Olcay Bayir Interview
This is the transcript of my 2025 interview with Olcay Bayir, an extraordinary British singer-songwriter of Kurdish Alevi origin. The podcast and video versions are linked here along with the show notes and links to Olcay’s music.
Olcay Bayir:
Music has been a great part of my Alevi culture because Alevi rather than a religious religion, it's a way of living as a philosophy and spiritual, spiritual teaching in a way. Since we do not have a book, we don't have rules as the typical and stereotype religions do, but what we have, we have songs where we carry our values.
Leah Roseman:
Hi, you're listening to Conversations with Musicians with Leah Roseman, which I hope inspires you through the personal stories of a fascinating diversity of musical guests. In this episode, I'm joined by the extraordinary Olcay Bayir, a British singer songwriter of Kurdish Alevi origin, originally from Turkey. Olcay opens up about the challenges of immigrating as a teenager, her classical training in opera, and how she's forged her own unique musical path. You'll hear clips from her 2024 album to Tu Gulî, along with selections from her earlier projects featuring songs in several languages. Her rich voice and evocative arrangements breathe new life into Anatolian folk traditions, offering a vibrant and powerful re-imagining of this timeless music. In our conversation, Olcay shares insights into a Alevi culture and spirituality, how she honors the strength and stories of Anatolian women and her creative process and inspiration from masterful collaborators. As always, you can watch this episode on my YouTube channel or listen on your favorite podcast platform. A full transcript is also available. I research and produce each episode myself, and it's a joy to share these conversations with you every week. You'll find all relevant links in the show notes including Olcay's, Bandcamp and website as well as ways you can support the podcast. Now to our conversation!
Leah Roseman:
Hi Olcay, thanks so much for joining me here today
Olcay Bayir:
And thank you for inviting me. It was a pleasure.
Leah Roseman:
So I've so enjoyed listening to all your recordings, but I think you have a new project in the works because I saw you post something about going to BBC studios.
Olcay Bayir:
Yes, thank you so much, first of all, for enjoying my music. That was for my last album to, they wanted to record myself as a concert coming up. I'm going to be part of Songline Music Festival on the 16th of May. So BBC wanted to do a recording with me beforehand.
Leah Roseman:
Okay.
Olcay Bayir:
Yeah.
Leah Roseman:
So using the repertoire from Tu Guli?
Olcay Bayir:
Yes, yes, yes. We recorded a few songs from Tu Guli, yes.
Leah Roseman:
Okay, wonderful.
Olcay Bayir:
Thank you.
Leah Roseman:
And earlier this spring, I believe you were at the Babel Music Expo in Marseille?
Olcay Bayir:
Yes, I was. Yes, I was there actually. I wanted to go and meet some new people, make some new connections and listen to great music from all around the world. Yes, I was.
Leah Roseman:
Who did you hear that was new to you? That was interesting.
Olcay Bayir:
There were, excuse me if I cannot remember the names, but there were Bab L'Bluz, that's the one that I remember and it's really impressed me. I quite liked it. And there was some collaboration between Halal Wassim is a percussionist is a French North African percussionist, the collaboration with Indonesian Gamelan music. But that was quite an interesting project and I listened some Chinese duo as well, and they were quite nice as well. So to see different, I didn't know that instrument because I haven't heard it live before. That was quite interesting as well and welcome music as well. So it was quite a mixture. Mixture, yeah, the showcase, it was lovely.
Leah Roseman:
I'm curious because you sing in four languages that are not English are mostly your audiences sort of half and half people understand some and some people don't understand the words at all.
Olcay Bayir:
No, it's true. True. Of course. People don't understand what they do enjoy. I think music beyond music is beyond the language and the borders has got it's own language. And I think the power of the words also reflected to music, I guess. And that's why people, even though they don't understand the word of word translations, they do understand overall meaning and the intensity of the words through music.
Leah Roseman:
I mean the emotional intent certainly comes through of
Olcay Bayir:
Course
Leah Roseman:
When I listen just to a recording. But I can imagine live, it's very powerful. I'm curious, just going back to that music expo, were you hearing lyrics of languages that you didn't know?
Olcay Bayir:
Of course, of course there were a lot of African, African and Arab Arab acts were there. Of course you feel the intensity. And of course, again, the gestures and the acting also speaks for themselves as well. And you understand from the gesture and the clothing and outfit everything as well as music and accents. Yeah.
