{"id":70612,"date":"2026-08-16T14:20:27","date_gmt":"2026-08-16T14:20:27","guid":{"rendered":"https:\/\/musicianvoice.com\/index.php\/2026\/08\/16\/madonna-influence-dakota-johnson-collab\/"},"modified":"2026-08-16T14:20:27","modified_gmt":"2026-08-16T14:20:27","slug":"madonna-influence-dakota-johnson-collab","status":"publish","type":"post","link":"https:\/\/musicianvoice.com\/index.php\/2026\/08\/16\/madonna-influence-dakota-johnson-collab\/","title":{"rendered":"Madonna Influence, Dakota Johnson Collab"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tTucker Pillsbury, a.k.a. <a href=\"https:\/\/www.rollingstone.com\/t\/role-model\/\" id=\"auto-tag_role-model\" data-tag=\"role-model\">Role Model<\/a>, does not enjoy being pinned down. He knows he makes pop music, but don\u2019t call him a pop star. He\u2019s comfortable drawing on country music \u2014 even <a href=\"https:\/\/www.rollingstone.com\/t\/toby-keith\/\" id=\"auto-tag_toby-keith\" data-tag=\"toby-keith\">Toby Keith<\/a> \u2014 but definitely don\u2019t call him a country artist. He\u2019s not even sure about his own stage name, despite his growing fame under it. As he tells it, he spends most of his strong new album, <em>Chuck Timely &amp; The Hourglass<\/em>, dodging labels, blending vintage influences from Fleetwood Mac to Stephen Bishop in search of something new.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<p>\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" title=\"Role Model on His New Album, Working with Dakota Johnson and More | The Rolling Stone Studio\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/3x_mNyX4dRk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/span>\n<\/p>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tPillsbury recently sat down for an in-depth <em><a href=\"https:\/\/www.rollingstone.com\/t\/rolling-stone-studio\/\" id=\"auto-tag_rolling-stone-studio\" data-tag=\"rolling-stone-studio\">Rolling Stone Studio<\/a><\/em> interview, discussing his secret <a href=\"https:\/\/www.rollingstone.com\/t\/madonna\/\" id=\"auto-tag_madonna\" data-tag=\"madonna\">Madonna<\/a> influence, his girlfriend Dakota Johnson\u2019s one-take cameo on \u201cLove I You,\u201d his nerve-wracking first day acting opposite Natalie Portman, and much more. (Watch the whole interview above or on YouTube.)<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>The box people try to put you in is \u201cpop star,\u201d and it seems like that\u2019s not necessarily the box you wanna be in.<br \/><\/strong>Well, it\u2019s tough because I do say that I make pop music, and I think as soon as you say that and you\u2019re, like, thrown into this list of names of all these people who make pop music, all of a sudden there\u2019s just constantly this debate of who\u2019s going to be\u2026 who is the pop star? Who\u2019s the pop boy right now or whatever?<\/p>\n<p><strong>Main pop boy, yeah.<br \/><\/strong>Yeah\u2026 I just don\u2019t want to be in that race, \u2019cause I\u2019m not trying to be a pop star. And I think you can hear it in the music. Being a pop star is not interesting to me. I don\u2019t want to do that. But I love pop music, and I love making it.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Is part of it you just don\u2019t wanna wear the outfits?<\/strong><strong><br \/><\/strong>It\u2019s the shiny outfits for me \u2014 and the background dancers.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>There used to be a lane called Heartland rock \u2014 John Mellencamp, Bruce Springsteen, Tom Petty, with Jackson Browne as a kind of L.A. predecessor. I feel like that\u2019s part of the lane you\u2019re steering into. You and Noah Kahan are really in there right now.<\/strong><strong><br \/><\/strong>Yeah, everyone you just named was on the playlist and was fully referenced all throughout the album. Those are the heroes. Maybe that\u2019s my, my\u2026 Maybe we bring back Heartland rock.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>I think your team also maybe calls it lake-pop?<br \/><\/strong>Yeah. There\u2019s one guy at my label, I remember him just being like, \u201cIt feels like it\u2019s lake music, like lake pop, pontoon pop music.\u201d I think there\u2019s pieces of the early 2000s, like Toby Keith or whatever, and that lake Americana country, but lyrically, those songs don\u2019t really speak to me. But sonically, I love that feeling, and so I think that was a cool thing to play with, is apply a different type of songwriting to that sonic landscape that\u2019s usually used for beer cans and dirt roads and stuff.<\/p>\n<section class=\"brands-most-popular \/\/ editors-pick-module lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tEditor\u2019s picks<\/p>\n<\/h2>\n<\/section>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>You didn\u2019t wanna write a Toby Keith, America\u2019s-gonna-kick-your-ass song?