My Mom's Basement - EPISODE 378 - ALL TIME LOW RETURNS

Episode Date: August 23, 2024

All Time Low returns to the Basement at the tail end of the 'All Time Low Forever' tour, where they are celebrating twenty years of being a band - and they also just released 'The Forever Sessions Vol. 1' where they re-recorded some of their biggest hits from the early years - so Robbie gets into all of that with the boys. Plus, they play the All Time Low Eras game! #AllTimeLow Gametime: Download the Gametime app today and use code MMB to easily score great deals with the new Gametime Picks! ButcherBox: Get $20 off your first order with code BASEMENT or visit https://butcherbox.com/basement PFL: Tune in on Friday August 23rd at 10p ET on ESPN and ESPN+, and tickets are available now! **************************************** My Mom's Basement is a weekly podcast hosted by Robbie Fox, started in March 2019, to discuss movies, music, comic books, wrestling, mixed martial arts, and more with his friends and idols alike! Subscribe on iTunes: https://podcasts.apple.com/us/podcast/my-moms-basement/id1457255205 Follow Robbie on Instagram: https://www.instagram.com/thatrobbiefox Follow Robbie on Twitter: https://twitter.com/RobbieBarstool My Mom's Basement Merchandise: https://store.barstoolsports.com/collections/my-moms-basementYou can find every episode of this show on Apple Podcasts, Spotify or YouTube. Prime Members can listen ad-free on Amazon Music. For more, visit barstool.link/mymomsbasement

Hey, My Mom's Basement listeners, you can find our episodes on Apple Podcasts, Spotify, or YouTube, and Prime members can listen ad-free on Amazon Music. Hello, and welcome to My Mom's Basement, presented by Barstool Sports and a very special all-time low interview edition of My Mom's Basement. That's right, I've got my favorite band ever, all-time low, back on the podcast. It's the second time I've had the full band on, and this time we're talking about the Forever Sessions. They just re-recorded some of their biggest hits from their early years, and it's kind of a celebration because this is 20 years of All Time Low. They're on the All Time Low Forever Tour. It was only right to them to go back and update some of those older songs. It is absolutely fantastic. And we break it

all down in this interview. Huge thanks to all time low for, you know, setting this up, being so gracious with their time, everyone on the team that's not even in the interview from Steve and Dan and Phil and Ricky, everyone. Thank you very much. They treat me like family every time we're there. And yeah, without further ado, let's get into this interview with All Time Low. This week's podcast is brought to you by Game Time. We love getting out to live events, whether it's a concert, a football game, or a comedy show. And we always use Game Time, the official ticketing partner of Barstool Sports. And I'm sure you already know how much we love Game Time.

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turn on the GT pick setting at the top of your screen or browse the best local game time picks deals near you on your game time app. What are you waiting for? Get those all-time low tickets now if you're in the Maryland area with GameTime picks. Download the GameTime app today and use code MMB to easily score deals with new GameTime picks. What time is it? GameTime. All right. Welcome back to my mom's basement. It is Robbie Fox, and I am back here with All Time Low,

celebrating 20 years of All Time Low at the All Time Low Forever Tour. Going to be in Williamsburg tonight as we record this. This is coming out on Friday, so the album will be out as well, the Forever Sessions. Very exciting time. I feel great about it because I've gotten to listen to it. I got it last week, and it's been on repeat constantly. Oh, you have it?

Oh, I have it. Oh, shit. I don't have a physical copy but i got i got the i don't think we have a physical copy there is a physical car uh how are you guys because i know yesterday was a crazy travel day for you guys stoked i feel good now god it was like a 4 a.m day that dragged on and on and on but but and a two show day two shows i was a little as hard but i was a little bit delirious i feel like the banter was kind of like I felt like I was floating above all of us as we were doing the show. It's so funny because these shows that we're doing tonight and moving forward the rest of this week are very structured, and we've rehearsed them a lot. For the acoustic shows we did yesterday, we practiced every song we knew how to do, but song one does not flow into song two does not flow into song three so in between each song there's like if there needs to be or wants to be 20 minutes of banter so like we did a cheese break last night i was fed took a piece of cheese out

