Author: Michael Witthaus

Rollins believes in the young

As a teenager Henry Rollins would show up with his pal Ian MacKaye on Sunday mornings at Yesterday & Today Records in Rockville, Maryland, ready to buy singles by The Buzzcocks, Stiff Little Fingers, The Adverts and other punk bands. Rollins always bought two to MacKaye’s one, having earned more money in his after-school job every week.

“Ian might do five hours of part-time minimum wage work, and I would do 20, just because I’m that guy,” Rollins said in a recent phone interview. “It was cool, the pain of having to do something dull and repetitive to hear seven minutes of freedom.”

His work ethic continues; Rollins often jokes about “putting the ‘punk’ in punctuality.” Though he’s stopped doing music, his schedule as a professional raconteur is packed and is surrounded by a myriad of other projects. During the pandemic, he wrote — his most recent book, Sic, came out in December — hosted an NPR radio show and did voice work for Netflix and Nickelodeon.

“It was challenging, but in a way, not a place I had not been to before,” he said. “Instead of getting all down in the mouth about it, I choose to approach all these things with a sense of humor and let’s see what happens…. I’d rather be the first in line for the new thing rather than dragging my feet.”

Rollins finally got back on the road. His current tour, dubbed Good to See You, is well into its second year. Usually his shows have a recent travel story as the centerpiece, but lockdown prevented that.

“Luckily or unluckily enough, crazy stuff happened in that time, where I was able to get interesting material,” he said, including a mentally unstable stalker from Finland, and the death of his divorced parents.

The show “is pretty well dialed into the front of my brain pan, but a lot of new stuff, as usually is the case, comes in,” Rollins continued. “It’s just basically a big stew pot, and as things develop, or people I know die, I can throw more things in…. By the end of the tour, the material is not necessarily nearly the same as what I started with.”

One constant, though, is an unwavering faith in America’s youth.

“A whole generation will eventually go to rest peacefully, and a younger one will come in its place,” he said. “Keep eating your Wheaties, you might live long enough to see someone like AOC become president…. I’ve never felt more confident or at least more ruggedly optimistic about the future and young people doing the right thing than I am right now.”

For one thing, the old order — “people like me, Joe Biden and Dick Cheney” — is rapidly fading away. “I’m not trying to hasten anyone’s demise, but physiological limits are what they are,” he said. “When the bug is dying, the most furious seconds are right before death. The legs are kicking frantically towards the sky; that’s the white power structure in the United States.”

Moreover, the futility of trying to change a red-hat-wearing senior citizen’s mind runs both ways.

“You’d be hard pressed to convince a 17-year-old who will be of voting age when the next presidential election rolls around that homophobia is a thing they want to accept and use in their lives,” he said. “Racism? There’s no such thing. One more George Floyd, and there’ll be some parts that will be very hard to put back together again. I don’t think the infrastructure is built for too much more turbulence.”

That said, Rollins is quick to point out that his show isn’t some scary TED talk.

“It’s my job to artfully connect some dots and make it kind of funny,” he said. “I make a point of not ending on a bummer, or if I do, offer five ways out of it. I learned that from, of all people, President Clinton. The Dimbleby speech is a great example; he goes, ‘climate change is bad, but here’s how you can start attacking it.’ Here’s the problem and five ways to innovate out of it.”

Hard times like the present require hard lessons, but Rollins tries to avoid pedantry.

“I used to go to this Quaker summer camp where they didn’t teach you not to steal, they just told you the story about when Timmy stole a quarter from his friend’s mom’s house and bought candy with it and the candy didn’t taste good,” he said. “I’d rather point at things rather than point them out.”
He also has no stomach for reliving his punk rock youth.

Rollins leaves no doubt that he’ll keep sharing his own point of view, night after night, for as long as he’s able.

“I’m not one of those who takes to the streets, because the people who are going to meet you have their opinion. They’re going to knock you out; it’s not for me,” he said. Instead, he tries to find common ground, while acknowledging that it’s often elusive. “I think if you can try to get an understanding of where someone’s coming from, you cannot be so immobilized by someone else’s opinion.”

“My job is to sling hash every night,” he said, “but it has to be of the highest nutritional quotient I can generate. I mean well, and I want to do good. I’m at least on second base, and maybe I can steal third and get lucky. This sounds like, ‘Oh, he’s such a nice guy,’ but I’m not all that nice all the time. I’m mainly angry and awake.”

Henry Rollins
When: Friday, Sept. 22, 8 p.m.
Where: Bank of NH Stage, 16 S. Main St., Concord
Tickets: ccanh.com

Featured photo: Henry Rollins. Courtesy photo.