Leah Roseman:
So your 2024 album Tu Guli, means you are a Rose.
Olcay Bayir:
Yes. That means that you are a rose.
Leah Roseman:
So you say in the notes that you're paying respect to women of Anatolia, including your family. Can you speak to that?
Olcay Bayir:
Of course. Of course. Tu Guli is my humbly way of showing my to my ancestors, especially the women around the area, including my mother and grandmother who's been suffering, who's had the biggest part of the suffering from the case. I just wanted to, I felt that Tu Guli is like a stop for me through my musical career that in this stop I just wanted to pose and go back and have a look a little bit to go back to my local route. It's my route, but it's where I come from, my hometown and look at some of the songs I used to hear from when I was a child from my grandmother and from my dad. And I wanted to interpret those songs with new rhythms and with the new arrangements, but still keeping the originality and also try to remember and recall and revoice of my ancestors through that. It was just a humble attempt of mine doing that. And I think it's a milestone through my career now, which I like to do more and more.
Leah Roseman:
All the music you're hearing will be short clips and the albums linked in the project, and I'll let Olcay introduce each one.
Olcay Bayir:
Edlê is a Kurdish dance tune, a wedding song, it's quite funny and talks about a girl called Edlê. It is a very fun love song. (music)
Leah Roseman:
So your second album was your original competitions mostly?
Olcay Bayir:
Sure, Yes. Second album, half and a Half, I think five of them were my original compositions and five again, or maybe four, remember I think that was nine songs, four from the arrangements of traditional music from Anatolia, but whereas it's all traditional anonymous song. But the songs into really more from my hometown where my dad, my grandmother came from, my mom came from, and those songs that I used to, I grew up by listening to them.
Leah Roseman:
So the songs are in many languages though still on this album. So I was just curious growing up what you were hearing in terms of what people were speaking and singing
Olcay Bayir:
The songs in from. Typically Turkish, in Turkish, Kurdish and in Armenian I use, there are three languages there, which I find myself the closest to. And in my DNA, my genetic as well as in my feelings that it's got big space. I am Kurdish origin, Kurdish Alevi, and of course I grew up speaking Turkish, which become also personal identity. And I have Armenian through my mom's side. I've got a little bit of Armenian inside as well. So those three languages and cultures always find very close to, and it is become part of me and it is part of me. That's why I chose those three languages.
Leah Roseman:
And some of your earlier albums, I believe you also sing in Greek
Olcay Bayir:
At time to time. I do sing Greek because Greek culture is also as a big part in Anatolian Anatolian region. I do sing time to time, it was the thing in my first album and never, I sang one Greek song from Anatolia though because Greek songs also differs as well. Greek anol and the Greek from mainlands are different. So for me, everything is touched. It's under the Anatolian culture, and the big umbrella thing I found very, I feel attached, attached to them. And there's so much similarity in terms of lyrics, in terms of melody, in terms of feeling, and that's why I am it. It's got space in my music.
Leah Roseman:
Yeah, I interviewed one other Kurdish musician on this series, but he grew up in Iran, so we talked about Kurdistan and the culture a little bit. So can you speak to Anatolian culture and what that means in terms of the geography and the people?
Olcay Bayir:
Anatolia basically is where modern Turkey is right now. So that whole area is called Anatolia. Of course Kurds always mostly been in Kurdistan and it's been the east of Anatolia where the Greeks has been settled, settled. The West Anatolia, they're called minor Asia, but the whole region is Anatolia and I believe there is a wholeness inside. I cannot put this borders anywhere, but of course my music and I do, when I say I'm Anatolian, of course my music reflects my own personality, which is Kurdish Alevi. And I am doing what I do with my Kurdish Alevi soul and from my own perspective and my own window. But Anatolia is the region of, of course some part is called Mesopotamia as well, but it's a little bit down Mesopotamia. But modern Turkey now is used to be called Anatolia.
Leah Roseman:
And the Alevi culture, which is quite ancient. Growing up with that, can you impart some of that to us?
Olcay Bayir:
Of course. Music has been a great part of my Alevi culture because Alevi is not, rather than a religious religion, it's a way of living as a philosophy and spiritual teaching in a way. Since we do not have a book, we don't have rules as the typical and stereotype religions do, but what we have, we have songs where we carry our values and way of looking at the world and our ethics and values carried in those songs, devotional songs. And we have gatherings where we sing these devotional songs and we carry our, and remember our values of our belief in these ceremonies. And we do this with instrument called saz, baglama and singing through singing men and women together and music. And there is a spiritual dancing as well and being part of it.
