Track-by-Track: Mo Lowda & the Humble Unpack the Groove, Chemistry, & Raw Energy of 'Tailing the Ghost'

Philly indie rock band Mo Lowda & the Humble take us track-by-track through their charged, cathartic, and sun-soaked fifth album,’ Tailing the Ghost’ – a vibrant, emotionally grounded record born on the road and built to move, reflect, and resonate.

Stream: “Canary” – Mo Lowda & the Humble

It can just be a nice listening experience.

**That deceptively simple insight from Mo Lowda & the Humble’s frontman Jordan Caiola captures the spirit of Tailing the Ghost, the band’s fifth and most fluidly compelling album to date.**

Written and recorded entirely on the road – from Tennessee cabins and Lake Travis vistas to the sun-drenched expanse of Joshua Tree – the record finds the Philadelphia-bred band tapping into something raw, unfiltered, and quietly transcendent. It’s a record made of movement and memory: intimate in its construction, cinematic in its feel.

“This was the first one where we all wrote together in a room,” Caiola explains. “These four parts had to work and kind of weave in with one another, and then we could build around that.” That ethos – to lead with feel and let complexity bloom through subtlety – defines the album’s sonic charm. Whether it’s the breezy shimmer of “Canary,” the stormy propulsion of “Northside Violet,” or the glistening jam that closes the record, Tailing the Ghost is full of songs that stay locked in a groove, soaking you in a mood before gently slipping away.

Tailing the Ghost - Mo Lowda & The Humble — Tailing the Ghost – Mo Lowda & The Humble

Released June 20, 2025, Tailing the Ghost arrives two years after Mo Lowda & the Humble’s acclaimed self-titled album and marks the full-length debut of the band’s current four-piece lineup: Jordan Caiola (lead vocals, guitar), Jeff Lucci (bass, guitar, baritone guitar, keyboards, vocals), Shane Woods (drums, percussion, vocals), and Kirby Sybert (guitar, bass, keyboards, vocals). Born out of Philadelphia’s house show scene over a decade ago, the band has long been known for their fierce independence and relentless touring schedule – playing over 90 shows annually while steadily expanding both their sonic palette and national following. They’re also longtime favorites of Atwood Magazine‘s pages as well, with us previously praising their music as “smoldering and emotive, gentle and driving… a refreshing breath of indie rock-laden fresh air that soothes the senses and warms the soul.” With each release, they’ve refined their blend of gritty rock and textured, atmospheric indie – but Tailing the Ghost stands apart for its cohesiveness, clarity, and live-band energy.

At its core, Tailing the Ghost is an album about chasing the intangible – the fleeting, unknowable forces that shape our lives. “Tailing inherently sounds like you are right behind it but not quite there,” Caiola reflects. “And the ghost is just anything in our lives – the intangible. Whether it’s a loss, or that next chapter in your life, being just on the heels of something you can’t quite grasp.” That search – for meaning, for peace, for purpose – echoes across the record’s most introspective moments. “The ghost is the end goal,” he continues. “You might never get there. But in your journey of tailing it, there’s plenty of stops.” Bassist Jeff Lucci adds: “You can’t even get it anyway. It’s a ghost. By the time you get it, it’s gone. And that’s life right there.”

**More than anything, Tailing the Ghost feels alive in the moment.**

Its tracks unfold like snapshots from a fever dream: Surfacing and receding, grounded by tactile instrumentation and lifted by the kind of intuitive chemistry only a decade of friendship and hundreds of shows can bring. “There was a lot less time between writing and recording,” drummer Shane Woods notes. “We’d write something and be in the studio a week later. And you can hear that energy – we were super, super excited.”

That sense of immediacy plays out across the album’s standout moments. The lead single “Canary” marries baritone guitar and a steady, hypnotic groove in what the band describes as a quintessential Mo Lowda track. “If we’re going to show people what we’re doing right now,” says Caiola, “this is the perfect example.” Elsewhere, “7.31” unspools with nostalgic fervor and a heavy hit of early-2000s guitar worship. “It reminds me of my favorite shit from 2007 through ’14,” Lucci reflects. “It’s a good move. Tom Petty would be happy with this.”

