BØRNS: Glam, Sunshine, and 'Electric Love' : It's Been a Minute

(SOUNDBITE OF FLEVANS’ “FLICKER”)

SAM SANDERS, HOST:

Hey, y’all. From NPR, I’m Sam Sanders. IT’S BEEN A MINUTE. Today, I am very excited to share a conversation with you that I had with a musician I have been a bit obsessed with for a few years now. He goes by BORNS. And I first heard of BORNS back in 2015. I was watching TV, and this commercial for Hulu – the streaming service – this commercial came on. And then I heard this song that almost made me jump off the couch.

(SOUNDBITE OF SONG, “ELECTRIC LOVE”)

BORNS: (Singing) Baby, you’re like lightning in a bottle. I can’t let you go now that I got it. And all I need is to be struck by your electric love.

SANDERS: That song is called “Electric Love,” and it really put BORNS on the map. So a few weeks ago, my colleague Anjuli and I – we went to his studio. We drove to this quiet, almost suburban neighborhood a bit north of downtown LA. We pulled up to this cute little white house with a big old green yard. And Tommy English, BORNS’ producer – he was there to greet us.

SANDERS: Hi, how are you?

ANJULI SASTRY, BYLINE: Hi. Good to see you – oh.

TOMMY ENGLISH: Great. I’m sorry.

SANDERS: Hey, buddy.

ENGLISH: He’s friendly.

SANDERS: Also, his very large dog Blueberry was there.

That’s a big dog.

ENGLISH: He’s half Great Dane.

SASTRY: (Laughter).

SANDERS: Nice.

I fought the urge to frolic with Blueberry, and then we walked a bit further back.

ENGLISH: So yeah, come on to the studio. It’s out back.

SANDERS: Awesome. Thank you.

We were there to meet BORNS.

(SOUNDBITE OF SONG, “FADED HEART”)

BORNS: (Singing) Galaxy, galaxy, won’t you be my consolation? I need someone to kiss my hands and my feet and make me feel complete. Oh, yeah.

SANDERS: This song you’re hearing now – it’s called “Faded Heart,” and it’s from BORNS’ latest album, “Blue Madonna.” Rolling Stone called BORNS, quote, “glam with a natural sparkle of West Coast sunshine.”

(SOUNDBITE OF SONG, “FADED HEART”)

BORNS: (Singing) You’re the man with the plan, oh, yeah. But it feels just like I’m falling all the time. Falling all the time. High as a pretty star…

SANDERS: So since BORNS first kind of hit it big in 2015, he has toured with The Lumineers, and Mumford & Sons and Lana Del Rey. And she is actually on his new record. So in spite of his ascendant career and that really big, shiny falsetto voice, BORNS is just 26, and he is still very shy and very reserved. But he makes for a wonderful conversation once he opens up. All right, we cover a lot of BORNS’ story – how he made it from small-town Michigan to performing at Coachella twice. OK. Enjoy.

(SOUNDBITE OF SONG, “FADED HEART”)

BORNS: (Singing) Faded heart…

SANDERS: Describe this space for those that can’t see it.

BORNS: Yeah.

SANDERS: So this studio is kind of a backhouse/garage or what?

BORNS: Yeah. It’s, like, a guest house, right?

SANDERS: OK.

BORNS: I don’t know. How would you describe this, Tommy? It’s, like, a…

ENGLISH: Pleasure dome.

BORNS: Yeah.

SANDERS: Pleasure dome, you say. OK.

BORNS: Pleasure dome – it’s, like…

SANDERS: Tall windows…

BORNS: Yeah, half greenhouse, half musical instrument land.

SANDERS: There’s a lot of guitars over there. There’s a drum set. There’s a lot of knobs and dials over there.

BORNS: There’s a slumbering Blueberry somewhere.

SANDERS: (Laughter) So first things first – give me your full name.

BORNS: Full name.

SANDERS: Yeah.

BORNS: Like, full full name?

SANDERS: Yeah.

BORNS: Garrett Clark Borns. Oh, man. I haven’t said that in a long time.

SANDERS: Does it feel weird to say it?

BORNS: Yeah, sort of, actually.

SANDERS: Why?

BORNS: I don’t think I’ve ever said that on a microphone.

