Aug. 29, 2026
XByrdX on Reimagining Old Songs, Staying Creative, and Embracing Authenticity
In this episode, Pipeman interviews XByrdX, the prolific artist behind XByrdX, diving into his creative evolution, the process of reimagining previous work, and his approach to art that spans music, comics, and themed performances. They discuss the making of the “Postcards X” album, changes in songwriting over the years, and Bird’s commitment to authenticity over trends.Main Topics Covered
- The journey from Byrdhouse Sound to XByrdX and the decision to remix and re-release earlier recordings
- The evolution of songwriting and music production in the modern era
- Personal growth as an artist and embracing multidimensional artistry
- The importance of self-driven creativity versus following trends
- Unique live experiences, including an upcoming acoustic show at the Indiana State Sanatorium
- Reflections on music genres, influences, and staying true to oneself
- Bird shares about the decision to revisit and rework the 10-year-old album “Postcard Summer Nights,” leading to the new “Postcards X” release on September 25th
- Motivation came from a desire to improve aspects of the original album with new skills and perspectives (03:18)
- Experience of evolving tastes and hearing “things that could have just been better” (04:10)
- Adapting to the changing norms in songwriting—shorter intros and more direct structures (06:13)
- Observations on how musicians change over time and how nostalgia sometimes holds fans back, contrasted with the artist’s need to evolve (09:43)
- Embracing being an artist beyond just a musician, including integrating comics, theater, and conceptual videos (16:45)
- Discussion of song “James at 16,” inspired by the archetypal love triangle, reimagined in a suburban 1980s context (13:20)
- Mention of a Billy Joel documentary surprising Pipeman with Joel’s early heavy metal band (18:28)
- Plans to perform an intimate, themed show at the Indiana State Sanatorium, emphasizing creative audience experiences (22:14)
- “Hindsight definitely is a helpful tool when you're going, you know, and looking at something you've done.” — XByrdX (08:33)
- “The only way that I can be fully satisfied with what I'm making is if I'm making it for myself.” — XByrdX (19:56)
- “You get locked into being a punk band or Americana band… at some point you might realize this doesn't really feel like me.” — XByrdX (15:41)
- “If you're an artist, you should just do things because you want to do them, and then you'll attract your tribe.” — Pipeman (11:39)
- “I'll keep going if nobody's listening.” — XByrdX (25:45)
- Artist Socials & Music:
- Search "XByrdX" on Instagram, Spotify, Facebook, Apple Music (21:51)
- XByrdX: “If you just Google that, you’ll find me.”
- Upcoming Release:
- “Postcards 10” drops September 25th
- Live Event:
- Announcement of a special acoustic show at the Indiana State Sanatorium (22:14)
- Other:
- Comic book based on the “Anthems” album
- Themed performance videos, including a recurring future-character series
- Handle: XByrdX
- Platforms: Instagram, Spotify, Facebook, Apple Music
- Find all links and updates by searching "XByrdX" online
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WEBVTT
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This is the Pipe Man here on the Adventures of
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Pipe Man W4CY radio and I'm excited about our next
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guest because boy like one of the busiest artists I
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ever saw at releasing music like Had a new album
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this year, new song in July, and now another album
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coming out in September.
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So let's welcome to the show, Bird. How are you? Good.
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How are you? Thanks for having me.
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Hey, my pleasure. First of all, I just want to
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say I love your background.
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Well, this is my man-boy cave.
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I love it.
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And I love the icons you have up there, too.
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To me, it's like a good mix. You know, we
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live in a world that like a lot of times
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in music, you're supposed to only like this one genre.
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And I love looking at something like that where, you
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know what?
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It's just good artists. That's all.
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It's just like a reflection of everything in here is
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kind of a reflection of every type of music or
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artists that I've ever seen. listened to or had some
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sort of influence on me in some sort of way
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in regards to making my music and something that they
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did that, like I said, touched me in some way.
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They all make it up on the wall.
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Nice. Somewhere.
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That's the way it should be. Now, I have a
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question up there. I can never tell with the mirror thing. left, right,
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probably your right shoulder. Is that Blackie Lawless up there.
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On the wall?
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That is not.
