ADDIE ADDIE ADDIE - BACK ROW (three-one-takes-in-one music video)

ADDIE ADDIE ADDIE - BACK ROW
from the album "well it all had to go somewhere"

lyrics and melody: Addie Weyrich
produced by: Mitch The Devil
DP: Jon Salmon
1AD: Bridg Brown
director: Addie Weyrich
editor: Addie Weyrich

LYRICS:
I might fuck this up
I’m looking for your name when waking up
Baby the truth is
I’m feeling quite useless
Since you called me and said I can’t do this
You say you’re in love
We just met, you don’t know what you’re talking bout
But baby repeat it
Right now I need it
Holding hands and your eyes are gleaming
And I know the worst in me
Is gonna hate you when you’re gone
But I know the rest of me
Just thinks you’re wonderful

How I’m really feeling is much more than I can say
So I’ll keep it in my journal save it for another day

I’m not moving on
I’ll still be there when the lights come on
I’ll still be there when the credits roll
I’ll just be clapping from the back row

I’m not fucking up
I’m mad at the feelings this is bringing up
I’m right at the table
You’ll come by later
Smoking a cigarette, doing me favors
I think I’ve had enough
I’m at the party drinking the hardest stuff
I’m feeling dizzy
You wanted to kiss me
But now I just want you to say that you’ll miss me
And I know the worst in me
Is gonna hate you when you’re gone
But I know the rest of me
Just thinks you’re wonderful

Tell me how you’re feeling I will listen it’s okay
Honestly if it was me I’d probably need a break

I’m not moving on
I’ll still be there when the lights come on
I’ll still be there when the credits roll
I’ll just be clapping from the back row

I’m not moving on
I’m not moving on
I’m not moving on
I’m not moving on


story time:

In August I went to Boston to shoot a movie helmed by Danny Madden and it was the most artistically fulfilling experience I had ever experienced. Half way through filming, I took a train ride home to Philly for a cousin's wedding. While staying in my childhood home, I couldn't turn my movie brain off and I started viewing every room as if it had been impeccably set designed. I was in awe. My mom has such a cool style and she's lived in the house with my dad for 33 years so the whole place was just brimming with history and character. It felt too special to not take advantage of.

I still hadn't shot any visuals whatsoever for my album that had been released two months prior and I pitched Jon Salmon and Bridg Brown an insane idea: "When this movie wraps in two weeks, do you two want to fly to Philly and see if we can shoot 8 music videos in 48 hours?"

They said yes and so that's what we did. It was the longest any of us had ever been in total flow state and it felt fitting that it was an artistically fulfilling experience fueled by another artistically fulfilling experience, that I got to pass the contagious nature of the movie to two dear creatives. I feel so grateful for Jon and Bridg as friends and so proud of the work we did together as collaborators.

At a time when, personally, idk about you guys, it feels like there's so much pressure and perfectionism and high stakes with creating art - it felt really fucking good to just be like "ok, let's run around with the playfulness and curiosity we had as kids but the talent and skill we now have as adults and see what happens."

BACK ROW visuals coming out first simply because it's the first thing I edited that made me go "oh shit that's cool."

Much love to anyone who has been following my music project from the beginning or who is just arriving, I really really really like doing this and I like it even more with you.

xoxo
ADDIE ADDIE ADDIE