SANDERS: (Laughter).

BORNS: Garrett Clark Borns – yup – because I can just hear myself as a little kid – like, I remember, like, my parents, like, videotaping me and saying, like, what’s your name? And I’m, like, Garrett Clark Borns.

SANDERS: (Laughter).

BORNS: …That squeaky little dude.

SANDERS: That’s a solid name.

BORNS: Hey, thanks.

SANDERS: Yeah.

BORNS: I’m cool with it.

SANDERS: Yeah, yeah. So you’re from Michigan.

BORNS: Yeah.

SANDERS: Where in Michigan?

BORNS: The west side of the Lower Peninsula and, like, right on Lake Michigan.

SANDERS: OK.

BORNS: So yeah.

SANDERS: How did you get into music as a kid? Because before music, you were doing magic, right?

BORNS: Not directly…

SANDERS: OK.

BORNS: …Before music, but there was some magic stirred in there.

SANDERS: You were a young magician.

BORNS: Yeah, I was a young – yeah, a little sleight-of-hand illusionist.

SANDERS: But not just, like, in your backyard, like, doing magic shows and stuff, right?

BORNS: Yeah, yeah. I had, like, a little – I had, like, my own gig, and I was, like, doing, like, kids’ birthday parties and, like – just to make money and…

SANDERS: At what age?

BORNS: I think I was, like, 10.

SANDERS: That’s pretty cool.

BORNS: Yeah, it was fun. I mean, my dad is, like, a branding and advertising agency, and he taught me a lot about, you know, branding yourself and, like, being an entrepreneur and, like, having your logo and how to really put together, like, your thing to sell yourself with. So it was really fun. It was really, like, educational as a kid, I think. Yeah.

SANDERS: Yeah.

BORNS: So…

SANDERS: And how did you move from there into music – from that to music?

BORNS: I mean, music was, I think, always sort of happening and present when I was young? And well, that kind of turned into film, actually, because I was…

SANDERS: Really?

BORNS: Yeah, because I was working on, like, my film portfolio because I really wanted to go to film school.

SANDERS: Uh-huh.

BORNS: …And then ended up, like, interning with, like, a filmmaker that ended up being my manager. And then I was, like, doing more of the music thing.

SANDERS: Yeah.

BORNS: And then I went out to New York for a little bit.

SANDERS: Where in New York were you?

BORNS: I stayed in, like, Harlem. And yeah, it was, like, a really cool, like, first experience away from home just completely on my own, you know?

SANDERS: Yeah.

BORNS: And then I came out to LA for, like, kind of a change of scenery and then just never left. I still feel like I’m on vacation.

SANDERS: Really?

BORNS: (Laughter) Yeah, it’s wild. Yeah.

SANDERS: I read that when you got here, the place you were staying in, you called it a treehouse.

BORNS: Yeah. It was at the treehouse, yeah.

SANDERS: Describe where you were.

BORNS: It was, like, really kind of secluded in this canyon, like…

SANDERS: Which canyon?

BORNS: Kind of the Eagle Rock area canyon. I had, like, outdoor kitchen – made a lot of fruit smoothies – and the canopy – you know, sunlight coming through. It was really a beautiful environment to, like, write an album.

SANDERS: Yeah. So then you come here. You, like probably thousands of other people, are trying to make it. Walk me through your path of, like, living in the treehouse to being here now.

BORNS: Yeah. I mean, I think I just – I wanted to naturally progress and, like – and feel good about what I was making and collaborate with people that I was inspired by. And I found new management out here, and that completely changed the game for me because they actually knew what was going on in the music industry. I had a very green manager beforehand.

SANDERS: From Michigan.

BORNS: Yeah. And we were kind of learning together, you know?

SANDERS: Yeah.

BORNS: So I remember very clearly recording the first album in here.

SANDERS: In here.

BORNS: Yeah, and how, like, it was arranged. And I felt like – I remember there was just, like – it felt like it was, like, always sunny. There was, like, so much sun, like, coming in through the windows, which is really nice because, like, a lot of times when you’re making albums, you’re kind of in a cave, you know?

SANDERS: Yeah. So, like, walk me through one of those days writing the album. What’s the – like, what’s the flow of a day?

