God just told me to shut up!

The real reason we ended up getting into that type of music was our dad worked for an oil company so we spent a year overseas when we were young kids. Because of that, it was all Spanish TV and radio so we ended up having these '50s and '60s tapes, tapes of that music.

For us, being a label, we took out the whole aspect of the business that goes into sifting through people who don't care, who don't get what you're trying to do. We can just hire and work with people who get it - the people who understand what this project is about. When you're on a label, you're just hoping somebody will stick their neck out and work for you. Most bands are just like, "I hope they do it. I hope they promote it." But being a label, we know exactly what's happening.

We've been touring for so long and people ask me every once in a while, "What's it like working with your brothers?" and I go, "What's it like not?" Our first paying performance, I was 6 years old, you know? I almost don't know anything else, so I guess it feels pretty normal to me.

I think for us, we don't feel like the future of music is in the act of being a record company. We feel like the future of the music business is in empowering artists to have better and better tools to communicate with their fans. We want to be people who are saying to artists, "Look, you don't need that company over there to release your album. You can do it this way." Almost more of a band partnership than a label-artist relationship. Not about ownership of content, but about empowerment.

When you become a band and you've got people who want to be a part of your experience or want to get close to you for what you are, not who you are, you have that challenge of trying to find out who's genuine.

I don't think that having a family changes the way we tour as much as it just changes the personal perspective on wanting to get finished with the tour, or the reason you've got to go out and bring home the bacon, that kind of stuff.