So music has got great, the very big part in my culture in that sense, music and literature in my religion. So that's why you see everybody, maybe 90% of Alevi plays baglama. And then in any gatherings, see three or four Alevi gets together, they start playing saz and sing these songs. Because these songs are not separate from our daily life. It's not like it's got a different agenda, it's got their agendas is our day-to-day practices and talks about our emotions, talks about our ethics. When I talk to, when I walk outside, when I eat, when I speak to people, walk on the street. So it's really a philosophy that you with your daily living as well. So that's why it's really important and we see it's necessary to remind that to ourselves and every moment possible. So yes, it's very, very important music in my culture.
Leah Roseman:
Beautiful.
Olcay Bayir:
And the third song is called Ötme Bülbül , Nightingale, Do you not sing Nightingale. And nightingale It's a very important symbol in Alevi music. It symbolizes us actually and who's whose aim in life constantly to get closer to the divine and try to be a wise person. And nightingale singing is always, is resembled and symbolized to our yearning as we are away from the divine and we are try to get close to it. It's very profound, prominent, profound Alevi poet Pir Sultan Abdal who lived in 15th century. The lyrics belong to him and I wanted to do a version of that devotional song of Alevi culture.(music)
Leah Roseman:
Now when you perform, you don't normally play the baglama.
Olcay Bayir:
I don't play baglama, I do play now, but I'm planning to play on the stage very soon and I started having baglama in my performances on my stage as well. For the reason I just wanted to try something different in my music that was a choice in my first and the second album I did not use baglama but I used other instruments because as a musician lived in diaspora so many years and studied here, I just wanted to give a different taste to my music by using modern instruments. But there there's definitely, but I never lost originality, try to change or completely give a different sense or the feelings to music. But I will bring the baglama am planning. And with Tu Gulî as I said, it's a cornerstone for me. And I think I'd like to hear baglama more and more and I will.
Leah Roseman:
So your co-ran guitarist, let me get his name right, Lusardi
Olcay Bayir:
Ignacio
Leah Roseman:
Ignacio Monteverde. So he's also, he plays Flamenco
Olcay Bayir:
Ignacio is a flamenco guitarist. Yes. He's got his solo albums and he's a composer as well, which I've been collaborating with him a few years. I thought Ignacio's soul will really suit these songs because in my second album I worked with different producers, friends also, which I used to play and I did the album together because I thought that the soul of those songs really could be really created by these musicians. But Ignacio's soul is just really fit with these songs and I wanted to do this songs with Ignacio and I think we managed to create what I wanted to by working with Ignacio.
Kurdish classical traditional song it's called Ay Dilberê it's again profound. Kurdish poet Feqiyê Teyran wrote that song, his lyrics and it's one of the most famous Kurdish traditional songs and I wanted to do a version of it. (music)
Leah Roseman:
I love the arrangements on this album. I think
Olcay Bayir:
They're great. Thank you so much. I want to be as minimal as possible, not changing and using very small lineup but at the same time try to attempted humbly tried to be a bit different looking at my music and thank you very much. I'm glad you enjoyed that.
Leah Roseman:
Could we talk about the opening track?
Olcay Bayir:
Of course Husna is a track, is woman-themed track. So I used to hear this song from my grandmother, from my mom, and actually from many other, because it talks about, it has a sad story of a girl who's been forced to get married to a son of a Lord. It's called Ag, of course Father did not want that to happen, but there was a big social pressure on him, whereas sometimes ordinary people don't have any word over lords, the word of lords. And it was kind of arranged by him and the girl has been taken, but unfortunately it's been treated so badly and father and family tried to get her back and could not manage. And finally Husna has passed away, died because of the mistreatment after six months because she was deeply in grief and suffering and she died and the family, they saw that she's dying and then let her go back to her family and then Husna gave her willing saying that it's my will that please make sure that's happening, that everybody should be getting married to whoever they want to get married.
