Tantric, Smile Empty Soul, Silvertung and Full Force Face First

August 24, 2022, 7:00 pm



Post grunge rock group Tantric return to The Goss Opera House with Smile Empty Soul, Silvertung and Full Force Face First

All ticket sales are final and non-refundable.

Tantric have defined themselves through 6 studio albums as a groove laden, guitar rich rock band with dense vocal harmonies and infectious vocal melodies. Frontman Hugo Ferreira’s unique soulful baritone vocals, ranging from angsty rasps to melodious melancholy are a testament for the signature Tantric sound. Along with the usual intricate guitar work and infectious riffs layered over complex textures has become the hallmark of the Tantric sound. Tantric has endured for a career of 15 years, and although band has gone through many label and lineup changes over the years, Ferreira has managed to keep the entity that is Tantric alive and well. “I consider Tantric a boat that I float in—it’s a vessel that carries the music. So I never feel restrictions. It doesn’t have any rules. Tantric music can be super-heavy, light–or both It’s really an open book with no ending in sight”, says Ferreira.

SMILE EMPTY SOUL is a hard rock band that originated in Los Angeles, CA in the late 1990's and has stayed true to their brand of "no bullshit", "real as it gets" hard rock to this day. The band signed a major label record deal in 2003 to release their self-titled debut album in May of that year. They realized huge success at alternative radio, rock radio, and the music video channels that have since fallen by the wayside or turned into reality show networks.

After 3 very successful singles/videos and a gold record from the debut release, the band ran into trouble with their record company (which was in the midst of turmoil at the top levels) and found themselves working extra hard in the trenches, and signed to indie labels or no label at all from them on.

This would become SMILE EMPTY SOUL's destiny, as they have gone on to release many more albums and EP’s on various labels, as well as their own company “smile empty music inc”. The band just released their 9th full length record “Black Pilled” on October 12th of 2021 completely on their own.

“Smile” has become known for its constant touring and never wavering honest sound/lyrics. They've never changed for anybody, and turned down many opportunities to "sell out" because it's not who they are.

With a calendar full of tour dates, a new album, and just as much drive as they had starting out 20 years ago, this band looks to continue to build on the legacy they’ve created as one of the hardest working, and most underrated bands in rock and roll

Dakota Daughters

May 18, 2022, 2:00 pm



Wounded Knee... Three Women, Three Stories, Three Cultures

Where Truth & History Meet

Wounded Knee... Three Women, Three Stories, Three Cultures

Allow yourself to be taken back 132 years, to 1890, to the Wounded Knee Massacre. See the story of the three cultures unfold as you remember & reflect.

“Dakota Daughters,” Geraldine Goes In Center, Lillian Witt, and Joyce Jefferson, bring you a play about the events culminating in the massacre at Wounded Knee Creek in 1890. They present this South Dakota Humanities Council sponsored play to demonstrate a historical interpretation of the events 132 years ago. They play imaginary characters but talk about historic documents, such as the 1868 Treaty of Fort Laramie, sing songs, recite poetry and read newspapers that were composed or written in the time portrayed. Mentioned are Sitting Bull, Big Foot, Short Bull, General Custer, Colonel Forsyth, and D. H. Gallagher who were actual participants of the events.

WEDNESDAY, MAY 18 @ 2:00

TICKETING: Free-will Donation. Pre-registration is not required.

Princess Party

May 1, 2022, 1:00 pm



Celebrate May Day as a Princess with the Snow Queens!

It's a May Day Princess Party at the Goss!

Come dressed as a Princess! Make a May Day Basket, have cookies & lemonade, and watch Cinderella with the Snow Queens!

$10 / child * Adult must accompany children. No charge for adult.

Please pre-register to save your child's spot as spaces are limited.

SUNDAY, MAY 1 * 1:00-4:00

GOSS OPERA HOUSE | 100 E Kemp Ave - Watertown, SD

Tantric, Smile Empty Soul, Silvertung and Full Force Face First

August 24, 2022, 7:00 pm



Post grunge rock group Tantric return to The Goss Opera House with Smile Empty Soul, Silvertung and Full Force Face First

All ticket sales are final and non-refundable.

