Taking a Walk. I'm Buzz Knight and this is the Taking a Walk podcast. Now, what if the price of your dream life was walking away from one of the most powerful jobs in Hollywood? Steve Bardwell spent years as chief counsel for Walt Disney Studios, navigating billion dollar deals, high stakes negotiations, and the relentless pressure of the entertainment industry's legal machine. But behind closed doors, he was writing songs, leading a band, and wrestling with a question that haunted him. What if there's more? In 2024, Steve made a decision that seemed crazy to everyone around him. He left Disney to pursue music full-time. One year later, he got a critically-acclaimed album produced by 11-time Grammy winner Joe Chickarelli. Rave reviews from so many folks, and he's heading back into the studio. This is the story of how he did it, why he did it, and what it cost him. Welcome to Taking a Walk. Steve Bardwell is next. This is an iHeart podcast. Guaranteed human. Let's go! Our iHeart radio music awards are coming back. Thursday, March 26th. Live on Fox. Watch as we honor the biggest stars from all genres of music that you loved listening to all year long on your favorite iHeart radio station and the iHeart radio app. Hosted by Ludacris. Icon Award recipient John Mellencamp. Innovator Award recipient Miley Cyrus. With performances by Alex Warren, Kehlani, Lainey Wilson, Ludacris, Ray, TLC, Salt and Pepper, and Invoke. Plus Taylor Swift makes her first award show appearance this year. Also Gold Medal Olympian Alyssa Liu, Neo, Nick Coleshaar Singer, Nikki Glaser, Sombra, Weezer, and more. Watch live on Fox Thursday, March 26th. And listen on iHeart radio stations across America and the free iHeart app. Hey there, this is Josh from Stuff You Should Know with a message that could change your life. The Stuff You Should Know ThinkSpring Podcast playlist is available now. Whether Spring has sprung in your neck of the woods yet or not, the Stuff You Should Know ThinkSpring playlist will make you want to get your overalls on, get outside, and get your hands in the dirt. You can get the Stuff You Should Know ThinkSpring playlist on the iHeart radio app, Apple Podcasts, or wherever you get your podcasts. Steve Bard will welcome to the Take a Walk podcast. Thank you very much. Happy to be here. And thanks for having me. So since we called this show Take a Walk, we like to ask this question. It's fascinating. We get all different sorts of answers from everybody, all walks of life. If you could take a walk with someone, Steve, living or dead, who would you take a walk with and maybe tell us where you might take that walk with them? Oh, that's kind of an interesting and tough question. If I could take a walk with anyone, living or not living? Correct. For a living, just go with your imagination. Well, maybe not. I don't know. No criteria to it. You tell me. Can I pick one living and one not living? Absolutely. The not living person I'd like to take a walk with is Mark Twain, I think. Just think he's an interesting guy who I'd love to chat with. And living? Maybe Paul McCartney. Okay. I don't know if there was a Mark Twain answer ever, but there's been a number of Paul McCartney answers for sure, as you could well imagine. So it would be quite a walk. I'd love to be on a fly on the wall for... I've met him a couple of times, but I'm at a restaurant, but I've never really talked to him. So you have an amazing story. Before we get into the story, I wanted to hear first about your earliest music influences that you can recall. Well, it would have to be the Beatles seeing him on Ed Sullivan. I saw him on Ed Sullivan when I was really young. I really didn't understand what it was, but I saw these people, girls screaming and the crowd going crazy. And I had some older friends that were really into the Beatles. And I would say that was my first thing that influenced me or made me think about music being cool. And everything changed for anybody who saw that, right? Their life probably changed whether they went into music or whether they became Chief Counsel for Walt Disney. Their life changed when they saw this amazing moment in time, right? Yeah. Yeah, well, and then when I was like, I don't know, 12 or whatever, is when I started thinking I would want to, you know, this was many years after seeing them on TV. But I wanted a guitar and my parents got me a St. George electric guitar from Sears, which I wish I still had. Oh, I was keeping my fingers crossed. I was like, do you have it somewhere? Is it not in the basement among cobwebs? Is it Sonata singing? Like, what happened to it? I wish I could say I sold it at a pawn shop and got some land. I don't know what happened to it. I don't know where it went. So where did you grow up, Steve? I grew up in the Valley, San Fernando Valley in Los Angeles. I saw part of Los Angeles proper. You didn't see no. And do you remember the first concert of Sheree Dills? I do. When I was little, I was like 10. And my cousin, who was, she was like 16, drove me and a friend of mine and a couple other cousins in a station wearing the Dodger Stadium to see the Beatles. Oh, okay. We come full circle even more. And that was the 28 minute or 29 minute show, right? It was a Dodger Stadium. Bobby Heb, I think, opened for them. There was a tent set up, a green and white tent set up in center field that had a sign on it that said dressing room. And