When "Pushing Through" Stops Working: Rainbow Kitten Surprise on Reinvention

30 Sep 2026 · 58 min · 18 chapters

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In short

Rainbow Kitten Surprise’s movement director and lead singer/songwriter discuss reinvention through collaboration—how adding choreography, connection, and trauma-informed communication reshaped performances, and how sobriety and therapy helped them survive burnout and psychosis.

Guests (backgrounds)

  • Kat Coleandreau: movement director/choreographer/dance educator (about 17–20 years), somatic and wellness-informed approach; works with connection over “tricks.”
  • Ella Melo: lead singer/songwriter and dancer for Rainbow Kitten Surprise; previously in a glam punk band; has bipolar disorder and describes a psychotic break around Red Rocks 2022.
  • Justin Tranter (host’s intro/credit): pop songwriter and co-writer (e.g., “Good Luck Babe,” “Sorry,” “Believer”).

Key claims

  • Collaboration works when discomfort is handled safely (“discomfort isn’t unsafe”).
  • Movement direction should guide confidence and connection, not just blocking.
  • Sobriety and medication/therapy reduce the “artist myth” that torture/intoxication is required for art.
  • Partners must communicate, take breaks, and “circle back” without yelling.

Notable examples

  • Meeting via a fan-made “Espionage” dance video; first in-person Valentine’s Day.
  • Song “Devil Like Me” (EP “Seven Plus Mary”): built from a riff, refined for months, then movement confidence added.
  • Red Rocks 2022: body shutdown during performance; years of recovery (hospitals/residential care).
  • “Gag or drag” game: “choreography that looks too obviously choreographed” is a gag; “never go to bed angry” is debated.

Written by AI. May contain mistakes. Listen to the episode to check what was said.

Chapters

Tap a time to open that second in VO

The Art of Collaboration

0:35 to 2:24

Discussion on the importance of collaboration in the creative process.

“through love, betrayal, and the choices that shape humanity.”

Introducing Kat Coleandreau

2:24 to 4:14

Justin Tranter introduces his collaborator, Kat, and her background.

“So welcome to Unfamous, the podcast where we celebrate the art of collaboration, the untold, unsung, unfamous stories of how your favorite pop culture moments happen.”

How They Met: A Creative Connection

4:14 to 6:36

The story of how Justin and Kat connected through music and dance.

“She is an incredibly kind, passionate, loving, funny, intelligent, loyal human being.”

From Friendship to Collaboration

6:36 to 8:28

Transition from friendship to artistic collaboration between Justin and Kat.

“Um, so, and, and I just known them to be a special kind of like alien vibe.”

The Role of Movement in Performance

8:28 to 11:22

Discussion on how movement direction has changed their performances and dynamic.

“We had all this built up over the last week.”

Embracing Discomfort in Creativity

11:22 to 14:03

Exploration of how discomfort can lead to new possibilities in art.

“I'm going to make and make sure that your band gets connected.”

Embracing Discomfort in Performance

14:03 to 15:00

Learn how discomfort can lead to new possibilities in performance.

“I understood performance through the lens of dance, really, you know.”

Navigating Collaboration Challenges

15:00 to 17:42

Explore the dynamics of collaboration and how to handle friction.

“which is move, connect, and honestly just change people's lives.”

The Making of 'Devil Like Me'

17:42 to 20:55

Discover the creative process behind the song 'Devil Like Me'.

“So if you have a moment of friction at work, how do you not take it home?”

Movement and Performance Confidence

20:55 to 28:00

Understand the relationship between movement and confidence in performance.

“And it was one of those where it was like, I got on this riff, this bum, bum, bum, bum, bum, bum.”
Show all 18 chapters

Struggles and Recovery: A Personal Journey

28:00 to 32:44

Explore a personal account of struggles with mental health, performance pressures, and the journey to recovery.

“When you kind of like, you bend over a little bit and you get all in your feelings.”

Reintegration and Collaboration in Recovery

33:25 to 42:04

Discuss challenges of returning to work and the importance of support in the creative process.

“I was like, don't ever take me off of that.”

Art as Healing: The Role of Sobriety

42:04 to 43:52

Explore how sobriety influences creativity and the healing power of art.

“artists we're not broken we're like the glue that pulls things back together we're not some broken piece of society.”

Influential Music and Choreography

43:52 to 45:28

Discuss the songs and choreography that shaped their artistic journeys.

“Okay, to change topics, because I'm getting emotional now.”

The Impact of Music Videos

45:28 to 47:11

Delve into the meaning behind impactful music videos and their narratives.

“They were like the pipeline actually into RKS for me.”

Gag or Drag: A Fun Game

47:11 to 54:32

Engage in a light-hearted game discussing opinions on various topics.

“partner yeah major gag yeah necessary i know i feel like they started it like like like like yo i mean i remember yo that's actually when it got serious was what was we shared your location and I had to make the choice.”

Advice on Collaboration and Relationships

54:32 to 56:00

Share insights on collaborating with partners and navigating creative relationships.

“about collaborating with your life partner that you wish that you could give when you guys first started collaborating?”

Embracing Individual Passions in Music

56:00 to 57:09

Learn how personal interests like makeup can influence a band's success.

“I think there's so much to learn from that.”
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Transcript

Automatic transcript. May contain errors.

0:00Justin Tranter:Mr. President, my company tore me of the explosion on our rig. On October 2nd. Causing massive water displacement and triggering a tsunami. They all heap the blame on me. Tom Cruise is. Digger got us into this mess. And Digger's gonna dig us out. From the director of Birdman and The Revenant. What would happen if I stopped doing it? You stalled. You freeze to death. That's what. With great power comes great deniability. I'm not the first daddy. Digger. See the trailer online. Only appears October 2nd. Rated R. Under 17. Not a minute without parent. This episode is brought to you by Netflix's new series, East of Eden.