Tantric have defined themselves through 6 studio albums as a groove laden, guitar rich rock band with dense vocal harmonies and infectious vocal melodies. Frontman Hugo Ferreira’s unique soulful baritone vocals, ranging from angsty rasps to melodious melancholy are a testament for the signature Tantric sound. Along with the usual intricate guitar work and infectious riffs layered over complex textures has become the hallmark of the Tantric sound. Tantric has endured for a career of 15 years, and although band has gone through many label and lineup changes over the years, Ferreira has managed to keep the entity that is Tantric alive and well. “I consider Tantric a boat that I float in—it’s a vessel that carries the music. So I never feel restrictions. It doesn’t have any rules. Tantric music can be super-heavy, light–or both It’s really an open book with no ending in sight”, says Ferreira.

SMILE EMPTY SOUL is a hard rock band that originated in Los Angeles, CA in the late 1990's and has stayed true to their brand of "no bullshit", "real as it gets" hard rock to this day. The band signed a major label record deal in 2003 to release their self-titled debut album in May of that year. They realized huge success at alternative radio, rock radio, and the music video channels that have since fallen by the wayside or turned into reality show networks.

After 3 very successful singles/videos and a gold record from the debut release, the band ran into trouble with their record company (which was in the midst of turmoil at the top levels) and found themselves working extra hard in the trenches, and signed to indie labels or no label at all from them on.

This would become SMILE EMPTY SOUL's destiny, as they have gone on to release many more albums and EP’s on various labels, as well as their own company “smile empty music inc”. The band just released their 9th full length record “Black Pilled” on October 12th of 2021 completely on their own.

“Smile” has become known for its constant touring and never wavering honest sound/lyrics. They've never changed for anybody, and turned down many opportunities to "sell out" because it's not who they are.

With a calendar full of tour dates, a new album, and just as much drive as they had starting out 20 years ago, this band looks to continue to build on the legacy they’ve created as one of the hardest working, and most underrated bands in rock and roll

Soul Asylum Presented By Redlinger Bros

May 6, 2022, 8:00 pm



Please note that General Admission tickets WILL NOT have a seat. VIP and Premium seating will have a seat located behind the GA Section.

Vocalist/guitarist Dave Pirner will be the first one to admit that recording a Soul Asylum album can sometimes be very stressful, simply because he cares so deeply about every aspect of his songs and how the record unfolds. However, the frontman reports that making the band's twelfth studio full-length, Hurry Up and Wait, was a completely seamless, enjoyable and productive experience.

This ease is evident in the music, which reflects Soul Asylum's usual eclectic approach: thrashing songs indebted to punk ("Hopped Up Feelin'") and classic rock ("Got It Pretty Good"), folk-influenced pop-rock ("Silly Things"), and gorgeous jangle-pop ("If I Told You"). "It was just total freedom," Pirner says. "There was nothing, pressure-wise, that was making it less of a smooth creative process—if there is such a thing."

It helped that Soul Asylum—which also includes drummer Michael Bland, lead guitarist Ryan Smith and bassist Winston Roye—recorded Hurry Up and Wait with a long-time studio collaborator: co-producer John Fields, who also worked on the band's previous three albums, including their most recent effort, 2016's Change of Fortune.

The group also decamped to a familiar spot: Nicollet Studios, the same place Soul Asylum recorded seminal early albums released on Twin/Tone Records, such as the 1986 LP While You Were Out. Recording at Nicollet again was "extremely comfortable" says Pirner, who moved back to Minneapolis in recent years after a long stint living in New Orleans.

"I don't think I could be more comfortable in a studio than at that place, except for my house," he says. "There's an amazing sense of familiarity. Every store in the neighborhood has changed just about, but it's still the same place—it's a very familiar place. It definitely evokes [a feeling of], 'Shit, I'm back at my old place of work. Oh my God—how much time passed again?'"

