A deeply intimate collaboration born from instinct and trust, Aeroplane captures Connie Lansberg and Brad Rabuchin embracing spontaneity, minimalism, and emotional depth—crafting a raw, soulful dialogue between voice and guitar.
1. Aeroplane was recorded in just one day with no safety net. How did that intense, spontaneous setting shape the emotional and musical outcome of the album?
Connie: The focus was intense. We gave ourselves a target of no more than 3 takes per song. We’re human, so there is limit to how long a guitarists finger and the singer’s voice can actually hold out. The rule is, when you go in the studio, go in with the best.
2. Your collaboration has a remarkable origin story, dating back to an unexpected performance of “Georgia on My Mind” linked to Ray Charles. Looking back, how does that moment feel now that you’ve created a full album together?
Connie: It’s an example of how the universe is always playing the long game with me! I’ve learned to keep working no matter if I get an outcome or not because eventually, the outcome presents itself.
3. Connie, your songwriting drives seven of the eight tracks. What themes or personal experiences influenced songs like “Broken Doll” or “Everything Ends Up in the River”?
Connie: Ok, get ready. I’m actually a powerful energy healer and my delivery for that healing is my voice AND the songs. I have two other original albums and every song is channelled to affect the emotional body of the listener. Each song carries a specific energy that works to clear your emotional body of forgotten trauma. My expertise is the emotional body and my book, Your Healing Is A SONG, gives people the ability to do deep healing just by listening. So, this is another reason I trust the long game. I’ve always known there was a purpose to every song I write, and the world had to catch up to this new, fun and easy healing.
4. Brad, you’ve worked with icons like Stevie Wonder and Willie Nelson. How did your past collaborations inform your approach to such a stripped-back, intimate duo setting?
Brad: Working with great artists like Ray, Stevie, and Willie taught me the importance of listening, adapting, and supporting. They’re not necessarily waiting for you to figure it out over time, or usually even wanting to offer much of an explanation. You have to come up with something that’s good and works quickly, and the only way you can do that is by listening hard, trusting your instincts, and adapting your musical identity to someone who already has an iconic sound and vibe. Those situations taught me that when I approached playing in a duo with Connie, it was not enough just to “play the chords” but that we needed to trust our instincts and collectively create a vibe and musical personality for each tune. Drawing from both each tune separately and Connie’s and my musical personalities, so that we could come up with something that’s our own take on playing a set of tunes. Those great artists found ways to sustain playing music based on “their own take” over long careers. I think Connie and I tried to tap into that idea for this project.
5. The album includes one surprising pop cover. What drew you to reinterpret that particular song, and how did you make it fit into the sparse, jazz-driven atmosphere of Aeroplane?
Connie: My recording of the Billie Eilish song What Was I Made For clears the stuck energy of Fanaticism, an energy that is causing much destruction to people and to this world. It’s a very high vibration song and I think is so fantastically written.
6. There’s a strong emphasis on space and simplicity throughout the record. In a music landscape often driven by heavy production, what does “less is more” mean to you creatively, and do you see yourselves exploring this approach further in future projects?
Connie: I was in LA this past Dec/Jan and did another album with Brad. We also pulled in double bass and drums to explore a full band sound.
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