The song’s lyrics capture that wistful clarity:

We were waiting on the sunrise
The last of July
Another season to get somewhere
Digging through a goldmine
And everything changes
When you give it due time
It only means that we′re getting somewhere
Living through the whole nine
Still, I know time won’t wait for me

The band also stretch into heavier territory on “Northside Violet,” a dark, driving standout with a stormy atmosphere. “We have this one song that’s quite heavier and sludgier than anything we’ve done,” Lucci says. “It feels like Interpol meets Desert Rock or something.” While the track leans into fuzz and punch, it still carries the band’s signature groove – a reminder that even their loudest moments remain rooted in feel.

Yet if there’s one moment that best captures the band’s internal drive, it’s the bridge of “The Painter.” Originally sung as gibberish in early rehearsals, Caiola eventually filled in the melody with a message that became one of the album’s emotional anchors: “While your brushes lay dry in the window, a canvas stares back at you white,” he sings over reverb-drenched guitar echoes and driving drum beats. “Yeah, it leans there naked on your bedpost, stark and devoid, it taunts you in the night. But just beyond it in your line of vision hangs the first one you ever did. Well, that page it used to be empty too, ’til ya sat up and started it.”

For him, those lines are a personal favorite. “It’s basically just a massive nudge to all artists — to put something out, or even just, if you don’t put it out, just do it,” he says. “I think we get caught up and sometimes stunted with self-doubt… that whole bridge is just meant to empower artists, as corny as that sounds.” Shane Woods adds, “That part was a nice surprise too, because you didn’t have that written until the end.” Caiola nods, “If you’re an artist, listen to that bridge, because that’s something I think we all feel.”

For all the album’s intentionality, much of its magic came from letting go.

“We didn’t have time to mess around and do shit,” Lucci says. “So let’s go this route, and it’ll be cool to try to stretch. And that’s what this record became. For me, it was a lesson in getting out of your comfort zone. Things are going to turn out differently, so you have to just be confident in what you’re playing from the source. I’m not going to worry about the aesthetics to get something feeling good. I’m just going to worry about the actual art. So notes become more important, and the performance of them again — which is kind of how music was, I think, for me when I was younger. It was just about notes and what it feels like.”

That instinct carried through to the structure of the record as well. “Before that song was even finished, we were like, this one opens the album,” Caiola says of “Fitzroy.” “Same thing with ‘Sara’s Got Big Plans’ and ‘7.31’ — same key, same tuning. We knew those were going to be back-to-back. Those are the small ways of macro-level shaping an album.” He continues, “We knew ‘Tailing’ was going to be the last track. That’s why you can go where it goes. Titling the end track the name of the record was purposeful.”

Indeed, it’s the album’s expansive closer – and namesake – that ties it all together. An homage to Caiola’s father, who passed in 2013 to cancer, “Tailing the Ghost” is brutally raw and musically majestic – an intimate and earnest reckoning with those things that make us human:

deep in the folds of night
I found myself awoken from a dream
your old familiar face in the shadows
looking back my way
and I walked towards you
but I couldn’t seem to close the gap between
you’re always further than an arm’s length
whether sleeping or day

sometimes I think of all the beauty
I have seen so far
Just how lucky I should feel
but it’s not without loss
And then, I think of all the times
that we were singing in your car
so I throw on “Sweet Thing” ’til it hurts
and I have to turn it off

“Sonically, I think this is the coolest song we’ve ever made,” Caiola says. “I wrote these lyrics in reference to the many dreams I’ve had of my dad since his death. Often, he is just there… still existing among us, as if he’s never left. Gardening out in the yard like he had done for hours on end. Oftentimes, there is no dramatic running embrace or tearful reunion, but instead, a simultaneous understanding that he is in fact still gone, but his spirit remains in our lives. ‘Tailing the Ghost’ references that intangible thing – so close, but always out of reach. We all have ours. After you listen to this song and hopefully drift away into that outro… Hug your parents if you still have them.”

