Finding Strength in the Darkest Moments: Farah Naz's Inspiring Journey with Fading Nemesis

Brian (00:00:00) -Farah Naz you're very welcome to concerts that made us.

Farah (00:00:04) - Thank you for having me, Brian.

Brian (00:00:05) - I'm delighted to have you. Now, I'm really looking forward to diving into your music over the next bit. So Fading Nemesis just released a reimagined rendition of Oliver Anthony's Rich Men North of Richmond. It really kind of shows your diversity as a band. Can you tell us a bit more about it?

Farah (00:00:22) - Absolutely. I think at the end of the day, Fading Nemesis is it. We're heavy. Obviously we fit into a heavier genre, but it also, I think because the songs are based on storytelling, we tend to basically transcribe into any mainstream human, really everybody. It's mainstream to a certain level. And when all of our Anthony song hit, I mean, it's just been out since August 9th, I think his original one, it's been a fast ride for him to the top. When the song came out, I realized that it touched humans somewhere worldwide. Mean. My parents in Dallas, Texas called me and said, have you heard of this guy named Oliver Anthony? And I'm thinking, how do you know about Oliver Anthony? I mean, they're older.

Farah (00:01:14) - And they said, well, he was on a news show, and I and I looked him up and I heard the song and it absolutely hit me in a place that I didn't think it would. I could actually translate it through my own personality, through my own sound, through my own experiences. So it decided, you know what? Obviously this is a wildfire that's hit the world. I might as well join in and see what happens with the song. And so that's our reimagined version.

Brian (00:01:42) - Right? Right.

Brian (00:01:44) - And you know, what do you hope people take away from your version of it?

Farah (00:01:49) - You know, I think many people have actually said that they would have never listened to the original song because it's not in their genre. You know, I think it does stop people, stop people from listening. Mean some people will never listen to country music, and those that listen to country music may never listen to pop or, you know, and so I think it caused them to be able to hear over the song and what it was doing and what it was meant to do, probably originally by Oliver Anthony and just reimagined by by me.

Farah (00:02:21) - Because for me, it's more of a human song. It's a human story of if you've been exhausted, then this song will absolutely touch you. If you've been exhausted by anything in life or if you've been, you know, wounded or misrepresented, the song will reach you.

Brian (00:02:40) - I gotcha, gotcha, and you also created and co-directed the music video. Where did you get your kind of inspiration for it, and can you tell us a bit about what went into making it?

Farah (00:02:51) - Yes. Um, Brian, I it's a song of a the people, obviously people took it and made it their own. And I thought, if I am an average American female in a way not average in a sense, but but if I was to be feeling like that, the government's not taking care of me or communities not taking care of me, or life isn't taking care of me, that I can't make ends meet, who would I be? And I pictured myself as a single mom, my husband serving overseas as a soldier.

Farah (00:03:26) - Either he's fighting or he's died and I am struggling to raise the family, but also realizing that the country hasn't honored him or honored me. And that's the character I stepped into. I created her and I thought, where would she be? Well, she would be in a laundromat. She would be coming home from work, have to go do laundry, and it's kids clothing, and she has to go back and take care of the children and whatever that looks like. I just wanted to create a very simple, straightforward story. If I was the song and the song that's shooting was amazingly, I think, cathartic for me because I haven't been in a laundromat for a long, long time, and it caused me to see where people live in the States, in suburban middle America, and just to be able to be in that room and sing the song and actually step into her character.

Brian (00:04:24) - It's sad, though, isn't it? But it's real, you know, that there is actually people that live like that.

Farah (00:04:30) - Absolutely. And and the the trials and the pain and the feeling that we're not being taken care of is real. You know, it's it's not a joke. It's world over mean. It's not just the American government. It's world over. We can translate this to any society, any culture. I mean, I'm Pakistani and I can translate it into my own, you know, birth culture.

Brian (00:04:50) - You know, when it comes to creating music for Fading Nemesis, what does the process actually look like? You know, when you're, say, creating an original song?

Farah (00:04:59) - Well, Fading Nemesis has an interesting story because I was in the UK for a little while and I moved back to the States just some years back because of a family tragedy, and at that time I wasn't expecting to get back into music I had done. I've been in the music business for a while. I've been doing music for a long time, making records, doing shows, and I thought, you know, coming back to the States, I need a break.