<\/strong><strong><br \/><\/strong>Yeah. I\u2019m not, I\u2019m not sure I\u2019m feeling that.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Your relationship with country is interesting to me. A lot of the people drawing on those references in recent years have been more in the country realm, and if a song like Sally were marketed a bit different, it\u2019s not inconceivable you could be seen as a country artist. What are your thoughts on that?<br \/><\/strong>When I put out <em>Kansas Anymore<\/em>, and especially with the deluxe, I remember for the first time, like, being accepted by a lot of these country artists, and it was so cool. That was enough for me. I didn\u2019t want to be labeled as a country artist, which is why I\u2019m not still wearing the hat. I didn\u2019t wear the hat at every show, and I was trying to ride a thin line, because as much as I wanted that acceptance from the country artists and that community, I didn\u2019t want to be, like, locked off into that box.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>If there\u2019s a commonality to how you talk about your career, it\u2019s avoiding being boxed in. You make sure the influences on any song are mixed enough that no one\u2019s gonna say, \u201cOh, this is a Fleetwood Mac song.\u201d You draw from country without being a country artist, you take on personas like Chuck, and you chose Role Model over your own name. You\u2019re not hiding, but weary of being kept in one place.<br \/><\/strong>Yeah, that scares me. But I also\u2014 yes, that scares me, but it\u2019s also a really fun thing to challenge yourself with in the studio. Me, [producers] Mason Stoops, Taylor Mackall, and everyone else that helped on the album \u2014 it was just such a battle every day of riding these thin lines and not wanting a song to lean in a certain direction too far. There are two challenges that I love. It\u2019s one, bringing these artists that I love and applying it to pop music. I like that about pop music. It just feels like this umbrella term. It can be anything.<\/p>\n<section class=\"brands-most-popular \/\/ recirculation-modules lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tRelated Content<\/p>\n<\/h2>\n<\/section>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Nothing about this album is on trend for current pop \u2014 except that you pay a lot of attention to making almost every part of every song hooky, so much so that a bridge could be sliced out and work as a TikTok, which has already happened to you. Is that just songwriting craft, or has TikTok changed the way people write songs? And if so, I\u2019m not sure that\u2019s a bad thing. Where do you stand?<\/strong><strong><br \/><\/strong>As far as making anything with TikTok in mind, or clips of the song \u2014 I don\u2019t think that in the studio. I don\u2019t think any of us do. And if I ever did, Mason would kick my ass. That would not fly. I do try to rope people in immediately. Like, I think I have an ear for that. But as far as making things for the purpose of going viral or whatever \u2014 \u201cSally\u201d was a great example. None of that was planned, all the way down to bringing people out and all that stuff. Nothing about \u201cSally\u201d was planned, and I did not have any expectations for that. And so I think I learned from that you can\u2019t plan anything, and so that makes being in the studio a lot less stressful.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>When we last spoke, you were about to play Primavera \u2014 I believe your first show without the \u201cSally\u201d bit. Did it feel like anything not to do it, or was it just kinda gone and nothing?<br \/><\/strong>I don\u2019t think anyone cared. Aside from people coming up to me with their daughter and being like, \u201cCan she be Sally when you play Red Rocks in the fall?\u201d or whatever, and then I have to break the news and \u201cI\u2019m so sorry,\u201d \u201cNo.\u201d But aside from that, I don\u2019t think anyone cared. If I didn\u2019t believe in this album, Chuck, then I probably would\u2019ve kept doing the Sally bit.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Doubling down, bringing three to four Sallys a night.<\/strong><strong><br \/><\/strong>But I don\u2019t feel that way, and I think as much as I love the song \u201cSally,\u201d it\u2019s not\u2026 It\u2019s a pretty low bar of a song in my mind. That was, like, a silly song with lyrically the dumbest bridge I\u2019ve ever written.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>You have a real beef with your own bridge on that. How did you end up writing a bridge you think is so dumb? Which I don\u2019t really see the dumbness of \u2014 it\u2019s fun.