At six and a half minutes, the final track is a breathtakingly beautiful stunner: Rooted in personal grief, washed in swirling guitars, and anchored by a heavy groove that never fully resolves – like chasing a feeling that never quite lands.

But I don’t believe ’em
When they say,
“It softens with time”
And I’ve got my reasons
To believe that it might never feel
Might never feel like sadness retreating
When it’s too late
And it’s caught behind the enemy lines
See, I don’t believe ’em
Why would I believe ’em?

**For the band, Tailing the Ghost is a milestone that proves their growth is still very much in motion.**

“It’s insane we’ve gone this long and are still more excited about what we’re doing now than we were on the last one – and the one before that,” Caiola shares. “I’ve had multiple friends tell us, ‘You guys make your best album every time.’ And I f*ing believe that. I know every band believes that, but if you listen to the material, we grow with each album. They’ve all taken their own shape. That’s my takeaway – that we can still do that.” He adds, “Whether this is your first Mo Lowda album or your fifth, I hope you find something in it.”

For a band nearly twelve years and five albums deep, Tailing the Ghost doesn’t just feel like a culmination – it feels like a new beginning. Or, as they put it with a laugh: “Super good time… It’s the beginning… Our best work.” Experience the full record via our below stream, and peek inside Mo Lowda & the Humble’s Tailing the Ghost with Atwood Magazine as the band take us track-by-track through the music and lyrics of their latest album!

— —

:: stream/purchase Tailing the Ghost here ::

:: connect with Mo Lowda & the Humble here ::

— — — —

Stream: ‘Tailing the Ghost’ – Mo Lowda & the Humble

:: Inside Tailing the Ghost ::

— —

Fitzroy

Jeff Lucci: I remember Jordan playing the intro riff to this while we were at a cabin in Tennessee, and Kirby and I immediately joined in without discussing anything. We naturally built a crescendo in the room and we were all looking at each in awe of how it felt and how the sound was morphing as a unit as we intuitively built our dynamics together. The song started to write itself pretty quickly, and we knew we wanted it to have a repetitive and rolling feeling, while continually morphing in the way it was phrased. I love when music masquerades as straight forward, and this one is subtly complicated.

Jordan Caiola: I visited Australia in early 2024 and fell in love with Melbourne. There’s a neighborhood there called Fitzroy and I made a note in my phone to write a song with that title. As far as the writing process; this one truly came out of thin air. Sometimes it happens that way and those often end up being my favorite songs… This one is no exception. We had “called it” for the night, but I picked up my tele and tuned it to open D simply because we hadn’t ever written a song in that tuning. (That was the motto for the whole process- trying to go a different direction – always. ) Within minutes it felt like we were crafting the opening song to the album. I’ll always remember the looks we shared as this one came together – sheer excitement and synergy. Close to a decade of writing together and still getting STOKED.

Shane Woods: One of our heaviest yet simple tracks. The guitars and bass are so low, while the drums provide a steady stomp throughout. You can really hear the band in a room vibe here. It took us a while to nail the structure as there are many abrupt stops and odd amounts of times that things happen. But ultimately it presents itself as a steady cruiser.

Canary

Jeff Lucci: When Jordan showed us the demo for this one, we all knew immediately we had a song that would feel amazing as a first single. The lead guitar lines that drops is an immediate hook and the beat Shane threw down blurs the line between dance and rock, and that’s the best combo. Secrets of the trade: no bass or synth bass was used in making this. Baritone guitar for the win, once again!

