ZapTown

Anyone who has put their ears on The Lonely H’s music will know that they play rock like its the height of the ’70s and amplifiers could never reach the level for their needs, always keeping the beat of rock and roll alive and pounding.

You also may be aware that these guys are not 30 somethings trying to rehash a classic sound. These are guys who are pushing the threshold of 20 and building their own sound for the future. And on their third release Concrete Class (The Control Group), they continue to push themselves into a sound that is more mature with styles they have not yet touched.

Photo by Kirt Reynolds

Andrew Duncan: It’s been a couple years since you finished Hair. What do you think have changed personally during that time between Hair and Concrete Class?

Johnny Whitman: Well the biggest change is the fact that we lost a guitar player. Colin added a very unique style of playing to the band, and he sang a lot of the harmonies and played lead on most of the songs. Eric really had to step in and fill those holes where Colin used be. But by the time we recorded Concrete Class, the new line up of just one guitar had been in place for a little over a year. Also, all the extensive touring throughout 2008 helped us grow as musicians. It’s just more mature.

Duncan: You have tried a slight different stylistic approach with Concrete Class. Why? Is this something band will continue to explore in the future or will you continue searching and experimenting?

Whitman: It’s hard to say exactly why we chose to approach making this record the way we did. We basically wanted to reach that dead seventies sound as a rough target and what we found came out pretty naturally. The record took almost seventy days to finish and we just tried to make the best record we could. We didn’t set out deliberately for a certain sound but tried everything we could. We’ll see what comes out next time.

Duncan: With the elements of classic rock built in to your band, is that a hindrance or benefit? Do you feel like you have to defend yourself about that? How do you view a predominately ‘70s ideology in a 21st Century context?

Whitman: It can be both a hindrance and benefit in a way. Certainly with a relatively small market for the style we play, it makes it difficult to find those pockets around the country, but they are definitely there. It’s not commercial in any way, and there aren’t that many sizable labels that sign bands like us. But still with all this, people everywhere still listen to all the classic rock and roll. It’s not quite dead. We listen and play this style because it’s what we’re naturally drawn to. It carries a soul that we feel a lot of modern, more commercial music lacks.

Duncan: With the band’s age hovering around the 21-year-old mark, is that still a problem getting into bars to play?

Whitman: Very rarely is it a concern. In some states and cites they adhere to the laws very closely, Portland and Seattle especially. But the majority of places don’t bother asking, or if they do we just don’t drink. We won’t deny beers if they offer, but we respect the venue’s rules otherwise.

Duncan: You have played with some reputable rock stars: Allman Brothers, etc. What have been the response from these well-reputable rockers?

Whitman: To be honest, when we opened for the Doobies, Allman Bros, and the Dead,
I don’t think they even knew we played. It was at huge outdoor amphitheater in eastern Washington, and we played a side stage where the beer garden and food was. The show was terribly disorganized and the treated us like shit, but it was still worth it. It’s an honor to have played at the show of three enormous classic rockers who we love and adore.

Duncan: Aside from studio time and the hectic touring schedule the band maintains, how often does the band get together to practice or rehearse? Is that something that is still important for the band?

Whitman: Rehearsal is absolutely essential to every band in the world. Even the Stones practice heavily before tours and appearances. On the road, practicing is impossible but whenever we get home we try to get together at least every other day for a couples hours to stay on our game. It gets hard as hell though when the weather is nice and the lake is 15 minutes away.

Duncan: Seattle vs. Port Angeles? Positive aspects? Negative aspects?

Whitman: We love both. Port Angeles is free rent back the mom’s house and a
beautiful lake cabin, but Seattle is the city and where most of our friends live. Also, in Port Angeles there isn’t shit for music. One place just opened up and hopefully it’ll last. We did a release party there for their first show, and it turned out to be great so high hopes. Seattle is basically our hub for music and the biggest fan base so that makes it somewhat home. Seattle is for the city partying and Port Angeles is for relaxing with beers in nature. It’s a perfect balance.

Duncan: With three albums under your belt is it easier now?

Whitman: It’s not necessarily easier but just different. There’s new challenges to face and you have to keep growing. Otherwise you go nowhere. Touring is totally natural now so I guess that got more comfortable, but we still work our ass off.

Duncan: What are your favorite elements to being in a band and being an artist? How have you grown personally?

Whitman: The best thing to being in a band is playing shows and the feeling you get when you and the crowd are connected by the same energy. It’s completely cliche, I know, but it is for a reason. There’s nothing like it. Also, touring right after graduating high school forces you to be an adult. You’re on your own and it’s a major learning experience. It’s totally a business and you have to not act like a young kid or people will fuck you over. The typical perks of being a rocker are great as well when they come around.

Duncan: How does your band continue at this pace? Do you feel liberated? Any feelings of music burnout? How does the future for the band feel?

Whitman: It’s not hard at all to tour constantly and play shitty shows occasionally when you love the music you’re playing. I don’t see us stopping anytime soon for the next ten years at least. We’re all committed to this for as long as we can. Burn outs happen all the time but it’s never about music. Only when you haven’t slept, been too drunk and seen enough fucking corn in the Midwest for months do you you start to feel burned out anyway.

The Lonely H