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DJ: Wesley Stace has been very prolific when it comes to releasing music. Most of his records were released under the name John Wesley Harding, but in recent years he's returned to his birth name, Wesley Stace. His songs have been featured in film and television and have also been covered by other artists, including Graham Parker, Josh Ritter, Kelly Hogan, and Tanya Donelly.
Wesley Wesley is also the author of four novels. He teaches courses in songwriting, a busy schedule for sure, but he's back with a new album, One Last Heist, releasing September 2nd. Stay tuned for my talk with singer, songwriter, [00:30:00] guitarist, author, and teacher, Wesley Stace.
DJ: Well, Wesley Stace, thanks so much for doing this today.
Wesley: Oh, that's absolutely no problem whatsoever
DJ: And where are you calling from?
Wesley: I'm in Edinburgh.
DJ: I thought so. I, I was told that. I was there, my last time there many, many years ago. I was 19 years old and loved it. Went to England, Wales, and Scotland, and, uh, stayed in Edinburgh, and it was beautiful from what I remember. But it's been ... I'm way overdue for a return trip there
Wesley: Well, yeah, it's a beautiful city. Maybe one of the great cities in the world to walk around, and it's a particularly, excellent food city. And also in August, you know, we have the magnificent, uh, festival going on here, and I love to come during that time
DJ: Yeah, good time to be there. Well, I always like to go back in time and hear about people's early life.. You were born in Southeast England?
Wesley: That's right, yeah. I'm from, uh, Hastings. Uh, 1066, Battle of Hastings, um,
and, uh, when we lost to the French. And, it's on the s- you know, it's pretty close to [00:01:00] France, and it's, uh, you know, when I was growing up there, it was not... It was a rather down-at-heel seaside town, and now it's a very vibrant artistic community where you're liable to, you know, go to an artisanal tequila tasting and stuff like that.
Whereas when I was growing up, it was the murder capital of
DJ: Oh,
Wesley: uh, per capita.
DJ: wow
Wesley: Because there were a lot of... Well, there were a lot of drugs coming in off the coast. But I, I grew up in a very really pretty genteel environment. My family had a tea shop, and my father was a teacher of Latin and Greek at public school, and, my mother was a singer who taught, uh, voice to people.
So, uh, that's the kind of environment I grew up in. But I also, it m- also should also be said that I was away at school a lot, and, uh, the key bits I was away for was, like, 13 to 18 when I was in Canterbury, and then after that when I was in Cambridge. So there was a lot of [00:02:00] time spent away as well.
DJ: It sounds like music was very present in the Stace home. I mean, your mother was a singer
Wesley: It absolutely was, and my sisters, both of them, were really into singing and dance. there was a lot of lessons happening beneath us in the house in the music room coming through the floorboards, but also, you know, sisters being shuffled to and fro. I was not a good music stu- I mean, I loved music, and, uh, there was music all around me, but I wasn't a good music student.
I was fine in a choir, but I just couldn't latch onto any instrument. You know, I did the clarinet for a bit. I did the piano for a bit, but I couldn't latch onto anything until finally, um, having got into Bob Dylan when I was about 15 or 16, I got a chord book, you know, one of those books with the chord pictured out, um, called Bob Dylan's '66 to '75 was the wonderful book that I bought.
And I just started to play [00:03:00] every song in there that I knew of the albums that I had managed to get my hands on because, of course, it was a pre-Spotify world, and you had to actually buy, you know, own the album to hear it.
DJ: So even though lessons were not clicking, uh, you... So with the guitar, you were self-taught. 
Wesley: I was self-taught, and I, I did that very effectively, but I wish that I had ... I, I mean, it ... When you're m- making ... I mean, I'm, I'm sure we'll talk about my new album in a bit, and, you know, when you're making music of that kind of, , complexity, I suppose, compared to G, C, D, and E minor, I wish I ha- had had a lot more training and been more, you know, suggestible to it.
But I see my own son doing, who's 17 now, doing exactly the same thing, playing the piano beautifully, but he doesn't want lessons, you know? So, so ... And he comes by that very, very, uh, very fairly
DJ: Nice. And you were writing songs when you were just in your teenage years, I think?
Wesley: Yeah, I start ... [00:04:00] Yeah, it's true actually. that's true. I used to, um, just scratch little things down on bits of paper, and then before I even had a guitar I was making up melodies for them. I remember standing at the end of my mum's bed and singing a song for her when I was about 11, uh, that had the ominous title I Knew She'd Leave Me.
