Editor’s note: This interview was conducted before the artists’ show at Club Passim in Cambridge, MA in May 2024. It has been edited for length and clarity.
LMNR: You’re classically trained, when did you gravitate towards wanting to play bluegrass? How did you and Mark meet?
Maggie: After high school, I went to Peabody Conservatory, in Baltimore, and got my Bachelor’s and Master’s degrees in Violin Performance. After I graduated, I contacted Mark, because I wanted to learn more about fiddling again. I had always done bands; in fact, I went to the Aspen Music Festival in the summers as well and would put little bands together and go busking. That’s where I started singing more. In college, on the streets of Aspen. I wrote to Mark after I had graduated Peabody, and said I wanted a lesson, because I wanted to experience a fiddle contest. And I had grown up playing fiddle music, but I didn’t learn it from fiddlers. I had learned from mandolin players, and guitar players. I didn’t know a lot of fiddlers where I grew up. I just wanted to experience the culture and meet more people. I even got a little grant from Peabody to learn how to participate in it. I ended up contacting Mark and asking if he would give me a little lesson, and he did. And you know, it’s funny [turning to Mark] our Meet-aversary is ten years ago May 15th, the day of our concert? Isn’t that cool?
Mark: Wow [grinning at her]
Maggie: So that’s the day we met, May 15th, ten years ago. And we had a lesson, you had sent me a duo, ‘Emily’s Reel,’ which ended up being on our first album together. But it was on Mark’s ‘Appalachian Journey’ album, which I adored. I loved that album; it inspired me to go into music school in the first place because it combined the classical and the fiddle into something new and exciting. So, it was really surreal and exciting to play that with you [turning again to Mark] the day we met. Then we played at a gala that night, at the Turtle Bay Music School in New York City. He was living in New York at the time, that’s where we met. Anyway, [laughing], long story short, we’ve been playing together ever since. We got married that same year, six months later.
LMNR: When you were seventeen you joined David Grismans’ Quintet?
Mark: Yes, and the first tour was with Stephane Grappelli, and he became my mentor and final teacher, really. Even in our shows today, we still pay tribute to Grappelli with a few tunes that Maggie and I will play. Actually, we’ll be doing that in our Showcase concerts this month. We’ll include the very duo that I played with Stephane Grappelli. Or maybe two of them! People just love that, and Maggie can really tear it up on the fiddle. Maggie and I have a wonderful symmetry in our collaborative playing that reminds me of the mentor-protégé relationship I had with Stephane, which has a different kind of magic. I’ve had some really nice, high-profile projects with other string players. But I think people in the audience, when they hear Maggie and I play together, there’s something quite magical about what’s happening, in the music and the playing. And just reading each other. Because that’s really what brought us together in the first place was the music, and we just fell in love; very quickly. And got married that first year, and we’ve been touring ever since. Not this entire time as Mark and Maggie, that’s more recent. We’ve had a family band, and we had other things where I had brought Maggie into the group, like with my orchestral music. This is very cool to really focus on what we do together on this album, ‘Life After Life.’
LMNR: Let’s talk about the O’Connor Method.
Mark: Maggie and I direct string camps for the O’Connor Method in Charlotte, and people come from all around the country, and parts of the world to spend that week with us. We have it for five days in July and we’ve been putting on the O’Connor Method Camp for about the length of time the O’Connor Method has been out. Before that I had started just the O’Connor String Camps, starting in the early 90’s, and I’ve generally had one or two each year. When the O’Connor Method came out, there was a kind of transition. It actually began right here at Berklee College, here in Boston, where they were putting on my regular string camp. We were introducing the O’Connor Method as a separate track, initially, for younger kids. but it was very obvious to a lot of people that there was going to be an all-ages interest in the O’Connor Method. I just really love directing this with Maggie too, these camps are really fun. We also do teacher training that will take place in Charlotte in July.
LMNR to both: What do you enjoy most about the creative process, for example the composing of the music, the writing of the lyrics, the performance of the completed work, or the recording?
Mark: The recording of this project, we spent a long time on “Life After Life.” The tracking went pretty fast. We did the tracks and Maggie’s lead vocal in two days. Which was extraordinary, we had extraordinary musicians that we hired to play with us. We did it in Nashville and we got all of the top, A-list team of musicians and engineers, and our favorite studio. As a matter of fact, the studio had just been occupied the day, and weeks, before by Alison Krauss and Robert Plant. Unbelievably, the vocals that you hear on the album were live vocals, too, which is so exceptional to do.