Jordan Caiola: The skeleton of this song was written with the intention that it would be the lead single. I dug up an old voice memo recording that ended up being the jumping off point for the baritone guitar that sort of serves as the bass throughout. That, coupled with a Shane drum groove plucked from another jam/song idea created the song’s foundation. Those two elements left a ton of space in the midrange and higher frequencies to work with and I really wanted to make the groove work with only 2 additional guitar parts, all playing off each other. Once the guitar “hook” was written – I knew the mission for writing a catchy lead single was on its way. I want to make people move and dance with this one. Lyrically, the song’s about finding the person who makes you not so afraid of the future – maybe looking into your soul from across the pool table at Johnny Brenda’s… just a random, non-specific example I just thought of.

Shane Woods: Canary locked in right away. Jordan came with a great song and riff and by the time we all made our own contributions and finished up the bridge it felt like we were cruising every time. The drum beat felt like a wheel, just constantly rolling, over and over again. And we rehearsed that song over and over again. And you can really hear that tightness in the recording. Recording the song in Joshua Tree was very stimulating. That rolling down the road feel of the groove perfectly aligned with the sunny, expansive desert I saw looking out of the large open windows of the home we recorded in.

The Painter

Jeff Lucci: Jordan showed me a voice note of a lead line I was playing during downtime of a rehearsal. It had this kind of 70s Pat Metheny guitar synth tone to it, and he thought it had potential. We pursued a shuffle idea with the riff as the hook, and over a day, the band made the song by jamming in the living room of a cabin, overlooking Big Lake in CA. I love the guitar approach that Kirby and I landed on for this one, while Jordan held down a consistent bass rhythm and Shane flexed on some Picaro shit.

Jordan Caiola: This may be the sleeper pick for my new favorite Mo Lowda song. We knew we wanted a shuffle song on this album – they’re just fun as hell to play… and I knew Jeff would be playing lead guitar on this one since the song idea spawned from one of his riffs, so in the writing process I committed to playing bass on it (I love playing bass) which allowed Kirb to really open up on some more complicated guitar parts. For the longest time, we would play through this whole song and I would sing absolute gibberish. The melodies and rhythms stuck for the most part and I eventually filled in the blanks with lyrics I was quite happy with. This song is a call to the artists – maybe the ones who have trouble knowing when something’s finished – maybe the ones who have yet to start. Either way – it urges you to DO IT. WRITE IT. PAINT IT. RELEASE IT. This is our gift to share – so share it. And f* anyone who doubts you. Truly.

Shane Woods: There’s always one song in particular on each of our records that encourages me to get outside of my comfort zone, and ultimately grow as a player. On the last album it was Beachtown, and I finally got over my fear of the dreaded upbeat shuffle. And now I have it in my arsenal. The Painter is also a shuffle. While the beat is much simpler and straightforward, the speed of the hi hat pattern was a challenge for me as I wanted to make sure I did it with one hand, rather than two. Eventually I got it down. I enjoy that the beat is cruising for that one, it allows the guitars and vocals to really bloom.

7.31

Jeff Lucci: This was the first track we recorded, and we did it in Austin with an extremely talented engineer, Nicky Knobs, whom I had worked with on another project. This track brings me back to the early 2000s Seattle music scene, as it kind of reminds me of something you could hear off of Menos el Oso. I have a deep love of this style of music and I was very stoked to hear us moving towards a very guitar forward sound, especially because it seems guitar isn’t in style these days. But, guitar is cool boys and girls; don’t forget it. The lyrics feel like they match the energy of the song perfectly, and I really like the emphasis on the drop tuned guitar that just constantly pushes the song forward in a repetitive trance like motion. Harmony central in the chorus!

Jordan Caiola: This one was heavily inspired by a guitar tuning again (Drop C) – coupled with a foam mute tucked beneath the guitar strings at the bridge to give it the plucky, muted sound. I toyed with this approach a LOT on my last solo album and wanted to apply it to a Mo Lowda song. This provided a lot of space for the vocals and lead guitar lines. Shane’s drum part in the verse is one of my favorite things he’s ever laid down in 15 years of recording music with him. It’s so smart & melodic… playing off the vocals perfectly like something off Wolfgang Amadeus Phoenix (a shared favorite amongst the 4 of us). Lyrically, this song reminds you to celebrate the small wins and enjoy the ride.

