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Day 2 of Riot Fest 2022 took place on September 17th. The temperatures rose and because it was a Saturday, so did the crowd size. It was a day of both music and expressions of solidarity with one nation under attack.
Red Scare Industries’ No Trigger was assigned to the smallest music stage in the park, the Rebels stage. However, that did not stop the boys from Boston from giving a powerful performance, including the tunes “Antifantasy,” “Holy Punks,” “No Tattoos,” and “Neon National Park.” There is little doubt in my mind, or at least lots of reason to hope, that No Trigger will be promoted to a larger stage at its next Riot Fest appearance. I’m not much of a gambler but I’ll take the bet that they will indeed be back at the festival, and sooner than later.
Fans of Bully were fortunate to not only see one of their favorites treat them to a fantastic set, but they did so from the Radicals Stage. That stage provided the most shade and the coolest setting on an otherwise boiler of a day. Rolling through “Trash,” ”Where to Start, ”Stuck in Your Head, ”Kills to Be Resistant, ”Milkman,” “Hate and Control,” “Lightsabre Cocksucking Blues” Bully gave the crowd what it was looking forward to and needed.
A formidable amount of joy was felt as The Joy Formidable took over the Roots stage. That line might be of questionable quality, however, the performance by the pride and the Formidable Joy of Mold, Flintshare, Wales (ok, I’ll stop now) was quite palpable. The band, presently based in London, and composed of Rhiannon “Ritzy” Bryan, Rhydian Dafydd Davies, and Matthew James Thomas performed solidly a set that included “The Greatest Light Is the Greatest Shade,” “Y Bluen Eira,” “Sevier,” “CSTS (Come See the Show),” and “Whirring.”
The Get Up Kids were one of the 2022 Riot Fest bands doing an “album play” set. The album in this case was its classic Four Minute Mile on its 25th Anniversary. Though not dedicated to running legend Roger Bannister, as the title might suggest to near-lifelong runners (such as myself), it does feature track runners on the cover. More importantly, the band’s debut studio album transformed the members of the group into stars of the emo punk sub-genre. For attendees who became fans at the album’s first release and those just discovering its music, it was great to hear the full track listing, including, “Stay Gold Ponyboy,” “Lowercase West Thomas,” “Washington Square Park,” “Michelle With One “L”,” and “I’m a Loner Dottie, a Rebel.”
7Seconds announced their retirement in 2018, citing health issues as the primary reason. For that reason, the band appearing at Riot Fest this year was especially compelling. The band returned to touring earlier this year as support for Circle Jerks, alongside Negative Approach. Sammy Siegler sat in the drum chair in place of Troy Mowat, whose health issues continue to keep him sidelined. Kevin Second’s voice was strong and the setlist featured many entries from the band’s classic 1984 album The Crew. The album was remastered and reissued in deluxe style by Trust Records in 2021. Among them: “Here’s Your Warning,” “Definite Choice,“ Not Just Boys Fun,” “This Is the Angry,” “Here’s Your Warning,” “Definite Choice,” “Not Just Boys Fun. 7Seconds also played “We’re Gonna Fight,” plus covered “99 Red Balloons” by Nena.
For those who might not know, Alexisonfire is from St. Catharines, Ontario, Canada and named after an American porn actress. There was some controversy surrounding that latter fact but let’s move now to its Riot Fest appearance. It was a crowd pleaser, featuring in the setlist “Accidents,” Boiled Frogs,” “Sweet Dreams of Otherness,” “Pulmonary Archery,” and “Drunks, Lovers, Sinners.” For a hot late summer day, near that stage was a pretty cool place to hang.
Yungblud is an excitable boy (a nod to Warren Zevon there) and an exciting performer. Dressed in black dress pant style shorts held up by a single suspender over a long sleeve black and white striped shirt added up to him looking a bit like a post-modern day Pinocchio sans the pointy cap. Yungblud’s infectious charm was obvious, as he bounced across the stage almost nonstop through “The Funeral,” “superdeadfriends,” “parents,” “Tissues,” “I Love You, Will You Marry Me,” among others. His set ended with a show of support for the Ukrainian activists at the festival as the English rising star brought a group of them onstage. The Ukrainian flag being held high by said activists demonstrated again the solidarity for the war-torn nation on display at Riot Fest 2022.