Maggie: Being able to work with really great musicians together like that. John Gardner on drums, Dennis Crouch on bass, and of course Mark; he’s there producing but also having to get his very intricate guitar lines down. Because our priority during the sessions was the rhythm. I didn’t know we were going to keep the vocals, but I was just so inspired. We were only planning on recording the vocals maybe one or two times per song, then they would just loop it and do their rhythm and focus on that. I ended up doing like every take [laughing]. Shoutout to Tazo Mint Tea. That got me through.
Mark: Yeah. She had never sung that long in a day, ever in her life, as we did in the studio. All of us thought well, her voice is going to give out at some point. So, we make sure she can at least sing two or three takes and then maybe take it easy. But she said she felt great, and she kept on going.
Maggie: There’s just some like magical energy, it’s just so invigorating when you’re with really great musicians. Even our engineer was phenomenal, Neal Cappellino, who also engineered Alison Krauss. He engineered our Mark O’Connor Band Grammy winning album, so we worked with him before. He just really understands acoustic sound and really capturing all these beautiful colors you can get from these acoustic instruments. We’re really all about that range of tone and it’s a big part of our artistry. We spent so many years learning how to play these instruments, and there’s so much nuance that you can get with them.
Mark: We went into the studio really prepared, which made the difference. A lot of times when people, especially established musicians, go into the studio they might be three quarters prepared. And they’re expecting the other twenty-five percent to happen magically in the studio. Which can happen, and hopefully does, often. But we didn’t feel like we had that luxury because of expenses, and I didn’t know how long I could hold up on the rhythm guitar.
Maggie: We took a picture of his fingers.
Mark: Yeah! They were turning black and blue by the end of the day. And to illustrate that a little more, I decided to play on heavy gauge strings for the guitar recently. And I just fell in love with that sound. The thing that I didn’t know was could I play on heavy gauge strings for ten hours in a row without stopping. That I wasn’t sure of, and I didn’t practice that. [Laughs] you know, I wouldn’t want to put myself through it, and injure myself, practicing that. I didn’t know how long this could go anyway. We went in very prepared. The central core of it is Maggie’s voice, her violin, my guitar, and my harmonies. What you hear from track to track is that sound, then we just bring in the bass, we bring in the drums, the mandolin, and all the overdubs. The one thing that I did a lot on the sessions is to work with John [Gardner] to figure out the drum patterns and where to change the feel, what kind of activity, if its brushes or sticks. Then we took the tapes home to our home studio, we worked on overdubs. Maggie had learned to play the cello during the pandemic – so I thought, we’ve got to put the cello on there in a spot or two on this album. And I was playing the mandocello, I got out the viola, and then all these guitars that I have hanging around. We employed them all. An 1865 Martin guitar to an 1855 French Parlor guitar with nylon strings, that’s on the album. Then the first guitar that I ever owned and played, the Hernandez, when I was eight years old. I had never recorded that before, and it sounded great in front of a mic! I used that one in several places, including the Dolly Parton song [Wildflowers]. I just love it in that song. It’s definitely a bluegrass type of track but bringing in the nylon string guitar along with the steel string, it’s just a lovely sound. We did a lot of post-production work on the album, mixed and mastered, and it was a long process. We put every ounce of emotion into this, and I’m so glad that we did.
LMNR: And it definitely shows. I absolutely love it, myself. I’ve been listening to it on repeat.
Maggie: That’s awesome, thank you.
Mark: And we wouldn’t have the album without the original songs, that’s really the basis for it. I’ve been a composer for a long time, but I haven’t rung the bell with songwriting very much. To be honest with you, I’ve kind of avoided it, just because there’s always that dance with commercialism and trying to get a hit. I was a part of that process as a session player. A song would come in, is this going to be a hit? Then we have to play it like it’s going to be a hit, come up with the right hooks and all that. I’ve been in that process in my past and, for me, I just kind of burned out on that whole thing. And I don’t see myself as a commercial artist. And I don’t think Maggie sees herself as that, either, although there is something in what we do that could get over there, but I don’t want to try too hard. I’d rather just do art for art’s sake. Do things that we love, and if something catches on, we’ll deal with that as it comes. That’s really the idea behind writing the songs, let’s do something that we really want to do, that’s really honest to who we are as musicians. Without a doubt, I didn’t want to do songs without any instrumental solos in them.
