Breaking from a sound check at Montreal’s Le National, Peter Holmström shared some thoughts on a retrospective album and new directions for The Dandy Warhols. The band hits Royale in Boston tonight, 11/3. Tickets are still available at the door for $25, cash only.
Ian Doreian for melophobe: We're excited to see The Dandys in Boston tomorrow, almost bookend coverage for melophobe since we covered the Portland show.
Peter Holmström: The one-off show at Satyricon?
melophobe: Yeah. It was the closing of the club?
Holmström: There are a bunch of shows celebrating Satyricon; it was special for us, with our original drummer [Eric Hedford] able to play that night. It really is changing in Portland; the smaller clubs are shutting down.
melophobe: Boston just closed Harper's Ferry on Halloween; there’s been a cutting back on small venues.
Holmström: Just as Satyricon is shutting down, another favorite spot called Berbati’s Pan also announced they're stopping shows.
melophobe: That’s tough, especially in Portland, where there’s a great all-ages scene.
Holmström: Clubs like Satyricon are where we got our start, where the Dandy Warhols came together.
melophobe: It’s kinda fitting then to be playing there, as The Dandy Warhols: The Capitol Years 1995-2007 came out this summer.
Holmström: That album shows our history as a band with a major label, and it was good to get the chance to play once more in Portland like it was in the beginning.
melophobe: Before this US and Canada tour, you were down in Australia. How were those shows?
Holmström: Always a nice time in Australia. The shows were a traveling music festival- think Lollapalooza. Strange thing was that it was more of a dance music crowd. We came out and people acted like they’d never seen guitars played on stage before.
melophobe: How did that come about?
Holmström: I think the organizers wanted to broaden the tour, add in a few guitar bands with all the club music. Problem was that there weren’t any others on the lineup, so our fans were hard pressed to fork out for expensive festival tickets for just us, and there wasn’t the support for the shows. It could have been great, but it wasn’t as well attended as it could have been.
melophobe: Were you in some side tent then?
Holmström: No, it was part of the regular stage. Cut Copy opened, and then we went on before them on some nights. Mix Master Mike was there, and Missy Elliot headlined one stop.
melophobe: With Blue Giant supporting the current North American tour, how’d you go about picking an opener?
Holmström: I’d heard Blue Giant a few times back in Portland; they’re from there. Kevin and Anita Robinson are Viva Voce, a band I really like, and they put together Blue Giant. They have a very country sound. We asked them on the tour, and it’s been great.
melophobe: Obviously, if they’re from Portland?
Holmström: Well, we always have tried to be supportive to our friends and to local bands. Blue Giant just happens to be both.
melophobe: You’ve been spending lots of this year with the Pete International Airport. Do you consider it a rest from work with The Dandys?
Holmström: PIA is something that I’ve been working on and off for years. It’s just that three years ago, I decided to take it super seriously and complete songs rather than just picking up while in between tours or albums. A lot of the music is ideas that the band didn’t connect with musically, so it gives me a chance to be the boss. To be in charge.
melophobe: What’s it like then when joining back up with The Dandy Warhols?
Holmström: I understand the guitar better.
melophobe: In what way?
Holmström: The Dandys have never been about lead guitar, and with PIA, that is territory that I can explore: solo, lead stuff. I’m enthralled by Dead Meadow; they can have all those guitars and long rifts. It’s taking some melodic lead lines through lots of effects and filtered with a wah-wah.
melophobe: Does this mean new things for The Dandys?
Holmström: There’s some gearing up for new things, new directions.
melophobe: I’ve read that there’s a rotation of instruments that happens with recording, especially with bass or even Courtney playing drums.
Holmström: Zia doesn’t play regular bass lines, so for some songs, everyone puts in a riff and sees what wins out. Sometimes there are four of us all with basses competing to see which one works best.
melophobe: Is this a Spinal Tap announcement; the “Big Bottoms” period for The Dandy Warhols?
Holmström: Nothing like that! But there are roles in the band, and everyone is expected to do a certain job. The music comes from this and we work out how it all fits together.
melophobe: At melophobe we try to make people not afraid of music. Is there anything that frightens you with music?
Holmström: That people just won’t care. In the midst of everything, people will take it for granted. That’s a big problem. I do fear how we treat music, our attitude.
melophobe: How are people’s attitudes?
Holmström: When stuff is just free, like with music downloads, then it doesn’t mean anything. When you like a band, go out and buy a record. Otherwise it’s killing your soul. I don’t know how bands make it today; the potential to be on a major label doesn’t mean anything. But good art comes from struggle, so there’s something there. Anyhow, just go out and buy some music.
melophobe: And how. Thanks, and see you in Boston.