<\/strong><strong><br \/><\/strong>It was just, it was bridge-less for a long time, and then I went in after tour or something, and I just was like, \u201cI think it just needs to be this loose thing. Let\u2019s not overthink this,\u201d and I just did that. Looking back, as much as I love that song \u2014 and I\u2019ll always perform it till I\u2019m done \u2014 but lyrically, that bridge is like a children\u2019s book, so I don\u2019t\u2026 Again, if that is the biggest part of that song, on my biggest song, it feels like a pretty low bar, to be.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>At the same time, you said you were surprised it connected, in part because it\u2019s such a Tom Petty thing. Maybe that opened the door to bring in these other influences.<br \/><\/strong>That was exactly it, and I already saw it with \u201cHigh Hopes.\u201d I really didn\u2019t think people were gonna like that chorus. Also production-wise, it just had this Georgia Satellites, like, masculine\u2014<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>\u201cKeep Your Hands to Yourself.\u201d<\/strong><strong><br \/><\/strong>Exactly. Yeah. This masculine vibe to it, and I was like, \u201cUgh, I feel like people are gonna hate this.\u201d And they didn\u2019t, and I was surprised. I was like, \u201cCool.\u201d Knowing that they would probably love that song by Georgia Satellites.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>\u201cJoy,\u201d the second single \u2014 I think you said it\u2019s even better than \u201cHigh Hopes,\u201d which it may be. Vibe-wise, I got things maybe you didn\u2019t intend: Mellencamp a bit, but Steve Miller, a real mix of things.<br \/><\/strong>Stones too, yeah.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Stones, yeah, I can hear that. Even on the album it\u2019s a little bit of an outlier. It struck me that the same way Sally was a pivot you followed on this album, this could be one of the pivots you follow for your next one.<br \/><\/strong>It is an outlier, in a way, on the album. But it was one of my favorite things. I think the story and the message that I was getting across are so buried, in a way that I wanted it to be. Like, listening to the song, no one\u2019s thinking about this theme of losing childhood joy and all these darker themes. It felt like a really cool cocktail of a song that I was proud came together.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>You\u2019ve spoken of this album as a journey from being single and figuring yourself out, but I think there\u2019s something deeper, and \u201cJoy\u201d gets at it \u2014 a spiritual malaise, a crisis of meaning beyond being single or not. Then I heard you went into therapy when you finished the album.<br \/><\/strong>Yeah. I think I learned a lot about myself through writing the album, and also just my personal life, what was happening while writing the album. It was all just at the same time, and it was\u2026 I was writing in real time about these things and feelings and quarter-life crisis moments and, yes, identity crisis. I think it\u2019s not the first time. I think I touched on it a little bit with Kansas Anymore, and definitely having moments of, what am I doing with my life? Usually, while I\u2019m writing an album \u2014 I\u2019m sure that will always happen. I\u2019m sure there\u2019s always going to be a song halfway through the album-writing process where I\u2019m like, \u201cWhat am I doing with my life? Is this what I\u2019m\u2026 Is this my purpose?\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Listening to the lyrics, part of the narrative seems to be someone who had a bad breakup and then spiraled into something like a depression.<br \/><\/strong>Yeah. I think that\u2019s true. Two years is a long time. I just didn\u2019t know what was best for me. I didn\u2019t know, do I go straight into another relationship, or do I really hold off and fix myself first and then go do that? And there were all these questions and no therapist at the time to help me figure that out, so it came out in songs.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201c<strong>Song Is All You Get\u201d is really stuck in my head \u2014 a really good hook. Before I dug into the lyrics, I thought it was about how sometimes all you get out of dating someone is that you write a song, a Taylor Swiftian idea. But that\u2019s not really mostly what it\u2019s about.<br \/><\/strong>Yeah, it\u2019s just about fleeting moments, and maybe\u2026 That one was definitely about wanting to go back in time a little bit and make more of these little moments, or be thankful for these little moments you have with someone or people, and then trying to tell yourself it\u2019s okay. Sometimes a song is all you get. Sometimes a night is all you get, whatever. And trying to tell myself to be, like, thankful for whatever you get from an experience or from a person.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>The most surprising influence you brought up to me about this album was Madonna. Tell me how you brought that in.