Shane Woods: I enjoy the duality this song possesses. It starts with a mellow acoustic guitar and the chorus is very strong and beautiful. By the end of it, it erupts into full post-punk/ kraut rock madness, all while still keeping a groove and feel.

Sara’s Got Big Plans

Jeff Lucci: I really dig how mixtapes usually just have short simple beats that are just what they are; they don’t need to grow into long winded compositions. Jordan and I chatted about stream of conscious songs where they can sit on one feel and can stay there the whole time, and he wrote a few with that in mind, which falls into that mixtape kind of feel for me. This track came down the demo pipeline and we recorded it pretty much the same. I thought the bass for this one would be better to be felt, not heard. Meaning, with the drums, it blends as one instrument. I love when at the last chorus you finally get a release with a new chord, which really adds emphasis to the lyrics.

Jordan Caiola: “Sara” is perhaps the simplest Mo Lowda song to date – and I love it for that exact reason. Jeff mentioned a conversation we had about a stream of consciousness approach to a song and I went home and wrote this one, Canary & Postman within 3 days. It was recorded in the same tuning/muted guitar style that 7.31 was, which gave us the idea to pair them together as a sort of package. I had been listening to a ton of Royel Otis at the time and loved how often they used stacked, unison vocals, using multiple singers to create a unique blend. We leaned in on that, with Shane & Kirb singing every line with me in the recording. Lyrically, this song is meant to be light – almost humorous – sending well wishes to an old flame and hoping, like with all failed relationships, there was something to be learned for the next one. The ultimate windows down cruiser. I hope the listener breaks this one out on a nice 75 and sunny type day.

Shane Woods: Another track that will always remind me of the beauty of the desert. The Joshua Tree sun warming us up through the windows while we ran takes of the song. Its repetitive nature had me in a meditative state, rather than feeling the need to jump the gun or do anything more than I had to.

Take the Bait

Jeff Lucci: This is another track written quickly at the cabin in Tennessee. The first thing we made after setting up was this song, and it was written fully in the room, jamming it out the old school way. The repetitive rhythm of Jordan’s guitar figure feels very relaxing, and the chord colors have a melancholy to them without carrying too much darkness. I also enjoy the vagueness to the keys part, where they kind of just occupy frequencies, rather than specifically concerning themselves with chords, especially during the outro of the song. Also, I got to squeeze some more 2000s influence with the clean guitar tapping part!

Jordan Caiola: Take the Bait was written on day 1. Going into the writing process for this album, I kept stressing the idea of guys picking up an instrument they don’t typically play – even subtly different. E.g. Me picking up the baritone, Kirb picking up a Les Paul instead of a tele or Silvertone, Shane grabbing brushes, Jeff playing Kirb’s keys… Even just hearing the tone of an instrument that isn’t your go-to can immediately make you play differently and make for some unique and new song ideas. Take the Bait was the first product of this method, as I began playing that repetitive guitar line on Jeff’s baritone. The rest of it took shape very organically right there in the room and the song was finished the next day. Lyrically, this one could connect with you directly or perhaps ruffle some feathers. I’m not denying that having children could be an incredible, fulfilling, joyous & life-affirming experience… I’ve witnessed that through people I love. I’m simply not there yet and at 33 years old, that makes yourself (and others) ask some questions. Am I selfish for choosing myself and my career at this time? Am I still open to parenthood being an option for me down the road? What is legacy? Can I find purpose in other ways? I’ll let you answer those for yourself… but, this was what I was feeling at the time. I’d say overall… “Never say never” is the takeaway here after the bridge hits. Maybe one day I’ll be writing songs about how elated I am to be a dad.

Shane Woods: Creating this song together was very special. I remember Jordan playing this riff over and over, and me joining in, playing the ride with brushes. I used sticks in the recording but kept the feel light and airy. Kirby’s bass blends in and pushes the song forward effortlessly, with Jeff’s keys and synth providing the perfect amount of sprinkles to make the right moments pop, especially in the instrumental bridge.