So I think that was the first song that I ever wrote. Um, and, and then more as I got a guitar, I mean, the, the reason to play songs wasn't r- to learn the guitar wasn't really to jam on Bob Dylan and Beatles songs with other people, it was to give myself a vehicle to put the lyrics I was writing, um, to music
DJ: We mentioned Dylan and The Beatles. Um, at that point in time, at that age, were there other songwriters that you really admired and were being influenced by?
Wesley: Uh, well, the, so first we're talking like a kind of 13, [00:05:00] 14 age. Uh, that's when I discovered, Dylan. Um, and the album I bought was Budokan. But what I was actually listening to, that was a bit of an outlier for me. What I was actually listening to, because I listened to the pop charts, was the pop charts.
And what was in the pop charts then was new wave and punk, punk and new wave. And so, you know, you might, I might be listening to The Stranglers and The Damned and all, the Buzzcocks and all those, The Jam, all that kind of stuff. I was buying all those seven-inch singles made, which bizarrely I still have the precise copies.
But my absolute two top favorites were David Bowie and ABBA.
DJ: Nice
Wesley: It wa- and you know, for years you couldn't say you liked ABBA, and now it's all, now it's all okay
DJ: They were fantastic.
Wesley: Yeah. Yeah, the same, the same with the Bee Gees really. I loved them then too, but, uh, it took me years before I found out they actually had a pre-disco career at all.
I had no idea
DJ: Yes. Right. Yeah, it was the same way. I think a lot of [00:06:00] people discovered them when they were huge in disco, but then yeah, the, uh, and the documentary on them is fascinating, but they, uh, they were great
Wesley: Oh yeah
DJ: Well, do you remember the first time you shared or performed one of your songs for either a person or a group of people?
Wesley: Well, apart from that mother situation I did perform at open mics in Hastings. There was a very dull man called Martin who ruled these with a rod of iron. Um, didn't like him at all. He didn't like me either, I don't think. But, you know, with your open mic, you kind of have no choice. And I, I always thought he only did it so he could kind of get up and sing a couple of Roy Harper songs, which at the time was incredibly painful to me, but now I think it's kind of cool.
Well done, Martin. You know, for standing in front of me and singing I Hate the White Man, or whatever it was. Uh, but, you know, um, and I, and I love Roy Harper now. But, um, I think the key thing here [00:07:00] is not the first time, but the time it was first useful to me, and that's when I got to university, so I'm like 18 or 19 or something like that.
And there were a lot of protests going on about this or that, maybe cuts in education or the hospital workers or the miners, the, the miners strike. There was a lot of very potent ... A- apartheid. There was a lot of issues that we were very worked up about then. And I literally, at one of these protests at Cambridge at the Senate House, kind of got up and played probably a Phil Ochs song, and every- probably, and everybody sung along.
And I was like, "Oh, my God. I ... This is functional. This is like Woody Guthrie. I mean, I can sing this song. How about I write some- one of my own songs like that?" You know. And the weird thing was, of course, there's a great history in folk music of just updating [00:08:00] songs to the relevant moment, and Phil Ochs had that one “Here's to the State of Mississippi” that he updated to “Here's to the State of Richard Nixon”.
So I already had my model in front of me, and I updated that song to “Here's to the State of Margaret Thatcher”, and stood in front of, you know, with my guitar, having really had no one pay attention to my music at all, and be kind of more of a kind of fun- serving a purpose, which is keeping everybody warm and singing along on the protest.
And I remember years later going ... When the San Francisco Chronicle, uh, had a strike going on there, and I remember going down there and Joan Baez was doing that, and then I did it on another night. You know, there's a real ... There- that's a great bit of playing the guitar, is that feeling of, of communal kind of leading everybody in the, in the song thing, and like a mobile Newport Folk Festival kind of thing.
And so I did a [00:09:00] lot of, uh, that, and in fact just walked into my kitchen is somebody who was actually at that university with me way back then, and I'm going to ignore her and continue this interview. Um- But, but so, so that's what I did, was I got out there and, you know, I kind of s- and I started writing my own protest-y kind of songs, and then
and that's what I played. But I always remember feeling it was fine standing outside somewhere doing that, but I always remember feeling, I always remember feeling very, very painfully self-conscious about actually getting a guitar out and playing songs that meant anything particularly personal in a room to people.