So this has happened to me. I really wish that does not happen to anyone else. I think the sad story of Husna and she was a very, very popular girl, very beautiful girl. And this sad story of her became like legend and it's put into a song and it's carried and sung by many people and still story, it's just touch the hearts of people. So I used to hear this song from my grandmothers because this song is sharing, it's not just this story, but many other girls from the region, my mom, even my grandmother and many other women that I met I know from generation share the same story. Maybe it's not the same extent, but in some extents they did the marriages which they did not want to be in through the social pressures, family pressure, and they had to live the life that day. They were not really planning, imagining and they had to keep be in the relationship. And this marriage for the sake of, again, for the responsibility of a woman, you are a woman. And then the expectation of the society that whatever happened, you're a woman, you have to do, you have to keep it going. You have to keep it to maintain the family and be silent. This story of is shared by many, many other women. I just wanted to put that in my album. (music)
Leah Roseman:
So could we talk about your childhood in Turkey before you immigrated to the UK?
Olcay Bayir:
Yeah, I was in Turkey for the age of, I was born in Gaziantep, the Syrian border, the other side of the Syrian border where I used to have a lot, I used to have lots of different cultures and especially Arabs. We have lots of Arab Arab neighbors and Turkish neighbors and I remember we have Armenian in the regions, one Kurds of course it was quite diverse in that sense and I used to live there until the age of 12 and then we moved somewhere else, which is via because of the financial issues, my family wanted to have a better life for us and we moved somewhere else and then he decided to move to UK again for better life for his children. Then we joined him after a few years and I started living here, but it was always on the road. My life was always on the road. We never settled anywhere else in Turkey more than a few years. But I've been living in London in more than I used to live in Turkey basically. I spent most of my life here and my family as well. Their history is always, they were on the road, they were migrating from one place to another.
Leah Roseman:
So immigrating as a teenager is hard for anyone. But you didn't know the language either.
Olcay Bayir:
Of course. No, no word, no word of English. It wasn't easy of course in the few five, six years of coming here was lost because of the adaptation. So I just became a baby again because that age, the age that you're just trying to find yourself and you don't know what you want from a life and it's just like all the hormones and everything, 17-year-old and then you just go back to beginning and start learning the language and then try to get the idea of what you wanted in life and I dunno. So it was really, really difficult for five, six years. I don't even remember it just, I think it was a constant struggle of trying to fit myself within where I am and I managed to do that. Luckily I managed and I managed to study music with the help of a friend who thought that I'm a great singer and I should be studying music. So there were a lot of help and I thank him for that. Then I raised that awareness and I studied music. Music was always in me. It did not came that point, but that courage of doing that. Then I started music and I carried on. (Music)
Daha Senden Gayrı , Alevi devotional song lyrics by Ruhsati, a folk poet lived in the 17th century. It talks about the meaning of life and our short life and our existence.
And I am trying to remember what else, and I've got Nare. Nare is an Armenian song from Anatolia. Haig Yazdjian played the oud for that song. He lives in Athens. He's Syrian Armenian, but he's from, actually he's an Anatolian Armenian, but then they've been forced to live in Syria and then he moved to Greece and he played oud on that song. (music)
Leah Roseman:
So you were studying classical singing with opera at the
Olcay Bayir:
Beginning? Yes, yes, I studied opera.
Leah Roseman:
Hi, just a quick break from the episode. I wanted to let you know about some other episodes I’ve linked directly to this one, which I think may interest you, with Omo Bello, Sophie Lukacs, Gilad Weiss, Shahriyar Jamshidi, Ali Omar El-Farouk, and Shirley Kazuyo Muramoto among so many since 2021. It’s a joy to be able to bring these meaningful conversations to you, but this project costs me quite a bit of money and lots of time; please support this series through either my merchandise store or on my Ko-fi page; you’ll find the links in the show notes. For the merch, it features a unique design by artist Steffi Kelly and you can browse clothes, notebooks, mugs and more, everything printed on demand. On my Ko-fi page you can buy me one coffee, or every month. You’ll also find the link to sign up for my newsletter where you’ll get access to exclusive information about upcoming guests. Finally, if you’re finding this episode interesting, please text it to a friend. Thanks. .
Olcay Bayir:
Yes, I studied opera, Western classical music because that was only option for me. As I said, it was a door for me that I can get out myself from the situation. Then luckily I got accepted and I started studying and I enjoyed, I enjoyed, I love classical music and classical singing as well, which I did like few years, six or seven years during the time of university I did and I stopped as thought it was enough for me and I wanted to do my own music and I formed my band and I started working through my first album.
Leah Roseman:
So in those early years when you first immigrated, is music one of the things that helped you through that?
