# Song & Interview: "Together" With Lance Horne

An episode of [Little Kids, Big Hearts](https://invisiblenetwork.ai/podcast/1560907375), 25 Apr 2025, 13 min.

Audio: https://www.buzzsprout.com/1735544/episodes/17040589-song-interview-together-with-lance-horne.mp3

On this special episode, Little Kids, Big Hearts host Todd Loyd chats with award-winning composer, lyricist & performer Lance Horne 🎶 about the disability he was born with and how he overcame his early challenges to become an Emmy Award winning songwriter and musician. Lance explains: "I spent four summers of my childhood with my head wrapped in a bandage. And it meant not being able to go out and play on the swing set or having people kind of point and wonder what's going on or getting ready for a surgery or being excited about a surgery..." He goes on to recount how two different teachers — Miss Roseberry and Susan Grove — inspired him to pursue music and to write his own songs. At the end of the episode, Lance shares the new song he created — TOGETHER — inspired by the words Zach and Scarlett shared earlier this month on the LKBH episode "Inclusion Matters With Ali Stroker." Recording & Mix: Jacob Tourjeman Vocals: Lauren Elder, Julie Garnyé, Lance Horne Whistling: Lauren Elder Music: Lance Horne Lyrics: Lance Horne & Todd Loyd *** Lance Horne is an Emmy award-winning composer, pianist, singer, music director, and producer who has arranged for/performed with Alan Cumming, Jake Shears/Scissor Sisters, Ricki Lake, Rufus Wainwright, Pink Martini, Liza Minnelli, Kylie Minogue, the von Trapps, Ben Folds, Neil Gaiman, Chita Rivera, Justin Vivian Bond, Sandra Bernhard, Shoshana Bean, Amanda Palmer/Dresden Dolls, Cheyenne Jackson, Jelani Remy, Kelli O’Hara, Ken Page, Ana Gasteyer, Meow Meow, Taylor Mac, the Gatlin Brothers, Boston Pops, Seoul Philharmonic, Atlanta Symphony, London/SF/LA/NY Gay Men’s Chorus, Sydney Dance Company, Michael Feinstein, Carol Channing, and Sesame Street. He performed with Kristen Chenoweth for President Obama, the First Lady, and Queen Elizabeth. Broadway: vocal arrangements for Little Women, arrangements and appearance in Regina Spektor on Broadway. Music for ‘Bent’ dir. Moises Kauffman at Mark Taper Forum. Producer and performer: World Pride, Copenhagen 2021; Broadway in the Park Series, Mexico City; Secret Broadway, Australia featuring Shoshana Bean. Work with the A.R.T. in Cambridge includes Prometheus Bound, Cabaret, and Extraordinary. Multiple appearances at Carnegie Hall, Sydney Opera House, Lincoln Center, and London's West End. Albums include compositions and arrangements for “Jake Shears” featuring the Preservation Hall Jazz Band, “Alan Cumming Sings Sappy Songs”, and John Cameron Mitchell's "New American Dream". Music Supervisor, producer, arranger, and composer, “Each and Every Day” documentary for HBO, dir. Alexandra Shiva. Composer of Ricki Lake Show theme (FOX), Macy's Parades (NBC), multiple film scores, specialty material for television. Multiple residences at Joe’s Pub, host of weekly Mondays in the Club with Lance, now in its seventh year at Club Cumming. Two original musicals currently in development. Mr. Horne is a Steinway Artist, recipient of Jonathan Larson, Bistro, and ASCAP Awards, Helpmann Award Nominee, Interlochen graduate with BM, MM in Composition, The Juilliard School. Previously on faculty at Juilliard, NYU, and EAMA Paris. Currently on faculty at Syracuse University.

