TRUST ME I KNOW WHAT I'm DOING

Hello. I'm Dhee. I am a singer songwriter, and you're listening to Trust Me. I Know What I'm Doing. My name is Abhay Dandekar, and I share conversations with talented and interesting individuals linked to the global Indian and South Asian community.

It's informal and informative, adding insights to our evolving cultural expressions where each person can proudly say, Trust Me, I Know What I'm Doing.

Hi, everyone. On this episode of Trust Me, I Know What I'm Doing, we share a conversation with singer and artist, Dhee. Stay tuned.

As always, thank you for listening and watching and making Trust Me, I Know What I'm Doing part of your day.

I know it takes time and effort, and so I appreciate you engaging with me here and for sharing this with all your family and friends. And if you're enjoying these and if you can support the show, please take a moment and share a kind rating or submit a written review wherever you're getting this right now. You know, one of the themes of conversation with 100 of guests now on the show has been showcasing unique ways that people connect their dots and express the many intersections that they live in, artistically, professionally, and personally. Sometimes there's an obvious craving to link all those expressions together, and other times it's just beautifully expressed so naturally without too much fuss or even any need to call it out. And so that's where I found myself in sharing a conversation with the talented Dhikshita Venkadesan, a Sri Lankan born Sydney, Australia raised, Tamilian rooted singer who's also known professionally as Di.

She's been singing and recording for over a decade with award winning playback credits in Tamil, Telugu, and Malayalam, including the very popular “Enjoy Anjami” and the FilmFarer award winning “Kaattu Payale”. This past year, that natural expression has also come through singing foundationally about her Sri Lankan story in English with “I Wear My Roots Like a Medal” and the very soulful “Can't You Stay a Little Longer”, part of her upcoming English album called Jackfruit, while also exploring new space in Hindi and collaborating with Diljit Dosanj on Nain Mataaka. So it was great to catch up with Dhee and chat about those explorations and feeling at home and how she learns from each collaboration. But I was first curious to know how her love of music gets tested perhaps with loving the process of making music.

I think I I love it so much in general, so it doesn't feel like it's a struggle to love it every day.

It's tough being vulnerable sometimes in music. I think that's something that I can sort of struggle with sometimes because I feel like there's you're thinking a lot or it's like, can I say that? Can I actually say that in my song? Can I do this? Right.

Right. And and because you you love it so much and because the art itself is at the core of who you are, have you has that process and that that pace, even some of the grind of being vulnerable in the studio or on stage during a performance, has that part become that much easier? Right? But, like or or is it such that, like, no. Every time I go on stage, there's still the butterflies.

There's still pieces there that I need to kind of work. And and have you developed even maybe a different process now as compared to when you 4 first starting out? Yeah. I think I still get really nervous when I go on stage, but I think it it's it's a it's a bit different to, like, before where it's kind of, like, I guess overwhelmingly nervous, and now it's a bit more, like, I enjoy it. It's that, like, it's a feeling that I enjoy.

I I I think I should probably I've I'd always wanna feel it, I think. Mhmm. You know, I think there's something about that. Kind of that good nervous energy. Yeah.

Because I think it's because I respect the stage. I respect I feel like it's it's that, because I think I respect being there. Do you, by the way, risk that word respect, I mean, does do you feel like now compared to when you're first starting out, is there a is there maybe a different respect for the process and all the things that go into putting on a stage performance, getting a studio album out there? This has that part, you know, sort of evolved over time? It's a lot of work.

It's a lot of work. So I think, yeah, I think, like, putting out an album is, like, it takes so much out of you. And for me, I at least for me, I can speak for myself. It takes a lot out of me. Mhmm.

And I think but it's my favorite thing to do. It's like, I love it. You know? So I think even doing shows, yeah, you put a lot of, like, energy into it. Right?

So but I don't I would never trade it for anything. I would never sort of trade any part of it. So, yeah, I think it's it's some and I love the process. Like, the process is what I really love as well. Like, even though it's it takes a lot out of me, it's something that I really enjoy.

I love practicing. I I love rehearsing. I love rehearsals. I love I in general, I love practicing and learning. And I I think even being on stage is kind of like practice.

