It's safe to assume Hedley won't join Ashton Kutcher on any upcoming cougar-hunting escapades.
Although their "Don't Talk To Strangers" video is a spoof on 40-something femme fatales on the prowl, none of the guys in the band have actually had to deal with an aggressive, "experienced" woman.
That may be for the best. One time I saw a cougar throw a milky alcoholic drink in a friend's face because he wouldn't dance with her. Embarrassing? Yes. Awesome? You bet.
CHARTattack had chance to talk to Hedley frontman Jacob Hoggard over the phone from Etobicoke. Not surprisingly, the band were promoting the hell out of their new The Show Must Go album, a forthcoming Canadian tour and filling up the days with TV appearances and radio interviews, with a little sleep thrown in for good measure.
Now that the record is out, Hoggard is thrilled to be making the rounds again. He's eager to talk about the group's singles, videos, and whatever other trash we could throw at him.
CHARTattack: What are you guys up to now that The Show Must Go is out?
Jacob Hoggard: We're doing radio and TV interviews all the time. It can be pretty draining. But I still don't feel entitled to complain.
The video for "Cha-Ching" addresses reality TV and how far people are willing to go for fame. Is our obsession with reality TV getting dangerous?
I don't know if it's getting dangerous, but it's true that things are changing. It's amazing how drastically things have evolved.
"Tweet" is a verb now. From the push of a buttion, I can update my status to thousands of people. I have a baby now that's going to grow up with a cell phone his whole life. All the video is is really a commentary about what people will do to get famous.
More recently, your new video "Don't Talk to Strangers" is a take on cougars on the prowl. Have any of you ever had a bad cougar experience?
That song may or may not have been inspired by a cougar experience. This was one of those videos where the plot unfolded as we delved into the lyrics. My favourite part is actually the bridge. It's kind of like Nine Inch Nails. It's just a really fun song.
Your bio says that some songs on this album were inspired by hip-hop and electro beats. Who are your urban influences?
I have plenty. I don't know if the album as a whole has anything to do with me liking Dizzee Rascal or Method Man. There are some songs that might lend to the production elements of urban music, but we still wanted the album to sound as acoustic as possible.
When you look ahead to the tour schedule for The Show Must Go, what's the most daunting part?
The daunting side is definitely the physical regimen. It takes a fortnight to get used to it. Once you get the system down, you realize it's quite a production.
Missing home is really, really lame. It can really wear you down sometimes, and it's not always good to have a bad headspace on tour.
But when we're on tour, we're in our element. We get to travel the world performing. All four of us love it.
When you get into that bad headspace, what do you do on tour and in the studio to break out of it?
I sometimes try not to do anything. I don't try to distract myself or medicate. We want to be as comprehensive as possible and exhaust the issues; going through that is part of the recording process.
Our interpersonal relationships are at an all-time high. We've been a band for six years and Tom [Mac, bass] and Chris [Crippin, drums] have known each other for 12 years. We've lived in submarines together and living in close quarters is daunting to anyone.
A couple of weeks ago, Chris and Dave [Rosin, guitar] got into an argument. Tom and I just sat back and let them hash it out. It actually really said a lot about how far we've come as a band.
Compared to your first two albums, what's different about The Show Must Go? Are Hedley fans still going to like it?
We've been called out for it a bit. Some people have said this is quite a departure for us. I would much rather have speculations about it being different than if we just stayed the same.
It's important that we push ourselves. Some of our songs like "For The Nights I Can't Remember" and "Gunnin'" we felt were really quirky, left of center songs when we wrote them, and they ended up doing quite well. So we definitely felt more comfortable this time. We tried shit that was just terrible. In the end, we just want to be able to look back at the album and say that we've grown.