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Okay, then it is.
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I know Blackie.
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Okay, so it's hard for me to see that far
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that I thought it was either him or like somebody
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in the crew or something like that.
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That's Susanna Hoffs.
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See, I couldn't even tell from you. That's terrible of me.
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No, that's all right.
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It was a promotional poster for a Rickenbacker model guitar
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that she played. But when it came out, I was
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in my teens and I liked the guitar and I
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liked her as well.
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Yeah, now I feel like totally bad there, but I
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don't know if that's bad towards Blackie or towards her.
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Yeah. But so 10.
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Years ago, 10 years ago, you released this album, Postcards
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Summer Nights, and now you're doing the reimagined version, Postcards 10,
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the 10-year remix.
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Right.
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This September 25th. First, I want to know, what was
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the prompting motivation of that?
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Well, we did it a long time ago, and I
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had a different band at that point in time, and
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we went under a different name.
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We were Birdhouse Sound at that.
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Point, and.
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We went in to do.
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An album with this set of songs that we had
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that we'd been playing for a while. And when we
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did the recording, it was one of the first or
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second albums I think it was probably the second album
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that I had ever went into.
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The studio along with the other guys to do.
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And, you know, we were, anything that came out of
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that session, we thought it was the greatest, you know,
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thing ever and the greatest sounding song ever and the,
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you know, greatest mix and master and all that stuff.
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And then, you know, down the line when, the excitement
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from just having that experience died down and I started
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listening to it. I was, you know, I was always
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kind of like, uh, there were things that could have
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just been better, you know, from at the, at the time. And, uh,
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you know, we, we like the certain mixes on guitars or, uh,
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you know, the bass and guitar. And there were just
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little things that we always wanted to fix, you know,
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once we had heard it and, uh, And then a
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few months back, I was thinking about, you know, I
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had released Anthems for the End Times this year, and
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I'm going to go work on the next album here
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in the next six months. But I really wanted something
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out there in the meantime. And, you know, I just
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started looking at the album, and it just so happened
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to be it was around 10 years.
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Since we had done that recording.
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And I thought, well, let's go back in and see
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what we can make different, different editing choices, different mixing choices,
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and see if we can make it better.
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And we did. And so I thought, well, okay, I'll
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put this out then in a new way. And like
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you said, we put it under a different title, Postcards.
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10 or.
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The X is, you know, post postcard X, but the
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tens of Roman, obviously X is a Roman numeral for 10.
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So that kind of worked out and.
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We decided to make some, you know, new art for
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it and kind of re-release it as it's as a
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new kind of as its new identity, you know, like
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some of the songs, some of the songs, you know,
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we had like intros and outros that were longer and,
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you know, we had, fourth, fifth choruses. And so we
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went back in, just kind of tried to find the
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core of the song and, and get to that place.
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And so they are different songs in the long run.
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Well, what I love about everything you said, there's a
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few things that I honed in on is first of all,
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the last thing you said, like songwriting is different now.
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Okay.
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And, Whether we like it or not, we have to
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appeal to that differences. So like when you're talking about
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the intros and stuff like that, it's like I've talked
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to songwriters. And I remember when I learned how to
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write songs back in the 80s, you know, there was
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a certain format that doesn't even apply today because, you know,
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not really supposed to have intros, not really supposed to
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have this and that, like just get to the meat
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of it.
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And that's it.
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So I give you kudos for being smart enough to
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make it modern for today, number one.
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But what I really loved is, so yeah.
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In the beginning, when you're making these songs and you
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are playing them a lot, you're not really the musician
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you end up being down the.
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Road because you.
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Learn your craft, you evolve. And so now you look
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back at it with a little different vision than you
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did then.
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And sometimes even more control.
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Like, it reminded me of listening to Hetfield talk about
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Kill Em All. And, you know, they had played all
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those songs a bunch of times. And when it went
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to going to recording, they weren't even allowed in the mix.
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And like, so... I can imagine an artist like these
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are your, your babies, especially in the beginning.
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Yeah.
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And you're not even allowed to determine what it's supposed
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to sound like.
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So I think.