Hurry Up and Wait, which was mastered by Grammy Award-winning mastering engineer Emily Lazar, certainly echoes of all eras of (and influences on) Soul Asylum's work. "Make Her Laugh" is a laid-back, Stones-inspired jam; "Freezer Burn" marries hardcore energy to supercharged melodic punk riffing; and "Here We Go" is a pristine, lovelorn song with a deeply sentimental core. Lead single "If I Told You," meanwhile, is classic Soul Asylum: Chiming riffs, an evocative guitar solo, and wistful Pirner vocals and lyrics ("If I told you I love you, would you hold it against me?") unite to create a vibe that's melancholy but lovely.

However, Hurry Up and Wait also boasts some subtle sonic evolutions. The acoustic-heavy, country-leaning lead single "Dead Letter" boasts an especially mournful vibe, and the smoky guitars of "Social Butterfly" have the dreamy aesthetic of '80s indie-pop acts such as the Smiths.

"I did sort of put my guard down," Pirner says. "And I was like, 'Well, this time, I'm going to just go with whatever seems to be working, and I don't really care what kind of music people want to call it.' It's a little raw

and forthcoming in the way that I didn't second guess it. There's a lot of just letting it come out as opposed to trying to force something."

Recording Hurry Up and Wait was also easier since Fields, who spent years in L.A. working with a wide variety of pop and rock musicians, had moved to Minneapolis and taken over the front room of Nicollet. And so unlike previous Soul Asylum albums—which found Pirner and Bland doing initial work with Fields in California and then finishing the album in Minneapolis—Hurry Up And Wait was recorded in one place, with the band and producer hunkered down in the studio.

This consistency, when coupled with the relaxing atmosphere and lack of outside interference, also contributed to an energetic, loose vibe. "I was pretty insistent on less of everything," Pirner says with a laugh. "I wanted it to sound more organic, let's put it that way. Less effects and fancy studio stuff, because we've actually learned how to play like since the last time we were in that building." He laughs again. "But it was very much homegrown, which is very much how we made records in the very early days."

Soul Asylum initially formed in the early '80s under the name Loud Fast Rules when Pirner was still in high school with friends Dan Murphy and Karl Mueller, and became part of the celebrated Minneapolis local music scene alongside fellow indie bands the Replacements and Hüsker Dü. This success led to the band entering the major-label mainstream with 1988's Hang Time and its 1990 follow-up, And the Horse They Rode In On, before achieving a commercial breakthrough with 1992's triple platinum Grave Dancers Union.

That album spawned several international hits, including "Runaway Train," which won a Grammy Award for Best Rock Song, and "Black Gold," and led to steady alternative radio and MTV airplay. Soul Asylum continued to enjoy mainstream success with 1995's platinum-certified Let Your Dim Light Shine, which featured the hit "Misery," and 1998's Candy from a Stranger; the group also appeared on the soundtrack for multiple Kevin Smith movies, including Clerks. Since returning to action with 2006's The Silver Lining, Soul Asylum has recorded steadily, and become a reliable presence on the road.

Pirner isn't necessarily one for nostalgia, although he's been doing a little more looking back than usual lately: In a nod to his reputation as one of America’s greatest songwriters, MNHS Publishing (Minnesota Historical Society) in February 2020 is releasing Loud, Fast, Words, a book of Pirner's lyrics accompanied by commentary and essays about each Soul Asylum album. Compiling his thoughts for the book has made Pirner realize that while his lyric-writing process is more "streamlined" these days, in general it's remained remarkably similar across Soul Asylum's existence.

"There's always like—oh, this song I sat down and wrote in 25 minutes," he says. "This one took me 25 years to write," he says. "There are always both of those kinds of songs on a record. Sometimes it all comes together very quickly, and other times it literally can take me decades."