Bad Religion is yet another of what I call FORFs — Friend of Riot Fest. As in, the band is a regular part of the festival’s lineups over the years. This should continue ad infinitum. They are a brilliant group every bit deserving of the word legend which has long been attached to them and the innumerable tattoo tributes across the globe. One crowd member expressed their love with the BR symbol shaved into and painted onto his skull. Meeting Greg Graffin for the first time, in the media tent, he exuded humility and kindness. Graffin: “Hi I’m Greg.” Me, in an attempt to be professional and not fan girl the PhD Punk icon from one my top 5 bands: “Thanks, I gotta go shoot 7Seconds now.” Yes, I’m a dork. But I’d hazard a guess Graffin was ok with that awkward bailing out. Back to their performance though. When the music kicked in Graffin, Jay Bentley, Brian Baker, Mike Dimkich, and Jamie Miller got straight to the point with “Recipe for Hate.” That was followed by “New Dark Ages” and “Fuck You.” With so many classics over the decades of its existence, the band couldn’t possibly hit all of them. However, it did a pretty good damn job of getting in a lot of them. Among those they drove through were “Dept. of False Hope, “We’re Only Gonna Die,” “Suffer,” and “21st Century (Digital Boy),” They concluded the set with “Fuck Armageddon… This Is Hell,” “Sorrow,” and my personal favorite, “American Jesus.” Whew and Wow. That about sums up Bad Religion in general and its Riot Fest performance in particular.
Gogol Bordello returned to Riot Fest as a replacement for Bauhaus which had to cancel its American tour due to lead singer Peter Murphy entering rehab. The Gypsy Punks released their latest album, Solidaritine, just one day before its set at Douglass Park. It appeared clear a priority for the band was to continue increasing and solidifying support for Ukraine and its efforts to fight back against Russian Vladimir Putin, his government, and the Russian military (Putin, of course, directed the military invasion of Ukraine on February 24, 2022). Earlier in the day, Eugene Hutz, the Boyarka native singer of Gogol Bordello, participated in a moving tribute to his homeland in a performance alongside a Ukrainian dance troupe. The full band known for its rousing performances did not disappoint as they ran through “Immigrant Punk,” “Wanderlust King,” ”My Companjera,” “Immigraniada (We Comin’ Rougher),” “Think Locally, Fuck Globally,” and “Mishto!”
Yellowcard was one of the three Saturday Night headliners. The band performed in full, its fourth album, also its major label debut, 2003’s Ocean Avenue. “Way Away,” released as the album’s first single, and credited as Yellowcard’s injection into the realm of mainstream popularity, started off the set. Title tune “Ocean Avenue,” was followed by ”Empty Apartment,” and “Life of a Salesman.” The rest of the album including “Miles Apart,” “Twentythree,” “View From Heaven,” “One Year, Six Months,” “Back Home” took diehard Yellowcard fans on a nostalgia trip. But what a trip!
See more Riot Fest 2022 day 2 photos below!
Remember back at the beginning of the pandemic when we all found ourselves with an overwhelming amount of unexpected free time and we told ourselves that we were going to be productive and work on ourselves and maybe pick up a new hobby? River Shook (who still performs as Sarah professionally and uses they/them pronouns) is one of the small percentage of the population who actually made good on those vows. They had been fresh off yet another busy year of touring with their main project, Sarah Shook and the Disarmers, when the world shut down for all intents and purposes. Instead of resting on their laurels or rearranging the pantry 37 times or whatever other mindless pursuits some of us undertook to pass the time, Shook stayed busy writing and recording. But this wasn’t their traditional writing and recording; Sarah Shook and the Disarmers’ most recent full-length, Nightroamer, was released in February of this year on Thirty Tigers but the recording process wrapped right before the world shut down.
Shook has been writing songs for a long time and while most of us are familiar with their work primarily with the Disarmers, there’s always been an “other” pile; songs that were solid and complete and yet didn’t quite fit the Disarmers’ rabble-rousing alt-country mold. A couple of those “other” songs found their way onto Nightroamer, albeit in reworked fashion. “When we went in for our last rehearsal before we went into the studio to record Nightroamer,” Shook explains, “we hammered out arrangements and got them record-ready, and we ended up putting two songs (“I Got This” and “Been Lovin’ You”) on the record that were not intended to be Disarmers songs.”
Initially, Shook’s plan was to turn some more of the “other” tracks into more polished songs. As Shook tells it, that plan changed…and for the better. “I had a few in the works and at some point, I realized that if I changed a couple things and improved my methods in a few different ways, I could hypothetically make an entire album.” In addition to their normal role as guitar player and vocalist, Shook took to programming drums and beats and samples on their new material, with the newfound goal of keeping the material for themselves. “I sort of changed my perspective as far as being a little bit more serious and treating it more like a job instead of just something to pass the time,” Shook explains. “I have a tendency to hyperfocus, so I would wake up in the morning, make coffee, and start working, start building tracks. One of the things that I had the most fun with on that project is how many layers there are on every song. And being able to orchestrate that myself and not being accountable to anyone else, it was just me and my brain and our relationship working together to make this record happen.”