It’s so sad, especially in Nashville when at one point it was all about the steel guitar and the Country guitar, and Chet Atkins, and here and there the fiddle. I was responsible for bringing the fiddle back to Country music in the eighties as a session player. I got a lot of solo opportunities, but you don’t hear it that much anymore. So that was something that we wanted to make sure that we did. In Bluegrass music, you definitely have a lot of the instrumental solos, but we were trying to go for more of an Americana/Bluegrass feel. With a lot of Americana songs sometimes you don’t hear the extended solos, so I really wanted to showcase Maggie’s’ great fiddling. One of the things we came up with is I’m going to take all the guitar solos, she’s going to take all the fiddle solos, because that’s what we do when we play these songs on stage.
Maggie: Yeah, we wanted to be able to recreate it on stage, just the two of us.
Mark: And to have that translate to our duo. But it would be nice if I also played some fiddle, so it worked out great that I was able to kind of tap into my session playing experiences from yesteryear. When my fiddle appears, it’s usually behind Maggie’s voice, as if I was the session fiddle player on this album. So you get both of our sounds, throughout, on the violin.
Maggie: There was also a nice connection to our string camp. It’s like every element of this album has meaning and a connection to our real lives. With the O’Connor Method camp, we have the Daniel Pearl Memorial Instruments that we award every year to string students, and they were made in honor of the journalist Daniel Pearl, he was a fiddler and a fan of Marks. Every year we’ll award these amazing, world-class instruments; two violins, a viola, and a cello to a student who gets to play it for a year, then they return it to camp and pass it on to the next student who receives the award. Anyway, during the pandemic, the instruments eventually found their way back to us, because the students are only supposed to have them for a year. It happened to be around the same time that we were recording our overdubs on this album, so we ended up with these beautiful two violins, viola, and a cello. We actually incorporated them onto the album as well. We made ourselves into a string quartet on “We Just Happened to Fly,” that’s one where we feature it. I think my favorite is on “Love’s in Need of Love Today” – Stevie Wonder – it’s just so meaningful because of the message of that song, and Daniel Pearls’ story of trying to find the truth and make the world a better place. It’s just really deeply meaningful. We made our own string section out of the Daniel Pearl instruments. They’re just singing, and it just builds towards the end. It’s very symbolic.
Mark: It was wild because Maggie has a lot of classical chops, along with her fiddling, that she got from going to Peabody Conservatory got her Master’s in violin, so when we hit the string quartet part in the orchestration, I had Maggie go first so she set the tone with her classical vibrato and mannerism of dynamics.
Maggie: We changed the character of our own playing. We wanted to sound more classical for the quartet, so we would put on our classical hats.
Mark: Then I would match my playing sound to her. That’s one of our secrets too of our creativity, is listening to the other. For instance, some things will arrive at the same place at the same time, but others we’ll have to really engage our ears in listening. That was one of the times where I wanted Maggie to go first, so I could match my intensity of vibrato to what she was doing. Because sometimes, if left on my own, I might just go, you know, go fiddle. Where she could turn that on, because she’s been there so many times, and I’ve been there too, but it’s really great to rely on each other in many different ways. Also, vocally, she had such a wonderful vocal performance on these live tracks, so I had to figure out how to sing in combination with that. What I wanted to do was try to come up with a blended harmony voice, that could allow Maggie to retain all of her inflections. More of a support role. I was experimenting with head voice because I’m a male harmony to Maggie’s lead. We arrived at this place, through a process of trying to discover how our voices blend and I’m so happy with what happened, and we get a lot of compliments about that. There were so many new things about this recording, even for me and this is like my forty-seventh feature album, and I’ve been on hundreds of others as a side man/session player. But this is a first for me producing, from start to finish, an entire album of vocal music.
It wasn’t really until I met Maggie, once we connected with our violins, it was like wow, what else can we do?? Because we have that in us. So, she sings. Well, at that time I was not playing guitar, I hadn’t played guitar in twenty years. I had put it down. I had had some nagging arm injuries, playing injuries, and I was just doing way too much with my arms. At age thirty-seven, I think, I quit the guitar and mandolin. I just got fully into playing the violin and composing and that was during the time that we met. I was thinking, it’s a shame that I don’t play the guitar and mandolin anymore, because that could be nice for our collaboration. So eventually, with Maggie’s encouragement, I got those instruments back.