Shinedown returns with concept album

With the title track from 2022’s Planet Zero album, Shinedown brought its record-breaking total of No. 1 Billboard Modern Rock hits to 19. Later they topped the pop charts for a second time with the power ballad “A Symptom of Being Human.”

Their current tour stops at Gilford’s BankNH Pavilion on Sept. 19. Fans can expect favorites like “45,” “Enemies” and “Second Chance” mixed in with selections from their latest disc, a dystopian concept album narrated by a Big Brother-sounding robot. Drummer and founding member Barry Kerch discussed a variety of topics in a recent phone interview. You’re heading out on the road with Papa Roach and Spirit Box.

What are you looking forward to about it?

Any time we get to tour with our friends in Papa Roach it’s a great thing. We’ve done many tours over the years, and I consider them brothers of ours. It makes us work hard for our money because they put on such a high-energy show as well, and it becomes that friendly competition.

Planet Zero is a concept album … how are you bringing that to the stage?

It’s a very intensive visual show with lots of pyro and fire and video to give the fans what they paid for; it costs a lot of money to go to a show, so we want to give fans a hell of a show…. We also know that fans are there to hear our catalog of songs. We have a lot to choose from and to make a cool set list that satisfies all those out there.

What catalog songs do you enjoy playing the most, and what gets the crowd excited?

That’s a funny question. After 20 years of doing this in Shinedown and 19 No. 1 singles, it’s always hard to pick those songs. I think for me personally it goes audience to audience, night by night. Some nights you play ‘45’ and you connect with that one person in the crowd … you can hear him when the guitar comes in. That’s the song for that night.

Do you guys still get excited when you go into the studio to make a new album?

The excitement now is having a little bit of wisdom under your belt. You’ve learned from being in the studio many different times [how] to be more effective and as a musician maybe try different things, and you understand how things work better…. It’s easier now to go, ‘I know what this song means,’ and to play for the song instead of the ego. Planet Zero is about the anxiety of a world gone wrong through a particular set of eyes.

Who do you expect would be most reached and impacted by its message?

I would hope the masses that are angry at the bitter divisiveness in our culture right now. It’s sad; it saddens us. It was [written] at the height of that, but it hasn’t gone away, and it’s kind of a warning, a 1984-esque type of thing. If we keep going this way, we’re just gonna fall apart. We’ve got to accept each other with our differences and not always get along but to at least be able to find our humanity again, which I see being lost, especially through social media.

Slave to the algorithm.

Right…. I hate it. Having a 12-year-old daughter makes it even harder.

I know Brent Smith wrote it, but can you comment on ‘America Burning’ from Planet Zero? He says ‘hope’ is not a four-letter word in one song but ‘woke’ definitely is in that one. Are you concerned about how some fans might react?

We talk about these things. When ‘America Burning’ was sent to me in demo form and I heard those lyrics come out for the first time, we immediately had a band phone call. Like, ‘are we doing this?’ Because if we are, we gotta go full bore and support it, but it’s pretty on the nose…. It was a difficult thing, but now it’s probably one of my favorite songs on the record, because it is so just in your face and forceful.

Did you have any idea when it all began that you’d be here today?

I hoped and I didn’t know. To still be here and relevant and still making creative music — I pinch myself daily. And to still enjoy it and still get along with the guys, we still all ride the same bus together, we still eat dinners together, we still laugh together. I really do cherish it even on those days when it is a grind. We don’t rest on our laurels; we don’t look back or congratulate ourselves. If we’re lucky enough to get 20 No. 1’s or we get an award for something we go, ‘Oh, that’s cool. What’s next?’

What was your life like when you started this thing in 2001?

I had almost given up…. My brother lives here in Jacksonville, he’s a radio guy [and he helped me find] a job cleaning lakes for the state of Florida, spraying them to kill the feral weeds without killing the wildlife. It paid a teacher’s salary, if that, but I got it because I had a little bit of a chemistry background from my degree, [which] was enough…. I moved up here and that was it…. I was going to get married. I’d played in a bunch of bands in Orlando, did small tours, but nothing ever happened. My brother, being a radio guy, said, ‘Hey, I got this demo of this kid, he’s here in Jacksonville looking for a drummer. You should go try out.’ That was Brent, before Shinedown. So I went, and the ‘45’ on the first record was actually my audition recording.

