete picture.
Steve: It's just figuring out the parameters of what your sound’s supposed to be. Where it’s like, “oh, we both like to do this, therefore we will do this,” or “You really like to do this, and I've never actually tried that before, and I find that intriguing.” That's the stuff that I think is the most interesting. Actually, I really want to shout out Jackie and Dan on this, because they check this process really actively, especially now that we're making a real deliberate move to involve them more in arrangement and song selection. They have perspectives that make it easier to view our own work neutrally. Basically, that takes it from being soup, which is just water with stuff in it, to a stew, which is a thorough combination of all the ingredients.
Liz: I’d like it on the record that three fourths of Sorry Darling are very pro soup and one fourth of Sorry Darling will not consume soup before a show. Guess which fourth.
I really like the quote, “soup is water with stuff in it.”
Liz: It’s too sloppy!
I love that you guys went there before I got to, because something I wrote down is that this feels like an “Early Years” compilation.
Liz: It is. (Laughs)
Steve: That's correct.
It’s literally a band finding their identity. Knowing your music and watching it evolve over these years, I really enjoyed listening to it and knowing the history.
Liz: From the first show, even.
Your first show was the A Very Special Episode LP release show, right after things started opening up again post-Covid, right?
Liz: Yep.
Steve: That was that when Russ [Worstell - Shrug Dealer, Something Bitter] said he thought we sounded like a rockabilly band, which I thought was hilarious.
But here's the thing, though. I might have put the Sharp Shadows in a category close to that, though, because the way you play guitar has like, a pompadourness to it (Laughs). I think it’s on the same spectrum. Sorry Darling also has a classic vibe. Even the way you guys present yourselves - to me, it’s like Roaring 20’s, Aubrey Hepburn, rich people with long cigarettes.
Liz: That's so interesting because that so is not my self-image.
Steve: No, mine either.
Liz: This is something that Steve and I talk about all the time. We have to reckon with the fact that we have no idea how we're being perceived, to be okay with that, and to recognize we can't control our own narrative no matter how much we try to. People are going to see what they're going to see. And if they like it, cool. If they don't, that's fine.
It just feels like there's an organic classic-ness to it. I don't know exactly how to put it.
Steve: I think I get what you're saying in the sense that there's definitely an appreciation for classic pop and rock songcraft in the work.
Liz: I don’t want to speak for you, Steve, but if our songs were played on whatever radio station your mom is listening to, amongst songs that have been out for 20 to 50 years, I would like for our songs to fit in that and not necessarily have it sound clearly modern and of-right-now.
Steve: Yeah. We don't want to sound dated in any specific production-sense, but there's also a continuum of pop and rock songwriting that dates back to the early 20th century that we want to be a part of. Something that I personally have a big issue with [regarding] post- alternative rock, -indie rock and -pop punk stuff, is that so much of it is obsessed with this very short stretch of years, in terms of production sound, songwriting tropes, whatever. It dates itself immediately because it sounds like something really specific and doesn't try to escape that. It tries to play up those genre conventions, whereas for us, it's way more important to be something that could be approached by someone who enjoys music from any of those eras and presumably could find something they would like in ours. That’s important to us, because we don't only listen to one thing, we listen to all sorts of stuff. And I think it's really important for us to feel like all of those interests manifest [in our music] in a way that feels seamless, organic, complete, and authentic, rather than trying to fit neatly into an existing subgenre that’s stuck in a very certain stretch of time. “Timelessness” is a really good way of putting it. I also feel like a lot of bands don't try to do that now. I think like a lot of bands are too in their own stylistic subnarrative, or are really obsessed with trying to sound like a certain genre, and lose the opportunity to exist within this greater continuum of music. I don’t know how seriously we’re contemplating that per se, but I think as people, we appreciate that and want to be considered within that, rather than, “oh, are we the best band amongst the five bands that we know?” Just fitting that level of quality, thought going into it, emotion, and heart.
I think you’re musically classic in a different way than you’re aesthetically classic. You dress up for shows, you do Valentine's Day events, you give out flowers to the crowd.