Hurry Up and Wait—which dives into topics such as grappling with emotional and geographic disconnection, navigating romantic ebbs and flows, and the power of embracing optimism despite it all—is no exception, he adds "I could probably go through [the album] and go, 'Oh, that one I started writing 10 years ago. That one I started writing six months ago. That one I've been trying to get right since the beginning of time, and I finally found the right words that finished the sentiment.'"

Luckily, these days Pirner can bounce his ideas off a steady group of creative foils, including drummer Bland, who spent many years drumming as part of Prince's New Power Generation. "The band is really the first reaction. And if they respond to something, I pursue it. If we're playing it for the tenth time in the studio and

everyone's like, 'I don't know,' I'm like, 'Well, fuck it,'" he says with a laugh. "But if people are just feeling it and they're excited, I'm like, 'All right, this one's going to end up on the record. Let's fucking do it.'"

Nearly 40 years after Soul Asylum coalesced as a band, Hurry Up and Wait underscores that Pirner is the rare musician who pairs the confidence of a seasoned veteran with the unflagging enthusiasm and ambition of an artist just starting out. "The first time you go into the studio, it's terrifying," he says. "You're on the clock and you have to play and sing well, and have good songs. Now it's like being a mechanic that's been working on cars his whole life—you just do it."

In March of 2020, the band ended their best selling tour in 15 years, The Dead Letter Tour, with support from Local H. They recently released an acoustic EP of songs from HUAW titled, Born Free. With more than 100 songs performed during weekly livestream sessions, the band are anticipating to be back on the road in 2021.

Irish Pub At The Goss with Ceili Carps Irish Band

March 17, 2022, 6:30 pm



Irish Pub at The Goss with Ceili Carps Irish Band (Featuring Tom Beadnell & Friends). Irish Fare and concert.

Dust off your Kilt & start practicing your Irish Toast for the Irish Pub at The Goss with Ceili Carps Irish Band!

(Featuring Tom Beadnell & Friends)

$25 ticket includes Irish Fare and Concert.

Irish toast contest at intermission!

Doors Open @ 6:00

Irish Fare Buffet @ 6:30

Concert Starts @ 7:00

Blacktop Mojo, The Lonely Ones and Red Light Drive

March 13, 2022, 7:00 pm



Texas based Blacktop Mojo return to The Goss Opera House with The Lonely Ones and Red Light Drive

Blacktop Mojo’s fiery blend of heavy post-grunge grooves, classic rock guitar riffs, and Southern Metal shredding falls somewhere between Soundgarden and Lynyrd Skynyrd.

Formed in the summer of 2019, The Lonely Ones are a four piece vocal-oriented hard rock band with an ear for melody and a taste for success. No strangers to the hardships of the music industry, The Lonely Ones know what they want and know how to get it. Their first singles "Eternal Sadness" and "THe Lonely One" from their yet untitled album were released in March of 2020.

Learning & Libations - March Madness

March 28, 2022, 5:30 pm



Join us at the Goss each month to learn a new skill or about a cause in a fun and social environment! Happy Hour Learning at its finest!

At the Goss Opera House we are all about art, cultural and educational experiences! We are excited to start our new program LEARNING & LIBATIONS, where each month you can come and learn a new skill or about a cause in a fun and social environment. It is happy hour learning at its finest!

We have a new meaning of MARCH MADNESS... Stress, Anxiety, and Anger Relief.

$25 per person / Includes 1 FREE Drink Ticket

Join us to learn techniques for releasing your Madness, Anxiety, and Stress!

*Katie's Karing Touch Massage

*Let it Go Plates

*Soft Rage Room

*Adult Coloring

*Licensed Counselor with resources & tips

Learning & Libations is sponsored in part by the Watertown Area Community Foundation.

John Fullbright

January 4, 2022, 7:00 pm



John Fullbright, an American singer-songwriter from Okemah, Oklahoma, brings his full band concert to The Goss Opera House.

“What’s so bad about happy?” John Fullbright sings on the opening track of his new album, ‘Songs.’ It’s a play on the writer’s curse, the notion that new material can only come through heartbreak or depression, that great art is only born from suffering.