BORNS: I mean, it’s kind of, like, a lot of, like, making tea and, like, breaking down the songs on acoustic and trying to, like, figure out lyrics and stuff. It’s always funny finding, like, earlier versions of the songs that you wrote later, you know?

SANDERS: Really?

BORNS: Because you’re like, whoa, that was the original lyric? You know, it’s normally something really silly.

SANDERS: When you’re writing the lyrics, do you start with the melody or you start with the lyrics?

BORNS: Normally, it’s kind of, like, a melody with a lyric that doesn’t really make too much sense – sometimes, you know? And then you’re like, what is this trying to say (laughter)? And then it’s, like, fitting different words in there, you know? It’s like – it’s always kind of a puzzle, but…

SANDERS: Which song on this new album was the hardest puzzle?

BORNS: Hardest puzzle – I feel like “Man” was kind of a puzzle for a bit.

(SOUNDBITE OF SONG, “MAN”)

BORNS: (Singing) Hello from the mountain, from a god’s-eye view.

SANDERS: Why?

BORNS: Well, we trying to, like, figure out this chorus to “Man,” and, like, the piano is kind of this wild staccato, kind of ’90s club.

SANDERS: Yeah.

(SOUNDBITE OF SONG, “MAN”)

BORNS: (Singing) If the worlds going to end, I want to be your friend.

SANDERS: Those are some funky chords (laughter).

BORNS: Yeah.

(SOUNDBITE OF SONG, “MAN”)

BORNS: (Singing) When the lights go dim, I want to be your man.

SANDERS: So, like, how long did it take to get that?

BORNS: It was just a lot of just pounding on the piano and just like – they’re kind of funky on their own. So yeah, I think it was trying to find that pleasurable melody over top that kind of disguises them.

(SOUNDBITE OF SONG, “MAN”)

BORNS: (Singing) Radio, radio sing till the stars burn out. Oh, I get lost in the static when I hear your sounds.

SANDERS: Can you recall what the first melody sounded like – like, the first thoughts you had for the song and how different it was from this?

BORNS: Yeah, kind of. Tommy, do you remember the original chorus that we wrote for this that was, like – it was like, I want to – oh, yeah. It was like…

SANDERS: Could you pull it up?

ENGLISH: Yeah.

SANDERS: OK.

ENGLISH: (Playing piano)

BORNS: Yeah. (Singing) Oh, I could – no, no.

Actually, maybe it was those chords.

(Singing) I could die in love.

There’s a different change there.

(Singing) Love, in the night above.

And then this part stayed the same, the…

(SOUNDBITE OF SONG, “MAN”)

BORNS: (Singing) What is heaven if my spirit’s without you? I want to be your man.

(Singing) I could die in love with you.

SANDERS: That’s awesome.

BORNS: Yeah.

(SOUNDBITE OF BORNS SONG, “MAN”)

SANDERS: So let’s talk about the big single off your new album, the song with Lana Del Rey.

(SOUNDBITE OF BORNS AND LANA DEL REY SONG, “GOD SAVE OUR YOUNG BLOOD”)

SANDERS: It’s called “God Save Our Young Blood.”

(SOUNDBITE OF SONG, “GOD SAVE OUR YOUNG BLOOD”)

BORNS: (Singing) Damn, look at the sunrise – glowing finish line, made it in record time.

SANDERS: I read that when she heard the demo you sent her, she already kind of felt like she heard herself on there.

BORNS: Oh, yeah. Like, I mean, I was, like, trying to do some, like, sensual backups channeling her. Yeah. She was like, am I already on this? I think she was joking, but I was trying to do my Lana impression, yeah.

SANDERS: Once you bring someone like Lana in, are you saying, sing this part? Or is she part of the process too and she can change stuff around as she wants? Like, did she change anything?

BORNS: I think she just kind of was doubling a lot of my vocals.

(SOUNDBITE OF SONG, “GOD SAVE OUR YOUNG BLOOD”)

BORNS AND LANA DEL REY: (Singing) Baptized in blue skies. Roll the window down, reach out, feel around for new life. Damn.

BORNS: I think we’re trying to, like, write songs, you know, in the fashion of, like, using real instruments and, like, a good amount of chords smashed together.

SANDERS: Well, more chords than what you hear in the usual Top 40 pop songs.