Steve: It's a presentation style. I think Liz will have a lot to say on this, but that’s part of the whole thing. We like bands that consider the whole spectrum of [presentation], not just, “here I am. Here are my songs.” Like, all the bands that I really love had a look. They all had fonts that they kept using. There was a consideration to all levels of the presentation that I think is fun. Honestly, one of the things I love about Sorry Darling is that we legitimately have a thread in our Slack [author's note: Nerds] before every show. “All right. What's everybody wearing today?” And that sounds super persnickety, but honestly it's just a way for us to have a team unity moment. “This feels like a really important show. Let's pull out the craziest pants that Dan has.” It's a fun way for us to kind of be together, but it also helps set the vibe of what we want for the whole thing. When you see us, there's an experience there— It's not just the songs. We like to look a certain way, we like the flowers… it adds a theatrical element to it.
Liz: It was very organic. I don't think we had a conversation of like, “what's a good strategy?” It was more “what is the common theme amongst what we're doing?” And most of what we write about is how love is hard, and relationships are hard, and love can be so consuming - all of it. Pre-Sorry Darling existing as you know it, we had a photoshoot that never saw the light of day, but was going to be like our premiere thing, and then our first show got canceled because of lockdown. But the theme for that photoshoot was kind of like Valentine's Day gone wrong sort-of-thing. Like, we had all the different Valentines-y props you can think of— broken flowers and things. It wasn't specifically carnations yet. But, that just sort of stuck, even though it was meant for just a moment. And maybe it stuck because it's just a color scheme that Steve and I both like (laughs), but it felt authentic to the art form that was coming together. Now, the way I dress for shows has become more how I dress in real life, but the first couple of shows? I wore dresses, and I never wear dresses in “real” life. Like, I was debating whether or not I was going to wear a dress at my wedding - like, I’m just not a dresses person. But there's something that Steve said to me early on about show clothes being like armor, and I've taken that [to heart] for sure. And something about a cohesive look [among us] actually feels protective for me, because it signals that this group is together. And what feels vulnerable about being a frontperson is a little bit shielded because it's not just me up there. It's me in a group that has agreed to feel cohesive. Then, as for the flowers, I think that happened because of the the Valentine's Day shoot. Then we did a live stream during lockdown. I went to the pharmacy to grab a wrist brace for our old drummer, and they had flowers at the checkout, and I was like, “fuck it, I'm buying some flowers.” And that just became the thing. It stuck for a lot of reasons, but it really happened organically and I love that- oh.
Steve: We’re being paused.
(2 minutes later)
Sorry, that was our CEO, Jon Daily. He was carrying a gigantic golden statue of himself down the office stairs and I heard a crash. Had to investigate.
Stephen: It was your career.
Liz: Throwing it on the ground.
GOOD ONE. I had to make sure he was okay, but he’s actually better than okay - he’s totally 100% splendid! Okay, carry on about the presentation.
Liz: I’m glad that part of our identity, which can be a tough thing to hone in on, and can end up looking really forced or unnatural. I hope that it doesn't!
It doesn’t.
Liz: It feels authentic to me. So I'm proud of that.
Steve: I definitely think it's authentic. And I will agree with what Liz said: it did come out organically. But what’s been interesting about being in this band versus previous bands that I’ve been in is that people in this band are willing to spend the thought-time to develop an idea like that. When we do a photoshoot, this band has never had a problem of being like, ”we really like this, can we expand on it? Is this something that feels authentic? Is this something that's interesting to explore?” Spending actual thought and creativity-time on thinking about those things in addition to the songs, in addition to how the recording should sound, in addition to all the planning aspects of the band - it just makes it feel like a more holistic operation in a way.
Well, the whole thing is part of the art project, right? It’s not just the music, it’s the presentation, it’s the performance, it’s the videos.
Steve: The whole thing is the art project.
Liz: Right. It's like the Sorry Darling cinematic universe.
Steve: SDCU.
Back to the music, Liz’s songs in particular are very emotionally personal. I think I know the answer to this, but are you ever worried about people finding out that your songs are about them?