0:34A bold reimagining of John Steinbeck's masterpiece following generations of the Trask family

0:39Justin Tranter:through love, betrayal, and the choices that shape humanity. Starring Mike Feist and Christopher Abbott as the Trask brothers and Florence Pugh as Kathy Ames. The complex anti-heroine determined to build the life she wants, no matter the cost. Watch East of Eden, October 1st, only on Netflix. If something's uncomfortable, let's not throw it out. Let's just figure out how to do it differently. The relationship really started in collaboration. Because it was her music, my dance. I'm so devil like me. Oh, this has to be perfect. We added the stomp claps, which is just cardboard boxes thrown on the ground all at once.

1:20And then literal claps. Movement direction isn't just about guiding direction. It's about guiding confidence. My body would just shut down. And then that was a long road to recovery. As her partner, we have this, our primary agreement is sobriety. Like we stay sober and we ask for help.

1:35Justin Tranter:So much of the artist myth is that we need to be tortured to make art. Now as someone who's gone on to write many global pop smashes, not drunk. Just because your idea doesn't get chosen doesn't mean you're not chosen. Letting go and surrendering to process and love and just have fun with it.

1:56Justin Tranter:Hello, I am pop songwriter Justin Tranter. I have been lucky enough to co-write songs like Chapel Roan's Good Luck Babe, Justin Bieber's Sorry, Cake by the Ocean, Imagine Dragons Believer, and I am obsessed with the art of collaboration. When I started collaborating and co-writing and opening my mind to the fact that I might not be a singular genius and I might need help my entire life change. So welcome to Unfamous, the podcast where we celebrate the art of collaboration, the untold, unsung, unfamous stories of how your favorite pop culture moments happen. Unfamous!

2:41Justin Tranter:Okay, I'm very, very, very excited about my guest today. And instead of that awkward moment that happens on every podcast where I introduce and list credits and list what you do to everybody. Since this is about the art of collaboration, you're going to introduce your collaborator to the world and brag about them and what they bring to the table. Great. So this is Kat Coleandreau, my partner and movement director, choreographer, dance educator for, what, 20 years, give or take 17 years. you know, um, to 20 years and, uh, uh, uh, Kat is versed in many forms of dance, but, um, they do a lot of contemporary, um, and have recently been shifting into a different kind of landscape of their career, both physically and, um, and mentally, I think, and, um, and everything that they touch turns to gold.

3:46So I'm just the lucky one that, um, that, uh, that got to meet them and, and, and enter into their life and be, um, warmed by what, everything that they generate, because it's just like, it ranges from, it ranges from low, slow burner to red hot heater. And, um, yeah, I just, I'm amazed at it each and every day that we spend together. All right.

4:14Justin Tranter:Come.

4:18This is Ella Melo. She is an incredibly kind, passionate, loving, funny, intelligent, loyal human being. And she also happens to be an incredible songwriter and musician and dancer. That's how I connected with her, actually. And yeah, she is amazing at what she does. I love what she does. And she's also very ethereal and spiritual and loves a deep conversation. And I just think the world of this person. And I'm so happy to be in this space with her at all times.

5:01Justin Tranter:And she's in a band. She's in a band. I don't know if you've heard of them. It's called Rainbow Kitten Surprise. and yeah, she's the lead singer, songwriter and she's amazing. Oh! Well, that was like the kindest, most like loving intro we've had. That was very, very beautiful. Awesome. Let's start, let's get the basics out of the way. How the fuck did you two meet?

5:33Well, we have a way that this goes, I feel like. I have been listening to their music for like 10 years. I've been creating to it, dancing to it, teaching to it all over the world. And I made this video and the band saw it and they were like, no, who are you? 10 years ago is to fever pitch. And they were running their Instagram at the time. So they saw it and we ended up at a concert and I saw the band backstage and Rachel was there. And I was like, can we say hi to the band? She's like, who are you? And I was like, we're the dancers. and she was like the dancers so she introduced us to the band we developed this friendship relationship over the last 10 years and then I saw you in Dallas and you were like I was hanging out with you backstage and you were like espionage the song we're working on and that's where you take over the story I feel like okay so um I'm like I'm like okay so that was because I get my timelines all mixed up you know sometimes but uh um no so I played him the song espionage I'm like I'm visualizing like I want to see like a dance video to it I see choreography um I see myself taking part in it and it was just like okay well let's do it New York when when I saw you on the curve like after the show you were waiting and um I just known them as Kat the dancer for years and years.

6:54Um, so, and, and I just known them to be a special kind of like alien vibe. Like just, I don't know. I don't know what they always just had an energy about them. That's, that's remarkable. Like it's, it's, it's very specific. So I remember someone was shouting my name and I was like, usually, I mean like it's one 30 or two o 'clock in the morning on the streets of New York. I don't live here. You know, I live there. I'm just like, I'm just walking to my bus, But I hear this and something inside of me was just like, no, you have to turn around and see who this is. And then I turn around and they've got one leg up on the curb, just like, and they're wearing like rose-colored sunglasses at 2 o 'clock.

7:35I was like, that's Kat the Dancer. There's no way. There's no way it's anybody else. So whatever, we go up and exchange numbers and we kind of keep a friendship going over time. And then the espionage video. Wow. And we went and shot it. And then like, you know, three days later, coming back home, driving home, I'm in Nashville and I just get all these butterflies and something just I see this picture of Kat holding a rose in my head. And it just like I almost had to pull over. I was just like, wow, what are these feelings I have to tell Kat? This is crazy. So I tell Kat over FaceTime that night and Kat just laughs.

8:14and then says to me and then says looks at me and just says are we in love and we are and we are and that's it and that's it there's really nothing else wow yeah we didn't meet for we didn't meet in person so like a week later on valentine's day they showed up no yes valentine's

8:34Justin Tranter:day. Yes. Yes. It was, it was really, really special. And, um, yeah. Kind of nerve wracking. Yeah. We had all this built up over the last week. We're like, how is this going to go? Well, a week for you, 10 years for me. Wow. Yeah. Yeah. Yeah. That's a lot of yearning. Yeah. 10 years of yearning. Yeah. We'll really, really do it to you. It was so funny. Cause it was like, I was telling my friends, I feel this person close to me, like this person I'm meant to be with and my friends were like it's so funny because she was just in your ears and your body for like 10 years right and we just didn't really know we existed but we did it was such a funny thing when did it turn into an artistic collaboration like right from that immediately from the espionage thing where it was like oh yeah let's choreograph but then and then everything else like just every time an opportunity presented itself we ended up doing a show that was uh you call it, I call it the, you call it the full length.