BORNS: Yeah, I think so. Like, I think we like to take – the songs definitely have, like – it’s kind of a journey you have to go on.

SANDERS: Oh, yeah. Like, even in “God Save Our Young Blood…”

BORNS: Yeah.

SANDERS: …Before the chorus comes in.

(SOUNDBITE OF SONG, “GOD SAVE OUR YOUNG BLOOD”)

BORNS: (Singing) Climbed up the tree of life, kicked out of paradise. Living good, living evil is the toss of the dice. Couple of wild eyes…

SANDERS: Like, there’s more movement, I feel like…

BORNS: Yeah.

SANDERS: …Structurally than in a lot of pop music.

BORNS: Yeah, yeah.

(SOUNDBITE OF SONG, “GOD SAVE OUR YOUNG BLOOD”)

BORNS: (Singing) She’s got me spinning.

LANA DEL REY: (Whispering) Spinning.

BORNS: Yeah, it kind of like tricks your ear a little bit. I like to keep peoples’ ears alert.

(SOUNDBITE OF SONG, “GOD SAVE OUR YOUNG BLOOD”)

BORNS: (Singing) Spinning.

Like, the drums drop out.

(SOUNDBITE OF SONG, “GOD SAVE OUR YOUNG BLOOD”)

BORNS AND LANA DEL RAY: (Singing) Spinning and we can’t sit still.

BORNS: I mean, it literally is going up a half step.

(SOUNDBITE OF SONG, “GOD SAVE OUR YOUNG BLOOD”)

BORNS AND LANA DEL RAY: (Singing) God save, God save our young blood. God save…

BORNS: You just feel this elevation.

(SOUNDBITE OF SONG, “GOD SAVE OUR YOUNG BLOOD”)

BORNS AND LANA DEL RAY: (Singing) God save our young love. Hot pavement, hot pavement…

BORNS: I just loved the rawness of just being like, oh, and now you’re there.

SANDERS: (Laughter).

(SOUNDBITE OF SONG, “GOD SAVE OUR YOUNG BLOOD”)

BORNS AND LANA DEL RAY: (Singing) God save, God save our young blood. God save, God save our young love. Warm waves…

SANDERS: Lyrically with that song, I’ve listened to – I mean, like, the lyrics I’m always like, what does that mean?

BORNS: What are you trying to say?

SANDERS: God save our young blood – what does that mean?

BORNS: I just had, like, lyrics sort of written down and just, like, imagery from the Garden of Eden.

SANDERS: Biblical Garden of Eden.

BORNS: Yeah.

(SOUNDBITE OF SONG, “GOD SAVE OUR YOUNG BLOOD”)

BORNS: (Singing) God save the ocean. God save the breeze. Save the words from my lips. Save the birds. Save the bees.

There was, like, an epic poem called “Paradise Lost.”

SANDERS: Yeah.

BORNS: It has some very beautiful language in it. And I was just kind of alluding to these very old texts, but you’re living in this present moment and having this experience with someone.

(SOUNDBITE OF SONG, “GOD SAVE OUR YOUNG BLOOD”)

BORNS AND LANA DEL RAY: (Singing) God save, God save our young blood. God save, God save our young love. Hot pavement…

SANDERS: An experience with someone as in, like, Adam and Eve?

BORNS: No. Like, literally just, like, driving in a convertible at, like, 4 or 5 in the morning and seeing the sunrise over the ocean.

(SOUNDBITE OF SONG, “GOD SAVE OUR YOUNG BLOOD”)

BORNS AND LANA DEL RAY: (Singing) God save our young blood on the coast where we love. God save our young blood on the coast where we love. God save our young blood.

(SOUNDBITE OF FLEVANS’ “FLICKER”)

SANDERS: All right, time for a break. In a minute, we’ll talk about how a guy with this big of a voice still gets nervous when he has to use it onstage. All right, BRB.

(SOUNDBITE OF FLEVANS’ “FLICKER”)

SANDERS: So I saw you at The Anthem in D.C. a few months ago right before I moved back to LA. And you were, like, owning the stage, really – and, like, it’s a big stage, a big space, and you were great. But then I read somewhere…

BORNS: Did you read the student review?