The project quickly picked up steam as Shook realized the extent of their home recording capabilities. “Realizing that (recording quality-sounding audio from their North Carolina home) was an option and knowing that I had maybe $1200 for my entire budget for the album,” Shook expounds, “I told myself that if I did absolutely everything that I could possibly do on my own, and then use all of that money to hire Ian Schreier to mix it and Brent Lambert from Kitchen Mastering to master it.” The latter point meant reuniting with the team that put the finishing touches on the Disarmers’ first two studio albums, Sidelong and Years. It was sort of an ‘if it wasn’t broke, don’t fix it’ decision, and one that they were empowered to make completely on their own. “One of the things that I love most about (this project) is that I’m not accountable to anybody. It’s all me. On one hand, it’s very liberating, and on the other hand, it’s intense, because I had to start a small business, and all of this stuff is new for me.”
The end result of those writing sessions was Mightmare. It’s a new project; stylistically, lyrically, all of the above. It’s elicited labels like “dark pop” or “sludge rock” or “brooding rock” and it’s most definitely loosely defined as ‘indie rock’ and it’s definitely a radical stylistic departure from the Disarmers and especially from River’s prior project, Sarah Shook and the Devil. And so when it came time to find a label to release the Mightmare project on, it meant looking outside the normal alt-country channels. “Kill Rock Stars was my number-one pick,” states Shook rather emphatically. If you’re going to release an indie rock album, there probably aren’t many better options, as the iconic has been home to some iconic records by the likes of Bikini Kill and Sleater-Kinney and The Decemberists and Mary Lou Lord.
Oh, and of course Elliott Smith, Shook’s own personal introduction to the label. “I was maybe seventeen or eighteen and a coworker at the Wegmans in Geneva, New York loaned me an Elliott Smith CD, and this was, mind you, probably the fourth or fifth CD I ever listened to that wasn’t Christian music,” she notes. Shook’s strict religious upbringing has been covered in depth in other sources (like our chat earlier this year surrounding the release of Nightroamer – check it out here), but suffice it to say that Smith’s voice and lyrics and the label’s logo served as keystone moments in the building of what became their musical foundation. “I remember seeing the Kill Rock Stars logo on the CD or on the back jacket, and that’s a name that just sticks with you. When I gave the CD back to my friend, I thanked him profusely and said “if you have any more material from this person…this is what I want to be listening to!’.”
After some initial back-and-forth, Kill Rock Stars was on board, and the album, entitled Cruel Liars, had a release date of October 14th. Next came the task of booking some record release shows. There’s one small caveat that should be fairly apparent: “I talked to my booking agent Chris Rusk, and I was just like “it’s coming out on October 14th, and we need to do like a two-week tour around it,” and Chris was like “who’s ‘we’…you don’t have a band?!?” It’s here that we remind you that save for a few bass tracks recorded by Aaron Oliva, Shook performed and recorded all of the music on Cruel Liars on their own…meaning there wasn’t exactly a “band” to take on the road. They continue: “I was like “you worry about booking the tour, I’ll worry about putting the band together. I’ve never let you down, I will have something, it’ll be awesome, I’ll make you proud!”
The rounding out of the band that became Mightmare was done during small breaks between Disarmers tour runs. Real small breaks. The first call wasn’t exactly a long-distance one; it was to none other than newer Disarmers guitar player Blake Tallent. Shook’s longtime North Carolina scene veteran friend Ash Lopez joined on bass, and after auditioning some less-than-ideal candidates for drummer, along came Ethan Standard, who was previously unknown to Shook but had played with Tallent in previous projects from time to time. What followed was a crash-course in all things Mightmare as the band prepared to head out on a two-week tour that was not only its first headlining tour, but its first-ever shows.
“Basically, the Disarmers got home from a tour and we had four days of back-to-back rehearsals with Mightmare, and then Mightmare went out for two weeks,” explains Shook. “The four days that we all had rehearsing together, we made minute changes to the arrangements, took crazy notes, and committed stuff to memory. And I’ve got to tell you, I don’t know that I’ve ever felt the anticipation and excitement that I had playing that first Mightmare show…maybe that’s because I’m sober and more present.” Shook, as followers of theirs will know, got sober a few months before the pandemic kicked off, and has been an outspoken advocate of mental health resources like Open Path Collective, in addition to being a tireless champion of LGBTQIA+ causes. While we’ve used genre labels like “indie rock” and “alt-country” and “dark pop” to categorize both Sarah Shook and the Disarmers and Mightmare throughout the course of this story, we’ve got to say that being a queer, non-binary, sober singer/songwriter and champion of mental health causes is about as “punk rock” as it gets.