I didn't enjoy that very much, didn't feel encouraged to do it, and didn't do it very much. And in fact, I don't really do it now. I love to play on a stage, but I don't like to be the guy who's like, "Let me play you a new song." I very rarely get the guitar [00:10:00] out when people are around. And in fact, a good story pursuant to that, a good story pursuant to that is that I, um, a friend of mine who's a lawyer said, "Will you come..."
A very good friend, uh, said, "Will you come and play guitar at my party?" And I was like, "Well, not really, because, you know, you might wanna hear it, but certainly everybody else won't wanna hear it." And she was just like, "But wouldn't it be beautiful if you just played, like, uh, r- just as the party's dwindling down and you could just be in a little room playing the guitar?"
And I was like, "All right. Well, okay. If you insist, I'll do it." And, and, you know, uh, which I said probably pretty unwillingly, but being a good friend. And, and, um, so anyway, I did it, and of course, you know, it was stupid and, and everybody talked through it. I wondered why I bothered 'cause it was a party, but she did most of the talking through it, as I remember.
And so because she's a lawyer, when we next had a party, I insisted that she come to the party, sit at a chair, and [00:11:00] for an hour, um, people were allowed to come up to her and ask her for legal advice on things. Because it's the same thing. It's my ... It's, it's, it's the work that I do, you know? And not everybody necessarily wants to do that thing when they're relaxing.
But I am making another point, which is also that I feel self-conscious about doing that.
DJ: Well then you were probably, that was probably motivating you to get into a studio and record things instead of being in front of an audience
Wesley: Well, no, I'm h- I was always happy being in front of an actual audience who wanted to pay attention to me. That, that was good. That was good. But of course, you do have to kind of have stuff for actually people to pay attention. And I never knew anything about a recording studio. I, I made demos and all that kind of thing, but, and, and had people play on them sometimes, and had a band at university who were no better than they needed to be.
But, um, I [00:12:00] didn't really know anything about recording studios until Sire got me in to make my first album, and Andy Paley, the producer, showed me what to do. I mean, that's the honest ... That's the honest truth of it.
DJ: Over the years, you've collaborated with an amazing number of musicians, either covering their songs or having them contribute to your albums. Who were some of the first artists that you worked with?
Wesley: Well, the first artist who never, ever said anything kind of nice about me in the press, which I was always very grateful for, was Chris Difford of Squeeze. Um, you know, um, when I came to America on my first album, it was like I was a kid in a candy store. So I got in touch with Peter Case and asked if he'd like to write a song with me.
I asked him to come and play guitar on my first album. on the second album I asked Ronee Blakley to do the same, and Elizabeth Barraclough. And that is really the key to my tastes and what I wanted that album to, those albums to kind of [00:13:00] be like. Um, it's kind of a cross between the kind of the, the rootsier of the punky…
The rootsier of the kind of folky, modern folky stuff. Uh, a- and the pop music, and the kind of, um, '70s singer-songwriter thing that you might associate Ronee Blakley and Elizabeth Barraclough with. Also, Victoria Williams was on those albums. Barry Goldberg, who played with Dylan. you know, I, I ... It was like, it was incredible that I could reach out to these people and perhaps 'cause they met me and liked me, or perhaps 'cause I was on a major label or whatever.
I have no idea, but everybody was very friendly, and stuff got done. and then over the years I've just, you know, got to play with lots of people. Uh, very lucky to have had The Jayhawks say yes to making an album with me, and The Decemberists, and The Minus 5. and that's kind of a way to make records, is just find a band whose sound you like and have fun making the record with them.
And, and then there's of course [00:14:00] lots of, you know, wonderful musicians, like Springsteen, and Rosanne Cash, and Lou Reed. And I've, you know, very lucky to kind of sing duets with them. And how does that happen? I don't know. I suppose you just ask. And or, or, or it just happens. You know, it just happens.
Springsteen comes to see me live at McCabe's. I go, "Hey, you're at the show. You wanna play one of your songs that you know anyway?" And he's like, "Yeah, sure."
DJ: I love that. Yeah, Peter Case was just on the show not too long ago. He was great, and, uh, talked about his, uh, live album at McCabe's, so
Wesley: Yeah
DJ: McCabe's is great. I, whenever I get out to LA, I, I try to hit McCabe's.
Wesley: Where are you?