9:34I call it the long form, but it's a full length is what it is. And I'm wrong, but that's not, that's not the more, the point is, so we did this like hour long show in New York and it only went up for a couple of, you know, how these things are, you know, but like went up for a couple of shows there and I made all the music and a lot of it was kind of, it was somewhere in between this electronic kind kind of like Hans Zimmer pounding, you know, synthesizers, and then some like more acoustic stuff and sing acapella stuff. And yeah, we just, yeah. What was that show called? Is This What You Came For?

10:11Cool. And it was a, it's a touch on social media and the like social experiment that we are existing in.

10:18Justin Tranter:The dystopian hellscape we're all living in, yeah. Yeah, exactly. Through dance and music. And it's like, you know. honestly sounds right at my outlet we will send it to you please yeah we would love to do it again it's just like it really the relationship really started in collaboration because it was her music my dance she would sing for my classes i would come to rehearsal and watch the band and be like can i like can i just give y 'all some direction like are you into that yeah and she called her manager she was like do we need a movement director like do we do this and they were like what are you gonna do to us and it was really this just it felt so natural like it was never it was never competitive or we never fought over it it was really just it just locked in how did having a movement director for the band um and us one that you're also in love with um that kind of that's a two two-part question but like how did adding that element of movement to your show change your show and change you?

11:22Well, I'll say Kat told me something before coming on as movement director, you know, right in the early stages of it, which was they were like, look, if nothing else comes out of this, here's what I'm going to do for you. I'm going to make and make sure that your band gets connected. Every person to person and then as a whole unit, I'm going to make sure that the connection is there because that's what dance is about is connecting. Cool. And that's what, you know, the dance, you have to stay, you know, it's like eyes locked and you follow each other's steps and you improvise together. And that's like, that's what I will bring, if nothing else.

12:06It's not about the hat tricks or the movements. You know what I mean? Like it's not turns or anything like that. It's connection. Cool. And that's what they brought. Yeah. You know.

12:20Justin Tranter:the for you it's because I was in a band for many years like in a glam punk band before I started writing pop songs and um the visual was such an important part of the show and I was like in full makeup and six inch heels and just but you know I feel like I really could have I could have used a cat in my life and and do you feel like I mean obviously bringing connection to your band members definitely seems like the most important part of that process. But for you sort of coming into your body in a different way on stage, was there any sort of evolution there? Well, Kat, so Kat knows that I don't take direction well.

12:56Justin Tranter:That question is actually going to come later, but let's jump to it now. Kat knows that I don't take direction well. So the way they started and constantly continue to do it sometimes is, is, is, is, is, all right, Ella, I have a dare for you. Because they know I won't back down from a dare. Kat will be like, I have a dare. And they're like, you know, at some point during this song or during this 10 second window or whatever, I want you to find this movement. It may be a body roll or maybe it's a turn or maybe it's a, you know, cheating out towards the audience. You know, maybe it's like serving face or something like that.

13:31You know what I mean? Like whatever it is, whatever it is, it, you know, they just lay it out there for me. And then we walked through what I would call blocking. You know, that's what you call it in a theater sense. It's just where are you positioned on the stage at any given time? Yeah. You know, and so we'd walk through that stuff. But then for the movement stuff, because I've been moving since I've been on stage. I mean, I started out, you know, I was studying dance in college and I was full bore into that when we started this band. Oh, wow. Cool. I understood performance through the lens of dance, really, you know.

14:09And so, you know, I remember our first show. Well, that's kind of a deviation. We can get back to that later. But it opened me up to, and Kat can probably speak to this, you know, what it's like and what we accomplished together. But it opened me up to just this idea of like, wow, you know, if something's uncomfortable, let's not throw it out. Let's just figure out how to do it differently. and what's coming to mind is that you could tell it, like the story of the circle on Mission to Mars. That's exactly what I was thinking of. It's how do we embrace discomfort? Discomfort isn't unsafe. It's sometimes discomfort is what, yeah, opens us up to new possibility.

14:49And with Ella and the band, you know, they taught me so much about patience and surrender. It's not about my ideas. It's about bringing their ideas and highlighting what they do well, which is move, connect, and honestly just change people's lives. Like their music is so powerful lyrically and energetically in your ears and to see them navigate in physical space is, I think it just pulls the audience. And I think that's what we're seeking as human beings right now is to feel connected to something bigger than us. And music and dance does that.

15:25Justin Tranter:Well, then when you and I have very similar jobs, right, when we're the one who's not on stage, it really is about helping the person on stage tell the story, whatever story she needs to tell or the whole band needs to tell. It is a very similar thing. It is like coming from my years in a band and being the one on stage and then all of a sudden realizing there's such a freedom in helping other people tell their stories. It's like such a different thing, but it's quite beautiful. So you mentioned, you said it, so I got to bring it back to it, that you can butt heads. The circle. And so, you know, I think we're very lucky with, even though we're a new podcast, that the strong fan base that comes to us is coming to learn.

16:15Justin Tranter:So anytime collaborators are willing to talk about how they get through moments of discomfort, of butting heads, I think those are the most helpful stories because the stories of when everything's perfect doesn't really help anybody. So if you're willing to talk about some headbutting, that would be fabulous. Well, so much of my work is, it's somatic. It's based in wellness. And I mean, I think to collaborate in a beautiful way, we've got to keep wellness at the forefront and trauma informed and spiritually informed. And with Ella, sometimes it's like, I'll give a direction and it will trigger something deeper than my knowledge.

16:54we were talking about the circle and I was like, why don't you start here? And I just saw it take over her body in a way where I was like, okay, how far can I push you in a way that's healthy and safe, not comfortable, but safe. And how can we find each other in the center? Because at the end of the day, we're partners. And also she's technically my client, right? Like it's not about me, it's about them. And I always say to her, like, can you please let me do my job? I'm on your team. We're on the same team. Like, please, can you trust me to do my job? And we work through it. We have an amazing therapist as well who has been so helpful in the process of collaboration because, you know, when you're partners, you don't always get to leave that space of artistic collaboration.