that's where Bobby Heb came out. And then he went back in and then the Beatles came out. And they did play for about 20, like you said, 20 minutes, half hour. And the sound system was, you know, those cone speakers that they had at the stadium, they didn't have like the kind of sound systems they do now. Couldn't really hear them because the girls were, everyone was screaming so much. And then they went in the dressing room at the end and then a car flew up the back end of the dressing room and they opened the gates and they were out of the stadium before. He didn't even had a chance to even think that it was over. And how many times did Bobby Heb do sunny? He did it once. That was his big hit. Yeah. Because, you know, if there really wasn't a big arsenal of songs. No, I didn't tell you. Usually he played longer than the Beatles, I think. And I can tell you no one was paying attention to him except, you know, Sonny, he did do. Yeah, great song, by the way. Was a great song. Yeah. Is a great song. Still was a great song. Yep. So, OK, let's get to the meat of it here. Sir, you were chief counsel at Walt Disney Studios, one of the most prestigious legal positions in Hollywood, no less anywhere. Can you take us back to that moment where you decided to walk away? What was that conversation like with yourself? I'm sure it had been going on. It had been going on. You know, I hadn't played guitar for, you know, college. And about, you know, 15 years ago, I, you know, bought a Martin acoustic guitar and started playing and writing some songs. And my friend who I went to the Beatles concert with that I grew up with plays bass. So I told him I wanted to form a band. I told him and some other musicians that I heard playing live and I approached them and said, I'm thinking of starting a band. Would you be interested in? Played and we actually got some some pretty swell gigs. We, you know, open for Donovan Frankenwriter, Pablo Cruz, Eddie Money, Jim Macina, Robbie Creer, Dickie Betts. And most recently, before I left, I was still at Disney. We did a show opening for Lyle Lovett and his big band at the Saban Theater in Beverly Hills. But I could never really promote it or spend full time because I had no music cred because I was chief counsel of the Walt Disney Company. And it's a pretty much of a full time job, as you can imagine, because I oversaw the legal affairs of, you know, Marvel, Pixar, Lucasfilm, Walt Disney Animation, Walt Disney Studios, Fox Searchlight, Fox Pictures, the Distribution Arm, the Music Disney Music Group. So there were some other responsibilities as well. I had hundreds of people on my team and it was an amazing job. You know, I work with some of the people at Disney who are extremely creative and smart. You know, I work with the chairman of the studio, Alan Bergman, who I'm still very good friends with. We have dinner, you know, once a month or so. I work with Steve Jobs a lot, got to be pretty, got to know him really well. You know, Kathy Kennedy at Lucasfilm, Kevin Feidiot, Marvel, and John Lassiver and Ed Katman, where Pixar and then, you know, Jim Morrison, Pete Docter were there when I left. And I had decided that I'd been there and done a lot of that and COVID hit and I was, we were all working from home doing Zoom meetings. And I just thought it was, you know, if I'm going to do the music thing, I got to do it. And so, like, I told Alan Bergman that I wanted to, you know, to leave and he said, oh, can't you just stay, you know, one more year? And I did that and then he said, the year was coming, he goes, well, can you just stay six more months? And I go, okay, but that's it. I'm out of here. And I left and I know you asked, like, what was my thought process? It was kind of bittersweet, you know, and it wasn't the easiest decision to make because when you're working a job like that, my identity was kind of wrapped up in being Chief Counsel of the Walt Disney Studio. My business cards, you know, had Mickey Mouse on it and said, you know, Chief Counsel of Walt Disney Studios, when I would go to meetings, restaurants knew that, knew me as that, you know, you check into a hotel and you give them the card, that's who you are. You're kind of wondering, well, who am I going to be? What am I going to, you know, what if the music thing doesn't work out? You know, you just never know what, when your time's up and I just figure, I know what life at Disney's like really well, but I don't know what life outside of Disney is like and maybe I'll be bored. Hopefully I can do the music thing, but at least I want to just see what else life has to offer besides Disney and the only way to do that is to leave. And so that's kind of where I landed. And besides Alan, did anyone in your family try to talk you out of it? Was there anybody that said, no, no, because my family, my kids and my wife knew that I wanted to do the music thing. You know, when I left, I didn't have, you know, songs that I knew I wanted to record. I wrote some songs, new songs after I quit. I wanted to find a producer. I was starting when I left with nothing music-wise that would lead me to believe that, you know, I definitely had a music place to go. It was a hope. As you had described years back getting into music and working with your friends and playing in a band, did you sort of feel the momentum of that sort of picking up in terms of your passionate love for it as you