Each each iteration gets better and better and better. Yeah. For sure. So Are there things that you perhaps in the beginning of your career or when you were first starting out that seem much more like a chore that now you appreciate that much more and you do find that, like, wow, this is something that I never thought that I would really, really enjoy, and yet part of that process is kind of, like, you know, these days you're just, like, no. I I really I love that part.

Whereas in the beginning, perhaps, that never made so much sense to you. Yeah. I think I think it's probably, like, recording because I've always loved performing so much, and I've, it was only, like, later in, like I think when I was, like, 15, 16 is when I obviously, 14 when I got into a studio, or 15, when I and even then, I wasn't really comfortable singing to a mic because I'm so used to singing out Yeah. Out. Right?

So, like, that was new for me, and I was like, oh, okay. This is new. Like, recording in a studio, like, in a little in a room, that's very that's a different No audience. Yeah. Totally different.

That's a different thing. Right? I think I really learned to love that. Like, I really honestly, I think it's just now it's sort of something that I've it feels like a safe space in a way. I love being in the studio as much as I love being on stage.

And I I really enjoyed this. Like, this is, like right now, this is my little studio, and I really enjoy being in this space and, working. So Yeah. Yeah. And sort of, like, if it's a safe safe space, it means that Yeah.

You know, you can sort of be yourself and be even more authentic and even more vulnerable and kind of let yourself go in that way. With the upcoming album, Jackfruit, I'm sure it was, a super just sort of labor of love and and really some deep storytelling that comes from that. I'm always so curious to understand from artists. How do you know I mean, especially as you just mentioned that you you've grown to love and really enjoy even more the studio environment, and it's a safe space. But how do you know perhaps when a song is finished?

Like, when do you, like, know that, like, you know, okay. I don't know what it is, but that's it. That's it feels complete. It feels like I have finished something that I'm proud of and that I wanna get out there. That's a great question.

I actually don't know because I struggle I struggle with that. I really struggle with that because, I said but I you know what? I think there's a there's a point there's a point where it feels like, for me, it feels like I've said what I need to say, and I've sort of I've I've I can hear the song and hear it I can hear it the way I like, I love it. I love listening to it. Or it's in sort of a I don't I don't know.

It's that, like, you feel like it's it's ready. And I think I've only recently started feeling that. So, for the longest time, I struggled with that, like, you know, sort of, feeling like that it's done. It's done. Yeah.

It's ready. I've I've I've struggled with that. But, now I'm kind of, like now I think I think I'm like, I I do feel like, hey. This is this is ready to be out. You know?

Does it have to feel sort of, like you know, do you sometimes have to come back to the song and even, like, a recording and say, you know what? Look. I need to let this marinate for a little bit and and figure it out, or are there, you know, different times where you're just, like, okay. I don't I don't know what that was, but that's it. And it feels right.

And I can hear it, and I can see it as I'm performing it. And I I imagine that there's an element of having a sort of out of body experience going, like, yeah, boy. Something about that just feels right. Yeah. So sometimes, like, the first version ends up being the favorite thing.

Yeah. And I think that's like they call it the dermatitis as well. It's like your first version you kind of get. But I think there's there's been so many, instances where I was like, okay. This is not ready yet.

I need I kinda go back and forth. I go, I revisit the song so many times, even, like, lyrics, even, melody sometimes, even, Yeah. Just like lyric melody, arrangement, I'm sort of we play around with it a lot. So sometimes it's kind of like I go back back and forth. Sometimes it's just like, hey.

This is this is it. Think this is how it sounds. And those songs end up being really fun, to be fair, because, you know, it's just, like, straight up instinct. Right? So Yeah.

By fun, I mean, it ends up being very yeah. I think it just ends up being more honest as well. Yeah. Yeah. Does that honesty and fun come from being more comfortable with your instinct, especially as you mature and develop and and get more experience as an artist?