## Transcript

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Hey, friends, guess what?
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The Little Kids Big Hearts podcast now has a
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YouTube channel.
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Just search Little Kids, Big Hearts, and enjoy
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full episodes of the show.
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You'll also find fun music videos of the Big Heart
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songs you love.
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See you there.
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Today's guest is Emmy Award-winning composer,
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pianist, singer, music director, and producer,
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whose career has spanned concert halls, clubs,
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television, Broadway stages, and literally
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everything in between.
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He's arranged for or performed with an incredible
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range of artist from Alan Cumming, Kylie Minogue,
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Jake Shears to Liza Minnelli, Chita Rivera, Rufus
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Wainwright, and even The von Trapps.
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He shared the stage with Kristin Chenoweth for
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President Obama, the First Lady, and Queen
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Elizabeth, and his work has been heard everywhere
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from the Sydney Opera House to Carnegie Hall.
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I've had the joy of hearing him perform in spaces
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both grand and gritty, and today you'll get to
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hear something new he's created for Little Kids,
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Big Hearts.
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Welcome to the podcast, my friend, Lance Horne.
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Hi there, thanks for having me.
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Yeah, thanks for being here.
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I'm so glad you're here.
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Well, listen, we've known each other for a while
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now,
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and I've admired your talent in so many different
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settings.
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But what makes your music even more powerful
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is the story behind it.
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So I was hoping we could start there.
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You've shared with me in the past
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that you were born deaf in your right ear.
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And growing up, you had to undergo multiple
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surgeries.
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Can you share a little more about what that time
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and your life was like and what it meant to
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navigate childhood with those challenges?
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Sure.
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I spent four summers of my childhood with my head
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wrapped in a bandage.
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And it meant not being able to go out and play on
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the swing set or having people kind of point and
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wonder what's going on or getting ready for a
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surgery or being excited about a surgery
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because...
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I was born without most of what other people have
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for their right ear.
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It's called Microtia.
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So I didn't have an ear canal, and I only had this
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portion, which I'm showing you, but this is audio.
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But if you could imagine just like the middle half
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of an ear kind of formed,
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I like to think that my ear was facing outwards
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that I had it to the outside of the womb,
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and I was kind of trying to listen.
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But it didn't form.
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and so it meant that there were several phases
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where they took cartilage from my ribs
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and put it around the outside of the ear that did
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form to make it resemble more of an ear
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and also create like a listening device basically
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so that eventually once my skull was grown and
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once there was enough technology actually
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to drill through the skull they could give me an
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ear canal and then graft some
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skin from my right arm to go because it's the most
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similar to the ear canal skin so that was a
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10-year
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process all in so it was just always in the back
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of my mind: I wonder when my skull will stop
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growing ...
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which isn't exactly what most kids are thinking
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about so it was a funny way to grow up being
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different and being
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different
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in Wyoming was hard.
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I already had a bit of a speech impediment,
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partially because I couldn't hear properly,
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like everybody else was hearing anyway.
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And partially kind of cool that I had this thing
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when there was a party going on downstairs
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and everyone was being noisy.
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I could just put my left ear down to the pillow
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and go to sleep because my right ear...
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was already blocked off. So it was great. It was
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weird. I'm happy it happened.
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Was music something you were always drawn to or
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did that come later?
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Music was something I was always drawn to. My
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Grandma gave me a little player piano for my
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second birthday
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and my dad gave me a football and I took
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the football and I sat on it and I played the
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piano.
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That was how it began.
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I love that.
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I know there was a teacher who encouraged you and
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supported you to start writing music.
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Who was that teacher?
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And do you think you'd be doing what you're doing
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now if he hadn't stepped in?
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No.
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Both of those teachers were shes.
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There was Miss Roseberry, Evelyn Roseberry, who
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taught me the fun of
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of music and the play of music. She was our
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elementary school music teacher. And she ended up
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playing
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my first musical, which she encouraged me. In
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sixth grade, I interviewed all the students and
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made a
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musical. And then we put it on at the school.
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That's cool. And she was awesome. And then the
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other
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teacher, I was training as a classical pianist,
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but I kept turning things upside down or backwards
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or playing them up a step or...
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and my classical piano teacher got really mad and
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kicked me out of her studio.
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And so then I had this other music teacher who
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picked me up off the ground because I was really
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sad.
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And she said, well, you know, it's fine if you
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want to make new music, but don't change the music
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that other people have made.
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You can just write your own.
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I don't know.
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I never even thought of that.
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It was like the heavens opening.
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I thought that the last composer was Debussy
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because that was the last music in all of my
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classical books.
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And I didn't realize you could write your own.
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And so...
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Susan Grove. Thank you, Susan Grove, got me on the
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path to writing my own music. So we'd spend half
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the time looking at other people's and then half
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the time writing my own.
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Wow. I love that story. In our episode with
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Scarlett and Zach, they talked about finding ways
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to make everyday things work for them.
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Yeah.
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I saw you perform in a club earlier just this
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week, and it was so loud, I could barely
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make out what someone was saying on a mic. And I
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was wondering, how do you make music work
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for you in spaces like that, where it's noisy or
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distracting and listening becomes a real
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challenge? That's a great question. I read lips,
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which I learned how to do when I was young.
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So if I can see the singer...
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I'm okay, which is kind of a superpower.
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In the space that you saw, I had my back to the
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singer,
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which is even more of a challenge.
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So I can't see them.
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I have to kind of feel them.
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So it's almost like a second sense that I've got.
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I really listen for their breath.
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And that's the easiest way.