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It's cool when artists revisit it later to create what,
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you know, maybe they would have done with it then,
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or what they would have done with it, with the
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knowledge that they have now that they didn't have then.
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Yeah.
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Hindsight. Definitely.
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Uh, definitely is a helpful tool when you're going, you know,
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and looking at something you've done.
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And I know for a lot of artists, you know, they.
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Hear things and then they're stuck with those, you know,
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be it a mistake or, you know, they slather too
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much effects on something or, and then they're just stuck
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with it, you know, for the rest of their career.
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And this was kind of our opportunity to kind of
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go back and, like I said, like you said, make it.
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A little more modern.
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Um, and you know, my tastes have changed as far as,
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you know, how songs should be written and structures and
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all of that, uh, all those type of, you know, paradigms. But, uh,
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so it, it did make it, uh, you know, a
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fun experience to kind of get to go back and, um,
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you know, fix those things that were kind of nagging me. And, um,
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turn everything into, you know, kind of a new version,
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almost a new song of what it used.
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To be, you know.
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Yeah, exactly. A hundred percent.
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And I have total respect when artists do that because,
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you know, like the nostalgia people, the fans from back then,
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they don't want to let go of those times or
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the garage times, you know, but when you're an artist,
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you kind of do because you know so much more
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and you're so much better at your craft down the road.
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And like you said, your taste can change a bit. And,
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you know, it's kind of like when artists that don't
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put out new music, their kind of viewpoint is, well,
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that music that I did back then, I was a teenager.
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And who wants to see somebody at my stage? And
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I've had artists say this to me, write teenage music.
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So it's kind of cool. I like the idea of it.
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And I just want to know, I'm super impressed at
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a time when I don't know. A lot of artists
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that have been around for a while, they release an album,
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maybe if you're lucky, every three years. And yet this
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year you've put out an album, a new.
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Single, and now another album.
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And like, you got to be like one of the
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hardest working musicians in 2026, because that's a lot of work.
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Yeah.
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I don't know if it's the hardest or the most desperate.
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I don't know.
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Desperation, you know, is a good motivator.
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But, yeah, we put together, you know, for the anthems
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for the End Times album, there has been four videos. And,
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you know, we released the singles. And I'm still going
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to do one more just because, you know, I just
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want to do it.
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I have an idea for the video.
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I don't know if anybody will see it or hear it,
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but I just want to do it.
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That's the only way it should be, though. If you're
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an artist, you should just do things because you want
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to do them, and then you'll attract your tribe.
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Yeah. Like I said, with the 10-year anniversary of Postcards...
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it wasn't like, you know, nothing really necessary and it
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doesn't really reflect, um, you know, the type of songwriting
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I do now or, or the things I'm interested in now,
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but I, I still felt like it was, uh, you know,
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good music and, uh, it could be, like I said,
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made better if we just did some things. And so that,
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you know, that was, uh, a kind of a happy accident, uh,
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to decide to go back and do that. And then
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the next album will probably be, you know, even different
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from anthems. You know, I wrote some of those songs
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during the time I was, we were recording the anthems album.
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And so, you know, they already have kind of their
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flavor and there's going to be a few more.
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Songs that I wrote after that.
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So, you know, everything is going to be of, Kind
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of of its time and of its moment where a
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lot of stuff I used to write about was more
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narrative stories of things in the past or more of
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a nostalgic look back on things.
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Keeps you busy.
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And kind of like that makes me think of James
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at 16 and a quote.
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That I saw that you said about.
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like you removed King Arthur Lancelot and Guinevere out of
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Camelot and dropped them as teenagers in the 1980s suburbs.
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Yeah. Yeah. That was kind of the, you know, the,
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the classic love triangle, you know, type of thing. And
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you had to, you know, the two male characters are
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kind of like, you know, your two, two alphas that are,
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you know, friends and, and, but, you know, there's some,
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competition uh between the two at the same time so
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this uh kind of girl falls into the mix and
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you know it's really a song about um not just
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the little love triangle but the the brotherhood uh those
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two have and kind of what you know uh what
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happens after this uh this love interest comes into the
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story and how that affects how it affects uh their relationship.
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Yeah. It's, it's pretty cool.
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Like everything you're doing and everything you're saying, I love
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