<br \/><\/strong>I had a rule going into the album that was like, no programmed drums and no synths. Mason got around that and used a drum machine for \u201cSong Is All You Get\u201d and \u201cStain,\u201d I think. But I love these Madonna songs. I love the self-titled, and, like, how do we get this danceability without the synths and without the synth bass? I loved her drums and the grooves and everything, and I was like, \u201cHow do we pull this into our palette of this Americana organic piano, keys, organ, drums, acoustic?\u201d And that was one of the challenges. Doing whatever she\u2019s doing on synth, like, doing that with piano or guitar. I think Dire Straits had really good, these punchy kind of chords in between the drums from Mark Knopfler, and we pulled a lot from him, trying to recreate what the synths are doing with different instruments.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201c<strong>Love I You\u201d is about two things I know for sure: being drunk and being in love.<br \/><\/strong>Yeah. Yeah, it\u2019s a drunken song.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>And the feel is drunken, too, musically.<br \/><\/strong>Yeah, that was the goal. I had brought in the verses and brought it to Mason. I was like, \u201cI have these verses. I have these chords. Change the chords; they\u2019re boring. Switch the chords so I can just come up with a chorus, but I want it to feel, like, drunk, and I want it to have this swing.\u201d We did it in one day. I had the verses, but I wrote the chorus there, and sometimes once we get going and we find something, we have to finish it that day. We want this to feel like we\u2019re in a bar, so we invited a bunch of people to the studio, a bunch of friends, had a little bit of a party, and then showed them the chorus and had them all sing the chorus together as if it was, like, a bachelorette party, and it was amazing. It was so fun. Stacks of 20 of us in a room \u2014 you can hear it \u2014 with some drinks in us. That was so fun to watch come alive in a day. We handed them all some sort of a percussive instrument, too, and we\u2019re like, \u201cLet\u2019s just do a take through. All of us, just shake whatever you have in your hand or figure something out.\u201d And if you listen to it soloed, it\u2019s horrible, but it works in the context of this drunken moment in a bar.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>But all this is so far away from one person sitting in a bedroom with Pro Tools.<br \/><\/strong>That was another hope, when we had early discussions about just that and how we wanna record it, and we had our friend Omar record everything. He was engineering the whole thing, and he really understood it, and the importance of: yes, this is gonna be, like, a modern pop album, but let\u2019s not treat it that way. Let me bring the pop to it, and you guys record everything.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>You have a moment on \u201cLove I You\u201d that makes the song better, which is Dakota Johnson \u2014 we can\u2019t be coy about it anymore, you admitted this \u2014\u00a0she does a really charming back-and-forth with you. My guess is you had to weigh making the song better against the questions it would lead to, and eventually publicly admitting the relationship. <br \/><\/strong>I think that you just said it perfectly. I had that idea, and I had my vocal kind of sitting alone in that bridge, doing the conversation by myself. And we had a list of ideas for people. Mason kept bringing up, \u201cWhy doesn\u2019t Dakota do it?\u201d And I was always like, \u201cI don\u2019t\u2026 I think keeping those things separate is probably good,\u201d and blah, blah, blah. And then one day he convinced her, and I was just like, \u201cYeah, let\u2019s try it.\u201d And it was amazing. Her voice was perfect on it. Obviously, yeah, you know that\u2019s gonna lead to discussions online, but also it made the song really special to me, and what a cool cameo to have\u2026 <strong>\u00a0<\/strong>She did it in one try, too. It was very impressive.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>You\u2019re in the upcoming movie <em>Good Sex <\/em>with Natalie Portman and Mark Ruffalo, directed by Lena Dunham. Did you film that before recording this album?<br \/>Yeah. It was tough, \u2019cause I had just gotten off tour, and I had this month right before the summer to just start to get in the studio with Mason and Taylor. That was really cool. We started,<\/strong> and we had a lot of conversations. We made a couple bad songs, but it was fine. It was, like, just trying things, and it helped me get back in the mode. And then I got shipped off to New York for the summer, writing a little bit and finding things, but mostly I used that time to figure out what this album was gonna look and sound like. And so I made mood boards, because inspiration was not, like\u2026 I was just very busy with the movie, so I was like, \u201cWhat can I do?