DJ: I'm in St. Louis, so I'm right in the Midwest. I have a brother in LA, so you know, I get to-
Wesley: We, now did you know I played in St. Louis recently?
DJ: I was n- unable to go, and I really,
Wesley: good. I'm just glad you, I'm glad you know. I played there in a wonderful little theater, um, for a [00:15:00] fantastic guy who was kind enough to reach out and ask me if I wanted to do it, and I will do it again. And the name of the theater is escaping me right now, but that's just because I'm in Edinburgh and, and, and my mind's not normal.
Gaslight? Victory? It's something beautiful. It's a beautiful theater.
DJ: Yeah, 'cause I do remember seeing the promos and I think we were out of town or, um, something. Um,
Wesley: You're forgiven
DJ: Well, you moved to the States, you moved to the United States several decades ago, back in nine- I think around early '90s, 1991?
Wesley: Yeah, that's exactly right
DJ: What prompted you to move? And I have to wonder, just to be honest, what's your feeling about living here now?
Wesley: Well, I just became a citizen actually about a year ago. Um, and my feeling is that after 35 years I should be able to protest with a clear conscience. Um, and also to have my vote count. I mean, I've raised two children here who are 20 and 17, [00:16:00] and, um, they, uh, are American obviously, but they have British passports, and they feel American.
And I kind of feel British, but on the other hand, you know, America's in a kind of a pretty dark place I think at the moment. And, um, and with any luck, it won't be forever
DJ: Yeah, well, music will maybe change some of that, I hope, so
Wesley: Well, there's a ... You know, I mean, , one can only create what one can. But, um, you know, there's a couple of protest songs, I suppose one would call them, , on the new album, and that is a thread throughout most of my work
DJ: Well your songs have been featured in films and television as well, and, , your songs have been covered by many bands and artists. , The Good Lyre was, uh, that was a great collection of your songs by many, many great people. and I think the, uh, the proceeds went to, uh, this organization.
Was it Sweet Relief, the organization?
Wesley: That's right. That's right. I mean, that was, that was a ... It's very nice of you to say, and, and I [00:17:00] mean, it is. It's terrific. But , the key thing about that album was when COVID came down, we were kind of all looking for projects, if you like. And, um, because I was looking for a project, somebody online said on Facebook, on my feed, you know, said, "Oh, I always wanted to hear Graham Parker sing “The Devil in Me."
And I was like- Yeah ... "Oh yeah, that would be great," you know? Graham Parker singing “The Devil in Me”. And then because I was kinda having a COVID like, let's think of something to do, I was like, you know, "What else, what else? Who else would people like to hear sing what?" And the funny thing is that a lot of the people who are at my site kind of like the people whose music I like, and some of those people are my friends.
And so I was suddenly like, " Why don't I just ask Graham Parker if he'll do “The Devil in Me”? Why don't I ask Tanya Donelly if she'll do this? Why ... " You know, and some people started suggesting some other stuff, and everybody had a bit of time on their hands, and I think ... And Rosanne Cash [00:18:00] was happy to do “I'm Wrong About Everything”, and everybody kinda,
It was really a nice ... It was a very DIY thing, and it was very nice. I mean, in a sense, I created my own tribute album, but there's no shame in that. I think Van Mor- I think Van Morrison did the same, actually
DJ: it's a great collection. I love that album.
Wesley: Thank you. Thank you
Wesley: This Wesley Stace, and you're listening to Frets with DJ Fey.
DJ: Well, if we have a little time, I'd love to hear about “The Cabinet of Wonders”. For the listeners, how would you describe that?
Wesley: A variety show with only stuff that I like on it. Um, and four singers, two writers, and a comedian, and a lot of, uh, super good times. I kind of think of it as like, you know, Mike Douglas TV show or Dick Cavett or something like that. And I kind of... I don't interview anybody, but, you know, everybody gets to be themselves.
And, and my band, I have a wonderful house band, and we do a... You know, Joan Baez comes and does it, and she does one song solo, and “The Night They Drove Old Dixie Down” with the [00:19:00] band, and Dee Cortese's duet with me. And, you know, Salman Rushdie comes and does it and sings, and Aaron Neville does it, and John Oliver, and Eugene Mirman, and Dave Hill, and whoever you want, and whoever I can get.
And so we've been doing that a, a good long while now
DJ: I know those shows sell out quickly, but one of these days, even if it's not in St. Louis, if it's somewhere I can travel to, I would love to see one of those shows
Wesley: Right. Yeah, we did one in Tulsa last year. That's a way.