SANDERS: No, why? Why?

BORNS: (Laughter) Sorry.

SANDERS: Was there a bad review?

BORNS: Yeah. Someone wasn’t very pleased about my performance.

SANDERS: Who was it?

BORNS: I don’t know. But it was – we don’t have to go into it.

SANDERS: No, I would love to go into it.

BORNS: It was just…

(LAUGHTER)

BORNS: No, it was just, like, someone talking about how I – (laughter) that I was just very not engaging to the audience, and…

SANDERS: I mean, from what I could see, the audience was liking it.

BORNS: (Laughter) That’s what I thought. No, it was one of the biggest shows of that tour, and…

SANDERS: At The Anthem.

BORNS: Yeah.

SANDERS: Which fits – what? – like, a few thousand people.

BORNS: It was – well, I think it fits, like, 6,000. Yeah. And I think we got up to, like, four or something like that.

SANDERS: That’s good.

BORNS: And yeah. And it was just like – it was a beautiful room, and it feels really big. And I just remember being out there and being like, wow, this is a really big room – and kind of just in my head, I think, most of the show. So in a way, I kind of agreed with her.

SANDERS: (Laughter).

BORNS: Like, I was like, yeah. I mean, maybe I wasn’t engaging. I guess that really, you know, came off because I felt like I was (laughter) very introverted for that show. But, you know…

SANDERS: What do you do with critique like that?

BORNS: Well, you know, take it for what it is, I guess.

SANDERS: In some interview, you said, quote, “half the time when I first run onstage, I can’t look directly at the audience just because of self-consciousness. Sometimes you feel like the man, and sometimes you don’t. But sometimes that self-conscious energy is good for the show. It draws people in more.” That’s so, like – what is your – like, how do you get in the right head space for a show? It seems like you’re saying that you’re kind of an introvert.

BORNS: Well, it depends. I’ve kind of found that there is no right head space for a show.

SANDERS: What do you mean? There’s…

BORNS: Well, because there’s always so many variables. And, like, there’s times I did not want to perform, like, and go out onstage, but – and those ended up being, I feel like, my best shows.

SANDERS: Really?

BORNS: …Because I wasn’t – maybe I wasn’t, like trying to sing perfectly, you know, and there was more of an emotion that carried my voice than technicalities.

SANDERS: Yeah.

BORNS: So yeah. I mean, I’ve found that I’ve surprised myself with – sometimes, when everything is perfect and set up and your outfit’s great…

SANDERS: (Laughter).

BORNS: …And like, you have the perfect amount of tequila and, like, the audience is ready for you, maybe – sometimes that can be a lot of pressure. Then you’re like, oh, no, everything’s too perfect.

SANDERS: Yeah. I wish I could drink tequila before work.

BORNS: (Laughter) Yeah, yeah. But, you know, it’s – I’m still – it’s always – you know, it’s always different.

SANDERS: Worst show – can you think of one?

BORNS: Worst show?

SANDERS: I’m going to ask you worst, then the best.

BORNS: I played – I play guitar at a – like, this comedy night.

SANDERS: Here in LA?

BORNS: Yeah, yeah. It was, like, the first time I ever, like, played out…

SANDERS: During the comedy show?

BORNS: I was playing some songs. I was – it was intermission, and everyone’s getting their – standing up, getting their…

SANDERS: That is a horrible time to have to play music…

BORNS: …Getting their punch – yeah.

SANDERS: …A comedy show intermission.

BORNS: And I was, like, wow. This is what LA is like, huh, you know.

SANDERS: How did it go?

BORNS: It went great, you know – I just played my set of three songs.

SANDERS: Which three songs? Can you recall?

BORNS: One was a Bee Gees song – “Fanny Be Tender.”

SANDERS: Did you get any applause?

BORNS: I think from my homies.

SANDERS: So best show?

BORNS: Best show? I mean, Coachella was really fun.

SANDERS: You’ve done it twice now?

BORNS: Yeah. Both times, it was really amazing.

SANDERS: What makes it amazing?

BORNS: I think just the energy – just having that many people out there in the desert singing along with you.

SANDERS: Yeah.

BORNS: Yeah. Everyone’s there to have a good time, so I like festivals.