Shinedown w/ Papa Roach and Spiritbox
When: Tuesday, Sept. 19, 6:30 p.m.
Where: BankNH Pavilion, 72 Meadowbrook Lane, Gilford
Tickets: $25 and up at livenation.com

Featured photo: Shinedown. Photo by Sanjay Parikh.

Jon Pousette-Dart Trio performing at the Rex

In the second half of the 1970s, the Pousette-Dart Band was one of Boston’s most ubiquitous acts. Songs like “Harder,” “Amnesia” and “What Can I Say” were staples on rock radio, and leader Jon Pousette-Dart’s connection with concert promoter Don Law and his Premier Talent company had them on the road constantly, appearing in concert halls, arenas and stadiums supporting some of the decade’s biggest names.

Opening for acts like James Taylor, Peter Frampton, Billy Joel and Journey got them a lot of exposure, though not every pairing worked; one harrowing 1976 night in Jersey City opening for Yes, loutish fans tossed fruit and other projectiles on the stage. Mostly, it was just fun playing in a world with few rules, where a folksy act like PDB could be a last-minute substitution for raunch rockers Black Oak Arkansas on a tour with the jazz prog Mahavishnu Orchestra.
“It was really kind of uncharted territory,” Pousette-Dart said in a recent phone interview. “It wasn’t defined and cut and dried as it is now. You would have this real cross-section of bills, and Don really threw us out on all kinds of things.”

The band broke up in 1981, reunited 10 years later for a series of shows and released a final “best of” album in 1994. As a solo artist, Pousette-Dart has released 10 records. The most recent is 2015’s Talk. When he performs in Manchester with guitarist Jim Chapdelaine and bass player Steve Roues, he’ll draw from the breadth of his career.

“I go through all of the songs that really have had legs, that people respond to,” he said. “It’s decades’ worth of material really, and I do like to throw in a few obscure covers that are kind of off the radar. I always like to find songs that I have an affinity toward … it runs the gamut from rock ’n’ roll, country, blues and folk, all kinds of influences; because that’s just the nature of who I am.”
There’s Little Feat’s “Roll Um Easy,” a Woody Guthrie song and “an old Louvin Brothers tune I picked up,” but as for the rest, Pousette-Dart is coy. “There’s a few more, but I’ll keep them in suspense.”

His trio is a time-tested unit. He’s known Roues since he was a kid — “we literally grew up and played in high school bands together,” he said. Pousette-Dart and Chapdelaine have collaborated for nearly 25 years, most of them based in Nashville, where the first PDB album was made in 1974.

The making of 1976’s Pousette-Dart Band, with Boston mime Trent Arterberry on the cover, is an interesting story that eventually led him to become a permanent resident of Music City.

Legendary label exec Al Coury signed the group to Capitol Records, then quit 10 days following a power struggle. The label’s new regime didn’t know what to do with them, so they were dispatched to work with producer Norbert Putnam in Nashville. They arrived at the same studio where Dobie Gray was just finishing up recording “Drift Away.”

“That made a big impression on me,” Pousette-Dart said. “It was the beginning of my relationship with Nashville, and through the years, I’ve made a lot of really close friends that I’m still attached to. … It’s been a very long-term dialogue and relationship for me since the ’70s.”

His most recent release harkens back to that decade. “I Remember You” was inspired by “In a Silent Way,” a song that Mahavishnu John McLaughlin played on as a member of the Miles Davis Group. It’s unlike anything Pousette-Dart has done before, inspired by his initial reaction to the Davis song.
“Certain records just stopped you in your tracks,” he said. “That was one of those.”

He brought an improvisational approach to the song’s delicate, pulsing melody, adding lyrics about being spellbound by a chance meeting, and his fear that it was fleeting. “I remember you like the first star I ever saw,” he sings. “I was so scared I would never know who you were.”

The essence of simultaneous discovery and creation lends a magical feeling to the song. “It felt like the way they came upon it and how it landed,” Pousette-Dart said, adding “usually, I tend to write things out and know where I’m going. That song was just really putting it out there.”

He continued, “I really enjoyed doing that piece … it’s nice when you find those connections to things that go back to that era [when] you first heard Hendrix, The Beatles, Muddy Waters. Certain things, you put them on, and you go, ‘Oh my God.’ You can remember exactly where you were standing when you first heard it. There are certain things in your life that are like that.”

Jon Pousette-Dart Trio
When: Thursday, Sept. 7, 6 p.m.
Where: Rex Theatre, 23 Amherst St., Manchester
Tickets: $29 at palacetheatre.org

Featured photo: Jon Pousette -Dart. Courtesy photo.