DJ: Was it at Cain's? Was it at Cain's?
Wesley: no, no, no, we did it at the Philbrook Museum of Art under the auspices of the Dylan Center.
It was really fun. Um, yeah, I mean, the, we're not doing any of this for... Well, we might be doing one, but we're not doing many because I have this album coming out, and I'm also doing these dates with The Smithereens, and there's quite a lot happening
DJ: that. Well, you're yet another musician that when I look at all that you've done and all that you still do , not only your music, but, like, [00:20:00] you've written novels and you teach on top of that. I, I always have to wonder how you find the time.
Wesley: Oh my God. I mean, it's so interesting you say that because to me, I feel I dick around a lot. Uh, you know, and, and I know, and I know that I'm not ... you know, I ... It's all relative, but I know that I'm not working as hard as I could. And I know I spend a lot of time kind of, you know, dicking around on my phone and stuff like that when I could be, you know, I don't know, doing something more profitable.
So, you know, to me it's, uh ... I mean, obviously I'm busy, and I keep busy. That makes my mind happy. But, um, there's, you know, there's always more that could be done. And I could work harder on the things I'm doing anyway. I mean, no one's ever ... You know, I'm, I'm never happy with stuff. I mean, I'm very pleased, but I'm also
I have to say, I'm also quite zen about stuff, and that's why I keep making music. Because I'm not essentially an [00:21:00] unhappy person. I don't really ... Well, I don't measure my success by kind of other people's success, if you know what I mean. I just keep moving forward. I don't like to listen to albums after they're done, except to rehearse them.
Um, presu- pr- you know, because I listen to them so much when I'm making them that you just get to a point of perfectionism, or whatever it's called. Getting it finished-ism, and saturation with it. And you just wanna go, oh my God. You know, let's move on. And there's no ... And that's what's happened this time.
I mean, I've done as much as I can for this album. I've written the songs with my friend David Nagler. I have recorded them with the band. Uh, he's arranged them. I've sung them. It's beautiful. They're mixed. They're mastered. I've got a record deal for it. You know, I'm doing interviews for it. Um, I've thought as much about this
And of course, now I'm, I've [00:22:00] got new songs. Because, you know, I finished this album six, eight months ago. It's old news to me. I'm very pleased to talk ... I'm very pleased to talk about it, but it's kind of done, if you know what So, so, you know, uh, all the ... You know, I've done my absolute best to make a beautiful image for the cover and kind of
That something that sums up what the record means to me. And, uh, separate images for each of the songs that we're releasing one by one. And you know, it's like, it's all a beautiful art project to me, and I'm very lucky to be able to do it at all.
DJ: That's great.
Well, you just talked some about it, but we're getting close to the release of another Wesley Stace album, One Last Heist, available September 2nd. It was recorded in the BOK building, which I know just a little about, but wasn't that, like, a big vocational school?
Wesley: Yeah. And in fact, in Philly we j- I ... BOK could be right, but in Philly everybody calls it The Bok.
DJ: BOK. Okay.
Wesley: And, [00:23:00] and, and what it's become now is just a beautiful arts center hub with like ... I don't know who's in there, but what is in there is an incredible bakers called, uh, Machine Works or something like that.
Machine Shop. Incredible, uh, makers of incredibly great bread and patisseries and that kind of thing. and also, you know, recording studios, uh, blah, blah, blah. You know, like everything.
DJ: Yeah
Wesley: artist studios. You know, some on sale, some not. It's just great. and I ha- uh, the v- uh, Chris Funk from the Decemberists, God love him, he asked me to do a voiceover.
He needed a British person to do a voiceover for something. And I said, "Yeah, I'll do that." And the voiceover happened to take place in this particular studio, and since that, which was a few years ago, let's imagine it was during COVID ... No, before COVID, I have made, well, one complete band album [00:24:00] there. and if you can believe this, 13 album-length solo acoustic recordings.
DJ: Well
Wesley: So w- I did a thing called The Secret Series where I re-recorded all my albums, well, my big band albums as solo acoustic records, and released them as a subscription series with books, with each coming with a book and a CD, and then it all fitted in a slip case, and it took three and a half years.