Maggie: And the family band. We had a lot of amazing experiences together in this family band environment, I think that really inspired you to get the guitar back. Cause there were some great pickers, and you just didn’t want to miss out! You were having too much fun. You got the mandolin back, you got the guitar, then you got a guitar made so you could travel with it. It was a great, low-pressure environment for you to ease your way back, cause those parts were covered, and then you just built your strength back.
Mark: Yeah. I remember, I started playing the mandolin; my son plays mandolin and guitar. There was this one piece that we could play two mandolins on, and we played it for a while, and I said I’m not taking the solo, you take it. I just did not have the chops, nor the callouses, yet to even hang in there. But after a while, a few months go by, and I start building it up, same way with the guitar. He had a custom-made guitar, and I just fell in love with it. I just loved the sound. I said if I get my guitar playing going again, I’d like to get one of those guitars. Forrest also had this new-fangled pick he was using, made out of some space-age material that was indestructible. The last time I had played a lot of acoustic guitar, I was still using tortoise shell. Tortoise shell sounds beautiful, but those picks scrape and chip very easily. So that was always a nagging nuisance for me, I had a good tone for about a minute, and now its scraping up on me and its chipped, and I’m going to have to file this down with sandpaper. But these new picks you don’t have to do any maintenance at all, and they don’t chip or scrape. I was kind of excited about the return, and it was Maggie and the family that got me in. This album wouldn’t have happened at all without all of these steps.
Also, my son is a really good songwriter, and I was inspired by him and what he was doing. A moment ago, I was telling you I was in that Nashville machine where you don’t go into a recording studio unless you’re going to come out with a hit on the radio or why go in the studio. I mean, that was the mentality. But that’s also what afforded me a great session career, so I wasn’t slamming it all the time, I wished some of it was a little more artistic. I did what I could, and it turns out, in hindsight when you look back, well, that was quite a bit! Compared to now when there’s almost no fiddle solos in country music. My son was writing all these songs and he wasn’t really intent on trying to manufacture a commercial hit. I thought it was so interesting that here was a young person, who had a lot of drive, a lot of ambition, but getting a hit song on country radio was not necessarily a part of his ambition. And I found it incredibly refreshing. I don’t know if he picked up the artistic thing from me, it was almost like a fault or something [laughing], but maybe I inspired him to be that way, and he inspired me back. When it came time to look at vocal music, I was thinking, well yeah, we could do what Forrest does. We could write songs that we just like, that we really want to perform, that we think that our audience, that already likes our fiddling, will also like. So that was the channel in, what do we feel comfortable doing and what our already existing audience would like from us. That was plenty of inspiration to get going on this album.
LMNR: I personally don’t listen to country radio anymore; I go by word of mouth and recommendation more than anything. That’s how I found out about Sierra Ferrell and Billy Strings.
Maggie: Oh yeah, they’re great!
Mark: We knew Billy before he was famous [laughing].
LMNR: I feel like when you make music from your heart as opposed to for money’s sake, you bring your fans in more, and it brings more fans in. I’m a firm believer in that. So definitely keep doing that, because you can feel it. And I’m positive that I will be able to feel it tomorrow night. There is a magical energy about it. Speaking of music from the heart, I love how you rearranged ‘Love’s in Need of Love Today.’
Mark: Isnt that wild how we twisted that around to fit our sound, and we came up with that together. It was a song that Maggie first wanted to learn, then wanted to perform. We were putting some of this material together for our online shows during the pandemic so it wasn’t like we were necessarily looking for material that we could record or anything. We were just looking for material that appealed to us, and in that case, Maggie just loved that song. I said, let’s see what we can do and how it will fit on our instruments, and it just lent itself well to that Americana/Folk duo thing.
Maggie: You know, we didn’t try to make it sound Funk, or I didn’t try to sing it like Stevie, and I think Mark’s producing helped. We kind of tried to hone it, like, how are we going to be able to make this sound/speak through us.
Mark: I’m reminded, it wasn’t necessary to get all of Stevie’s great R&B phrasing.
Maggie: I mean, it’s fun to try, you know, just for fun.
Mark: Or for study
Maggie: But for what we’re doing, we want to bring our own sound to it.
Mark: So, we’ve got this great, beautiful track, then we got home, and that was when we thought let’s take one more turn on this and bring in the strings.
Maggie: You know something else we got to do recently, is perform it with a youth orchestra, live in Charlotte, that was so special. These young beautiful string students.