You can check out Mightmare’s debut, Cruel Liars, below, and keep scrolling to read our full Q&A!
(The following Q&A has been condensed for clarity and content purposes.)
Dying Scene (Jay Stone): So thanks for chatting again! I was looking through my list a little bit ago, and it’s been roughly ten years that I’ve been doing artist interviews, and I think in the 160 or so that I’ve done (editor’s note: the actual number is 188. Yikes.) I think there is only one other time where I’ve interviewed the same person twice in the same calendar year (*both laugh*). And never for two different projects. (Editor’s note: bonus points awarded if you can guess who the other one was. It was in 2016, but that’s all you get for a hint.) So this is cool! We talked at the beginning of the year for the most recent Sarah Shook and the Disarmers album, and now we have Mightmare. I feel like I think I knew at the time that this was coming, but now that people everywhere have gotten to hear it, this is a really cool and different record!
River Shook: Thank you!
And so I have to assume that that was the goal; that stuff that ended up as Mightmare couldn’t be turned into Sarah Shook and the Disarmers songs, right?
Not necessarily. When we went in for our last rehearsal before we went into the studio to record Nightroamer, I think there were twelve songs that we had worked up, essentially. We had hammered out the arrangements for (them) and got them record-ready. We ended up putting two songs on the record that were not intended to be Disarmers songs – intended is not the right word, but they were two songs that kind of just went into the “other” pile, versus songs that are very clearly Disarmers. Those were “I Got This” and “Been Lovin’ You.” It’s interesting; I feel like I’m in this spot where writing songs that aren’t Disarmers songs is nothing new per se, but now that I have this outlet, I’m in a position where I’m learning to sort of assign songs to one project or the other. Which is interesting.
Are there other songs that became Disarmers songs over the years that didn’t necessarily start out as Disarmers songs but that you had to sort of shoehorn into the Disarmers mold? Because I feel like one of the fun things about Mightmare is that you can totally forgo any sort of semblance of a mold, really. You’re not pigeonholed into a style because it’s a brand new thing entirely.
The only song that I would say really fits into that category would be “Been Lovin’ You” and possibly “I Got This” but I guess that’s just an indication that while I was writing all of these songs that to me were very clearly falling under the Disarmers umbrella, I was also writing a ton of other songs that in the pre-Mightmare days, I wasn’t really sure what I was going to do with. But if I wrote a song that I felt was worth saving and worth hanging on to but that wasn’t a good fit for the Disarmers necessarily, I’d make a pretty rudimentary demo of it on my MacBook with Garageband and sort of catalog it that way in case I wanted to come back and reference it, or in case I wanted to try to make it fit within the Disarmers context. But I feel like there’s always been enough material being written to satisfy both projects, so at this point in time, it’s kind of like full circle and I have two outlets and everything has a place!
Do you write differently for them? Or have you started to write differently for them? What was your normal Disarmers writing process? Was it the sort of standard you and an acoustic guitar and see where it goes from there?
No, I’ve never been a disciplined writer, and any time that I have taken up a pen and paper and an instrument with the intention of writing a song, nothing good ever comes out of it. (*both laugh*) Nothing worth keeping anyway. (*both laugh*)
Yeah, I don’t ever have, like, an agenda or a plan when I write a song. I’m kind of just going about my day and I have to be in the right place at the right time. Typically I have to be alone, although since we started touring heavily a few years back (before Covid) I can sort of get songs going even if there are other people around, I just have a different process. But yeah, I go about my day and if the stars align and I’m able to, I sit down with a notebook and a pen and a guitar and typically I’m done with a song within like thirty minutes. There might be some light touching up or changing one or two words, but it’s pretty much the whole thing all at once and it’s the lyrics, the melody, the chord progression and a loose arrangement, and that is what I either take to the Disarmers to start working collaboratively at that point. Everyone has a say and we work out “well let’s do this for the nitro or the outro, or let’s put the solo here instead of here…” All of that stuff is decided together. In Mightmare, I have sort of unlimited time to get all of that stuff together. It’s a different process in terms of the actual logistics of it; I don’t have to go anywhere, I just sit on my couch and do everything myself.
