When I first saw Free Energy back in July, they were busy opening up Saturday at Pitchfork Music Festival. Not 30 seconds in, I noted that they sounded like headliners. After their show at The Metro, Mr. Roffman mentioned that they were “acting less like a third billing host and moreover like rock gods from the ’70s.” They’re fast shedding the skin of a debut band, already playing like they’ve been around for, well, decades.
After the interview, I mentioned to Paul Sprangers that I hardly even see Free Energy as a new band because of the confidence and grounded nature of their shows and music. But Free Energy have in fact been on the road for the better part of the year supporting their DFA Records debut album, Stuck On Nothing. It’s one of my favorite records of the year, and recently I had the opportunity to speak with with the group’s frontman about musical paths, dream venues, and what happens when you shove two CDs into a CD player while drunk.
You and Scott (Wells) grew up in Red Wing, MN. Did you go to concerts in Minneapolis?
I did, but Scott went to way more. I went to a few towards the end of high school — Pavement, John Spencer, Hammerhead — but Scott started going way earlier.
What do you wish your influences were? Do you ever wish you were into something as a kid that you discovered later?
I think you’re meant to be into whatever you’re into at a given time. You wouldn’t necessarily…In high school, I wouldn’t have been into Fleetwood Mac, but now its my fav. And in college, I didn’t listen to The Rolling Stones, but, after you process enough music, some things just click over time.
You’ve spoken a lot in interviews about leaving the indie scene and going mainstream. What, to you, is the difference between the two, and how do you hope to achieve mainstream success?
I think, realistically, that division is totally gone nowadays. I really think there is no difference. Merge records has the same access to media outlets as Universal. When I was growing up, it wasn’t like that. And Sub Pop is partly owned by Warner. There are so many subsidiaries, so that division or definition is more or less irrelevant. But there’s a connection between indie and willfully sloppy and polished rock music, not something just done on Garage Band.
You guys have toured with, to name a few, Hot Chip, Titus Andronicus, Foxy Shazam, and now Hollerado. How has the dynamic changed throughout these months of touring?
You have no fucking idea. I’ll tell you the similarities: All these bands, no matter what kind of music, they’re all incredible people, really down to earth, grounded, and they love what they do. The dynamics between the actual bands always work, and it’s just a connection between people that is the best. Mates of State, they’re parents and have their kids with them on the road, but they can party. Titus can throw back a few. Miniature Tigers are young and hungry. Hollerado just plain like to get drunk.
Recently, we discussed the thrill of nostalgia with Bethany Cosentino of Best Coast, where she concluded a lot of it stems from the fact that we realize we’re not kids anymore. That underlying theme of nostalgia seems pretty prevalent in a lot of the acts around today – including yours. Any thoughts on that? Do you miss your youth?
No, I enjoy growing older, I think life gets better. But I do like looking back and processing what I’ve been through. So, yeah, that interests me. I personally don’t have nostalgia, because I have an amazing life right now. I do like a lot of songs that are nostalgic, and can relate to people who relate to those songs, so I’m interested in making songs that are nostalgic. But what I make myself, well, that’s sort of a nostalgia for something that doesn’t exist. Kind of wistful.
In your live shows, you make a lot of connections with the audience in a way that is very unique for bands these days. Where did this come from and why do you believe in it?
It’s partly a desperate attempt to be liked by people. No, honestly, I’m not there to be fuckin’ self indulgent and listen to myself. The show only exists with the other half. I’m like the host of the party, mediator between the crowd and the band, juggling energy back and forth. That sounds kinda cheesy, but I don’t understand a band that would do the same thing they do in a rehearsal space on stage, which is play to themselves. There’s people there, you’re in it together.
What have you and the boys been playing in the van lately? What’s one band that no one knows that you wish everyone did?
Well, our CD player broke when I shoved two CDs in there when I was drunk. But Titus’ The Monitor, the new Crocodiles. You guys should all check out Hollerado.
What’s your dream venue? Super Bowl?
Some kind of outdoor beach festival, some hippie farm jam. I would say we’re more hippies than hipster people, but there’s terrible people in both camps.
Do you think the “devil horn” rock symbol is dead? Do you see that at your shows?
You know, I never see that anymore, and that’s not a good thing. But now’s the time for it to come back, when no one’s doing it.
Do you plan to work with James Murphy on your follow up? Any sounds you’re exploring for the next one?
Not right now, no. We have some demos, and we’re gonna work it out in the near future. I do a lot of melody writing into a voice recorder or computer.
How much of a separation is there between Stage Paul and Everyday Paul?
There increasingly is. I started out just going onstage, just being myself and being real. Now I’m honing in on a Paul on stage and delivering these songs and being better at what I do as a performer.
I bet its hard after all these shows…
No it’s not. I still feel like I’m learning, I’m still doing it, and that’s what’s great.
Be sure to catch Free Energy this Friday, November 19th at Chicago’s Lincoln Hall.Grab your tickets here!Can’t make it to the show? Watch for our coverage this weekend!
Feature photo by Heather Kaplan; thumbnail by Meghan Brosnan.