17:42I was just going to say.

17:42Justin Tranter:Yeah. So if you have a moment of friction at work, how do you not take it home? Or do you just take it home and keep dealing with it? We take it to the bunnies. I need to know what that means we have a back porch and the bunnies feel safe to come and lay in our yard and hop wild bunnies they get through the gate in a little corner a hole in a little corner and I'm like how do we not take it with us sometimes we do and sometimes it's like we do and we talk about it and I know we're usually you're about to get serious because cattle go from here to the flip their phone upside down and put it and then just turn to me and like cross their legs or something and just make it like, I'm hearing you go ahead.

18:32Say what you're going to say, you know?

18:35Justin Tranter:And that phone goes down, honey goes down. And I'm like, I'm always like, actually, can you call my phone? Cause I can't find it. Yeah. Thank you. Before we start this play, if you could call my phone right quick. Yeah. Just so I know. No, we, um, we, You know, we do have folks to talk about it with, and we do, and we do that at times. But honestly, like, we just know that we can beat anything. You know what I mean? We know that we can work through anything and that we can both come out with what it is that we need to move forward. So, like, because we've seen it. So it's just like, no matter, the question is, how much time and emotional energy are we willing and needing to allocate to this at this current juncture?

19:21And we're very good at just being like, okay, well, we can't talk about this right now. Let's circle back. You know what I mean? We keep kindness at the forefront. There's no yelling. There is no anger. Like, love stays at the forefront. This is not a character assassination. We both, I mean, we both are very passionate about therapy and life coaching and spiritual guidance. And I think coming from those two places, like Ella said, we've both been through it in our own past relationships. we came into this one with like a very uh passionate desire to be good communicators and sometimes being a good communicator means knowing that you need to walk away and take a breath for a second yeah you know i mean it doesn't get mean yeah no i mean i think that that's

20:03Justin Tranter:what i i what i'm learning from from you guys talking right now is the sort of the fact that you're gonna go home together forces you to be like the healthiest collaborators at work It's like things that we could all learn from, like treat the people that you're just work collaborators with with the amount of respect that you have to take at home. When you don't take it home, you're just like, fuck it. Let them be mad at me for two weeks because I don't have to see them. But for you too, it's like because you have to take it home, you like make sure to really be the most respectful collaborators at work, kind of out of necessity.

20:47Justin Tranter:when um i'd love to sort of go through uh a one if we pick one song that has movement in it but let's start at the very beginning so like um how did you write the song what what came first music lyric and then how do you bring it to cat for the movement i'd love to just like track one song start to finish if you don't mind what do you think devil devil for sure because that was the most challenging one yeah for sure there was and and me and boys kind of had the thing but i'd be curious to see what you saw and how it evolved but yeah um so devil like me is what we're talking about um a song from our you know ep7 later rebranded as seven plus mary our first two and Devil Like Me written, what, 2013, maybe December 2013.

21:47And it was one of those where it was like, I got on this riff, this bum, bum, bum, bum, bum, bum. you know and it was like it felt so muted and so like um you know with the drop d going on and stuff it was just kind of like this is almost a metal riff is what it reminded me of i was like i don't really make that so i don't know what i'm going to do with this but but but something that was important to me in early songwriting especially was like no i need the guitar part to be cool and I need to be able to play it well. And so I would just practice that part, that riff over and over and over again so I could play it in my sleep, almost literally.

22:31But this time, I just went ahead and tracked it, you know, on my little Tascam US200. I had a C14, you know, AKG C214, and this little laptop that I'd gotten for, you know, whatever. And so I started the song and I hit record and I remember the first verse just came out right away. And I was like, okay, that's cool. What about let's work on the chorus? And like I got these like vocal flips or like these very like high falsetto kind of crooning things, you know, which I've never quite been able to replicate. And that's quite often for me in the recording process. But like, I just remember I went down and I must have played that song in different versions for different members of my family in our Nissan Ultima.

23:30Like, you know, like five times that night. You know what I mean? I would go up and I was like, no, this has to be perfect. And I kept doing that for maybe six months with my family, with my friends. I kept adjusting it, doing micro adjustments. you know we added the stomp claps which is just cardboard boxes thrown on the ground all at once and then literal claps right you know and it's got you know and then adding the little uh beat behind it so it kind of gives it a little more body and the kick and a clap and then um you know i just remember making almost an electronic version of it and my guys were like what are you doing to our song?

24:15What is this? And I was just like, all right, I get it. I went too far. I'll take it back. Let's take it back. Let's take it back. And then we were in Boo, North Carolina. We were driving through the parking lot in Cookout, a place called Cookout, if you've ever been. It's like our in and out in North Carolina, you know? And I played it for him. I was like, I'm pretty sure this is it in my brain. And I'm like, here, check this new mix out. And, and everything, like we played it, it ended, everybody was dead quiet. And they're like, yo, yo, that, that's it. I'm like, yeah. I was so nervous.

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24:55Justin Tranter:I didn't know it was going to be a good yo or a bad yo. I was like, what follows the yo? They were, what is yo? Sick. Okay. Yeah. And so we, yeah. And that was the making of it. But as far as, and we've been playing that song, obviously, for like 13, 14 years or whatever. Yeah, cool. You know, and it's a tough one to play sometimes because it's a little bit slower than some of our other songs that have a lot of movement in it. We used to do movement around that song, but it was like, it was not consistent necessarily. And sometimes we'd just be like, well not really feeling this one tonight and then Kat kind of saw that and was like no no no there's something there you just gotta some commitment to the movement some confidence in the movement and play it up it's just like you're a rock star kind of thing like to every one of the band that's Kat's kind of approach is just like dude like whatever you're gonna do all eyes are on you so you better just do it you know Yeah, it was funny because when I first started with them, I got them in a circle and I was like, okay, we're just going to like groove our bodies and feel.