It was a wonderful, wonderful, super fun project. And, um, and I did all of those there. So I've made a lot of music with this guy, Pete Rydberg, uh, Peter Rydberg. He's fantastic. And he engineered and mixed the new album with me
DJ: Well, it's a very soulful, smooth, swinging record. It sounds like Philly soul. I love it
Wesley: Well, it's very interesting you say that. The most Philly soul record, uh, song I've ever recorded was actually a song on my last album, Late Style, called Do Nothing If You Can, which if [00:25:00] you haven't heard that one, I recommend, which really came out of, uh, me and David Nagler, my collaborator, being obsessed with “Love T.K.O”.
by Teddy Pendergrass, whose, the site of whose horrible accident I drive past every day in Philadelphia for many years when I took my kids to school. So there's been a lot of thinking about Teddy Pendergrass over the years. What actually is ... Of course, the Philly soul music is all fantastic, but what has actually been more influential on this particular record is Philly music, but not necessarily, you know, Gamble and Huff.
It's been the Philly Hammond organ players And it's, Philly has an inc- is an incredible cradle of Hammond organ. The greats, Jimmy Smith, Jimmy McGriff, Shirley Scott, Char- Jimmy McGriff was a policeman in Philly. Um, Shirley Scott, [00:26:00] and my favorite, Charles Earland. I, I, I'm not actually quite sure how you say his name.
E-A-R-L-A-N-D. Earland, Earland, Earland. I'm not quite sure. But anyway, he's my favorite. And what's hot ... It's not like the record's got a lot of ... my record's got a lot of Hammond organ all over it. But what that really got me into was the, the rhythm sections, the grooves. Sometimes it's the organist playing the pedals themselves and just a drummer.
Other times it's, you know, a bass and drums. And there's another player, isn't from Philly, called Johnny Hammond, and he has a bunch of records throughout on Blue Note and, and the ones I'm interested on are on Kudu, uh, which is, um, Creed Taylor's pop label off to CTI, which all the Grover Washington hits were on, and Esther Phillips, “What a Difference a Day Makes”.
And I love those records, and they feature, the Johnny Hammond records feature a lot of singer-songwriter stuff. You know, “Peace Train” by Cat Stevens, “Wild Horses” by the Stones, “I Don’t Know How to [00:27:00] Love Him” by Andrew Lloyd Webber. Th- those are all on a incredible album called Wild Horses Rock Steady, uh, which is only called Wild Horses Rock Steady because it has both “Wild Horses” and “Rock Steady” on it.
And so great album title. And when you listen to that, it makes me think, "Sure, so why don't we start there for my folk rock instead of waiting for somebody else to do a jazz cover of it?" And then that makes me think, you know, Mose Allison, what was he but a clever white boy singer-songwriter? Randy Newman, very jazzy.
Lyle Lovett, fully conversant with those structures. uh, uh, Joni Mitchell, I mean, you know, incredible, an incredible, uh, meeting with jazz at certain points in her career, and not just the obv- not just the obvious places as well. And so it just made me think, I need ... I wanna do that. That's what I listen to.
Let's push it in that direction. And the last album and [00:28:00] this album are the results of that, and the results of me just going, I wanna make music that I would listen to in my kitchen while I'm cooking. It's that simple. That's the entire reason for the album
DJ: well, it's a really great album. I was fortunate to hear it before the release, but listeners, you'll be able to get One Last Heist by Wesley Stace on September 2nd on vinyl, CD, or digital download. So that's coming up real soon
Wesley: That's true. And also if they're lis- if it, it ... I don't know how g- soon they'll get to hear this, but there are three tracks already released on, um, you know, all the major streaming services, which is the title track, “One Last Heist”, a w- fun little cookin' love song called, um, F- A “Funny One”, and, uh, and a bit of a protest song called “I Say Lots of Things”.
So there, there are three out there ready to be heard, 
DJ: All right, well it's all coming up. Well, Wesley, thank you so much for doing this. It's been great, and I really appreciate it. [00:29:00] I hope you come either to St. Louis or somewhere near St. Louis soon, so
Wesley: Yeah, I am gonna come back there because I loved that theater and I wanna do that again. We had a nice little sandwich next door and the whole event was incredibly, uh, happy and friendly and fun
DJ: Well, thanks again and, uh, enjoy Edinburgh
Wesley: Thank you very much. Thanks a lot. Enjoy St. Louis, and I'll see you soon
DJ: All right, thanks. Bye-bye
Wesley: Bye bye.