The Mightmare stuff sort of started, if I have read correctly from other places, during Covid, right? Because Nightroamer was essentially finished right before the world shut down. So is Mightmare all stuff that came after you were done writing Nightroamer?
Not necessarily. I had a lot of demos just kind of sitting around and when I actually started making the album, that isn’t even what I thought I was doing at the time. My plan was to sit down and make more polished versions of one or two of the demos I had to make them a little more in the neighborhood of what I was looking for. I had a few in the works and at some point, I realized that if I changed a couple things and improved my methods in a few different ways, I could hypothetically make an entire album. And again, this was in the Covid isolation at the beginning of the pandemic, so realizing that that was an option and knowing that I had maybe $1200 for my entire budget for the album – because I knew I was going to be out of work indefinitely – I told myself that if I did absolutely everything that I could possibly do on my own, and then use all of that money to hire Ian Schreier to mix it and Brent Lambert from Kitchen Mastering to master it…those were the guys that worked on Sidelong and on Years, and I had wanted to work with both of them again on Nightroamer, and it just kind of happened that Pete Anderson was interested (in the latter project) and this was kind of my way to say “I kinda want to get back to this other format, because I feel like if it ain’t broke, don’t fix it. And I’m really happy with the work that these people do, so it was cool to be able to make that decision for myself, too. One of the things that I love most about Mightmare is that I’m not accountable to anybody. It’s all me. On one hand, it’s very liberating, and on the other hand, it’s intense, because I had to start a small business, and all of this stuff is new for me.
That’s daunting, isn’t it. Because if it sinks or swims…but ESPECIALLY if it sinks…that’s all on you, right?
Yeah! Exactly. And it’s really hard, too, because I feel like most creative people really don’t have a business mindset, we don’t have a capitalist mindset. We’re not like “oh, I have to write this song so it appeals to the most people so I can make the most money.” That’s not what you’re thinking when you’re writing a song. You’re thinking “I need to express myself to kind of A) get something off my chest and B) hopefully be able to look at what I’ve written and be objective about my own situation. There’s so much more meaning in that than in making a quick buck.
Oh but there certainly are people who are in the business for those reasons and who do write music for commercial appeal…not that that music usually appeals to me.
Yeah! And their cars are much nicer than my car too! (*both laugh*)
How long into the process of realizing that you could record not just demos but essentially full songs did you realize that it was going to be a full record right out of the gate?
Once I had the realization that I could tweak a few things and make something that was a quality worthy of being a record, that instantly became the goal. I made the necessary adjustments; I sort of changed my perspective as far as being a little bit more serious and treating it more like a job instead of just something to pass the time, I have a tendency to hyperfocus, so I would wake up in the morning, make coffee, and start working, start building tracks. One of the things that I had the most fun with on that project is how many layers there are on every song. There are SO MANY LAYERS! And being able to orchestrate that myself and not being accountable to anyone else, it was just me and my brain and our relationship working together to make this record happen. It was snap decision after snap decision, and by the time I was done with it; by the time it was ready to take in to get mixed and mastered, I really thought it could actually be something. Kill Rock Stars was my number-one pick. My manager was talking to them but things weren’t really going anywhere. There were a couple other labels that expressed interest that I just didn’t feel were very good fits for the project. And then, at some point, Kill Rock Stars came back and they were like “hey, we know this is done, but if you can wait til next year to put this out, we can make it work.”
I was going to ask how the Kill Rock Stars thing came about, because as a child of the 90s, Kill Rock Stars was HUGE obviously. So many legendary bands and legendary albums recorded like all of their work on that label, so I had wanted to hear it anyway obviously, but when I heard that Kill Rock Stars was involved, I went “ooh! This is going to be different (than Disarmers music).”
Yeah! Absolutely! They provided the opportunity to release it the same year, but it wouldn’t have made as much sense to release it with only a couple months of lead time. It needed to have basically a year of preparation to get various ducks into various rows.
Do you remember the first Kill Rock Stars album you had? I was looking back at their discography knowing that this interview was coming up and I was trying to remember where they first came onto my radar, and I think it was Bikini Kill. I know I have like every Sleater-Kinney album too, but I think the first was Bikini Kill. Do you remember what yours was?
Oh yeah it was Elliott Smith!