“A normal person, if they find themselves in a position of turmoil or grief, they’ll say, ‘I need to get out of this as fast as I can,’” says Fullbright. “A writer will say, ‘How long can I stay in this until I get something good?’ And that’s a bullshit way to look at life,” he laughs.

That plainspoken approach is part of what’s fueled the young Oklahoman’s remarkable rise. It was just two years ago that Fullbright released his debut studio album, ‘From The Ground Up’ to a swarm of critical acclaim. The LA Times called the record “preternaturally self-assured,” while NPR hailed him as one of the 10 Artists You Should Have Known in 2012, saying “it’s not every day a new artist…earns comparisons to great songwriters like Townes Van Zandt and Randy Newman, but Fullbright’s music makes sense in such lofty company.” The Wall Street Journal crowned him as giving one of the year’s 10 best live performances, and the album also earned him the ASCAP Foundation’s Harold Adamson Lyric Award. If there was any doubt that his debut announced the arrival of a songwriting force to be reckoned with, it was put to rest when ‘From The Ground Up’ was nominated for Best Americana Album at the GRAMMY Awards, which placed Fullbright alongside some of the genre’s most iconic figures, including Bonnie Raitt.

“I never came into this with a whole lot of expectations,” says Fullbright. “I just wanted to write really good songs, and with that outlook, everything else is a perk. The fact that we went to LA and played “Gawd Above” in front of a star-studded audience [at the GRAMMY pre-tel concert], never in my life would I have imagined that.”

But for Fullbright, it hasn’t been all the acclaim that means the most to him, but rather his entrance into a community of songwriters whose work he admires.

“When I started out, I was all by myself in a little town in Oklahoma where whatever you wanted, you just made it yourself,” he explains. “I didn’t grow up around musicians or like-minded songwriters, but I grew up around records. One of the most fulfilling things about the last two years is that now I’m surrounded by like-minded people in a community of peers. You don’t feel so alone anymore.”

If there’s a recurring motif that jumps out upon first listen to ‘Songs,’ it’s the act of writing, which is one Fullbright treats with the utmost respect. “When I discovered Townes Van Zandt, that’s when I went, ‘You know, this is something to be taken pretty damn seriously,’” says Fullbright. “‘This is nothing to do with business, it has to do with art and identity.’ You can write something that’s going to outlast you, and immortality through song is a big draw.”

But just as important to Fullbright as writing is careful editing. “I can write a first verse and a chorus fairly easily, and it’s important just to document it at the time and come back to it later,” he explains. “That’s the labor, when you really get your tools out and figure out how to craft something that’s worthwhile.”

Fullbright inhabits his songs’ narrators completely, his old-soul voice fleshing out complex characters and subtle narratives with a gifted sense of understatement.

“My songwriting is a lot more economical now,” he explains. “I like to say as much as I can in 2 minutes 50 seconds, and that’s kind of a point of pride for me.”

The arrangements on ‘Songs’ are stripped down to their cores and free of ornamentation. Fullbright’s guitar and piano anchor the record, while a minimalist rhythm section weaves in and out throughout the album. That’s not to say these are simple songs; Fullbright possesses a keen ear for memorable melody and a unique approach to harmony, moving through chord progressions far outside the expected confines of traditional folk or Americana. The performances are stark and direct, though, a deliberate approach meant to deliver the songs in their purest and most honest form.

“I’m a better performer and writer and musician now, and I wanted a record that would reflect that,” he says. “We tracked a lot of it live, just me and a bass player in a room with a few microphones. The basis is a live performance and everything else supports that. I think you just get as much energy and skill as you can into a take, and then start building from there. And what we found is that you don’t have to add too much to that.”

The songs also reflect how drastically Fullbright’s life has changed since the release of ‘From The Ground Up,’ which launched him into a rigorous schedule of international touring. “Going Home” finds him appreciating the simple pleasure of heading back to Oklahoma, which he likens to The Odyssey. “When you’re gone for so long, once you know you’re headed in the right direction to your own bed and your own home, that’s one of the greatest feelings you can have,” he says.