26:11And I remember Ethan grabbing his guitar. I was like, you don't need your guitar. He's like, oh, I do. He's like, this is my emotional support instrument. And I was like, oh, this is so sweet. Like it would be like me playing an instrument for the first time. Like this is such a unique experience. And I remember with Devil, this is one of the first songs I danced to as well when I discovered their music. So I had this like kind of, Wow, cool. It has this very sensual kind of push and pull. And they were kind of tapping into it. And I was like, let's go further. And Boz was like, I don't have an instrument.

26:41What do I do? And I feel like movement direction isn't just about guiding direction. It's about guiding confidence. You are capable of doing this. You look amazing. You're hot. Let's just do what you do. And with Devil, it was really, what story do we want to tell? And Ethan kind of starts with this highlight on him. So it was this cat and mouse moment between Bozzy and Ella. And it was like, how do we circle around this light over Ethan and move them to different sides of the stage? Because the audience gets stuck seeing you where you're at. So I had the most fun seeing that one. I think that one came the farthest for me.

27:18Justin Tranter:What I love so much, just reminding me of my band days, and there are like certain songs, whether it's the tempo, or whatever it might be, where like, you can tell that like everyone on stage just oddly feels uncomfortable. And it doesn't matter how great the fucking song is. And it might, without you there to collaborate, you might be like, I'll take the song out of the set. For some reason, we just don't feel confident in it because of the movement, because of the tempo, because of how our bodies feel. And then like, you might not be playing a fan favorite because your body is uncomfortable in it.

27:54Justin Tranter:and that's a really cool thing. I think Kat calls it the shrimp. When you kind of like, you bend over a little bit and you get all in your feelings. You know what I mean? You get emotional. Yeah. Yeah, and it's like, and that's been a huge thing for me is just like posture. Like, what am I signaling? You know what I mean? And we talk about that a lot. Like, what are you sending out to the world? Yeah. And then, because that's what you're going to get back, right? you're going to see that reflected and mirrored. And so it's like, if you want, if you want the confidence, you have to give the confidence and then it's given back to you in the way that people like adore it or in the way that people are like, do more of what you do for us.

28:37Thank you.

28:38Justin Tranter:Yeah, completely. Moment on stage in 2022 at Red Rocks when your body said, fuck this. Yeah. Yeah. I always struggle with the way to tell that story. Cause I feel like there's a lot of other stories that get wrapped up into it as well um i think you know like i don't know i don't know it's i i i think i think it's like maybe a trauma response and also you know like um mentally just very sort of unwell and not in a good place um very dark place very um feeling like uh there was just a point where i was just like I can power through, I can power through with using whatever tools or things are at my means in order to just block everything that I'm feeling and just keep performing in this way.

29:29I remember that night, I remember I just, my body, I kept playing the thing and my body would just shut down sort of thing. And I would turn to the audience and I'd take a bow. And I did that maybe five, six times. I don't know. And I thought, wow, this is really strange. Even for me these days, everything was strange in those days but like even for me I was like this is but I was so grateful I just couldn't even I and I felt like a I felt like I was dying I felt like I was going to you know and um and when I did hit the deck I was like oh this whole time I was worried about dying I was worried about my friends dying I was worried about all of these things surrounding death and the whole time it's been me and maybe it's not me me but it's a it's what how i perceive myself and how i've carried myself and and and my patterns of action and behavior and thought all of which need to change that's me looking back on it now back then it was just like whoa i'm so grateful if this is the end i'm so grateful for everything i can't ask for more wow um and then that was a long road to recovery yeah you know it took years uh in and out of any kind of thing you can imagine you know uh hospitals and and um and and residential facilities and all that you know where they cut the cords on your sweatpants so that people don't accidentally not accidentally or people don't do stuff you know what i mean it's like they're some of them are pretty rough and tumble But, you know, you find moments of kindness and connection with humans in that stuff.

31:10And I learned a little bit each time until I was like, oh, but I didn't learn it well enough because I fell right back through all the cracks. I fell right back through the cracks in the system and the cracks in my own mind. And I ended up in a hellscape and I took everybody around there with me and they could all feel it, too. and you know i mean like and like i was staying with my manager don at the time who is always just like in times of trouble it's just been like all right just come to my house wow you can sleep in you can sleep in this room downstairs and like wow fed me and like laundry like just like all the things that i was i was not capable of taking care of myself very very well at the time and i they were just like they just took care of me him and his wife elaine you know they're just i don't know that had been so awesome um and um you know nobody else would have done it at that time you know and so yeah I don't know we came out on the other side and how do you how do you know when

32:10Justin Tranter:you know what because it is you know you're saying that like when when you would fall down to those dark depths and you'd bring everybody with you and I'm assuming that means your collaborators as well And how do you, how do you, after going through all the different treatments and how do you know for yourself, right? Again, hoping people are listening to this to learn as long as you're okay with sharing. Like, how do you know for yourself when you're like, all right, I'm ready to do this again? I think I've, recovery is always a constant state, but like, how do you know when you're, when you're ready to do it again?

32:45Justin Tranter:Hello, my little unfamous friends. so um the thing about the algorithm little miss algorithm is that she um doesn't want to let people know about our podcast unless she thinks that people love it so if you follow this podcast what do the old school youtubers say like subscribe and follow um if you do that for me then you will help the unfamous message of the beauty of the art of collaboration reach more people. So please do me just a cute little favor and follow this podcast and share it and do all those fun things. Bye. Well, they put me on bipolar. They put me on meds for my bipolar one. I was like, don't ever take me off of that.

33:30After two days of it, I was like, oh, this is, I'm starting to get the way like neurotypical people might view the world and exist in it. Like this is way easier than what I was doing in the past. But like that gave me, you know, like, you know, Well, even in my depths, I was still reaching out for other people who were struggling harder than I was. And reaching forward to people who were struggling less. You know what I mean? Like, ooh, I want to be part of that, but I have been part of this. And I want to bring them with me, but ultimately you can't. You know what I mean? All you can do is like be yourself and try to exist in wellness.

34:12and for me, I didn't know whether I was ready to be back or not. And to be honest, like my anxiety was through the roof around like even practicing to go on tour again. I was like, man, yeah, no, because we had this thing and we had to bring a show down in Orlando and I was in the middle of treatment because I spiraled out. I had a break, you know, what we call a psychotic break and people get confused about what that language means. I'm like here to clear it up. Yeah, please, because I actually don't know. Well, to me, like this is how I understand it, right? This is how I understand what a psychotic break is, is most people, if you look at a faucet, it has hot, cold, and it drips out, and then it comes, you know what I mean?