Farah (00:05:24) - And the moment I actually thought that, the music started showing up in my head, you know, the songs just start there, like, yeah, no, you're not going to do that. We're going to come out. This is the way you express yourself. This is the way you process things. And so I started writing and met my producer, Larry Elliott of Mind's Eye Digital, and he and I decided to do just a test run to do an EP. And oh my gosh, Brian, it was magic with this man. I mean, we fought like husband and musical husband and wife. We I was, you know, we just worked out our relationship over two weeks, and I thought I could work with this man for a while as my musical producer. And so we decided to write an album. And the record, I had songs that I took to him, and then he brought life to them on an electrical level and on a heavier level, because I can strip down all my songs and play them acoustically.

Farah (00:06:22) - To me, a good song is if you can't strip it down, then it's not a song, it's not a story. So then we did that and after seven songs in met Jason, who is a guitar player and also my husband now, and brought him in and his songwriting capacities were just off the chart. So he and Larry just gelled, and his personality as far as a guitar player, was unbelievably, the essence. Of the ethos of Fading Nemesis. And so it was a natural fit. And then we wrote the rest of the record and then, I don't know, nothing more, the band, nothing more. The drummer, Ben Anderson, he played drums on the record because we knew him. And then we thought, you know what? We need to put a whole band together to see take this out to the people. So we did. We brought in Chris and Kyle, drummer and bass player, and then did a couple of shows with Peyton Parish to test out the songs, and now we're just getting ready to release the record probably spring of 2024.

Brian (00:07:20) - I was going to I was going to mention that actually the record, what can we expect from it? I know there's a lot of people looking forward to it.

Farah (00:07:28) - Thank you. It is a journey, Brian. It was the trauma that caused it to come out right. In my personal trauma that I went through, and I think I had written some of the songs prior to the accident that I experienced in, in the UK. And the entire song is is my journey on the discovery of what freedom is. What does it mean here? I am a Pakistani who grew up in the States and now live in the UK and internally. As an artist, I'm constantly feeling like I have this longing to feel free as a person, as a soul, as I'm always wanting to get away to the mountaintops, you know, feeling like I have to just get away. And what is that? Is it a need for some form of freedom? And I think the whole album is a journey of me discovering.

Farah (00:08:16) - So the song cage, it's about my body and my flesh and bones and skin and thoughts and experiences hold me hostage in this cage and Queen of blame. It's this anger of this, the nemesis, queen goddess, you know of justice. And she is just had it with people, with humanity. And so the whole thing is just this reaction and response to to the need for freedom and the experience of trauma. I think so, and realizing that freedom is really, really not a right, but and a privilege to have and we have to actually hold on to it. We it's not just ours and it's there forever. We have to fight for it and we have to embrace it and recognize it.

Brian (00:09:04) - I couldn't agree more. And something that I'm really intrigued by is you mentioned you were born in Pakistan. You lived in Texas as a child, you lived in the UK, and now you're back to the US. How has that mixture of cultures, you know, impacted your musical development?

Farah (00:09:23) - Um, you know, Brian, it makes me a woman who can relate to pretty much any culture in the world.

Farah (00:09:29) - Despite the color of my skin, the memories of my experiences, I can step into any land and feel like it's mine. Make it mine. And so, coming from Pakistan to the States, I was ten when I moved to Dallas, Texas, and all of a sudden I thought I was a cowgirl. You know, I was ten and I thought I was a cowgirl because we went to, you know, Jr's, you know, ranch in Dallas. The show we went and I was wearing my ropers and my I translated it very quickly. And growing up I related to music. Is that universal language? Right. So I grew up with a father who was, you know, classically, unbelievably magnificent sitar player. And then I had cousins in the UK, cousins in Canada, cousins in the States who would send me records, you know, and they sent me their personal styles. And I was listening to Iron Maiden, Judas Priest, you know, heavy stuff, Siouxsie and the Banshees, all the British underground stuff that was happening.

Farah (00:10:34) - Bowie. And so there was this crash of sounds as I was growing up and then going to Texas, I started singing gospel music because I grew up in a Christian home, Christian Pakistani home. So I was singing gospel music. So integrate all that together and you realize there's there's a, you know, it's a diversity in sound. You know, you can't help it when you write as a, as a songwriter, your experiences have to come into it. You know, you're shaded by all your experiences, right?

Brian (00:11:05) - Yeah, exactly. Exactly. Without them.

Brian (00:11:07) - You'd be way in a.

Farah (00:11:08) - Bad way. Exactly.

Brian (00:11:09) - Yeah, yeah. And I suppose at this stage. So we'll dive into here your own musical history, you know, to give the listeners a sense of where you come from. So if you can, can you remember your earliest musical memory?