were, you know, first beginning it then? Yeah. And when we were beginning it, all the guy, everyone in the band, and by the way, everyone that was in the original band is still in the band except for our bass player who left, the George, the one who I've been friends with growing up. I think as we got more serious with the music, he was not as dedicated or, you know, not into the commitment that the rest of us knew that we needed to make to this to go to this next level. But everyone else has been in the band. And we all, you know, I wasn't the only one that had a full-time job. Everyone else in the band had other jobs too. But gradually, the other guys left their jobs and started doing music full-time. I was the last one out of a full-time job. Our guitar player, Johnny Statula, when we opened for Dickie Betts and they heard, and Johnny, I think, had met Dwayne Betts, Dickie's son, once or twice, and they were playing together. So they started talking and they saw Johnny playing in our band. And next thing I, you know, they were forming the All in Betts band. This was like 10 years ago when they asked Johnny to join the All in Betts band. So he's been touring and recording with them. And he's also been playing and out with Dwayne Betts. Johnny brought our drummer Vince and our keyboard player Max out with them. And they're touring with Dwayne Betts as well. And Vince is also toured with an electronic music artist named Zoo, ZHU. And Aaron, the saxophone player, was touring with Zoo. And he brought Vince into that situation. So I'm just, you know, they're all, everyone started getting more serious about the music. And like I said, I was the last one out of a job and into the music. What were their jobs? Just a, you know, a variety of different types of jobs that they had? Johnny worked for a beverage company as a manager of some sort. Aaron worked for, he was a computer data analyst, I think. He worked for a short time for P. Diddy. And Max worked, he was, Max actually won an Emmy because Max is like a tech geek. He plays B3 Oregon and every kind of keyboard you can imagine, we just finished the recording session. I think he had nine different, he had a Whirlitzer, a Prophet, Synth, a Nord, a B3 Oregon. He has his own B3 Oregon. He repairs and fixes them. He had whatever keyboard that Stevie Wonder used on, you know, a long time ago and he had the same one that the Doors used. So I mean, and he worked for the company that films sports events from planes and blimps and helicopters. And he, he like hooks up and creates the camera rigs and all that stuff. And he won an Emmy for that. So they come from all different walks of life, basically, and all roads intersected back to ... We've all become great friends. It's like a family. We've had this, you know, Max is the newest member of the band and he's been with us over 10 years. So walk me through the decision to work with Joe Ciccarelli. You're a new artist. You're starting from scratch, kind of. How did you get an 11-time Grammy winner to take your call? Well, that's funny. I knew I wanted to get a good producer and I was originally thinking, and I called a friend of mine who was in the business and I said, hey, I'm ... and I hadn't ... by this time I had written the songs and I had actually books and time at East West Studios, like three or four months in advance, figuring, okay, now I just got to find a producer. And I asked my friend, I go, I want to get a good producer. Can you ... who can I call? I was thinking, like, do you know Rick Rubin? He goes, that's not really my thing. Let me ask around. I know some people. I know a guy. Yeah. They sent me three names and three phone numbers. And I Googled them. I didn't know who Joe Ciccarelli was. I Googled them and it said he won 11 Grammys and I saw the artist that he worked with Elton John and U2 and Beck and the Counting Crows and Jason Maraz and just Lannis Morissette and Frank Zappa and Morrissey and My Morning Jacket and the Killers and the White Stripes. I mean, it's just on and on. And so I always believed that if you don't ask, it's the same as ... if they sent you a message, they said no. So what's the downside? So I called them and got his voice message. So I said, Steve Bardwell and gave him my phone number. And then a few days later, I get a text from him saying, Joe Ciccarelli here, what do you want? I go home. I said, well, I texted him back and said, I'm a singer-songwriter and I'm making an album in East West and I was looking for someone ... I was hoping to work with you as a producer. And he texted me back and said, do you have any demos? And so I did have some songs that I recorded on my iPhone. They weren't professionally done demos at all. I sent them to him and he texted back and said, cool songs. We should talk. And he said, whoa, maybe I'll take that. So we talked on the phone and at the time, he was in France at a recording studio doing an album with Morrissey. And he said, let's have breakfast when I get back. I said, that'd be great. I met him for breakfast and we started talking. He said, so what are you looking for with this album? I want you to win another Grammy. He just laughed. He goes, yeah, okay. I asked, what are you seeing, what kind of record do you see? We just started talking and I told him about the band and the times that I'd booked in the studio, coincidentally, he was free to do the tracking. He