It’s a busy time in the life of The Swon Brothers these days. Brothers Zach and Colton—who sprung into national prominence on Season Four of NBC’s The Voice—have just released a brand new EP titled Timeless that debuted in the top-20 of the Billboard Country Albums chart. In addition, the duo has an opening slot on one of the hottest tours of the year—Carrie Underwood’s Storyteller tour. Myspace recently caught up with the siblings to talk about their career, as well as most dangerous part of the Underwood tour so far!

Tell us about opening for Carrie!

Colton: It’s so unreal. That’s really the best way to explain it. Just to run down the first week, me and my brother watched her rehearse for about a week in Jacksonville—sitting in this big empty arena, watching her do her thing, with all the production coming together with the lights and the sound. It’s just larger than life. When we first saw it, we just looked at each other and said, “What are we doing here?” This is unbelievable. To go from that to feeling the presence of the crowd, and to have them be so receptive to the music, it’s just a dream. As corny as it sounds, it’s a dream. This is what we’ve worked for our whole lives. We’re doing it together, and we haven’t killed each other yet. It’s nice. It’s a really good time.

What has been the reaction from fans to your new music?

Colton: We’re always very nervous to put out new music. I think that any artist is. After all, you’re not just singing songs. You might be telling a story that you went through or some personal feelings in a song. You take it personal if someone doesn’t like it. It sticks with you. So, to see people catching on to the songs and enjoying them has been great. In the merch line, people will come up to us and say, “This music is just fun. It puts us in a great mood.” That’s a good feeling, because there’s not a lot of things out there that are left that will make you have a good day. Whether on Facebook, or watching TV, everything is so negative. So, it’s cool to hear that it has a positive effect on people.

In between your last album and Timeless, it was announced that you had departed the Sony roster. Do fans care about business stuff such as that?

Zach: I don’t think they pay attention to the label, and I don’t really think they care that much. I think they care more about being engaged with you on a personal level. I think that’s what keeps your career going. That being said, to get the response we’ve gotten—within 24 hours, we were at No. 2 on iTunes, and it debuted at No. 19 on Billboard—that just says a lot about country music fans, and how loyal they are. They don’t care about the business part of it.

With the change in labels, I would dare say that probably opened up more freedom for you two.

Zach: We didn’t have any rules on the EP. We didn’t even have a release date. There were no voices telling us how it should be done. We could listen to the Tweets we were getting or the Instagram posts with people telling us what they loved about our music. This record took on a different feel. If you listen to it from top to bottom, it’s a lot more soulful. We played more. Every song, we had a piece of writing, and we didn’t get to do that on the last record. That’s a good feeling. We just could be us.

I guess you could compare the label change to that of a free agent athlete going elsewhere after a winning run at one place.

Colton: I say this with 100 percent honesty: we really have no hard feelings concerning Sony. I look at it like a football team and a coach, and you’ve got to have the same playbook and the same plays. We’re unbelievably grateful for everything we did there. We wouldn’t be here without them and the work they did. It’s not necessarily a bad thing. Sometimes, you just go to a new team. It’s made everything stress-free. It’s not new to us. We’ve done this for a living our whole lives.

From what I have heard, the “oldie” segment of Carrie’s show can get a little dangerous, correct?

Zach: I’ve never risen out of the stage before. In order to do that, you have to get pretty low to get down there to the thing that comes up. It is a dangerous working machine underneath the stage. Every part of it moves. The first night in Jacksonville, I thought I was low enough, crawling to my spot. But, I wound up busting my head on a bar below the stage. I will never do that again, and I am now on my hands and knees crawling, but I knocked myself out. My head was bleeding. The first night, I sang “Fishin’ In The Dark” with blood on top of my head. I don’t really remember doing it.