(Both laugh)
Liz: No.
Steve: She kind of wants that to happen secretly.
Liz: No, I don't want that to happen, but I'm fine with it happening and it has happened. And who knows what's to come next! There might be sequels from conversations about the songs.
Oh, boy.
Liz: But no, I'm not trying to hide anything.
Steve: You wouldn't write a song about it if you were. It’s a weird place to hide.
Liz: But honestly, I have written some things that I think are about something that you wouldn't expect them to be about, based on the context - still emotionally cathartic for me in a personal way. And then there are some things that are obvious.
Along with the classic vibes, I do think you lyrically there are phrases that feel like they’re also from a more “classic” time - even just saying “I’m in a bad way.”
Steve: “Wednesday morning. In a bad way.” That's from “No Angle.”
I don't really hear people use that phrase in songs anymore.
Steve: Because people don't read! (Laughs)
Well, I interviewed Debbie Dopamine last month, and I had a similar question for Katie Ortiz about the lyrics to one of her songs. It just sounded like such a classic song. And she was like, “yeah, I love words, I love libraries.” I've been thinking about that a lot lately. Are you both readers?
Steve: Less so than I used to be, which is sad, but I'm reading constantly in the sense that I'm always on the internet.
Liz: I can't turn around and show you my bookshelf because it's empty now, because I'm packing. But I identify as a reader, even though I don't read as actively as I used to. I actually am trying to read 52 books this year. I've fallen behind a little bit, but I was very much a reader as a child.
Steve: Same here.
Liz: I think I was a precocious reader, like I started reading solo very young. And then like, I was an only child hanging out with adults all the time. I would bring a book wherever I was going, so I feel like my whole world was reading for a really long time. I also do the New York Times Crossword Puzzle every day. I think those things have always helped me. I’m a very verbal processor. And the other thing that I do read a lot of now is poetry, too. I [previously] had a “poet phase” - I don't really write poetry that much anymore because I would just rather write lyrics at this point. But sometimes if I'm starting to write something, I'll write it in a way that feels more like prose or poetry, and then transform it to lyrics later. But short form things can say so much, so I'll take that as a positive from the internet. Lots of poetry on Instagram - not to give Meta any free advertising.
Steve: It's true, though. The idea of pithy representation of thoughts is definitely in vogue now, just because of how people communicate. But yeah, at least for me on the words side, I went through a really heavy writing poetry phase when I was in high school. Before I was a songwriter, that was my main form of expression. And I think I honed my approach to that sort of thing around that time, just trying to get these really tight nuggets of ideas into small places. Weirdly, the relationship I have with it in music is a little different because I'm not a lyrics listener. When I listen to music, I don't usually remember the lyrics to a song until I've heard it like 500 times. But when you put music and words together, they have an impact on each other that can sometimes go beyond [their individual parts]. Sometimes, the magic is sort of how you're not quite sure what the person is saying, and you're not quite sure where the line endings are. You can kind of construct your own interpretation of what's going on. Something I can draw attention to, as a mutual influence for Liz and I, is the band Polaris from The Adventures of Pete and Pete. Famously, nobody knows what the lyrics to the Pete & Pete theme song are. There's just that line, nobody knows what it means, and half the fun is you don't know what it means. Everyone has a different idea of what that line is, and that spins off into your own interpretation of the work. And then you read it later, like, “wait, a song about murdering a lifeguard? What the fuck?” (Laughs) You can have these two separate experiences with it, where your experience with it was “wrong,” but it's just your own interpretation that makes it interesting and relevant to you, not the songwriter's intent. And I think that's a really fascinating process, because it allows the work to speak to so many more people because they are not chained to your experience when you wrote it. Someone can have a completely different relationship with it based on how they hear it, the frame of mind they're in when they're listening to it, and what was going on in their life when they listened to it. To me, tapping into that part of someone's brain means maybe being less focused on a narrative and more on their [state of mind]. The combination of having all sorts of songs in Sorry Darling allows any number of people to take away something from it. So if they need something that’s hyper personal and has a lot of storytelling and paints a vivid picture, Liz is really good at [that]. If you need something a bit more internal, vague, more like describing a set of feelings, that's where my perspective comes into play. You have the option of both with our material.