I’m embarrassed to say but I got into Elliott Smith weirdly late. I don’t know how I sort of missed him when he was, uh, alive…I was definitely more Bikini Kill, Hovercraft, Mary Lou Lord…
I think I was also introduced to him posthumously. I was maybe 17 or 18 and a coworker at the Wegmans in Geneva, New York, he loaned me an Elliott Smith CD, and this was, mind you, probably like the fourth or the fifth CD I ever listened to that wasn’t Christian music, so I was very early into discovering what for everyone else was normal music. But I remember seeing the Kill Rock Stars logo on the CD or on the back jacket, and that’s a name that just sticks with you. When I gave the CD back to my friend, I thanked him profusely and said “if you have any more material from this person…this is what I want to be listening to!” I remember him giving me I think two burned CDs that had a big giant mix of Elliott’s songs, and with that, he gave me an actual newspaper clipping that covered his death, which I actually have to this day. Twenty years later or whatever I still have that. That was a very keystone moment for me.
We have referenced CDs and newspapers in the last few minutes…that’s a sign of dating ourselves. (*both laugh*)
I prefer to think of it as nostalgia! (*both laugh*)
Fair enough! Getting back to the music a little bit, did you have different influences, not so much lyrically but sonically, when it came to writing the material that would end up on the Mightmare project, especially with all of the layering that you were talking about? Was that influenced by things you’d been listening to or was that more a product of just experimenting and seeing what you could do?
I really don’t have influences. From the press that I’ve seen likening Mightmare to other artists or bands or projects, I honestly haven’t recognized any of them.
That’s awesome, actually.
Yeah, I know that it’s very common – pretty much industry standard – to sort of have a reference list. I’ve made records in the past where the producer has asked for a list of reference songs and I’m just like “there is no reference! There’s no reference, this is its own thing entirely!” I don’t want it to sound like us. Especially with the Disarmers having their own distinct sound, we don’t need to try to sound like anybody else! (*both laugh*) I feel like Mightmare has that as well. It has a very distinct personality, and everything is done in service to the song. Every decision that I made for every single track, and every tiny, minute little portion of a melody line or a sample…all of that, the only goal is to make the best decision for what is going to make the song shine the most, for lack of a better way to say that. Everything is to illuminate and emphasize the lyrics and kind of bastion them.
Especially the layering thing…and thinking bigger picture than just your role as a guitar player or a vocalist, but when it came to adding all of those layers and textures and instrumentation yourself, does that stuff get addictive for a while, for lack of a better phrase? Once you learn all of the little tricks that you can do and things that you can add, does that become an addictive thing and make you think “ooh, what else can I do next?!?”
Because I feel like it was a really fun record to make in that regard, especially to make by yourself.
Yeah, absolutely. I think there were one or two songs I had to go back through and choose one or two tracks to omit, even though it fit with what was going on, it was crowding this other more important melody line, or it needed to be removed to give this other part more room to do its own thing. Yeah, if I could make my living sitting in my living room for eight hours a day and never have to talk to another human…(*both laugh*)…I would probably be okay with that!!
So how did the experience go with playing that stuff live. Because once you formulated the album, did you have “the band” in mind, or did you have to go through a list of people to fill out the sound, and then, how did that stuff to you translate into the live show? Getting all of those sounds to come out of a rock band…how did that process go?
Well let me tell you, bud…(*both laugh*)…when I started putting this together and it became clear that I was going to sign with Kill Rock Stars, I talked to my booking agent Chris Rusk, and I was just like “it’s coming out on October 14th, and we need to do like a two-week tour around it,” and Chris was like “who’s ‘we’…you don’t have a band?!? (*both laugh*) What exactly is the lineup? Is it you and one other person with laptops and a light show?”
Yeah, you could totally envision that. I could see that!
Yeah, but that was never what I had my heart set on. I was like “dude, it’s supposed to be indie rock, and it’s supposed to be even more indie rock than the album sounds, and the only reason the album sounds the way it does is that I had to program beats instead of using a live drummer. Otherwise it would have been a totally different animal.” I was like “you worry about booking the tour, I’ll worry about putting the band together. I’ve never let you down, I will have something, it’ll be awesome, I’ll make you proud.”
That is awesome. Talk about punk rock, by the way. (*both laugh*)
And mind you, the Disarmers are incessantly touring this entire time, so I have these tiny, tiny little windows at home where I’m scrambling to find players and trying to audition people. There was one such window where I held some auditions at a local studio, and I had one drummer who was really just kind of weird and talking about God and church a lot. I think he was just trying to get me to be like “hey I’m queer, and if that’s not a good fit for you that’s fine. I’m non-binary, I do a lot of work in the LGBTQ community as far as activism goes,” and as soon as I said that, he was like “yeah, I don’t think this is going to be a good fit.” That was my first time being blatantly discriminated against (*laughs*) but it’s not going to be something that holds me down. I know it’s not like I’m doing anything wrong. But it was just something else in the pile of dead ends that lead up to Mightmare as the band that it is now. The Disarmers were actually on tour with a new-to-us guitarist, Black Tallent, and we’d been out a couple times and I remember talking to the Disarmers drummer Jack Foster and I was just like “dude, I think I’m going to ask Blake if he wants to be Mightmare’s guitar player and I’m so nervous.” He was like “why are you nervous, he’s going to say yes!” And I said “I don’t know why I’m nervous…maybe I’m nervous because he IS going to say yes!” And so I asked him and he said yes and he became the first official member.