To Keep Sane in the Dark

Jeff Lucci: Got to give up some major props to Shane woods and Nicky Knobs for the drums on this one, they sounded fat and had an amazing texture right from the jump! This song calls back to some more of the bands’ hip hop and pop sensibilities, with the really tight locking of the kick and bass guitar. I love that type of music when it is juxtaposed against an ambient and arpeggiated guitar approach. But then, the second verse hits you with some techy, dry, palm muted guitar work out of nowhere. Watch out for that chorus melody.

Jordan Caiola: I took a solo trip to Joshua Tree in late 2023 to write and escape winter in the city and this was one of the first demos I cooked up for the new album. At the time, I was listening to a lot of Khruangbin, Palace & Alvvays – which heavily influenced the clean and weaving guitar parts. The cleaner tones ended up being sort of a theme for this album. I love how this recording turned out with the THICK drums and bouncy bass. Shane’s double-time hi-hat choice in the chorus really pushed this one – those harmonies flow overtop nicely and I think the vision for this one was really executed well.

Shane Woods: This song was always very fun to play the drums on. I always found the guitars to weave together beautifully. It wasn’t until we put the final vocal harmonies in the chorus, that I found the song’s true beauty. It’s so pretty that I think the super distorted guitar lines in between the harmonies provide a great contrast.

25 Years

Jeff Lucci: This is quite an old idea we had, going all the way back to Ready Coat at least. When we pulled it from the archive, we all realized immediately that we didn’t have to do much to get it to the place it is today. The bass line is pretty in your face for this one, so I wanted to find a way to take up a lot of space with it. For me, that usually means using 3 amps. A stereo guitar amp setup, and a bass amp in the center. The biting, high register stabbing guitars punctuated that wide sound. I like that the bridge goes into the end of the song and it doesn’t get too large and in your face. Don’t sleep on the lyrics to this one!

Jordan Caiola: 25 Years is a fun one. This was really the only new song we had in the live set before the release of this album and it is a BLAST to play. Pure energy. The idea for this one was first kicked around back in 2020 but never got fully fleshed out. I love how angular it is – a much more intense listen than some of the chiller songs. Lyrically, it’s the tale of someone who got in too deep with the mob & paid the price. Fictional? Real? Combo?

Shane Woods: This song always felt great to play together. The bass line is very post-punk to me as are the angular guitars. We would play it at sound checks and started playing it at random shows after we recorded the track.

Postman

Jeff Lucci: It’s always awesome to get pulled immediately into a song and that’s what this track does for me. I love the falsetto, gang vocal approach of the chorus. This is another track that has a cool hip hop influence and bounce to it. Like Canary, give me a bright vision, like summer is here. We recorded it live, and the production completely shaped itself from the jump. Octave fuzz for the win on the guitar tone here, and tap dancing like Dave Knudson is on the horizon for recreating the bridge tones no doubt!

Jordan Caiola: I’ve always loved when a constant tambourine is completely intertwined with a drum groove – And that was the jumping off point here. A fat beat with some simple guitars over top, drawing attention to the vocal and working as a unit to create the momentum of the groove. I had this one pretty fleshed out in the original demo – then it was just about the guys adding their own flare (which they always do incredibly well) and taking the parts to the next level. It felt really good off the bat with us all playing it together in the room… some stank-faces were certainly shared when that first fuzz riff hit. The chorus is something new for us I think, with it heavily relying on stacked falsetto vocals. Our good buddy Richie Digiorgio sang backups on this one. We’ve had him sing on every album since Creatures. He’s one of our favorite dudes ever and has the voice of an angel. Lyrically, I made a very conscious effort to not have as much doom & gloom on this album. This song is meant to be uplifting. If you’re dealing with something – speak out, confide in someone you love… You don’t have to fight every battle on your own.