Mark: And it sounded great!
Maggie: It has such a timely message, too.
Mark: Also, there’s a jazz viola in the second verse.
Maggie: I think the viola is our secret weapon throughout the whole album.
Mark: That was a little bit of a nod to Stevie’s music because Stevie’s R&B, a lot of it is based in his knowledge and love of Jazz music. And back in the Seventies, there was a real fine line there. A lot of the great artists like Al Jarreau and people like that could walk that line and go right back and forth. We had the string quartet sound on “Love’s in Need of Love Today” and then, out pops the jazz viola verse; and I just love that.
Maggie: And it’s so authentic to you because Mark’s whole career has been about taking these bowed string instruments and crossing these bridges and bringing these genres together. Making like, viola, Jazz, Stevie Wonder opportunities. It’s so important for other string players to hear that you can do this.
LMNR to both: The song “Something to Love.” That song really resonated with me. Music is such a big part of my existence and that’s what something to love is about for me.
Mark: That’s another one that Maggie picked up.
Maggie: It’s such a beautiful message, that’s Jason Isbell’s lyrics. Yeah, all of it, even the covers, we just felt like, ‘we love that message’, or ‘we believe that too’, or ‘we want to share that’. Also, what we feel, we want to see in the world, the change you want to see in the world. Its almost like self-help, or therapy or mental health? That song especially is kind of a mental health PSA. Its good to have something that you love to do. Because the smallest thing, like going for a walk, or looking at the stars can be something that helps you get through the day.
Mark: With that one, and a couple of the other covers, my biggest goal as a producer, was to get a great feel on the tracks. And we had the musicians to do it. John Gardner and Dennis Crouch. When we hit upon that feel, that groove in the studio on each of those –
Maggie: It comes to life, it’s like you find the heartbeat, and it’s like you’ve created a living thing.
Mark: Yes. And it was so fun to have that to take back to our home studio to finish it.
Maggie: You built on top of it too, with all those beautiful instruments that have all this rich history with you, through your life and through our life together. That’s why I love the title of “Life After Life” because it can have so many different meanings for us. Like, Mark lived a whole, I don’t know, five lifetimes before we even met [laughter]. Now we have this life together, and even together we’ve done so many very different things. We started with just violin instrumentals, we were a Classical crossover (I guess you could say), then the family band, playing with Zac Brown, doing more contemporary type stuff. Singing more, through the pandemic – that in itself – we’re all emerging from that with a new lease on life. And that kind of all led us here.
Mark: Maggie’s got a wonderful story-telling voice that has now come out and people are hearing it. It’s so interesting, because you definitely have female singer-songwriters out there, interpreting their thoughts for their audiences. Then you have a lot of female singers who just belt it out, croon, and go for the big long notes at the height of their range. I think what Maggie is doing is fairly unique where she’s interpreting poetry in a way that is very artistic and musical. From my perspective, I can see that she is tapping into this talent of being a vocalist through her ability on the violin. We’ve both been on that track for so many years, then she comes over to being the chief vocalist on an album for the first time, really an introduction debuting her vocal talents. That’s what was kind of magic to me in those sessions. She put it all out there. She was communicating to the three of us that were recording the tracks, while she was there in the vocal booth – we could all see each other. She was singing to us to make sure that we understood what we needed to do, what our mission was. It technically started out as what we call a ‘scratch’ track, but it became so much more very quickly.
Maggie: There is something about when you’re with other really great musicians, there’s just this energy that you create together, it’s magical.
Mark: Luckily, she had my good mic too. We had the AKG-C24 on her, and I use Neumann’s on my guitar. That’s another thing. We had these great microphones that I had kept from the eighties, and they were made in the fifties- they were classics. Her violin sounds really good through the Neumann’s, and mine historically has always sounded good through the AKG-C24, I’ve used that on almost all my recordings (including New Nashville Cats) going way back. The sound you hear on the album is her playing through the old Neumann M49’s (circa early 1950’s), there are two of them and they’re spread apart by a couple of feet. I’m playing my fiddle through the AKG-C24, which is a stereo microphone as well. There is a lot of sonic beauty that was part of the creative process in this whole thing too.