“I Didn’t Know” is a song he premiered live at concert hosted by Emmylou Harris & Rodney Crowell, a story he tells still somewhat incredulously, while “When You’re Here” is a somber piano love song, and “The One That Lives Too Far’ is a raw account of the strain that distance can put on a romantic relationship. “All That You Know,” which features just voice and Wurlitzer, implores listeners to appreciate what’s right in front of them, and the finger-picked “Keeping Hope Alive” is a song of resilience through hard times.

To be sure, ‘Songs’ has its moments of darkness, tracks born from pain and heartbreak, but for a craftsman like Fullbright, there are few greater joys than carving emotion into music, taking a stab at that lofty goal of immortality through song. It makes him—and his fans—happy, and there’s nothing bad about that.

Soul Asylum Presented By Redlinger Bros

May 6, 2022, 8:00 pm



Please note that General Admission tickets WILL NOT have a seat. VIP and Premium seating will have a seat located behind the GA Section.

Vocalist/guitarist Dave Pirner will be the first one to admit that recording a Soul Asylum album can sometimes be very stressful, simply because he cares so deeply about every aspect of his songs and how the record unfolds. However, the frontman reports that making the band's twelfth studio full-length, Hurry Up and Wait, was a completely seamless, enjoyable and productive experience.

This ease is evident in the music, which reflects Soul Asylum's usual eclectic approach: thrashing songs indebted to punk ("Hopped Up Feelin'") and classic rock ("Got It Pretty Good"), folk-influenced pop-rock ("Silly Things"), and gorgeous jangle-pop ("If I Told You"). "It was just total freedom," Pirner says. "There was nothing, pressure-wise, that was making it less of a smooth creative process—if there is such a thing."

It helped that Soul Asylum—which also includes drummer Michael Bland, lead guitarist Ryan Smith and bassist Winston Roye—recorded Hurry Up and Wait with a long-time studio collaborator: co-producer John Fields, who also worked on the band's previous three albums, including their most recent effort, 2016's Change of Fortune.

The group also decamped to a familiar spot: Nicollet Studios, the same place Soul Asylum recorded seminal early albums released on Twin/Tone Records, such as the 1986 LP While You Were Out. Recording at Nicollet again was "extremely comfortable" says Pirner, who moved back to Minneapolis in recent years after a long stint living in New Orleans.

"I don't think I could be more comfortable in a studio than at that place, except for my house," he says. "There's an amazing sense of familiarity. Every store in the neighborhood has changed just about, but it's still the same place—it's a very familiar place. It definitely evokes [a feeling of], 'Shit, I'm back at my old place of work. Oh my God—how much time passed again?'"

Hurry Up and Wait, which was mastered by Grammy Award-winning mastering engineer Emily Lazar, certainly echoes of all eras of (and influences on) Soul Asylum's work. "Make Her Laugh" is a laid-back, Stones-inspired jam; "Freezer Burn" marries hardcore energy to supercharged melodic punk riffing; and "Here We Go" is a pristine, lovelorn song with a deeply sentimental core. Lead single "If I Told You," meanwhile, is classic Soul Asylum: Chiming riffs, an evocative guitar solo, and wistful Pirner vocals and lyrics ("If I told you I love you, would you hold it against me?") unite to create a vibe that's melancholy but lovely.

However, Hurry Up and Wait also boasts some subtle sonic evolutions. The acoustic-heavy, country-leaning lead single "Dead Letter" boasts an especially mournful vibe, and the smoky guitars of "Social Butterfly" have the dreamy aesthetic of '80s indie-pop acts such as the Smiths.

"I did sort of put my guard down," Pirner says. "And I was like, 'Well, this time, I'm going to just go with whatever seems to be working, and I don't really care what kind of music people want to call it.' It's a little raw

and forthcoming in the way that I didn't second guess it. There's a lot of just letting it come out as opposed to trying to force something."