had another project that he was working on. So we did the tracking with the band in the studio. I just did guide vocals at that time. He said, I got to jump into something else for a few months. He goes, are you the one that we first started talking to? Are you in a hurry? Is there a deadline? I go, no. I'll work around you. So a few months later, we went back and did some guitar and keyboard overdubs and did the vocals and then the background vocals. My wife, Catherine, is a singer. So when it came time to do background vocals, Joe said, so who does your backup vocals? I said, well, it's my wife, Catherine, and Max. I go, but if you want to bring somebody else in, that's fine with me. I just want to make the best record possible. He goes, love, it's better if it's your guys. If it works out, let's try them. And if it doesn't work out, we'll bring somebody in. So they had to go in and sing for them. And he liked what they had to bring to the table and so it worked out. Did he at all challenge your vision for the record, at least in those early conversations? Or did he just sort of let you kind of? No. Well, the reason I'm coming to you is I've never done this before. I don't know anything about the recording process, really. I want you to make the best record you can make with us. And he was amazing. He said he wanted to come to our rehearsals before we go into the studio. And so I had booked the rehearsals for a week with the band. So as soon as Joe said he wanted to come to the rehearsals, I called the band and go, Joe wants to come to the rehearsals for a week. We have to rehearse a week before Joe. So the rehearsals ended up being two weeks, one week without just the bus trying to get our act together. So Joe doesn't walk. He goes, what did I get myself into? And a week with Joe and he's amazing. I mean, we become good friends. I really love the guy. He's just amazingly talented. So he is known for being really hands on, changing tempos and switching keys and reworking. Is there a specific example that you can give of a song where his input completely changed what you thought it was originally going to be? Yeah, we had this recent, on this just last album, we had a song called Good Things and we worked it up playing it a certain way. He came in and he knows every, he'll tell Vince the drummer, don't place eighth notes, play sixteenths and you got to drive the energy before the chorus starts or he'll tell the bass player. I think those guys are playing majors, you're playing a minor here. I don't think that it's not syncing right. The song that we were playing, I would say had more of a Tribaline Woolburys or Petty kind of vibe. That's the closest thing I can think of. But when he got done with this, it's like a Stevie Wonder Motown song or something. I didn't even know we had it in us. He brings out the best in all of our, all the music and musicians that there is. You say he's hands on me, I mean he would, we're playing a song and we do a take of the song and he goes, I'm going to come out Vince, I think I'm going to change that snare drum. He comes out and he's on his hands and knees. He has a, when we had breakfast, he said, you know, I think for this album what I'm hearing is I think you need a vintage Ludwig or Gretz drum kit. Have your drummer call John at Angel City drum works. So we have this drum kit and he showed a bunch of snare drums or something. I don't know the difference between a snare drum and a snare drum in my book, but he would try out two or three snare drums and go back in and come out and put tape on those. And he doesn't tell us there's two assistants. He doesn't tell them to come out and he actually doesn't himself. He's on his hands and knees. He's like hands on. That's incredible. The guy has the best ears in the business. That is so wonderful just hearing that inside story there on how he just, just knows what he wants and gets real specific and gets his hands dirty. The specificity is unreal. You come in and I'm playing, you know, I have, he told me I have, I had a Taylor guitar. I have a Taylor guitar, Martin guitar and he Gibson. You know, we'd start, he'd say try the Gibson and I'm playing that. He tried the Martin and then he, and then try the Taylor. I got, he goes, he goes, hold on. He goes upstairs. He has his own studio at East West Studios now, his own production studio and he has some guitars up there. He brings down an epiphone, an old epiphone acoustic guitar that it's like the John Lennon model. It had, it wasn't John Lennon's signature, but it said, you know, I had the, when Epiphone made this, they put John Lennon's signature, you know, in the guitar. I'm playing that. He goes, that'll work. So on whatever, this was a particular song. I don't even remember what song it was, but he has something, he has a sound in mind that he's looking for. He knows how to get it. We'll be right back with more of the Take and Walk podcast. Hey there. This is Josh from Stuff You Should Know with a message that could change your life. The Stuff You Should Know ThinkSpring podcast playlist is available now. Whether Spring has sprung in your neck of the woods yet or not, the Stuff You Should Know ThinkSpring playlist will make you want to get your overalls on, get outside and get your hands in the dirt. You can get the Stuff You Should Know ThinkSpring playlist on the iHeart Radio app, Apple Podcasts, or wherever