I think so. And I think it's also just, like, being comfortable with yourself as well. Like, a lot a big part of it is that too. I think it's, like, I feel like for me, it's, like, when I feel like, okay, this is I'm honest to myself. Like, if I'm, I end up really feeling very happy about it and a lot more even though it might be very embarrassing, I might be a bit like, I feel a bit, like, vulnerable about it, it still ends up to me feeling like, okay, I've done my part.

You know? Yeah. Sort of putting your best self out there. Yeah. Yeah.

That ends up kinda feeling a bit more satisfying.

You're listening to Trust Me, I Know What I'm Doing. After a quick break, we'll come back to our conversation with singer and artist, Dhee. Stay tuned. Conversation.

It's the antidote to apathy and the catalyst for relationships. I'm Abhay Dandekar, and I share conversations with global Indians and South Asians so everyone can say, Trust Me, I Know What I'm Doing. New episodes weekly wherever you listen to your podcast.

Hi. I'm music recording artist, Sid Sriram, and you're listening to Trust Me, I Know What I'm Doing.

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This is Vidya Balan, and you're listening to trust me. I know what I'm doing. Hi.

I'm Kani Kusruti. I'm an actor, and you are listening to Trust Me. I Know What I'm Doing. Welcome back to Trust Me. I Know What I'm Doing. Let's rejoin our conversation now with singer and music artist, Dhee.

I've been fascinated with some of your work and getting to to listen more and more.

And, by the way, thank you for occupying a lot of my playlist these days, so that that's great. You you know, in making more English language music and, you know, I imagine it's somewhat of a pivot from Tamil and and definitely from Telugu or even Malayalam and all those songs, at least thematically when you think about the writing and the production part of it. And and I'm sure a lot of was gained from sort of having a you know, some of the work now be in English, the language you kind of at least personally grew up speaking in Australia. I I guess what I'm thinking about is is that as there's so much gained from making an English language song or an English language album, I'm also curious. Do you feel like anything was actually left behind?

Was there anything lost from pivoting for away from some of the South Asian language work that you've been doing? I don't I don't think so. No. I obviously, like, I'm singing in a different language to what I've been singing in, movies. Like Yeah.

But I no. I don't I don't think so. I don't think I've Yeah. Left anything behind. I don't yeah.

If that Instead, maybe is it sort of like a, hey. This was just, you know, a different part of me than I'm just finally, you know, getting out there and exploring? So, like, what's really interesting for me, like, even for people around me, they've always felt like this is me. So this is like so now I'm sort of realizing, oh, like, that's, like, you know, like, outside, that's not that's not me. So only when I start releasing things, I'm like, oh, okay.

It's like, yeah. This is this part of me has never been out, but this is this is, like, always been me, and it's always, like like, I think for people, like, who sort of heard my music or who kind of known me for years now, for them, they're like, this is the d that we know. So it's it's very interesting that way. But I think when you sing in movies in movies, it's such a it's not it's not so personal, but, like, but it becomes such a big part of your identity. Right?

Right. Right. And you're singing for a movie for a character, but it's still it's amazing that it how it ends up being such a big part of who you are. Right? Yeah.

Sorry. I'm saying right a lot. I think it's like a new that I've, like I don't know where I I don't know where I picked it up. Well, the thing is is, like, you know, I I could I've I've heard some of your your work in your interviews, in Tamil as well. Oh, in Tamil.

Yeah. Yeah. Oh, and you flow, and and you sound like you're being, you know, so authentic and being yourself. And so I I wonder if, like, because it's so embedded that, yes, they're film songs, yes, they're character songs, and yet it's a big part of who you are that that it maybe pivot is the wrong word and and more that this is just more of, you know, another form of expression for you. It's it's it's additive in that way.

They both sort of are building blocks. That's kind of that's exactly, I think, how I feel because, it just it's yeah. It's I don't think I've I was never a different person singing, like, playback as well. I I was still me, and I'm still me. So, I think it's just, it's just a different expression.

I think it's obviously when you write your music and you're composing and you're writing, there's obviously, like, every part of you is in there. Yeah. So that you're so that that's kind of the difference, I think. Even in, like, playback, I think I was I was still very I still remained independent. When you think about all the different venues and and the themes here, whether it's as an independent artist, whether it's in English, whether it's in another language, whether it's, you know, part of a cinema or a film, that there's always this kind of dance between exploration and comfort.