Nervous because if he said yes, then it’s like a real official “thing”?
Yes! Yeah! Like, “now I’ve gone and done it!” And then the one good result of the auditions is that my friend Ash Lopez who I’ve known for years and we’ve run in the same circles here in the Carrboro/Chapel Hill area, he auditioned on bass, and I sent him the music and asked him to learn three songs and he showed up and we played the three songs and I was like “do you want to go over any of that again?” and he was like “do you want to go over anything else, I learned everything.” I was like “well, shit, cool!” And then the final audition was Ethan Standard, who I had never met and never played with, but he was a friend of Blake’s and Blake has worked with him on various musical projects. So, basically, the Disarmers got home from a tour, and we had four days of back-to-back rehearsals with Mightmare, and then Mightmare went out for two weeks, and then the Disarmers immediately went out for two weeks. I just got home from all that. We had these four rehearsals and because the Disarmers had been on the road so relentlessly, Blake and I had maybe one or two practices together, and there’s only so much you can do with two guitars and no drums or bass. We accomplished what we could in that respect. Then the four days that we all had rehearsing together, we made minute changes to the arrangements, took crazy notes and committed stuff to memory. And I’ve got to tell you, I don’t know that I’ve ever felt the anticipation and excitement that I had playing that first Mightmare show. I’ve never felt that with another band. And maybe that’s because I’m sober and more present…
I was just going to ask that!
Yeah! Sarah Shook and the Devil was an “I want to get drunk with my friends at a bar and get paid in beer” band. The Disarmers, I kinda got dragged into kicking and screaming. I was afraid of commercial success, I didn’t want any of that stuff. With Mightmare, I get to choose my own idea of success, which is not money. As long as I have enough to pay the bills and pay the people that work for me, Mightmare is what I think I referred to in another interview as my little rebellion from the Disarmers. And that tour was really, really special, and really fucking empowering, especially to go on a two-week run headlining, with no tour history, playing some pretty significant venues. Like, Empty Bottle is an institution. There were definitely some Disarmers fans there that were like “hey, I like this too!” And then there were some new faces who only know us as Mightmare, they don’t even know the Disarmers exist.
That’s pretty amazing at this stage of a project.
Yeah! The whole thing just feels like this continuing roller coaster of discovery and new things, and it’s a pretty great feeling.
Does playing that stuff live influence how you may write going forward as a band, and knowing what the band can do, and do you think that for Mightmare things, you’ll still program things or do you think that it’ll turn into a full band recording thing? Or is that giving away too many secrets about what’s coming down the road? (*both laugh*)
I wish I could tell you. I will say that about a week into the Mightmare tour, I was already like “we have to record this. We have to at least run it through a board and mix it down later. We have to figure out how to capture this. Or, we just have to go into the studio for four days and cut Cruel Liars as it was meant to be.” But I’m not totally sure. I feel like moving forward, Mightmare is a band now, it’s not just me. Much as I do all the songwriting for the Disarmers, I’d probably do all the songwriting for Mightmare and then get into collaborating as the other instruments go. If that’s the case, there might be a point in the not-too-distant future where I have the Disarmers and Mightmare and those bands are live and recording as groups and I still need to do my own little thing over here.
A third project…why not?! (*both laugh*) I’m so used to seeing you in Disarmers mode playing full-body Guild or Loar guitars, but in Mightmare, did I see you playing a weird little Harmony?
Oh yeah! It’s like a 1980s Korean Harmony Rebel. I found it on Craigslist a couple years ago, and this guy was selling it for like 300 bucks, which is nothing! Somebody on this past run was just telling me that during the pandemic guitar nerds went crazy for 1980s Rebels. I don’t know why, but I love that guitar. And yeah, for Disarmers tours, I have two Loar guitars that I take out and for Mightmare I have smaller-body guitars that I can wear hire and sort of closer to my body. Another unexpected thing about Mightmare is I basically had four days to completely change the pedal setup I was using, and also every single song, every single chord is a barre chord in Mightmare. I was having a lot of pain in my hands, because in the Disarmers, there may be like one every couple songs, but it’s not an every single chord of every single song situation. So there are a lot of things that I had to relearn and tweak and figure out how to do better, and having smaller guitars that I can wear higher is a lot easier on my wrist and my hands.