you get your podcasts. Welcome back to the Take and Walk podcast. Nothing but time has been called timeless and contemporary. When you were making it, did you have a particular sonic target in mind that you were looking for, that you were chasing, or did it just feel just right? I wrote all the songs and when I write them, I'm just playing them on my acoustic guitar. So it's me and the song really. I never envisioned or had an idea of what it would sound like with the band at the time I wrote them. The process is that when we work up a song, I take that song to the band and I play it for them. There's a song, Magic Night in Paris on the album that's kind of about an experience I had at a jazz club in Paris. It was a swing dance jazz club and I saw these people fall. I thought Fall in Love, an older guy and a younger woman started dancing and as the eating more on, they were more than dancing. I wrote a song about it. So I said, I want to get a vibe of a dance club in Paris in the 40s or something. It was different sound than the other songs that we were doing. We just worked it up. Aaron plays sax and flute. With the piano and the saxophone, we were able to get a jazz vibe thing going on the song. We work up the songs and then we just start playing them for Joe and Joe would just add things and do things that we never even thought of. We think, oh, this is a cool song. We got nailed. It still has the same vibe and bones that we originally had but Joe takes it to a different level. He'll tell Johnny, Johnny can play something and he'll like mouth a riff, a guitar riff and Johnny will try something and he goes, no, no, no. Try something else. Yeah, double it, double it, double the tempo. Just do footballs there. Don't play this. He just creates this sound that you hear it on the record and it's like, wow, that's us. I love Send Him Love. How do you think that song has resonated to such a great degree? I wrote that song because this girl came to me that was really bummed out because people have been saying some really negative things about her online. I think I just started thinking and I kept hearing more and more about bullying online and I think social media has really messed up a lot of things. I almost don't want to get started on that but I told her, don't pay attention to what other people say about you because what they say says more about them than it does about you. Somebody saying something about you doesn't make what they say. That's not who you are. You know who you are and you just got to take the high road, send them love. Then after I did that, I go, that could be a song. I just wrote down what I told her and put it to music. I think it's resonated with people because I don't think there's anybody that hasn't felt somebody saying something about them. I don't know. When somebody says something negative about you, if you listen to it and absorb it or pay attention to it, give it power, it can affect you in a negative way and discourage you. You make you feel less. I just think it's important that, you know, I always, my thing is I don't take criticism from anybody that I wouldn't want advice from. People who say whatever they want, you just got to take the high road and not push back. Don't go tip for tat with somebody. Just, okay, they said it. I'm sending them love. I feel sorry for them. That's what they want to spend their time doing. Well, you've said reading reviews feels like reading about somebody else. So you've kind of illustrated in your own way about your work too. Yeah, sometimes, you know, it's weird. I listen to my songs. They help me. Like if I'm thinking something that I'll listen to a song, you know, yeah, wow. I should take that advice. I should take my own advice. It's kind of interesting that way. So you're heading back into East West Studios. You must be so excited to record a new album. Yeah. And with Joe, I mean, boy, it's, I'm excited for you. What's different though about you as an artist obviously now compared to when you walked in there the first time? I didn't know anything when I walked in the first time. I've been having been through a recording session and I've learned the jargon. I could speak the language at least now. I don't ask as many questions like, what does this mean? What are you talking about? And there's a comfort that not only I have with the process, but I think everybody in the band has because we've all worked with Joe before and Joe knows us. We know Joe. It's less stressful and less pressure. And I feel like I'm more relaxed and the band's more relaxed and maybe Joe, Joe's comfortable. He's always, he's pretty, he doesn't beat around the bush. He tells you if something's not working or try this, do that. But I just think there's a mutual familiarity and camaraderie that, you know, and because we bonded, I mean, recording an album when you're working together for an extensive period of time and you're eating, you know, lunch and dinner with everybody for a number of days and you, you know, just get to be friends. And Joe and I become friends. We've gone out to dinner and I just talked to him this morning, you know, and just different and the songs are different this time. Evolution. Yeah. Right. Evolution. What traits from your past life do you think have served you well in your new life? I think, you know, working with creative people, I always realized that the artist is very