That, like, hey. This is something that I'm comfortable with. I can reproduce it. I can keep going with it. Or, no.

This is something kinda new, and it's a new exploration. It's a new addition. It's a building block as as we talked about. And and in thinking of yourself in doing this for over a decade now, have you been able to weave and even find this concept of home in your music? You know, did does that resonate with you?

Is there is there a feeling of home, that you find in your music no matter what language or what venue or, you know, what, you know, theme it takes? I do. I think, for me, like, music is like this this it makes me feel very safe. It's it's the place where I can sort of, like, rest everything. Like, rest whatever I'm feeling.

It's it's that it's that place. Right? So so it it is home, and it's it's something that I've always had in my life. It's like my kind of like, I know it's corny. It's very corny to say, but it's like my first love as well.

You know? Yeah. It is my first love. Right. 1st and probably, like, consistent hopefully consistent love.

So, but but yes. I think it's safe to say that. Right? It is it's it's my home. Like, it it is Yeah.

Like, I think it it's been there through everything, and I've sort of, it's where I put all my, like, rest my hat or whatever, everything. I rest everything. Do you have to just like for anyone. Right? Like, people people love their homes, and then they go and take vacations, and then they they go on out and explore.

And, you know, for each of these explorations that you do and, you know, whether they've been exploration so far or explorations in the future, is it important for you to have that sense of home and belonging and comfort and safety, yet at the same time, like, doing something that's that's brand new and innovative. And how do you sort of marry both of those together? I think for me, every time I've sort of felt a little bit, like, not uncomfortable, but sort of, like, just a little bit, like, not touching the ground, but a little like I'm floating, but I'm not really drowning. It that spot has always been such a liberating place to be in. Yeah.

I don't know if I consciously try to be there, but I think naturally you sort of gravitate towards that spot. I don't think I've I've never really consciously thought about these things, like, while making music. But, I think naturally you sort of you know, when you sort of make music and when you feel like you can't think of a reference, I always feel like that's a good thing. Like, that's kind of a like, if I can't think of a reference for it, like like a mixed reference or, like, any reference, I feel like that's kind of a really interesting place to be in. It's not like no one's doing anything absolutely original in this world that no nobody else has done.

But, like, I don't know. Like, it could be No. I I love that. Yeah. I love how you put that that, you know, when it's hard to come up for a reference for something, especially immediately Yeah.

There's a tickle that comes from that. Right? That's just sort of like, hey, that's something fresh. It's new and and yet scary as well. Yeah.

Oh, no. What what is what are what are we doing? What like, you know? But it's also yeah. It's also like you said, it's, a kind of a nice place to be in.

Yeah. And, I mean, I imagine that for you, it sort of, like, adds to sort of the adventure of all of this as well. Yeah. I was listening to Naima Thaka and thinking about, you know, this is a Hindi song. And, of course, you know, I think one of your first Hindi songs My first.

It's my first ever. Yeah. Okay. And when I think about that, I think about your English stuff. I think about all the other languages.

Is there an intentionality, that idea that there's no real reference? And for you, this is now a new point of reference. Is there an intentionality in a way to having that versatility in all the different versions of your music? Does that add to the kind of feeling of home? Because there are just so many shapes to this, so many avatars of this, if you will.

I mean, I I've never considered myself as, like, a versatile singer. And, like, I I don't I've never thought about it like that. I've never considered myself because I feel like I sing the only way I know how to sing. True. So it's just that I've been so lucky to be part of, so many different songs and, like, films, like, so many different kind of songs that, you know and I've just been really blessed because someone thought, oh, Dhee would work in this.

You know? Mhmm. So I've just been lucky that way. You know, if you purposefully think about the versatility of this simply because you're reaching so many different audiences with each language, and and maybe that's just a a natural, normal extension and reflection of who you are. Yeah.

I think, like, in a in a way, when when you sing in so many different languages and when when you sing in so many different types of music as well, I think, like, you know, you're very lucky to be connecting with so many different people. Yeah. And you're and I think language is such a beautiful thing. For me, like, I love singing in different languages because I think it's and I love understanding them as well, obviously. But when when that happens, I think it just opens this part of your, like, you know, creatively as well.