SANDERS: Nice. What is the song of yours that people sing along to the most? I mean, I have a guess, but, like what song gets the crowd the most?

BORNS: Well, “Electric Love” is kind of made to be a sing-along.

SANDERS: Yeah.

(SOUNDBITE OF BORNS SONG, “ELECTRIC LOVE”)

SANDERS: With “Electric Love,” which I see your platinum plaque for it over here on the wall – that’s pretty awesome…

BORNS: Yeah.

SANDERS: …I remember first hearing that song, was – it was an advertisement for – was it Hulu?

BORNS: Yeah.

SANDERS: Yeah.

BORNS: There you go.

SANDERS: Someone artistic like yourself, where discovery of who you are happens through a very corporate entity like Hulu – do you ever have qualms about that or wonder about if that’s the way you want to be discovered?

BORNS: Well, I think it’s just a very different time for music.

SANDERS: Explain.

BORNS: (Laughter) Uh-oh. Well, there’s always, like, the feeling of your song floating around somewhere. And that used to be just the radio, but now you can – you know…

SANDERS: Everywhere.

BORNS: Yeah. You can have it on social media. And I like being a subliminal song caught into someone’s head.

(SOUNDBITE OF SONG, “ELECTRIC LOVE”)

BORNS: (Singing) …Your electric love – baby, your electric love, electric love. Drown me…

SANDERS: In terms of, like, your songs appearing in spaces and places, that was the biggest feature, mention, notice of yours – of a song of yours? Or, like, have there been other good places?

BORNS: There’s been a few. Southwest used it.

SANDERS: Southwest Airlines?

BORNS: Yeah, yeah. Southwest Airlines, Apple…

SANDERS: OK.

BORNS: Yeah (laughter).

SANDERS: I mean, it’s so interesting because, like, in so many ways, you are an indie artist in the typical sense of the word. Like, you came from a small town, came to LA, tried to make it. You’re doing it. But, like, when you’re on Hulu, when you’re on Southwest, does it kind of change the nature of an indie musician?

BORNS: I guess I just never really fully understood what indie means…

SANDERS: Well, it’s a loaded word for sure.

BORNS: Well, ’cause yeah – I feel like it kind of has turned from doing it yourself to just sounding like you did it yourself. It kind of – like, you know, it’s turned into kind of a – just a style.

SANDERS: Yeah. It’s like hipster – it’s a word that everyone uses, but no one can really…

BORNS: Yeah.

SANDERS: …Define.

BORNS: But also, I mean, everyone is kind of DIY – like, kind of indie. Like, everyone has their Instagram account. Like, everything’s so close to the person that’s making it now, or at least appears to be…

SANDERS: Yeah.

BORNS: …That I think everybody kind of has a little bit of a indie spin, but…

SANDERS: Yeah.

BORNS: Yeah (laughter).

SANDERS: Yeah, yeah, yeah.

(SOUNDBITE OF SONG, “ELECTRIC LOVE”)

BORNS: (Singing) Baby, you’re electric.

SANDERS: I got – I mean, so I guess the better question for me to ask, then, is, like, what words would you use to describe your music?

BORNS: Oh, man. Tommy, you got any words here (laughter)?

ENGLISH: I mean, to me, like, the difference that kind of – what you’re talking about, too – I think, like, the difference in the type of artist you are is you do whatever you want, and these opportunities kind of come to you just based on what we do whereas, you know, there’s other artists perhaps that write hoping to get a commercial sink or write specifically to get on radio. And it’s a decision you have to make, whereas these things just kind of happen to you. You know, you’re just trying to make – do your own thing, and then people come knocking.

SANDERS: Which is probably – that probably feels a little better, no?

BORNS: It’s freeing. Yeah. It’s – at the end of the day, we’re making music that we’re both inspired by. So…

SANDERS: Yeah.

BORNS: You know? Yeah.

SANDERS: All right, one more break right here. When we come back, we’ll get to some of the meaning behind Borns’ lyrics. BRB.

(SOUNDBITE OF FLEVANS’S “FLICKER”)

SANDERS: So a lot of the lyrics on the most recent album, it’s either talking about the greatest romance ever or, like, the worst breakup ever. And I can’t tell. Like, there’s lyrics about a love interest. And it feels like by the end of the album that things are falling apart. (Laughter) Are you singing about one relationship, multiple things, an idea of a relationship? Because, like, a lot of these songs are love songs.