That's a strong asset for Sorry Darling. I was actually going to ask about that, because if I understand correctly, Steve, you don't really sing your own songs.
Steve: That’s not really something I want to do. I don't enjoy it that much. Liz loves to sing. I like doing backing harmonies. That is the extent of my enjoyment of singing, especially now. I never particularly thought I had that great voice, but now I have the privilege of writing for somebody who can sing anything I'm can come up with. Why would I sing? To be fair, though, Liz likes to sing with me, so I get kind of dragged into singing because that's something that she enjoys.
Liz: Well, what tends to happen is that Steve will write something that if I sing it, it's going to sit in either a really low place or a really high place. So I'm just going to sing something different and he’s going to sing that. That's what happened with “Sorry Darling,” “Language of Touch” and “Made Room for Silence” - Steve sings the melody as he envisioned it, and I sing a counter melody.
Steve: This goes back to something you said earlier, Liz, about that sort of organic, unplanned signature of our music. Like, we didn’t plan that to be a signature element of our music, but it happened organically so many times that we sort of had a moment like, “oh, I guess this is a thing we do because we've done it three times in a row.” It's that jazz thing where you make a mistake, you do it twice, and then it's intentional. We didn't necessarily make a mistake, but we definitely stumbled on something that became a signature element of the sound, or at least something that I think people recognize us for having. Getting way, way back to you asking about how we compromise between the various opposing elements - for us, it's almost like finding these happy accidents in the creative process. Like, “we probably wouldn't have done this on purpose, but because it's happening by accident and we both like it, we will continue to do it.” And I think that’s the best.
How did you choose the “Passionate Kisses” cover?
Liz: We both love that song. And I think we both had a similar, like, complaint about the original. It's such a good song - like, the bones of that song are so good, but… Well, there are two famous versions of it. They’re both a lot slower, and one of them is a little bit more rock and one's a little bit more… I don't know what to call it.
Steve: How this originally came up was we had that Valentine's Day show a couple of years ago and everyone was doing a cover. One of us suggested doing that song, and then we listened to the original, and got to the end of it like, “man, they really just kind of showed up and did it that day, huh?”
Liz: Yeah. If you listen to the words of that song, there's something so desperate about it.
It wasn’t passionate.
Liz: Yeah, where's the passion?
Steve: There's neither passion nor kisses in the song, and we were frankly flustered by the lack of that.
Liz: It was too pretty.
Steve: And weirdly, it fit so perfectly to what we were doing because we essentially did it in the same key and chord structure as several of our other songs. It sounds like we could have [written] it ourselves.
Essentially, you're taking a song you like and saying, “why wasn't it done this way?” and making it into the music you want to hear.
Liz: It's a song that we loved, that we just thought we could add a little to it.
Okay, so the two bonus tracks - “Made Room For Silence” and “Loved Well.” On “Made Room…,” there’s a reference to Bad Religion’s Process of Belief. Steve wrote those lyrics, and Steve doesn't even like Bad Religion.
Steve: Just for you.
Liz: Just for you, Rob.
Is that true? Was that really just that?
Steve: Yeah, it was.
Liz: He said that without you around. So I'm going to say it's true.
Editor’s note: hell yeah
That rocks. Anyway, tell me about what that song is about. Did you write that, Steve?
Steve: Yeah. Liz added some pretty significant lyrical contributions to it, but that was kind of mine that I brought in for the most part. That one's more, like, dealing with a bunch of emotions within the internal capacity of one's brain, and trying to quiet your brain down and have a moment with yourself. Like, just making room for there not to be a lot. Because I feel like all of our brains are really noisy these days. There’s always a lot of anxiety and things going on. Like, I can't have literal quiet, [because] the tinnitus that I have is so bad. Like I try to go to bed and I can always hear (makes humming sound) because of electric guitar. So it's like, trying to find that sanctuary place where there is just nothing, so I can think or not think if I don't want to. That’s kind of where that one came from.