\u201d And it was just that. It was, like, mood board and make playlists and get ready to go into the studio when you\u2019re done shooting this, with a clear mind. And that was huge.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>I know the first day was stressful on that movie. Walk me through it.<br \/><\/strong>I didn\u2019t eat all day. Truly, I hadn\u2019t been nervous like that in a very long time. And my first day was also, like, one of the biggest scenes. It was, like, when we meet in the movie, and there are 100 extras watching you act for the first time.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>With Natalie Portman, by the way.<\/strong><strong><br \/><\/strong>Yes. Oh my God, it\u2019s making me wanna throw up already. But that day was really nerve-wracking. Everyone was doing the right thing, though. Lena was, like, holding my hand through it, being amazing. Natalie was so amazing and patient.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Did you fuck up your first couple takes?<\/strong><strong><br \/><\/strong>I didn\u2019t. I fucked up one take, and I didn\u2019t know what you do. It was really awkward \u2014 like, no one had told me what you do.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Do you keep going? Do you wait?<\/strong><strong><br \/><\/strong>So that was \u2014 I only fucked up once, which was a miracle. But then literally the next day, no nerves. I think I just needed that first day out of the way and was like, \u201cOkay, I can do this. I made one mistake. I didn\u2019t give my best performance on the first day, but now I\u2019m not nervous, so I will.\u201d And then it made the whole process a lot more comfortable.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>How do you silence the \u201cThat\u2019s Natalie Portman, that\u2019s Natalie Portman\u201d voice?<\/strong><strong><br \/><\/strong>I didn\u2019t have that. There was one moment, I remember, where we were doing a scene, and she had a monologue, and I really got lost staring at her and being like, \u201cWhoa, Natalie Portman is delivering a monologue to me.\u201d And that was the one time I got in my head.<\/p>\n<section class=\"brands-most-popular \/\/ recirculation-modules trending-in-article lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tTrending Stories<\/p>\n<\/h2>\n<\/section>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>You spent so much time sequencing this new album. What  albums shaped your idea of a perfect album?<br \/><\/strong><em>Calico <\/em>by Ryan Beatty. I think that\u2019s a perfectly sequenced album. I think The War on Drugs, <em>Lost in the Dream<\/em>, is also perfectly sequenced. All of their albums. Ryan\u2019s a really good example of being intentional about it, and I think he doesn\u2019t care about singles too much. I think he cares about the journey of his albums, and it shows.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>I know you have mixed feelings about your stage name and wish you\u2019d used your real name. What are the odds you someday return to your real name, or change your stage name?<br \/><\/strong>I would love to. I really have a gut feeling that it\u2019s too late. But I think what bothers me the most is, no matter what, whenever my name comes up on anything on Twitter, every comment is like, \u201cWhat parents name their kid Role Model?\u201d Does Post Malone go through that? Or Lil\u2019 Wayne? \u201cWho names their kid Lil?\u201d You just use your brain. Think for a second. Yes, I\u2019ll probably change my name.<\/p>\n<\/div>\n<p><br \/>\n<br \/><a href=\"https:\/\/www.rollingstone.com\/music\/music-features\/role-model-interview-pop-star-dakota-johnson-1235609503\/\">Source link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tucker Pillsbury, a.k.a. Role Model, does not enjoy being pinned down. He knows he makes pop music, but don\u2019t call him a pop star&#8230;.<\/p>\n","protected":false},"author":5,"featured_media":70613,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36],"tags":[],"class_list":["post-70612","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop","article","has-excerpt","has-avatar","has-author","has-date","has-comment-count","has-category-meta","has-read-more","thumbnail-"],"_links":{"self":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/70612","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/comments?post=70612"}],"version-history":[{"count":0,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/70612\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media\/70613"}],"wp:attachment":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media?parent=70612"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/categories?post=70612"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/tags?post=70612"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}