Olcay Bayir:
Of course, of course. Music has always been a way of escaping and where I heal myself, where I express myself the way that I want and where I feel myself most. Free and safe music has always been in my life. Even though the first of in migrating here, I was looking for musicians, where are the musicians in my community though? Where are the musicians? Who are they? What can I do? And I did join some community bands and I tried to be part of it, make connections and make those moments. Those years or months of my life is easier for me or more enjoyable for me. More copable.
Leah Roseman:
I believe on your first album you have a song for your primary school teacher
Olcay Bayir:
That's actually, it's not in, but yes, I mentioned that this was my first song, my ever song. First song that I composed was to my primary school teacher. And because I used to love her a lot, she was like a second mother to me. She was impressed when she heard my singing.
Leah Roseman:
Has she heard any of your recorded work now?
Olcay Bayir:
Oh yes. After so many years she got contacted to me see that actually I had a concert in Turkey in March last month. She was going to come to that. She contacted me saying that I want to see on the stage, but sadly she couldn't make it because she's living in different city. She was going to make the effort to come and see me. But yes, she writes to me, write me some time to time.
Leah Roseman:
Okay, so you'd written that song as a child?
Olcay Bayir:
Yes, yes. I was around 6-year-old. 7-year-old. Yeah, maybe six, seven.
Leah Roseman:
Well, I was curious, so you're teaching now, you have this sort of online teaching?
Olcay Bayir:
Yes, I'm a teacher as well. After the university I studied education and teaching and I've got the certificate. I used to work as a teacher as well, music teacher. But reason I stopped for the reason that I want to spend more time in music. But now I'm going to do some, hopefully planning, doing some online teaching if I can.
Leah Roseman:
Yeah, I was curious in terms of vocal coaching, the types of things you want
Olcay Bayir:
To Yes, definitely. No, no, no, definitely, definitely. It's more this route that I want to go develop myself more rather than teaching kids just more into voice. More into vocal and techniques and help people who needs that. Adults actually who needs to or who wants to develop in this field.
Leah Roseman:
Do you have trouble memorizing lyrics or what do you do when you forget the words
Olcay Bayir:
On the stage? You mean? I try to cover, it happens. It happens of course, but one way is just keeping the lyrics of course in front of you. But when I forget the lyrics just try to cover and I repeat the words that I know. But there is of course easier, but it is easier when you sing in front of the people who do not understand the language that you speak, of course. But it becomes, I get a little bit more anxious in front of the people who understand the language. This is normal, but it happens. We are all human, we can forget things. But the most important thing is just how to cover it and people don't understand that as long as it does not to the overall performance, it's okay. It's Tal Talal is an Armenian, an Italian Armenian folk song.
Leah Roseman:
And do you normally talk to the audience before a song about the meaning or afterwards?
Olcay Bayir:
It really depends on where I perform and depend on the audience as well. Some audience, they do not like to hear the song, the meaning of the song. They just, and you understand that audience and audience wants more talking? Yes, I do explain, but there is not a method for me in that sense. I give an overall, people do know of course, but that's why they choose to come to my concert. When I give a little bit of overall debriefing, the more detailed information and I look at the response of the audience. So if I feel that they want to hear more, of course I make that more frequent before every song, maybe every couple of songs. But if I feel that people want to hear more music, I just give brief info for each song. But not every time I don't stop the music every time, every two, three songs. I just give a bit of information and I do group the songs as well. And when I do give information, people don't understand for the next two or three songs are going to be, it is about, it really depends.
Leah Roseman:
So your second album, Rüya is how you say it. So is there a song from Rüya you'd like people to hear a clip of?
Olcay Bayir:
Yes, I'd really like people to listen to Yar Dedi, which is my composition. And I wrote this song with an inspiration of my Alevi belief where I talk about love, but love is not to another person, but love beyond that. So you can play that clip to people. (music)
Leah Roseman:
So for your own songwriting, do the lyrics come first or the music
Olcay Bayir:
I guess depend. Sometimes I comes both. Sometimes I work on music that I created and I expand it on a theme that I found. Or when I do music to the poem that the words just inspires me, then I create the music. So it's different
Leah Roseman:
Now. You got funding from Help Musicians UK During the pandemic?