of the crowd and every member of the band got a whack of that cheese yeah it was a good brie honestly it was a good brie to be fair they were good it was a good show be like just seeing you guys acoustic was very cool honestly we don't get to do that enough and that that setup was interesting like obviously it's a bit funny having people eating in front of you while you're playing a gig but it was it was that type of dinner theater is not something we've dabbled dabbled in much but no it was cool it was like special intimate it kind of gives you an appreciation what'd you say could you see yourself doing an acoustic tour i think so we've done it like we've done a few of those we did the rhyming last year and that was one of the most special things we've ever done um it's really tough to like

because you do an acoustic tour that means you're taking the place of an actual tour you know what i mean so the timing of it has to be right where if we put out a new record or new music you don't necessarily want to then just do an acoustic tour so a lot of weird little logistical things to hurdle but we would love to do it in theory though i just love them and i love the loose loose vibe of the show and kind of like i don't know it doesn't feel very structured in a good way yeah i have like more fun with it do you have fun like playing songs especially songs that you've played 10 000 times like playing them acoustic does it feel fresh great question yeah it's it's always interesting kind of restructuring and reformatting songs to fit that vibe like not all of our music works well that way and so it's

it's kind of fun going in and figuring out which songs will scale down and break down yeah in that kind of environment yeah no so long soldier last night right yeah it's hard to pull off keep up with that beat anymore ryan last night though, I did tell him my main takeaway immediately was like, oh my God, he's abusing those sticks

and like, you're going to need to give the entire crowd safety goggles. I have a cut. I know. I have a cut on my face. Those things are the worst fucking invention in music.

I mean, he was throwing shrapnel all over the venue. It sucks, man. It was in wine glasses, in cheese cups. So for those that don't know, when we play acoustic,

I don't hit as hard nearly as hard but to help that i use what are called hot rod sticks which are basically like if you were to tape 20 chopsticks together it's a bunch of diffusers yeah it's like a reed diffuser yeah and we're at rehearsal man and what'll happen is oh you know i'll go for an accent or a hit and slowly but surely they'll shrapnel off not slowly yeah. Yeah. I took a full on like dart to the eyes. You're chopping wood back there, baby. It looks like a wood shop class. Yeah.

And I was like, I didn't really hit that hard. Then you showed me a video of me playing. I was like, I'm an asshole. Like what are you doing? Well, I showed him,

I sent a video to my brother who is a drummer and his like, I just sent him a video, no context of the show. And he was like, I respect how reckless Ryan is being. And yeah, people in the crowd were getting hit. I just don't know what to do.

Reckless is a good word for it. Yeah. And a show like tonight, very small scale show for you guys. My first all-time low show ever was on the My Small Package Tour. Wow. Which was like, at the time, you guys were saying, this is a scaled down tour for us. This is even more scaled down than that.

Was that Webster Underground? That was Irving Plaza. Oh, was it Irving? Yeah. So this is like half the size of that that was irving plaza yeah so this is like half the size of that even do you guys enjoy doing this is it weird for you guys like are you still using wireless packs you don't need them it's good point it's hard to bring the production because i mean for this run of shows we've been jumping between big venues small venues red rocks to this exactly so it's it's kind of funny bringing the entire touring

package out and then scaling down for a show like this then knowing that we're going into merriweather in maryland dc in a couple days and going up to like 10 000 people um and it's just uh it's odd to get your head around because it's a very different show dynamic you know it's like you you prep we go into rehearsal and you you're imagining what the show is going to translate to that many people, 10,000 people. And then coming into a room like this, it's just a very different energy. You can see every face and it, it becomes a little more loose, a little more off the cuff and, but it's fun. Like this is what we started out doing, you know,

like these kinds of rooms are big back then. Yeah. These are our, this, this, this is our bread and butter. And I feel like you never really forget that or let go of it. and i almost like going back and doing these kinds of shows as much as possible because it almost like hones you hones you a little bit more it's it's different when you're up in front of a ton of people because you can you scale the show and you kind of i don't want to say you disconnect from the crowd but you're you're performing outward rather than at people and so in a room like this you're it's you and the the people in the room and it's there's no way to fake also my favorite thing about these shows like the smaller ones is it's always the

diehards yeah so you know that no matter what you play the crowd's gonna be fucking crazy and you can kind of play some older shit and know that everyone's gonna know it yeah yeah it's come in we want to let him in yeah i guess let's see who it is oh what's up? You're good. Is there no sign on the door? Do you want to do it later? Or should we actually do it later? This is the joys of...