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I have seen you like turn around.
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Is that what you're doing?
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Like sometimes when you're playing and you turn
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around to look at the performer?
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Yes, when I'm turning around to look at the performer,
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I'm trying to read their lips.
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or see when they're breathing.
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Because then I know that I can hit the downbeat
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with them.
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Wow.
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And if I hit the downbeat and then I listen for
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their next beat,
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they set the tempo, and then I just — I grew up as
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a cowboy.
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So once you get the horse started, it's staying at
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the same tempo.
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So I just kind of treat it like I'm just riding a
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horse,
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but the horse is a song.
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You and I have that in common.
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That's so cool.
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You've performed everywhere — in schools, theaters,
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clubs, concert halls,
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and you've connected with so many people.
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Yeah.
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Was there a moment that you can think of when you
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really felt your music helped someone feel seen or
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be heard?
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That's a great question.
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I play a party every week on Mondays where people
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get up and sing and I play the piano and it's
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whatever song they want to sing.
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And somehow that expression has made so many
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people feel like they are being seen and heard
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that usually don't get a chance to sing.
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And so many people, after they've done it for the
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first time,
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tell me that they haven't had the opportunity or
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bravery or something to sing in years,
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seven years, ten years.
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And this is the first time they felt like they
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could get up and sing.
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And that's one of my goals is to just make
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everyone feel like they have the ability
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to sing and express themselves and be heard, even
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if it's in a loud space, and be
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be included in expressing themselves.
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I would also say, like, I know what place you're
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talking about.
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And when I've gone, it also just feels like the
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whole, all the people in the room, whether
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they're singing or not, it feels like a very
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positive space and a supported space there.
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I totally see what you're saying there.
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You created a beautiful piece for this episode.
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And it's especially meaningful because we've been
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talking with kids and with Ali Stroker about
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inclusion, identity, and doing things your own
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way.
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What went through your mind when you heard the
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words the kids shared?
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Did any of it connect with your personal
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experiences growing up?
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It absolutely did.
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People who took me on the playground under their
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guidance and my friends and
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It was a, I mean, a lot of the times I was on a
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playground, I had my head in a bandage.
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And that doesn't really bode well.
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That's not an easy time on a playground.
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So I just really came away from listening to the
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making of a playground where everyone could be
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together with that word together.
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And I think that's something we need more than
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ever now is to just be together.
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I think that's kind of the solution to everything.
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So that was what I took away from it.
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And so that was the idea for the song.
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You know, one of the fun things about this episode
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is that you have a bit of a history with
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Ali Stroker. Is that true? That's true. I was
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teaching at CAP21 when she was studying there,
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and it was so great to see her making a way down
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the hall to go to dance class in particular.
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And they were doing some beautiful movements, and
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she just did them so brilliantly. And I thought,
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I can't wait to see what she does in this
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profession. And I'm so glad that she's
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sound center stage. Yeah. We have an upcoming
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interview with her that will release later this
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month,
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and she just so joyful and had such great things
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to share. So we're so happy to have her join us
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and to have you join us as well. What advice would
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you give to kids with different abilities or
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disabilities, especially those who want to explore
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music, art, or other creative outlets?
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Well, if you have the ability to breathe, you have
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the ability to express yourself. If you're
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moving around and somehow feel like you have
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something to say,
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then you're doing the world a disservice if you
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don't say it.
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You're the only person with your perspective,
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and so it's really important that you express
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yourself however it is
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that you feel like expressing yourself.
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So you can figure out a way and only you know how
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to do it,
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but everything else is secondary to figuring out
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what you want to say
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and then how you're going to say it.
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That's some great advice. Well, Lance, thank you
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so much for joining us today. We're lucky to have
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you share your journey with us, and I'm sure it
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will inspire so many people who hear it. Before we
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wrap up, is there anything you'd like to share or
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plug? Maybe those candles that I love so much.
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Sure.
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We started a candle company during the pandemic to
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employ performers who were out of work.
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And it's welighthome.com,
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welighthome.com.
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That's an easy one to plug.
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And otherwise, just come find us and let's make
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some music together.
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Yeah, they smell very good, listeners.
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Well, thank you again, Lance.
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And now here's the original song Lance Horn wrote
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for our episode called
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"Together," inspired by Ali Stroker and the kids who
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shared their voices with us.
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Thanks for listening and stay tuned for our next
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episode, a fictional story that takes place in
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the Land of Qook-a-lackas.
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Nice. Sing along.
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We’re gonna laugh til we sing, Together.
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We’re gonna jump, spin, and swing, Together.
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If we roll, if we run? If we bring ev’ryone,
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There’s a lot more fun
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(There’s a lot more fun!)
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And we’ve just begun
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(And we’ve just begun)
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Big or small, fast or slow, Together.
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Through it all, we will go together.
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There’s so much more we can explore,
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That’s what playing’s for, together.
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Big or small, fast or slow,
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Short or tall, high or low, always yes, never no,
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Some friends jump, some friends spin,
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Some need space to move within: A brand new way,
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Let's start today,
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Can we build a slide that we all can ride?
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We’re gonna laugh til we sing, Together.
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We’re gonna jump, spin, and swing, Together.
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If we roll, if we run? If we bring ev’ryone,
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There’s a lot more fun (There’s a lot more fun!)
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And we’ve just begun (And we’ve just begun)
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Big or small, fast or slow, Together.
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Through it all, we will go together.
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It’s more than a playground
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It's a world we design, and it's yours and mine.
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Together, Together, Together!

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