Farah (00:11:23) - Yes. I have a memory from early, early on. My memory bank goes all the way back to when I was two and three.

Farah (00:11:30) - I remember when my mom used to always say that I sang before I spoke, and I think it must have been three, three and a half. We had an organ, one of those foot pedal organs in our home in Pakistan, and I used to lean down and pump the organ down at the bottom and put my hand up top and play music. And I remember singing as I was doing that, and I remember thinking, I could do this, I loved it. I mean, I would rather do that, play the organ, then go out and, you know, or play with dolls or have tea parties or whatever. So early musical memories, I think it was music was a very important part of my daily life. You know, I was singing constantly. I would tie a string to a pencil and go around singing all day long. Mom said it would not let go of that pencil. It was like a little yellow pencil with a string attached to it. And so yeah, I think that if that's what you mean.

Farah (00:12:26) - Earliest memories of. Music that. That would be it.

Brian (00:12:28) - Yeah, yeah.

Brian (00:12:30) - Jeez, that might just be the probably the earliest memory I've heard when I asked that question. And, you know, growing up, then what was your local music scene like? I know you, you lived in different places, but what was the local music scene like?

Farah (00:12:49) - You know, Dallas, when I was growing up, there was a big influx of energy that was happening. You know how we think of Seattle and, you know, the grunge movement came out of it. But Dallas had had an era, and I think people didn't recognize it. There was some incredible stuff coming out of Dallas when I was starting to become a part of the scene. Um, the diversity, the record labels were just starting to move into Dallas. They had just set up headquarters, Sony had moved in and had moved. I mean, all the record labels were starting to have offices there. So I think there was just an excitement of what was there was a diversity, you know, all sorts of genres.

Farah (00:13:36) - And so I remember doing the Dallas Music Festival and I was headlining, and Green Day opened up for me, and, and New Bohemians were there, cranberries were there. So it was it was fresh. It was Lilith fair had just started with Sarah McLaughlin and all the Sheryl Crow stuff was really happening, and I was young in my career, but it was a dynamic to Jewel was coming. It was a dynamic time for women. Um, shinade, you know, sadly she has left us. But Shinade was influencing so many power head women. Tori Amos, Bjork we were just I was inundated with incredible women in the music industry and being in a male dominated genre. Um, I think we forget that I have melodic, I'm melodic metal. And so it is about the melody for me. And so I was lucky to have had so many people that I could go see, live or perform with at festivals and side by side on stage is opening up for some amazing, amazing acts.

Brian (00:14:42) - Yeah, yeah, definitely.

Brian (00:14:44) - And the podcast is called Concerts That Made us. So I have to ask you, as a concert goer, what concerts they think have made you.

Farah (00:14:54) - I have to say, there's a Gothic side of me that was there even when I was in Pakistan, you know. Are you born a goth? Yeah, probably because there's a dark soul spirit. You relate to Edgar Allan Poe constantly. And you read Oscar Wilde and you go, oh, I'm Dorian Gray. You know, you do these and the Bronte sisters are your, you know, so I think I was I had that gothic space in me. And early on I was in love with Robert Smith of The Cure. And I went to many, many shows. I never missed his shows. And I think I would say if there was one that influenced me. I mean, how can you say one influences you? You know, I've been to so many shows and so many genres of music, but I think the ones where I just was swept away and I came home thinking, I want to create like this.

Farah (00:15:49) - I want to take people away. You know? Deftones were another one. Huge. Because it's an experience, right? It's it's not just a song after song after song. It's a whole experience. You dive into almost a trance. And so I think that that kind of those were, I think some of the ones that influenced me. And Tori Amos never missed her and never missed a show. When I lived in London, I went to everyone. Tool never missed a tool show. Never. You know? So I made it a point never to miss the artists who were really high caliber songwriters and musicians. So yeah, it's part of my job. My job requirement as, as, you know, rock diva girl who's going to.

Brian (00:16:35) - Be out there.

Farah (00:16:36) - Forming. So yeah.

Brian (00:16:38) - The.

Brian (00:16:38) - Perfect job. So and the part we're all looking forward to your own shows with Fading Nemesis. For any listeners that haven't cut one, give us the full experience if you can tell us all about them.