Cool. Onto the other new song, “Loved Well” kicks ass.
Liz: Thanks!
You have a lyric, “I picture you playing with your toes.” Liz, are you into feet?
Liz: “Toys!”
What? “Toys?”
Liz: “I picture you playing with your toys.” No, I do not have a foot thing, Rob. Does it sound like “toes?” Oh no.
Steve: You can't control how they interpret it. You said that yourself.
Liz: That reminds me... my partner’s heard “No Angle” a thousand times and he always thought we were saying “there's no way, girl.” (Laughs)
Jon’s going to fire me after that one.
Liz: I’m going to fire you.
“We're all lonely people growing up from lonely kids” is a really good line. What is that song about?
Liz: That song is about seeing someone choose things in their life that do not support them feeling the kind of support and safety that I think we all deserve - and wishing that it was different. One thing - We're doing a music video and working with an animal rescue. The song is not about adopting a dog, but the video is going to be about how we can love an animal or have an animal love you well, and how that can be a healing and beautiful thing. And we're gonna raise some money for Muddy Paws.
Love well, adopt dogs.
Liz: Yeah. Right Harriet? (looks at her dog) She’s really into it.
So this LP kind of closes the early years chapter of Sorry Darling and showcases how you four have found your identity as a unit.
Steve: Exactly.
Liz: That was the driving force for putting something out with everything [on it]. We had one song that hadn't been released, “Loved Well,” and I had never put out vinyl. Neither had you, right Steve?
Steve: Nope, this is my first time.
Liz: I hadn't actually put out physical media before. It feels like tying it all up in a bow and being like, “it's done. Next thing.”
I remember asking Steve about tapes or something a long time ago.
Steve: We had a long standing kind of debate in the band of what physical format would be worth doing, because we're in a weird place [culturally] in terms of like, what's even worth doing? One thing that I actually like, even though I've argued against Liz on this, is her thought process. She doesn’t want waste just sitting around. Like, how many of our friends have a hundred tapes, CDs, or records sitting in a closet somewhere? Like, I totally get that.
Liz: If people are going to have and play physical media, it's probably on vinyl. Because if you don't care about having physical media, you just have your phone. And if you do care, you probably have a record player. Even if you don’t care, displaying vinyl is kind of cool and esthetic, the way that CDs and tapes are cool and esthetic to the generation below us. But I’m too old - I don’t need tapes.
Steve: This is a pile of shit currently on my desk. (holds up a stack of CDs) There is a Brian Adams record in here and three Ub40 records. I will take no questions at this time.
But no 38 Special.
Steve: No 38 Special, no 36 Crazy Fists. There is Shania Twain’s Come On Over, though.
Liz: Classic.
Steve: I love how the dude who made his money making AC/DC records and Def Leppard records made that record. That makes me so happy. It rocks.
You know what makes me happy and rocks? That Sorry Darling is playing their LP release show at Main Drag this Saturday, with Navelgrazr, Sadlands, and The fuckin’ Royal They. RSVP here and come sing along with me.
(At this point, Steve left the Zoom chat to get to a work meeting, and it was Liz and I alone)
Liz, I wanted to, on the record, ask you about your relationship to SKA.
Liz: (maniacal laughter) My ska phase was short, and it was mostly because of a boy. I hate that for me, but it is true. But I do have a very deep, real love for it.
Pick it up, homie. Go on.
Liz: I would not say it is the most influential to my writing, although I will say that Streetlight Manifesto was lyrically influential to me. I love… what the fuck's that album called? The red one?
The one with “Everything Goes Numb” on it?
Liz: I think it's called Everything Goes Numb. That whole album is like just about a girl not killing herself. I love an entire album about one thing. Listen to it again and, like, keep that in mind. I took a lot of heart in that album as a teen.
If you made it this far, come find me at the Sorry Darling release show and I’ll give you a free bandNada button.