34:57And you can adjust how much that faucet pours and what it pours, right? The difference between normally functioning brain and a psychotic brain, like one that's in psychosis, is it's like both of those, and then the faucet's just ripped out and water's just gushing and gushing, and you can't stop it.

35:18Justin Tranter:Yeah. And everything that you think starts to become what your reality is. And you might see that manifested or feel it manifested or all of the above or hear it or, you know what I mean? Wow. And so for me, it was very common to like see things and see words writing, but I existed in that state. I was there at Red Rocks 2022. Like I'm seeing things and my body's moving in strange ways that I don't feel like I can control, you know? And so, but I existed in it for years and it just, it had become so, but the other thing that's so scary about it is you get this kind of thing of like, oh, I can't talk about what's going on with me because otherwise these entities or these things beyond me will hurt me or hurt those I love.

36:00Even more real. Yeah. So, you know what I mean? And she's just like, okay, well, ultimately it's just going to be like this forever. So I might as well settle in.

36:07Justin Tranter:Wow. Wow. How as a, first and foremost, as a partner, as love of, love of, love of her life, how are you processing all of this? I've been on my, my own journey of rock bottom goes further than you think it does. and somehow around the same time I was also going through my own things where I was diagnosed bipolar 2, ADHD, got on meds, got off meds, was struggling with addiction, I was hitting the floor in my own way. And as her partner, we have this, our primary agreement is sobriety. Like we stay sober and we ask for help. We have, I mean, she has an amazing wellness team that has taken me on for wellness as well.

37:04So if there's moments, not just her wellness team, her managers, her tour manager, her friends, like the band, everyone is like on the same page. So as her partner, I don't feel alone. Like if we need support, we know where to go. And it's really just, we are so privileged to have that kind of care. It's, you know, it costs money. It's expensive to have that. And we're so lucky. So many people are struggling without help and the financial ability to get the help that they need. So just leaning into that and just knowing that, you know, we stay open, we stay kind. You name me, I'm here. If I don't have capacity, I have to name that and call who we know to call.

37:43Yeah. But, yeah, we just, we really keep therapy and that at the forefront as well, which is helpful.

37:50Justin Tranter:I'm almost five months sober myself. Congrats. Cheers. Thank you. Thank you. Thank you. How's it feel? Fucking awesome. Isn't it amazing? The first six weeks were so boring. I was so flatlined. I was so flatlined. I couldn't find joy in anything. But the last couple months have been amazing. Yeah. Congrats. It's kind of embarrassing to say the hardest part was being bored. Like all these horror stories. And for me, it was just like, can I be this board or am I going to break? And I got through it. I mean, still getting through it. I have to keep getting through it. Okay. So then my, my follow-up question on that is as collaborators who have both gone through your own shit, how do you decide, okay, it's, let's get back to work together, knowing that like you might be on thin ice.

38:58I'm giggling in my head because like I'm thinking about our hyper fixations and how different they are like she's like your hyper fixation terrifies me I'm unmedicated so I I'm really just like kind of getting through it how I do and yep I mean I think there's so much power to medication um it's just not for me right now but it is finding each other because like sometimes I'll be hyper fixated and it's like we're ready to kind of move in a direction together and it's like i can't stop or she needs to stop and we kind of have code words don't we where it's like we're just we know when to stop and start yeah are you i'm just like i'm trying to remember what the

39:38Justin Tranter:question is you know uh just sort of like when how do you know um after going through something so intense, how do you know I need to get back to work? Well, you know, I mean, there's obviously bills. That's a very real fucking answer. And there's bills that you didn't even know you had because you just went through the thing you didn't know you were going to have to go through. You know what I mean? It's just like, oh, I got to pay for that too. You know? But there are, yeah, like, you know, it's like what we found I think is like yeah we do have some co-words we go all done we go we go like can we put a pin in this we halt I love halt dramatic love halt yeah you know so much of the artist myth is that we need to be tortured to make art or we need to be fucked up to make art.

40:57Justin Tranter:And I suffered with that too. In my band days especially, we made all of the art drunk. And now as someone who's gone on to write many global pop smashes, not drunk. Yeah. I'm like very interesting, this myth of being depressed, being tortured, being intoxicated. That's how you become a great genius. And I think the three of us now know that that's not true. But did any of those thoughts ever haunt you? That's just a myth of self-medication. You know what I'm saying? Like you give yourself any reason to take another one. You know what I mean? To have another one. you know what I mean just a little bit just a little you know what I mean and that's the thing about sobriety is just like just put a pin in that you know what I mean it's like we got to figure out another way yeah uh I that's such a succinct fucking awesome answer it's so true any excuse to have another one it's so real yeah and it's just believing as artists humans first artists we're not broken we're like the glue that pulls things back together we're not some broken piece of society.

42:12Actually, I think humanity is called to art to heal, right? It is part of it. So getting to know that about yourself through sobriety, like, oh, I'm not broken. I don't need this to actually be artistic. And like, actually what, what calls us back in, I think a lot of the time is we love what we do. Like it's never a chore. I, I try to never call what I do my work. it's not my job it's my passion and I'm so lucky to make money doing it and do it with people that I love um you know not just the whole band the whole team like these are really incredible people so yeah just recircling uh that that focus of the mind where it's like oh I'm not broken like I actually can do this because I care about it yeah you know no it's I think it is such a

43:02Justin Tranter:the world is called to art to heal I think is such a a real thing I finished a book this morning and I was just like sobbing in the nicest way possible and it's just like to to think that like art gets to do that for people is so so special um also sorry I just have to share the the excuse to have another Jimmy and I've worked together for like 20 years and the amount of times like well no it's gonna be a really stressful meet and greet can you go get me a drink or like the endless excuses of like, why do I need to have another, to have another? That was like a really, that was beautiful. Thank you.