Farah (00:16:53) - Um, you know, for me, a show is theater, right? I don't want just I don't want my audience. I don't want my fans coming to the shows and go, oh, that sounded great. I want them to say, I don't know where I went. That was an experience. I. I was somewhere else. That's what I want them to experience. So I think and also I want it to be conversational to where they actually feel like I was speaking to them. You know, I've played shows in London where there are quite a few people, you know, thousands and thousands of people, and I pick out of the audience eyes where I can constantly gravitate, and I make it a point to actually sing to individuals when I sing. And so it's about, for me, I think they the recent shows that we just did, it had been a little while since I had done shows because of the accident, and I came back and I hadn't been on the stage for a while, and I thought, do I still have it? I mean, here are these new songs.

Farah (00:17:52) - I've never performed them. And then we just did these these shows in Texas with Peyton Parish in August and oh my gosh, Brian, I could not get enough of the audience. I wanted to talk to them. I wanted to sing to them. I wanted to get into their minds, into their hearts. And so I think they can they can be guaranteed that they will feel like I was singing to them. And it is I will give them an experience, theatrical experience. So yeah.

Brian (00:18:24) - I actually I love that. I'm always saying a show, a concert should be like an experience that should transport you to another place, you know?

Farah (00:18:33) - Yes, absolutely. And then the meet and greets to me are really important afterwards. You know, we we did a couple of shows in Texas and each meet and greet in Houston at the House of Blues. We had a 4.5 hour long meet and greet. I told my boys, I said, we stand here as long as there's a queue. We're standing here to meet our audience and we are not moving.

Farah (00:18:54) - You need to go to take a break for the loo. Then you go really quickly and you come back and it's incredible. You know, you people don't realize how much that gives to you as well as an artist. It's not just you giving to them. They give to you.

Brian (00:19:08) - Exactly, exactly. And you know, you've been performing for since a very early age. If you think of all the concerts you've played over your career, is there one that sticks out as maybe the best experience you've had?

Farah (00:19:22) - You know, that's a tough question. I think the first I would, I would say they would have to be, um, a couple, 1 or 2. All of them have some magical space for me, you know. Um, when I went to London and I got a residency at the troubadour, and I got a residency at the Rock garden where U2 did their first shows, I got a residency at a couple of venues, but the troubadour was quite incredible because you realised Bob Dylan played the stage and the energy and all the people who came after him, and the energy that you feel on a stage small.

Farah (00:20:05) - But I could actually feel all their songs as I was performing, you know, you could if you open your mind to it, you realize this place has been made by all the people who came before me and all the greats that came before me to perform here. I think those kinds of things mean a lot to me. You know, I think I would say that those residencies were huge for me. They made me who I, who I have become today.

Brian (00:20:31) - Definitely, definitely. And to to switch it around and not to get too negative. But is there a gig that maybe things start to go wrong and how did you overcome it?

Brian (00:20:42) - Oh yeah, all the time.

Farah (00:20:45) - And it's called technical difficulties.

Brian (00:20:49) - You know.

Farah (00:20:50) - Ironically, it had been a while since I had done any shows, and we did these Texas shows with Peyton, and I'm going to be I'm a very candid person. I have no problem being vulnerable. And people can quote me, misquote me, I don't care. Eventually my is my story and it's going to be told, you know, so we literally anything technically that could have gone wrong went wrong on our first show back.

Farah (00:21:13) - I mean, my first show back into the world in years. Dead. Everything that could have gone wrong went wrong. Oh, but the thing is, all of us on stage, we did not miss a beat, didn't stop the show, couldn't hear. So I thought, okay, I need to listen for the front of house. I need to keep up with Jason because if I can hear where he is in the song, then I can make sure I'm at the right place in the song, and then to listen to make sure that I'm on key. I was still listening for Jason's guitar out in the house in front of the house. And so you just start troubleshooting, right? And it's all about troubleshooting. Can you troubleshoot? Can you you know, it's like when Naomi Campbell on a runway show, remember when she fell and she just got up? It was a pretty big I don't know if it was a London runway or. But she got up, straightened herself out and continued to walk on the catwalk.

Farah (00:22:09) - And I thought that that's the true test. Right. And we just the show went on and nobody really knew we ever had any technical difficulties except for us. But it was a nightmare. You know, my first show back after years and years and years and I'm thinking, this is crazy. I just I can't believe it, but I can. But if we could pass that test, we passed it. We passed the test.

Brian (00:22:33) - Oh my God.

Brian (00:22:34) - That just goes to show it's a testament to the musician you are that you can actually think on your feet so quickly and get through it.

Farah (00:22:42) - Absolutely. I mean, I think that's the part of the job requirement, right? If this is going to be the long haul, if it's a long haul career, it's not just a hobby, it's a career. It's a job. And have we been trained for it? Are we equipped for it? I mean, things go awry all the time. Shit hits the fan all the time. It.