Recording Hurry Up and Wait was also easier since Fields, who spent years in L.A. working with a wide variety of pop and rock musicians, had moved to Minneapolis and taken over the front room of Nicollet. And so unlike previous Soul Asylum albums—which found Pirner and Bland doing initial work with Fields in California and then finishing the album in Minneapolis—Hurry Up And Wait was recorded in one place, with the band and producer hunkered down in the studio.

This consistency, when coupled with the relaxing atmosphere and lack of outside interference, also contributed to an energetic, loose vibe. "I was pretty insistent on less of everything," Pirner says with a laugh. "I wanted it to sound more organic, let's put it that way. Less effects and fancy studio stuff, because we've actually learned how to play like since the last time we were in that building." He laughs again. "But it was very much homegrown, which is very much how we made records in the very early days."

Soul Asylum initially formed in the early '80s under the name Loud Fast Rules when Pirner was still in high school with friends Dan Murphy and Karl Mueller, and became part of the celebrated Minneapolis local music scene alongside fellow indie bands the Replacements and Hüsker Dü. This success led to the band entering the major-label mainstream with 1988's Hang Time and its 1990 follow-up, And the Horse They Rode In On, before achieving a commercial breakthrough with 1992's triple platinum Grave Dancers Union.

That album spawned several international hits, including "Runaway Train," which won a Grammy Award for Best Rock Song, and "Black Gold," and led to steady alternative radio and MTV airplay. Soul Asylum continued to enjoy mainstream success with 1995's platinum-certified Let Your Dim Light Shine, which featured the hit "Misery," and 1998's Candy from a Stranger; the group also appeared on the soundtrack for multiple Kevin Smith movies, including Clerks. Since returning to action with 2006's The Silver Lining, Soul Asylum has recorded steadily, and become a reliable presence on the road.

Pirner isn't necessarily one for nostalgia, although he's been doing a little more looking back than usual lately: In a nod to his reputation as one of America’s greatest songwriters, MNHS Publishing (Minnesota Historical Society) in February 2020 is releasing Loud, Fast, Words, a book of Pirner's lyrics accompanied by commentary and essays about each Soul Asylum album. Compiling his thoughts for the book has made Pirner realize that while his lyric-writing process is more "streamlined" these days, in general it's remained remarkably similar across Soul Asylum's existence.

"There's always like—oh, this song I sat down and wrote in 25 minutes," he says. "This one took me 25 years to write," he says. "There are always both of those kinds of songs on a record. Sometimes it all comes together very quickly, and other times it literally can take me decades."

Hurry Up and Wait—which dives into topics such as grappling with emotional and geographic disconnection, navigating romantic ebbs and flows, and the power of embracing optimism despite it all—is no exception, he adds "I could probably go through [the album] and go, 'Oh, that one I started writing 10 years ago. That one I started writing six months ago. That one I've been trying to get right since the beginning of time, and I finally found the right words that finished the sentiment.'"

Luckily, these days Pirner can bounce his ideas off a steady group of creative foils, including drummer Bland, who spent many years drumming as part of Prince's New Power Generation. "The band is really the first reaction. And if they respond to something, I pursue it. If we're playing it for the tenth time in the studio and

everyone's like, 'I don't know,' I'm like, 'Well, fuck it,'" he says with a laugh. "But if people are just feeling it and they're excited, I'm like, 'All right, this one's going to end up on the record. Let's fucking do it.'"

Nearly 40 years after Soul Asylum coalesced as a band, Hurry Up and Wait underscores that Pirner is the rare musician who pairs the confidence of a seasoned veteran with the unflagging enthusiasm and ambition of an artist just starting out. "The first time you go into the studio, it's terrifying," he says. "You're on the clock and you have to play and sing well, and have good songs. Now it's like being a mechanic that's been working on cars his whole life—you just do it."

In March of 2020, the band ended their best selling tour in 15 years, The Dead Letter Tour, with support from Local H. They recently released an acoustic EP of songs from HUAW titled, Born Free. With more than 100 songs performed during weekly livestream sessions, the band are anticipating to be back on the road in 2021.