Also, I mentioned the 1865 Martin earlier. I had never recorded that. It’s been hanging on my wall for decades. And it’s really ancient, 1865 Civil War era. So, I got the lightest possible strings on there, just so it doesn’t fold up on me. So here I am playing heavy gauge strings on my John Baxendale guitar, made for me by John Baxendale, in the image of my Martin Herringbone Dreadnought, which was a real beefy 1940’s guitar. I pick up this little, light thing, going “I’d like to use this, but…how??” I got some strings that were very light and put them on there. Now I was just experimenting with it, and thought “What would this sound like through a microphone?” I put one of my microphones in front of the guitar, then I put my headphones on, and I started to find the sound through the microphone. Because I was looking for something that we didn’t have on the record yet. I realized that if I played very lightly on those light gauge strings and then bend the notes, it added this beautiful, gorgeous sustain; almost like a slide guitar. Or in some ways, like an electric guitar.
Maggie: Was there one where you did it on Something to Love, with the Brother Oswald lick?
Mark: That’s it, I did that on the baby Martin.
Maggie: I love that throwback. There’s a lyric, “I’m still singing like that great speckled bird.” Which is a Roy Acuff reference, with Brother Oswald doing those licks.
Mark: I took the thirds and I was vibrating the notes as I played and emulated as if I was Brother Oswald, shaking his steel on the strings with the thirds going down.
Maggie: You do it right after I sing the words speckled bird and you have that little lick, right?
Mark: Yeah!
Maggie: It’s really cool. A kind of inside, historic reference there.
It’s been wonderful to do the mix of our original songs, and the covers. And we’re creating a beautiful theme throughout the album about love. Love of life, learning to love life again, and renewal. The little things in life that we want to appreciate (like in “Spice of Life”), all the way to profound deeply felt ideals like Verbovaya Doschechka, where Americans stand in admiration of how Ukrainians love their country, and their families and people so much that they will do anything to defend their country and democracy.
You’ve got this range of what we’ve been going through, the pandemic years, being scared of life, the future, scared of what’s around the corner but then coming with a set of pieces where we use our artistic skills to lift spirits to make reconnections and bring people into a theme that became so organic to us. You can’t really play the violin without loving it.
Maggie: It takes so much work to get a sound out of it, I think that’s why [laughter]. You really have to stick with it to even make a sound.
Mark: You can sit on a couch and pick on a guitar and produce a fine sound. You can’t do that with a violin. You have to like, get ready, get your whole body into position, [physically positioning his body, sans violin], you have to sit (or stand) upright. You have to make sure that you’re in the ready to go position. Even if you’re playing softly.
LMNR to both: One final question before we wrap up. What are your favorite songs off the new album to perform live?
Mark: I love doing the originals because I love how I’m tying in the idea of all my instrumental compositions. For me I’m making a direct link to me playing “Appalachia Waltz”, or “A Bowl of Bula”, or other well-known pieces of mine that have been a success for me throughout my history as a composer and performer. To make that connection to new songs that can stand alongside of some of my best instrumental pieces is really a thrill.
Maggie: I think, if I had to pick one (which is hard), I guess it feels the most personal to do “Ride Towards Home” because that’s the song that Mark and I wrote together. I wrote the lyrics, and I haven’t really written many lyrics before. Just to have people come up to me after the show and tell me that that’s the song that they really love. And it might just be because when I talk about the song it’s coming from a place that is just so genuine; I’m talking about my love of this animal that I’ve had my whole life. I just love horses. Connecting about something that’s not even music, and they’ll come up and show me pictures of their horses or telling me stories. I just love that. I think that’s what it’s all about, making these connections, it’s so much bigger than just the music.
Mark: It just happened when we did the Showcase in Nashville. The president of the record company we were working with, OneRPM, came up to Maggie after we got done with our Showcase and specifically identified with that song. He opened his phone to show her photos.
Maggie: He had these gorgeous Arabians, he used to have like five of them. He would show them, in one picture he was riding in a horse show!
Mark: So, he’s got his iPhone out, going through and showing her the pictures, connecting with her on their love of horses. That’s pretty cool when you can put your real life into song and then affect people in that way.
Maggie: I love also being able to honor this animal that helped build civilization as we know it. I feel like we don’t always honor and think about other things in nature that have gotten us where we are. We’re very self-centered beings. We rode them into battle, they helped us plow the fields, we wouldn’t have these big buildings or the world we know it without this one animal. We kind of owe them a lot. And I don’t have a lot of time to do these other hobbies anymore, but just being able to talk about them and connect with people about it. Music can just transport you, even when you can’t be there right then and there. It always transports you, so it’s a form of therapy.
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