Farah (00:23:00) - Well, it's a guarantee. It's a guarantee.

Brian (00:23:03) - So yeah.

Brian (00:23:04) - Exactly, exactly. And when it comes to short time then pressure and poor show, how do you seek yourself up beforehand and then afterwards how do you wind down?

Farah (00:23:15) - Um, great question before the show. Usually I just again love to be in the green room and just have have some have like a, you know, huddle with with the boys and just remind, remind. I love to remind us of why we're doing what we're doing, who we are, and that we're honored and privileged to do it. And then just some quiet time where I just kind of get in my head. Because giving as the lead vocalist, you give everything of yourself. I think people don't realize that you either choose to be completely vulnerable or you put on an act. And for me, it's a little bit of both, but I am completely an open book on stage and so just prepping for that, you know, it's it's it's like a sport in a way.

Farah (00:24:02) - You got to warm up and you warm up your heart, your soul, your spirit, your mindset, your your mentality and your vocal cords, you know, and so and then afterwards wind down is always get off the stage quickly, clear the stage, load things up, not getting distracted. And then afterwards just getting together with a whole crew, the whole team and just, you know, well done guys. Let's do you know. And then just going back and chilling because again, it's at the end of the day it's it's its job you know. Yeah.

Brian (00:24:34) - Exactly. And how has your approach to touring and playing concerts changed over the years do you think or has it changed?

Farah (00:24:42) - Um, I don't know if it's changed. So I think it's just fine tuned. Right. So you see what works, what doesn't work, what you can do now, what you can't do, I mean, what I could do at 19, I can't do at my age now, but at the same time, there are many things I can do that I couldn't do before.

Farah (00:24:58) - And I have an understanding of things. So you shift, right? It's fine tuning. Our formula for for touring was I watched some amazing people, was mentored by amazing people in my early career, and I think we had a good formula. And I think just making sure we're staying on point, it's not a place to party. My guys know it. I'm like, you know what? There's a place in a time, this is this is we do this for us and we do this for the audience. And we have we have a job to do. We have a mission to accomplish. And so, you know, I have very strict my boys, my whole crew knows I have very strict rules. But I love to let go. And when I let go, I let go. I'm not I'm not against the partying, I'm not against. But there's a time and place for everything. And so if people aren't down for that, you know, they just I, I'm like, thank you and hit the road buddy.

Brian (00:25:49) - Yeah.

Farah (00:25:50) - So it's quite a it's quite a fun experience.

Brian (00:25:55) - Yeah.

Brian (00:25:55) - Yeah. You have to be like that though when it is your career, when you're so serious about it, you know, a time and place for everything.

Farah (00:26:01) - Absolutely, absolutely. And not forgetting to laugh a lot, by the way. We laugh a lot. So that's a high value for me. Yeah.

Brian (00:26:09) - Yeah. Don't take anything.

Brian (00:26:10) - What do they say? Laughter is medicine.

Brian (00:26:13) - Absolutely.

Brian (00:26:15) - And you know, when you think of the future then say five years time, how would you like fading nemesis to evolve?

Farah (00:26:24) - I would like her to be a staple in majority of the world's homes, and in their ears, I think it's it's about sharing stories, concepts and experiences. And it's like a musical book. Every record is like a musical book. And so I hope that I have the privilege and honor of being in everyone's ears and homes and in their devices, and that they get to know, um. My journey so that their journey becomes a bit brighter and easier or more vibrant or clearer, you know? So.

Farah (00:27:09) - Yeah.

Brian (00:27:11) - Well, I'll definitely have my fingers crossed. I hope it happens.

Brian (00:27:15) - Thank you, thank you.

Brian (00:27:17) - And before we dive into the last couple of questions, I know the album is coming out in spring 24. Is there anything else you want to share with us? Any more future plans? More music videos? Gigs?

Farah (00:27:28) - Yes, we are at the moment working out, just working on getting a touring setup for us for summer festivals and things again. We are fresh back out again in August, is first single was released and the record had so many songs that our team was just like, you got to put this out as a single, you got to put this out as a single. So we thought, you know, we don't have a label telling us we got to put the record out by this time. We have control over it. And I like that control because the songs are coming out one after another. But, you know, we have the freedom and the liberty to do that at this point.