precious about what they create because they, they're invested in it. It's hard for them to listen to other people. At the studio, we would see dailies every day and, you know, if a movie is three hours long or whatever and not as many people are going to see that movie, if it's three hours long, then if it's two hours long and even two hours long is plenty along for a movie. The worst thing you want to do is have somebody come out and say, yeah, it's a good movie. Well, wow, it's too long. But I, and I just use that as an example because I think as an artist, I can get kind of precious about the songs that I write. But when the, when other professionals let them work on with tell me their opinions, I value, I welcome those. I don't want to be so precious about them that I'm not willing to make changes based on their suggestion. And I just believe that the more creative input that there is to a project, the better the song, for songwriting in particular, the, you know, and from movie making too, sometimes the reason you have a team is a team sport, I'd say. It's not so much an individual sport. Yeah, I think the Beatles, the four of them were together. What they created was magical. I mean, they're all great artists individually, but I don't think them alone was as much magic as the four of them together were. And yet those entities like that, just like organizations and teams can be very fragile, you know, especially as a long time has been spent together, you know, touring and studio time, eventually those things sometimes wear thin, right? Yeah. And sometimes I have to tell my, yeah, I find myself being resistant to some of being resistant to some of a suggestion like that are also, hey, dude, listen, you don't know everything. Listen. You know, this show that I do is, is an extension of where I started, came out of the radio business. But as an on air person is how I first started before I got into to senior management. So for me, taking a walk, you know, came out of that sort of pursuit of love of something and passion for something and wanting to sort of go back to my initial roots and where my, you know, where my heart really is. So I understand it at least from my perspective, but in closing here, you know, taking your perspective on how you followed your heart and if someone's listening and they're in this position of a job, a career course, how would you get them in their own way to jump off the curb and do what they love? I would say one thing that kind of held me back a little bit was thinking, you know, I wish I would have done this when I was younger. Am I an idiot? Am I stupid? What am I thinking trying to do this now? I think that it's never too late to, there's something you really want to do. At the end of your life, you can look back and say, I tried this. I really wanted to do it. I went for it. It didn't work out, but I gave it my best shot, you know, or maybe it did work out and wow. Or you can say, I never tried. I wish I would have. And I think I wish I would have is like the worst of those possibilities. You got to go for it. Otherwise, you're going to be looking back saying, what if I wish I would have? I wonder if I could have, you know, just the experience, even if I had failed at this or it hadn't worked out or, you know, I didn't work with Joe or whatever. I still would have enjoyed the learning experience of the ride, of trying it. And what's the downside? Well, you know way more about movies than I know, but this is the stuff that certainly movies are made of. Who's going to play you in the movie? Robert Downey Jr. There you go. Quite a life there, right? It's an amazing story. The music is pastic. I can't wait to hear the new music and I really appreciate how you took us behind the scenes there to the creation and your amazing story. And Steve Bargwell, I'm so glad that you're on Taken A Walk. Well, thank you very much. Happy to be here. Thanks for having me. And come back again anytime. Thank you very much, Buzz. Thanks for listening to this episode of the Taken A Walk podcast. Share this and other episodes with your friends and follow us so you never miss an episode. Taken A Walk is available on the iHeart Radio app, Apple Podcasts, and wherever you get your podcasts. Hey there, this is Josh from Stuff You Should Know with a message that could change your life. The Stuff You Should Know ThinkSpring podcast playlist is available now. Whether Spring has sprung in your neck of the woods yet or not, the Stuff You Should Know ThinkSpring playlist will make you want to get your overalls on, get outside, and get your hands in the dirt. You can get the Stuff You Should Know ThinkSpring playlist on the iHeart Radio app, Apple Podcasts, or wherever you get your podcasts. Watch as we honor the biggest stars from all genres of music that you love listening to all year long on your favorite iHeart radio station and the iHeart Radio app. Hosted by Ludacris, icon award recipient John Mellencamp, innovator award recipient Miley Cyrus, with performances by Alex Warren, Kailani, Lainey Wilson, Ludacris, Ray, TLC, Salt and Pepper, and Invoke. Plus, Taylor Swift makes her first award show appearance this year. Also, Gold Medal Olympian Alyssa Liu, Nio, Nick Colesure Singer, Nikki Glaser, Sombra, Weezer, and more. Watch live on Fox, Thursday, March 26th, and listen on iHeart radio stations across America and the free iHeart app.