Shane Woods: One of the more fun sounding Mo Lowda songs. I just had a friend remind me of a great memory from my childhood. My drumset was in my bedroom and you could hear me bashing away all the way down the block. Our neighborhood mailman was always a fan of our Husky and heard me playing while saying hello one day. He was a guitar player and my parents let him jam with me. We played Wipe Out and it was awesome. He would stop by from time to time after that.I now think about this when I hear this song even though I’m fairly certain it’s not what Jordan’s lyrics are about.

Northside Violet

Jeff Lucci: Kirby and Jordan made a demo of this song and brought it to the group in the Tennessee cabin. We switched up the tempo and I decided to make the low end a bit more legato for the majority of the song. We realized how heavy it was sounding while we were demo’ing it out, so we just leaned into it. I used a Les Paul to do the bass part, but it kind of crosses over to the guitar world because I used a few amps while tracking it to have different riffs stick out and punctuate Jordan’s rhythm part. I remember getting really weird with changing delay times while Kirby was tracking some lead overdubs, which creates cool artifacts in the stereo field. This is probably the heaviest track we have ever made, and I love that!

Jordan Caiola: Octave guitar. We f*ing love octave down guitar. You can hear it previously on ‘Coast is Waiting,’ ‘Finally/Bet the House,’ ‘Shenandoah’, ‘Before Noon’ and more. It always has so much color, and oddly sometimes more low end than a bass guitar. This one was really fun to flesh out together in the room after Kirb and I brought the demo to the table, sampling an old rehearsal voice memo recording. This one is different for us – and I dig that. I love how the drums enter the song. Shane dropped the reverse snare move there and it was a small, but electric moment in the mixing process. Hold onto your hats for this one live.

Shane Woods: Another in your face rocker and groover for us. Feels like a nice place in the record to say “ooooh you forgot about this vibe we gave yah towards the top.” The whole band works as a unit here. There’s a couple big drum fill moments in this one that I’m glad the guys were cool with and pushed for.

Tailing the Ghost

Jeff Lucci: I don’t think there could be a song that is better suited to its title than this one. Serendipitously, it was the last song to be written, and it is the last track on the album. It was based off of a cut up drum loop I took of Shane playing at my studio. I put a bass line on it and forgot about it, until we were looking for seed ideas for this record. We decided to pursue the idea, and the beginning of it came together at Big Lake, and the second half was finished in the studio in Austin, Texas. I changed up my original bass line and the new one is one of my favorites off the album. Space was the name of the game for this one, even when it gets dense, it still feels like it floats. The ending is my favorite part of the record.

Jordan Caiola: Sonically, I think this is the coolest song we’ve ever made. I’ll let the boys go in depth on that stuff and talk about its meaning for me. I lost my dad to cancer in 2013 when I was 22. 11 years later… and on the right (or wrong, I guess) night, I can still be reduced to a sobbing, blubbering mess in my own home as reality sets in for the millionth time since he’s passed. The paralyzing feeling of his permanent physical absence. At the same time, I can laugh and smile upon sweet memories 99.9% of the time with no problem. THAT is grief. It comes in tremendous waves. Bouts of anger & frustration… why him? Why us?… then periods of sheer gratitude for having had him for as long as we did… plus every little nuanced experience in between. I wrote these lyrics in reference to the many dreams I’ve had of him since his death. Often, he is just there… still existing among us as if he’s never left. Gardening out in the yard like he had done for hours on end. Oftentimes, there is no dramatic running embrace or tearful reunion, but instead, a simultaneous understanding that he is in fact still gone, but his spirit remains in our lives. ‘Tailing the Ghost’ references that intangible thing – so close, but always out of reach. We all have ours. After you listen to this song and hopefully drift away into that outro… Hug your parents if you still have them and go listen to Van Morrison’s ‘Sweet Thing’. For me… and for my dad.

Shane Woods: This song lives many lives until its end, and is the perfect album ender/title track. The drums have a bunch of attitude in the verse, then switch to a light swing and flow in the chorus. This song took quite some time to craft, and we tried to mash up a couple different tracks, riffs, and feels onto the end before landing at the linear yet ever building journey that is the end to this album.

— —