43:39Justin Tranter:Learning so much about myself from this conversation. Thank you. Like, God damn, any excuse, I would make them all something. Discomfort every time. Every time. Trying to avoid it, yeah. Yeah. Okay, to change topics, because I'm getting emotional now. Sorry about that. Don't be. What, this is a question I ask everybody. what is the song or for you it can be a piece of choreography that ruined your life what song did you hear what dance did you see or whatever it is music video where you were like okay i make music now um oh oh um definitely definitely um i mean anything off of this record i feel like i mentioned last night but um was it uh last friday night is it tgif katie yes katie yeah that's that was it that was the production on it and like in the vocals and the and the synths and and the saxo i mean like all of it i was just like that is music like that is like that's smart music like wow oh i love like it's so tight and you know just like i would have never powerful poppy yeah Guess that being a fan of your band would have never thought.

44:56I was just, what's running in my brain right now. And I'm like, oh man, that's good. That's good. It's really good. Yes. Yes.

45:02Justin Tranter:Katie is a friend of mine and she's been on the podcast. So, and she is a genius songwriter and deserves more shout outs. That's, I love that. And mover. Like she's just star. Pop star. Yeah. Yeah. Yeah. I'm thinking about all of the music videos. I stayed up late and snuck out of my bed to watch as a kid. That inspired me to want to be a choreographer. But what's coming to mind the most recently in this new part of myself is The Actor by Alt-J. I don't know this. It is the most nuts music video. I'm just obsessed with Alt-J. They were like the pipeline actually into RKS for me. I was listening to Alt-J obsessively before I found RKS.

45:44And to find out that Ethan is such a big Alt-J fan as well, I was like, this makes so much sense. I love that record. But this video, it's about addiction. This dancer walks into this room to this person who's, like, passed out on the floor. And it's, like, this tiny dancer. And then the person that's passed out is, like, double their size. And they just drag this body around. And it's, like, so, like, I don't know. Just something about it. Highly recommend. I've got to watch this video. It is so good. It is so, so good.

46:11Justin Tranter:Oh, I can't wait. Yeah. That sounds amazing. Life-changing. I know the band, but I don't think I've ever seen a video. I will check it out. the actor. The actor. Love it. Yeah. Okay, to end every episode we play a game. It's called gag or drag. Oh my goodness. Yeah. Gag means you love it. Drag means you hate it. Okay. Okay? And you can say meh if you're just not interested in the question. Okay. Morgan will be offended because these are her questions. I'll just make you talk more about why you feel that way. Okay, gag means you love it. Drag means you hate it. Okay. Gag or drag dating someone who gives you professional notes.

46:49uh gag gag gag gag gag gag feels like this better be a gag yeah Morgan has just broken up

46:56Justin Tranter:I see that phone going face down my leg is crossed like let's go yeah okay gag or drag choreography that looks too obviously choreographed gag you know speak your art yeah yeah yeah yeah great gag or drag sharing your location with your partner yeah major gag yeah necessary i know i feel like they started it like like like like yo i mean i remember yo that's actually when it got serious was what was we shared your location and I had to make the choice. I had to make the choice, share until the end of the day or share indefinitely. I hit share indefinitely. That was it. This is real shit. That was the thing.

47:43Wow. That was the thing. And we didn't know each other that well at the time. It's the truth. But that was the thing. I was just like, I don't know why, but I always want you to know where I'm at. Gag.

47:56Justin Tranter:Oh my God, that's so cute. Okay, gag or drag, quote, artists make their best work when they're miserable. We kind of already went over this, but. Jack. Yeah, no, I'll tell you why. Because like the torture thing, it does produce certain results. Now, everything that you do is going to go through the pipeline of your subconscious, through your conscious brain and out through, you know what I mean? Like and out into creativity, you know what I mean? And so it's like if you're living tortured or you're being tortured or it's, you know what I mean? That's what you're going to get out. but like you can't say that that tops anything else that comes out of you.

48:35You know what I mean? Like it's like some people like that dark, like everything, and there's a season for everything. And the thing about being tortured is I think that it like shaves off probably literally years of your life and years of your actual creative like spark. Yeah. To do that because you're like maxing out a system. You're redlining it. You know what I mean? And anybody who knows like – You can't go at maximum capacity with anything all the time. It will burn out. You know what I mean? And then you're a firework. And you just pop and people say, oh, that's cool. And then they move on.

49:15You know what I mean?

49:16Justin Tranter:Great answer. Gag or drag. Oh, this is a long one, Morgan. Hold on. I'm going to get through it. Gag or drag. Straight people calling baby stuff gender neutral and then getting mad about pronoun. Drag. Drag it. done Morgan that was a great setup to just being annoyed about people who hate pronouns I'm so sick of it I also love when we hate pronouns we don't use pronouns and I'm like no yes you literally do I'm like just don't refer to me at all I'm just thinking of that Portlandia sketch we don't want to know the gender of the baby and you know that and you know that That's our favorite thing right now.

50:02Justin Tranter:And you know that. Gag or drag being friends with an ex?

50:11Literally impossible. Meh. Slash, you know what? No, I'm going to look at it in other people's lives, though. I'm not talking about mine, but like in other people's lives, I'm going to say drag because it just doesn't, so often it doesn't pan out. But they're all like, no, no, but we're different. I'm like, then all of us? No, you're not. We can social experiment this collectively and decide that you're in the wrong here, bud. Like, there's no way. There's no way that you go from dating right into being best friends with your ex without some kind of, like, major roadblock coming. And honestly, we're all in the car for that one.

50:50So please just save us the emotional energy expended. And move on.

50:57Justin Tranter:I am friends with many of my exes, but there's always like a two-year break. Same. Where you like, either you don't talk at all or you barely talk. I totally agree that like, wake up the next morning and no, we're just best friends. Everything's fine. That is, that is never going to happen. That is, I'm with you. But we all wanted it to happen at some point. Probably several times. We never learned. Completely. That's what your twenties are for. Gag or drag, changing the set list based on the city? Oh, gag. Gag. Yeah. Yeah. Yeah, you got to throw every... Performing, everybody knows you just throw every single one of your cards at them every single night.