And it looks like an indie rock band! Like, seeing you with those smaller body guitars at first was jarring because you get so used to the big hollow bodies, but the “regular” and weird guitar was like “oh, this really is a totally different band!”
Yup, lean and mean!
The foremost punk rock supergroup cover band hit the House of Blues in Chicago, IL on the first day of October 2022. The band brought the humor and fun, performing others’ classics but at break-neck speed.
Me First and the Gimme Gimmes has a rotating cast of characters. At this House of Blues Chicago, only one of the original members, Spike Slawson, was on stage. Joey Cape of Lagwagon and Fat Mike of NOFX were unable to join Slawson due to both bands being on tour. However, Slawson did have a pretty solid set of bandmates: CJ Ramone on bass, Speedo aka John “The Swami” Reis of Rocket From the Crypt on guitar, Jake Kiley from Strung Out, and Andrew “Pinch” Pinching formerly of The Damned, on drums. The entire band was decked out in white denim and glittery pink shirts, accented by white ties Slawson added a white sports jacket and Elton John style specs, as well his Lounge Lizard persona.
The band zoomed through a pair of John Denver tunes, “Leaving on a Jet Plane” and “Take Me Home Country Roads,” as well as Paul Simon’s “Me and Julio Down by the Schoolyard,” Paula Abdul’s “Straight Up,” “ScienceFiction/Double Feature” by Richard O’Brien
The set also featured Dolly Parton’s “Jolene,” Willie Nelson’s “On the Road Again,” “Rocket Man (I Think It’s Going to Be a Long, Long Time)” by Elton John, “Mandy,” by Barry Manilow and Gloria Gaynor’s “I Will Survive.”
Me First and the Gimme Gimmes serves up a reliably good time, no matter what the lineup at any given time. It’s all in good fun, though there was an early oof moment when Slawson joked about John Denver’s skills as a helicopter pilot (Denver died when the home-made aircraft he was flying crashed. The National Transportation Safety Board determined the crash to pilot errors). Aside from that, the band members play with an earnestness rather than a mocking spirit underneath the levity. They seem to be enjoying this insouciant break from their “day jobs.” The crowd was all for it and left asking for more.
The Black Tones, on its first national tour, got the show started in a big way. The duo, comprised of Eva Walker on vocals and guitar, and her twin brother Cedric Walker on drums and vocals, have built a devoted fan base in the state of Washington. The Seattle duo’s hit song, “The Key Of Black (They Want Us Dead)” speaks to police brutality fueled by racism.The name of the Walkers’ first album, Cobain & Cornbread, is a nod to both their hometown of the Emerald City, and their family’s southern roots in Louisiana.
On stage, joined by family as back-up musicians and singers they soared. Eva Walker is both an indefatigable shredder and a dynamic vocalist. Cedric Walker is a thunderous drummer, every bash complementing his sister’s swaggering stage presence. With songs like “Mr. Pink,” “Ghetto Spaceship,” and “Mama, There’s A Spider In My Room,” this band will continue to knock the socks off of those lucky enough to see them in the future.
In the middle slot of the evening were the rising stars in Son Rompe Pera. The band, like The Black Tones, is led by siblings. The three brothers Gama: The two Marimberos/Vocalists, Mongo and Kacho, and percussionist/vocalist Kilos. The family is from Naucalpan de Juárezon the outskirts of Mexico City. They are joined in Son Rompe Pera by Raul Albarrán on bass and Albarrán’s cousin, Richi López on drums. The band has played nearly every size of music venue, and was interviewed by National Public Radio. They were also featured in a video for NPR’s Tiny Desk Sessions, On this Windy City Saturday night, Son Rompe Pera buoyantly showcased its sound which is traditional marimba music and cumbia fused with garage punk and psychobilly. Marimberos Kacho’s and Mongo’s synchronized rapid fire banging of their mallets across their marimbas, whilst furiously dancing, building momentum, caused them to appear breathless as they hit the crescendos. Those moments elicited gasps from the crowd followed by roaring cheers. Son Rompe Pera did not just warm up the crowd for the headliners, Instead, it was introducing to many of the Me First and the Gimme Gimmes fans a piece of the members’ heritages and family traditions. In the process, they were also garnering new fans of their music and of the marimba and cumbia.
See below for more photos from the show!
Rock/Roll from Denver, CO