I think it's such an exciting thing to be singing in a different language and also just connecting with people from different Yeah. Parts of the world and parts of the country, obviously. Yeah. No. A 100%.

Yeah. Yeah. I think I'm sort of yapping away. But No. You're doing great.

I mean and you know what? Yapping away and whether whether that or not the truth is is that, like like you said, you're just connecting with so many more people who who can now, relate to you in a way. And when I think about, you know, being able to have those opportunities, you you've worked with some absolutely amazing producers and musical directors and and other artists over the years. Those collaborations have have been terrific. Right?

I mean, some of the best singers and musicians that are out there. When when you build so many of these partnerships and when you're reaching different audiences and now people and you're connecting with different people sort of artistically, what if you hack actually had to unlearn about yourself? Perhaps each time that you that you have a collaboration or that you, you know, that you're discovering something new, are there parts of yourself that you've had to say, like, I I kinda need to unlearn and unwind this about myself. Yeah. I think for me, I don't think like, when I I've or I always walk into something feeling feeling like I don't know anything.

So, like, I just sort of, like I try to be a sponge, and then I try to sort of absorb everything that I can. So I always feel like I don't know anything. So I've, like, never felt like I had to unlearn something. But maybe, maybe I think, like, I think it's like I'm very self critical, so sometimes when I walk into, like, a studio, I sometimes have to stop being so self critical. And that's, like, that's and it's helpful because you're in an environment where you just have to trust someone.

You have to trust so I just have to take a step back and not be self critical. Yeah. Has it built your confidence then with with each of these? Yeah. For sure.

I think, I've I've definitely felt like like when you work with so many amazing talents, I think you end up Yeah. Learn you end up learning so much. Right? I think you learn a lot. I learn a lot from them.

I think I always walk away learning something new. Like, even the littlest things could be like being very efficient with how you record things, or it could be the littlest to really big things. Yeah. You know? So I learn so much from every recording experience.

Maybe when it comes to unlearning, I think I truly feel like I don't know anything. So I go in, like, feeling like I don't know I don't know anything. Like, and I'm ready to, like, you know? So that's why I don't know if I had to unlearn something, except, like, maybe a lot of, like, the mental things that kind of happen of, like, being self critical or being very, like, oh, is this am I doing well? Am I doing this?

You know, all of that. Yeah. Yeah. Although, you know, I imagine that as someone who's put your art out there, you're constantly sharing your work, you're you're like you mentioned earlier, you're making yourself vulnerable either on the studio or on stage, have developing that confidence and and feeling like you're not necessarily, coming at a project where you have any ego. Is that also kind of a tough balance?

Because at some at some level, developing that confidence, you know, I imagine that it it's tough to sometimes leave your ego outside the the recording studio or outside off the stage. Yeah. I think I I try to, like like, when I'm working with people, I try to be as you know, you you surrender to each other. I think that's, like, you sort of and that's what makes it beautiful and fun when you can be collaborative. And I think every person that you work with, they have something amazing to contribute and to sort of for you to learn from, really.

Right? So, I think so so I think, like, you just whatever ego that you may have, you leave it behind. Like, you know? Yeah. Because That probably adds to the music as well.

Yeah. Because I think it's just and I I really in my in my head, I really don't think I'm I'm sure there's ego. But I in music, I think that I feel like I just I it kinda shouldn't be there. Yeah. I just sort of leave it behind because I think it's just about sort of learning and sharing, and I think it's beautiful when you don't have ego sort of, you know, like, looming over you.

Sure. Sort of liberating not to have to have that hanging over you. Exactly. Sometimes, I think I think sometimes you you don't even know when it takes over. Yeah.

So that's like that takes a lot of, like, reflecting and sort of usually when I have to be in a room and I have to work with someone. I mean, it's so fun when you just sort of let yourself be open and be free and be, honest with each other than sort of have that, like, that, oh, I know I know what I'm talking about. Yeah. The collaborations, I imagine, get better, the, the music itself. And and it it comes back back to the art and the music, and it sort of allows for a lot more focus on that.