Farah (00:28:07) - So once the record comes out, then we'll tour the record. And so we're at the moment working on some pretty amazing opportunities. And so we'll announce those as soon as they're solidified. We did the test shows with Payton in order to just see if the album was was going to work, and it definitely is going to work. And then the music videos, we are shooting another music video coming up for one of the singles that's come out. Allegiance now is one you need to keep an eye out for. We've done a live performance music video, but there is a cinematic film short film version of that song because allegiance is is a story that I've written, almost like going back to the 1800s of what this country was about. And so we shot we've shot the music video and we'd rented out a whole old West Town. We shot it like a Western, like the show 1883, if you've seen it. So that should be coming out early next year as well. So we're just compiling all of the footage for that and finishing shooting that.

Farah (00:29:10) - So we went back in time to shoot.

Brian (00:29:12) - Yeah.

Farah (00:29:14) - So we should be able to enter that into the Cannes Film Festival. So it's just, you know, it's all art, it's all creations, it's all expressions of experiences.

Brian (00:29:24) - So one of my other great, you know, guilty pleasures is Westerns and the Wild West. So I for one, cannot wait to see that video.

Brian (00:29:34) - So you will look forward to that.

Farah (00:29:36) - Well, we filmed it at in Tucson at Mescal Movie Studios, where they filmed tombstone and they filmed all the greats there. So we rented the entire town and decided to film our music video there.

Brian (00:29:49) - Oh my God.

Brian (00:29:51) - Sounds brilliant. And we'll dive into the last couple of questions. So these are a couple of random hard music questions, but I'm intrigued to see your answers. If you could see any performer from history in concert for one night only, who would it be?

Farah (00:30:09) - Well, I mean, Mozart comes so quickly to mind. Mozart and probably Bowie. I mean, I have not seen him in his early Ziggy Stardust days in history.

Farah (00:30:23) - Oh my gosh, that is just a brilliant question. I don't know why Mozart came up, but. Tchaikovsky mean I'm a big classical music. You know, I think I would like to see these men's lives as they were happening. Um. In history. Going back, I think Johnny Cash and his younger days, I would have loved to have seen him. Just his energy, his music has influenced me quite a bit in songwriting, and so I think his early, early days, I would have loved to have seen him.

Brian (00:30:55) - Yeah, it's a good one.

Brian (00:30:56) - It's a good one. And here's where the odd part comes in. If you were locked in a room for 24 hours with any musician from history, who would you pick?

Farah (00:31:07) - Oh my goodness. Wow, that is a good question. I've never been asked that question. If I was locked in a room only for 24 hours. That's a shame. Um. Oh my goodness. Okay, give me two seconds here. That's a really tough one I don't.

Farah (00:31:31) - Do you have an.

Brian (00:31:32) - Answer for that? If I was to.

Farah (00:31:35) - Turn that question back onto you. Who would you pick? Hang on. Good question. I'll email you after we're done, by the way.

Brian (00:31:42) - What comes up, comes up with it.

Brian (00:31:46) - If it was me, I'd probably pick someone like Jim Morrison or maybe Elvis Presley.

Farah (00:31:51) - Oh, Elvis Presley would be a good one. Yeah.

Brian (00:31:56) - I think I would have to.

Farah (00:31:58) - I would have to say, you know, I've been always very fascinated with Janis Joplin. I think I would pick Janis Joplin. I would want to see what her angst was all about, you know, because there's a certain sense of just agony in her that was there at all times. And I think the Freudian side in me would want to investigate exactly where that was coming from. And Jim Morrison probably too.

Brian (00:32:22) - Yeah, yeah, I got you, I got you. And the final one, I think it might be harder than the last one. No, I'm very sorry, but what song would appear on the soundtrack to your life?

Farah (00:32:35) - Oh my word.

Farah (00:32:36) - Really? Can it be any song?

Brian (00:32:41) - Yeah. Any song at all.

Brian (00:32:43) - Be a hymn.

Farah (00:32:44) - If if it is such amazing grace.

Brian (00:32:48) - Okay, okay.

Farah (00:32:49) - My life has been just nothing but a series of traumatic experiences. That I have been absolutely given the grace to overcome and fight through and. To me, it's a real testament of, you know, I take me to the darkest places. I will be guaranteed that I'll come out, you know. So does that work? I mean, because that is the one.

Brian (00:33:16) - One, that one. So immediately. So. Yeah. Perfect.

Brian (00:33:20) - Great choice, great choice. Listen, Farah, thanks a million. I've really enjoyed chatting with you over the last bit.

Farah (00:33:26) - Thank you so much for having me.