51:38You got to make it... Yeah, like if we have a song called Good Night Chicago, if we're ever playing Chicago, we play it. It's got to be last. You know what I mean? Like, you know, that kind of thing. Yeah. Yeah.

51:50Justin Tranter:Yeah, I also... I'm a huge Tori Amos fan and she's been posting her set list for every show and we didn't get LA, the LA show did not get Cornflake Girl and seeing that she played it the show before and the show after I'm like what the fuck how? That's a message I'm a deep Tori fan I don't need just the hits, I'm okay with some deep album cuts I'm okay with some bonus tracks, with some B-sides for San Diego to get cornflake girl and not me, that's just not fair. San Diego, half of those people are Republicans. You gotta stick with me. San Diego catching straights, okay. Gag or drag, never go to bed angry.

52:40Justin Tranter:Gag.

52:43I cannot say meh. I have to be very careful with what I say next. This is what I feel. No, I'm like, no, no, no, no. I'm going to say drag because sometimes you can't sort it out and sometimes you're too tired to sort it out. I thought gag was the positive. Gag was like the - Wait, did I say gag or did I say drag?

53:02Justin Tranter:I think I'm dragging. Yeah, she's dragging because she's saying sometimes you don't have time to sort it out before bed. Sometimes you don't have the right words, so you don't have the right thing. I can't. You know what I mean? I know, I know. I just need like, and I love you. I'm just, I'm very, I just need like, I'm still mad at you. I love you. I don't like you right now, but I still love you. No. I'm going to my room. You go to your room. I'm going to the bunnies. Going to the bunnies. Yeah. Yeah. Gag or drag your partner telling you to stop working and go home? Drag. I thought you both were going to say gag.

53:35Drag. Drag, drag, drag. That is where our fights begin. Yeah. We don't fight ever, but that is where our disagreements happen the most. I don't want to stop working. I don't want to stop working either. But sometimes it's like one wants to hang out and the other one wants to work. And we try to make that this kind of split hangout and work thing. But we hyper fixate too hard. And it just, yeah. We end up going home because it's like, well, now I can't do this anymore. So thanks. Thanks, you. You know what I mean? Thanks, you. Yeah. No, it's a gag. Gag. Gag or drag? I don't know what it is. It's gag.

54:13It's gag.

54:14Justin Tranter:It's drag. Okay. You dragged it. You both dragged it. You hated it. We dragged it out of that. Okay, last question. And I'm going to make it a little bit more specific than I normally do. What is one piece of advice that you would give to yourselves about collaborating with your life partner that you wish that you could give when you guys first started collaborating? and what's one piece of advice that you wish you could give to yourselves now? Shut the fuck up. Ask more questions. Remember everything they say. And whatever you do, shut the fuck up. You know what I mean? It's crazy how much that works.

55:01It's just like, that's a golden ticket there, bud. Am I really that bossy? I feel like the - What bossy? Is that you? No, no, no, no, no. I mean, I mean, like I used to go into every room and feel like, oh, shit, like the only way this is going to go good is if I like exert as much like of myself or my control or whatever on it as possible. And I found someone who would let me do that, but then also correct it like, babe, it's not about you. I love who you are. I love talking about you. Just this moment, though, it's about me. Just this moment. and it's so few and far between because I just be talking.

55:42I'll throw out, like, I'm like, babe, look at this piece of gear. Look at this amp from 1956. This is going to be amazing. My gear guy just got it in. And they're like, I love that you love gear, but you have to also know that, like, I have things that I love as well, and I'd love to share them with you. And I don't love gear that much. I'm sorry. I'm trying so hard. I'm trying so hard. More than anyone else in my life. that you love it. Yeah, I know. I know. I love what you love.

56:12Justin Tranter:I think there's so much to learn from that. Me and my band members had to learn that in a different way where they're obsessed with gear and I'm obsessed with makeup and when friends of mine would visit on tour who were like my friends and we would just talk about makeup for hours on the bus and they'd be like, we're gonna fucking kill you and it's like, wait, this is my gear. I'm gonna be honest. We're selling more tickets because of this fucking makeup than your fucking paddle board. Absolutely. What's so funny is those are my two things. It's makeup and gear. It's both. It's both. And then Kaz.

56:49Justin Tranter:Yeah. So what is your, what is, I interrupted you, Kat. What is your piece of advice? Have fun. Just because your idea doesn't get chosen doesn't mean you're not chosen. Like, it's letting go and surrendering to process and love and yeah, just have fun with it. More fun. Love it. Yeah. Love it. That was amazing. Thank you both so much. Thank you.

57:18Justin Tranter:Hello, hello, everyone's favorite part of every podcast where we say please follow and subscribe to this podcast wherever you listen so you don't miss future conversations. And also, pretty please take a cute little second to rate the show. It's one of the biggest ways you can support us. See you next Wednesday.

From the publisher

What happens when pushing through stops making you stronger and starts getting in the way of the art?

Justin Tranter sits down with Rainbow Kitten Surprise's lead singer/songwriter Ela Melo and her partner and movement director Cat Cogliandro to unpack how movement, trust and recovery changed the way Ela and the band perform.

They trace “Devil Like Me” from a homemade recording built with cardboard-box stomp claps to its live reinvention, revisit the 2022 Red Rocks performance that forced Ela to confront how far she had pushed herself, and talk honestly about sobriety, creative conflict and knowing when to ask for help.

It’s a conversation about building a better show, but also a more sustainable way to keep making art without buying into the idea that suffering is what makes an artist great.

Credits:

Unfamous is hosted by Justin Tranter
Created by Justin Tranter & Morgan T. Stuart
Produced by Justin Tranter & Morgan T. Stuart
Written & Researched by Morgan T. Stuart

Director: Morgan T. Stuart
Co-Director + Cinematographer: Olivia McCrary
Audio Engineer: Mike Sabri
Camera Assistant: Kolbi Samantha

Special thanks to Mark Beavan, Jimmy Knehans, Bailey Katler and 2BEntertainment.
Learn more about your ad choices. Visit megaphone.fm/adchoices

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When "Pushing Through" Stops Working: Rainbow Kitten Surprise on ReinventionUnfamous with Justin Tranter · 58 min
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