Yeah.

You're listening to Trust Me, I Know What I'm Doing. After a quick break, we'll come back to our conversation with singer and artist, Thee. Every story told is a lesson learned, and every lesson learned is a story waiting to be told. I'm Abhay Dandekar, and I share conversations general of the United States, and you're listening to Trust Me, I Know What I'm Doing.

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Let's rejoin our conversation now with singer and artist, Dhee. Your work and your music and and your story live at at so many intersections. Right? Culturally, linguistically, nationally, artistically. How have you been able to sort of connect all the dots here?

Does all of this make you a a prouder Australian, or does it make you a more unique, Sri Lankan or South Asian? Is there a way to connect all the dots, especially for for those who are, you know, getting to learn about your story more and more? I think for me, it just sort of makes me all of these things were sort of a result of me feeling comfortable with myself, comfortable with my own skin, comfortable with my everything. And it's taken me a really long time to sort of come to that place, where I'm, you know, truly happy with who I am and comfortable with who I am. Just, you know and everything that sort of comes with it.

So, yeah, so I think, like, for me right now, I just I'm not, like, even thinking about the thinking about my identity so much because I think it's just you've come to a point where it's it's a part of you and it's there and it's, you know, it's just it's there. And I think, and I think, like, for me, if Fruit Song is if if it's anything, it's the fact that I think, I got to sort of express all of that into that song. And then once I put it out there, I think it just I was sort of I was free. I was just liberated, and I think I could just, now every time I talk about that song, it's very difficult for me to talk about it because I feel like I've come to a different stage in a in a way. Like, to when I wrote it, I think I was a bit I think that was when I was sort of I was obviously kind of not in a conflicted space.

I was still sort of more resolved, but still, you know, I had a lot more feelings about it. And now I think I'm just I'm just kind of in a different space, I think. Like, when I think about these things, I just right now, I'm just in a really comfortable space where I am comfortable with who I am. So I'm not even thinking, oh, I'm a I am very I'm very proud. I'm a very proud Tamil Australian.

That's all, you know, goes without saying. But it's not something that I'm giving a lot of thought to as much as I probably probably would have done at that point of time, if that makes sense. I don't know if that Yeah. Sort of No. It does.

I mean, I think, like, what I think what that your the consciousness of it is kind of more subtle, and it's not necessarily top of mind, and it's not at the forefront. And, you know, the music in a way sort of speaks for itself. Yeah. I think I think that's I I feel like that's what I'm sort of feeling because it's just I've kind of it I felt free, and I felt like it lift I got it out of my chest and my shoulders as soon as it as soon as I wrote, I was like, I can't write another song like this. Like, I don't think I can that's what it felt.

Like, I was like, I'm done. I've said everything I needed to say. And every time I Yeah. Write a song, I that's kinda how I feel. Like, I've said everything I've needed to say in this particular thing.

Right. I I wonder, you know, when the music and this is goes back to more the industry side here. When the music is tied so heavily to film and and maybe other commercial anchors, How do artists and audiences cultivate and accelerate more trust in independent music? How how can we find a happier level of understanding? And how do artists maybe, you know, take more control over over that that music making independent of having to have it anchored in film and and other commercial endeavors?

I think, like, you know, for as from an artist perspective, I think kind of do you know now I think there's there's been a shift. I feel like I feel like there's a shift where independent music is actually redefining pop music, Mhmm. And I've I've been seeing that a lot, and I don't I'm I don't know. I think independent music is redefining pop, and people are a lot more artists are a lot more open to kind of talk about their stories and sing about their, their experiences and very obviously, be very personal with what's kind of going on in their life. That wasn't really that wasn't so as celebrated as it is now.

I think at at one point, it was just all about film, all about film music, all about Sure. And now I think independent music is redefining. And I think when I I can think of so many examples now that I it is so amazing to see. So Yeah. And maybe that's a shift in in the power structure also.

Yeah. Yeah. I think I think so. Because now there's there's, like, a demand for honest storytelling, I think. Mhmm.