BORNS: Yeah. I mean, there’s definitely the theme of love. And some of the things that I have, like, relationships with aren’t even necessarily, like – some just, like, love relationships – like, some of it is just, like, the relationship between you and a time in your life, you know? Or just, like, you and the time period that you live in. Like, there’s one song called “Bye-bye Darling” that’s kind of coming to terms with saying goodbye to things that might seem old-fashioned because we’ve progressed so much, you know, technologically and even the way that we interact.

(SOUNDBITE OF SONG, “BYE-BYE DARLING”)

BORNS: (Singing) Goodbye to the paperback age. I’ll miss your touch to flip you, crease you, lay underneath you, fall asleep to. Bye-bye, darling, I’ll miss you so much.

You know, it’s, like, so normal to meet someone on a device, you know, virtually, before you meet them. You almost think you have to meet someone on the Internet to, like, screen their Instagram before you meet them, you know? It’s like…

SANDERS: Oh, yeah. There’s, like, the routine where you, like, match, whatever, then you got to find a way to Google them and get their last name and see what their deal is and find the LinkedIn, find the Facebook, find the – yeah, it’s…

BORNS: But you know, there’s something very beautiful and simple about just meeting a stranger.

(SOUNDBITE OF SONG, “BYE-BYE DARLING”)

BORNS: (Singing) Goodbye to the accident age. I’ll miss the chance to meet you on the street, sweep you off your feet, you know. Bye-Bye darling, goodbye in advance. Oh, we had a run good run, darling. Now, don’t you cry.

SANDERS: Also, like, you must get tired of all the Queen comparisons.

BORNS: Oh, I mean, not really. I don’t really get Queen…

SANDERS: Really?

BORNS: …Very often, yeah.

SANDERS: It was giving me a little – maybe some Freddie Mercury.

BORNS: I mean, for sure, just, like, piano ballad with those – with enough dominant seven chords.

(SOUNDBITE OF SONG, “BYE-BYE DARLING”)

BORNS: (Singing) In the end, oh, it feels like a dream.

SANDERS: Who’s your biggest vocal influence?

BORNS: Vocally – there’s definitely – like, Colin Blunstone from The Zombies is a big influence. I really love, like, early Elton John voice.

SANDERS: Yeah.

BORNS: And, I mean, Bowie. It’s always interesting hearing these, you know, these singers with really long careers and how their voices changed over time, you know? And like, they adapt little things in their voice for certain records. And, like, it’s just – I think Bowie – like, he transformed his voice into different characters. And I mean, Prince did that, too. He had so many characters in his voice. It’s really inspiring.

SANDERS: Do you feel your voice changing?

BORNS: Yeah. I mean, it’s – I think it’s constantly changing, yeah. Ever since I’ve recorded my voice onto something, I’ve been constant – it’s just changed over time. And I think just with all the shows that I’ve played and everything, I’ve been able to sing longer and, like, it has more stamina now.

SANDERS: Oh, really?

BORNS: Yeah.

SANDERS: Is it becoming deeper, higher, lower? I mean, like, I don’t want you to lose the falsetto. It’s beautiful.

BORNS: No. I mean, like, I think the falsetto is always going to be there…

(SOUNDBITE OF SONG, “BYE-BYE DARLING”)

BORNS: (Singing) Goodbye.

…As long as I keep using it.

(SOUNDBITE OF SONG, “BYE-BYE DARLING”)

BORNS: (Singing) Goodbye.

SANDERS: All right. That was BORNS. If you need more of his music, he’ll be on tour this fall. You could catch him in your hometown. Thanks to BORNS and his producer Tommy for hanging out with me and Anjuli a few weeks ago. The two of them are so gracious even when we stuck around the studio for, like, two hours. So I figured to go out of this interview, we could play a little bit of Borns at his piano at the end of our interview in that backyard studio. He hopped on the keys and just started singing the song “Supernatural” as we were about to go.

BORNS: (Playing piano, vocalizing).

SANDERS: I’m Sam Sanders, back in your feeds Friday. Talk soon.

BORNS: (Playing piano).

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