Olcay Bayir:
Yes, during the pandemic they were funding musicians that has been affected the most during pandemics. And I had a project at the time and I was thinking what should I do, what should I do? Actually I worked a lot in Pandemic, I really worked a lot and that sense. So it's really helped me and thank them. I had four or five songs, four songs I did and it was all remotely recorded and all this process of song making was remotely. And of course it took a lot of time as well. Yeah, I did. I did a project, I proposed a project to help musicians and they accepted it. At the time they funded 14 musicians and I was one of them.
Leah Roseman:
So you have an EP from that time, right?
Olcay Bayir:
Yes, that was EP. Yes, I did an EP, it's called İçerde Inside, of course this EP is done with the feeling of completely different feeling of being in that sort of this topic world. That's why all the arrangements, the songs song were just, it was kind of a reflection of how I was feeling at the time.
Leah Roseman:
I believe Lost Child is on that one,
Olcay Bayir:
Lost Child was on that one, but Lost Child, which I finished during pandemic, it gave the final shape. But the lyrics that I started working before, during the Syrian war, during the war, I think I started writing lyrics, a few lyrics. I was watching a TV and I saw a girl Yezidi girl was crying, screaming and over the death of her father. And then that just really touched my heart a lot that the little girl screaming and I wrote down little, few words and then I expanded it and I managed to finalize it over Pandemic and I recorded that one. (music)
Leah Roseman:
There's a duduk in that arrangement?
Olcay Bayir:
Yes, there is a duduk in the arrangement.
Leah Roseman:
Very beautiful evocative sound. And that player was actually in Armenia.
Olcay Bayir:
Duduk player you mean? No, that's a Turkish one. But in my last album, Tu Gul î, the duduk player, I worked, he's Armenian, Arsen Petrosyan, he played in Adana and he played in where he played also, I think he played in Tal Tala as well. He played in Tal Tala too.
Leah Roseman:
So to close this out, I thought it might be interesting to talk about other creative outlets. Do you draw or cook or are there other things you do?
Olcay Bayir:
Yes, this is a very good question. Sometimes I ask myself, what, what else do I like to do? Of course there's many, but is there anything else that I have passion as well and I try to find out what it was. I think I discovered that I like cooking a lot, especially cooking and baking as well is something that really relaxes me. It's like a meditation and I like to create, put things and try new things without looking at the recipes. So it's just because I don't use any of these measurements in my cooking anyway. Yeah, cooking something, baking and cooking something that I really like to get more into it. I find it fascinating. I put all this ingredients and creating something. So I think it's an art as well
Leah Roseman:
For sure. What are some of the flavors you really like to use
Olcay Bayir:
In terms of flavors? I'm not being really adventurous. I'm keeping my own, our own spices and flavors, but I try different ingredients for baking. So I'd like to put everything with all the seeds and the oat and different type of oils. Like we use avocado oil and coconut oil. Yeah, so I'm not say that I have a long history on that, but recently I discovered that part of myself. I'm sure that I will do more and more.
Leah Roseman:
Okay, sure, of course. Was there anything I didn't ask you about that you'd like to talk about?
Olcay Bayir:
Yes, there's a performance coming up, Songline performance coming up for me, this is important on the 16th and also I will be part of the Music Poet festival, which is happening in York in October. Those two festivals are quite important festivals in the UK for world music listeners. I hope anyone that listening to your show can make, or if they're around they can come and we can meet. Just one point. I would like, if you can put my Bandcamp link, when people, if they want to buy the album, that would be great if they can buy from the Bandcamp because I believe Bandcamp is just great by helping and giving all most of the revenues to artists. So it's really helps. So I appreciate if people can go to my Bandcamp and if they want to buy the album, buy from my Bandcamp account.
Leah Roseman:
And all your albums are on your Bandcamp.
Olcay Bayir:
Yes. They're all, even the EP each I is there as well. Yeah, they can access, have an access to all my releases.
Leah Roseman:
Yes, this will definitely be linked in the show notes.
Olcay Bayir:
Thank you.
Leah Roseman:
Well thanks so much for this today. Really appreciate it.
Olcay Bayir:
Thank you so much. Very invite to meet. It was a pleasure to talking to you and thank you very much for listening to my music, enjoying it and touching your heart, so I really appreciate that.
Leah Roseman:
I hope you enjoyed this episode. Please share this with your friends and check out episodes you may have missed at LeahRoseman.com. If you could buy me a coffee to support this series, that would be wonderful. I'm an independent podcaster and I really do need the help of my listeners. All the links are in the show notes. The podcast theme music was written by Nick Kold. Have a wonderful week.