Yeah. And when that shift happens, I think people wanna hear people wanna hear what you really wanna say. You know? I I think they wanna know. And I think that's also changing in films as well.

I think even if you see the type of films that kind of are coming out or doing really well, they're usually very comes from a really personal space for the film filmmaker as well. But I think mostly in music, I think that that that's been a huge shift. Yeah. And then that's been really nice to see because it's, like, long overdue as well. So Sure.

It yeah. For you, is that is that in a way I mean, never mind the power part of this and never mind the sort of having to anchor things, to film and and kind of this great, you know, blossoming of independent music that that's out there. But if if for you, is that kind of the secret of staying relevant in the industry? Just being honest about your work and and on top of that, making music that sort of comes from your heart? I don't know if it helps me be relevant, but I think it helps me I think it just makes me feel like that's that's like I feel like that's my purpose.

So it makes me personally feel like I'm doing something that I should be doing. Or it's just, you know, you're I think you constantly try to find your a a purpose. Right? I think you're always in through your art and whatever you do. And I think for me, that's I feel like when when I speak about these things, I think I think I hope hopefully, someone else resonates with these things.

Yeah. And and I hope I make meaningful connections through this. Sure. And it brings me a lot of joy doing this. Yeah.

And I it's also difficult, but, like, it's, it can sometimes it is. Sometimes it's the easiest thing to do. Sometimes it's, like, the hardest thing to do. So I I saw on Instagram a a really lovely acoustic version of one of your songs. And and the lyric that caught me, of course, is that the past is written on my body and the future is in my mind.

And and I was and I'll get you out of here on this one. I I, you know, I was thinking when it's all sort of said and done and as your work evolves and your audiences grow and those who are revisiting your music and then those who are even learning about your music for the first time, what do you actually hope your legacy might be as an artist? We hope that your sort of lasting impressions are gonna be on those folks who are are rediscovering your music and those who are are just, you know, hearing it for the first time? I think, for me, if when someone listens to my music, if they can sort of see themselves in it and if they feel you know, I feel like I'm I know a lot of my favorite artists have made me feel so many beautiful things. I've felt I've felt seen.

I've felt like I'm really sort of kind of understood what I'm feeling through listening to, like, a Nina Simone song. You know? So I think if someone can listen to my music and sort of feel better about feel happy or feel better about something that they're going through, that would be, like, the biggest success for me. If they if they can listen to it and walk away feeling a certain kind of way that makes them feel better and sort of do this life thing in a more, I guess, happier way or just, you know, in any way that is progressive to them, that I would feel really amazing. And I think that would be the greatest legacy or whatever I can leave behind.

Yeah. So I think for me, it's just kind of making meaningful as a connections. Meaningful, makes me feel even now, I think that's what makes me feel, like, oh, successful, if I can say that. That's what makes me feel that way. Be when someone says, oh, your song made me feel this way.

Like, it made me feel when I heard this, I felt this way, and that makes me feel, like like, really happy. And it doesn't matter. Like, even if 1,000 people say, oh, okay. Go ahead. What is this?

When someone says this to me, I feel really happy. And I'm like, my job is done. Like I, my job is done. So that's kind of, probably that's I think that would be something that I would be very proud of as well, and I would want to leave. Sure.

Yeah. And I mean, whether it's making connections or resonating with people and seeing themselves in your music, I know lots and lots of audience members and and listeners out there are are really enjoying it and and looking forward to more. Bea, thank you so much for for joining us. This was such a lovely conversation and it was truly lovely and and we're so grateful for your time. Oh, thank you so much for having me.

I had a great time. Thank you. Thanks, Thea. And please check out all her music streaming just about everywhere. As you may know, I live near Berkeley and in the Bay Area.

But being born and raised in LA and having worked as a pediatrician and first responder during several disasters, my heart and soul are with the City of Angels. Please take a moment to consider donating to the American Red Cross, mutual aid, various GoFundMe efforts, Save the Children, and baby to baby to help support the victims of the LA wildfires. Hoping for a safe, peaceful, and supportive recovery for everyone. Till next time. I'm Abhay Dandekar.