This is backstage. Podcasting in the dressing room. That was the body armor delivery. This is going to happen. Was that my taco bell? Because maybe let him in. I think he wanted to stock the fridge. Thank you for coming to us, by the way. If he is bringing booze, then we should probably let him in. I think he wanted to stock the fridge. Thank you for coming to us, by the way.

If he is bringing booze, then we should probably let him in. We should go and say real quick to you listeners and watchers that Mr. Fox has traveled from his faraway home to Williamsburg to the venue. You've done us a kindness, though. You're acting like this is like I'm doing you guys a favor.

You're my favorite band. You traveled across town. You crossed a bridge for this. I crossed a couple bridges. Not only that, you were going to pack up your big Pelican and then go back across a couple bridges, walk your dog, bring your fiancé, by the way. Congratulations. Thank you.

Thank you. Sorry, ladies. He's taken. Taken. Are you coming tonight? I am, of course. Okay, yes, I can come back. I'm excited for tonight.

Do you get, like, nostalgia doing shows? Like, do you actually feel like you did, like, back then? Like, do you get the memories of that? That's a good one, man. I think, yeah, for sure. But it doesn't feel, like, unnatural. Like, playing up here, if the crowd reacts, that same feeling of whether we're playing, like, 5,000, 10,000 people,

that feeling's the same. It's just, this is what we did for so many years and having the crowd that close it just feels right yeah like and i still get nervous for it like tonight when we go on and play some songs we haven't played for a while i'll still get really nervous about hitting that it's almost a little bit more pressure like i was saying like when you when you're playing big rooms like there's you can go inward you can kind of lose yourself just in the scale of the whole thing and if they're if you're having an off night or an off song or whatever you can kind of just remove yourself from it for a minute turn around fate i face ryan it's like a little brain reset but here it's like in in these small rooms small

vibes you're just like any little mistake any little off off energy off vibe it's much more palatable for everyone and you you feel it more so you see the reaction in the fan's face yeah you can literally see people roll oh no i do feel more comfortable in rooms this size though because like we all get imposter syndrome when we play bigger venues yeah for sure in arena like headline one we're like the fuck are we doing here right like this is this isn't we we haven't done it enough to make it be like our thing right and so when we play shows like this you really do feel like oh i'm back home now i want to get into the forever sessions but before we do that we got to talk basement noise records great name thank you name oh yeah um ryan didn't come up with it it was wait i did not when did the concept of hey let's do basement noise records let's be our

boss now when did that come into the fold so So it kind of was a progression. We came up with this idea of doing these re-records. We, at the same time, at the beginning of this year, our record contract with Fueled by Ramen was up. So we knew that we were going to sort of be figuring out what the next phase was, next step. Uh, we are currently independent label lists or were, um, and, but you know, it's hard to put out a project completely label list. So we, we danced around a few different ideas and, um, ultimately landed on look like the whole point of us doing these rerecords or a large part of that is us taking ownership back of our old music, uh, by making these rerecords. So, you know, to facilitate that, we said, let's, let's start our own label. Let's, let's put these out ourselves. We partnered up

with some great friends at Photo Finish and they've been awesome in facilitating us doing this the way that we wanted to get it done. And I think what's exciting about it is like, we've only planned so far ahead, but I think the ultimate goal was to start something where not only is it now an outlet for our own releases, but maybe an outlet for signal boosting other artists, new artists, up and coming artists. I don't think we're at that stage yet because this is just getting started, but it allows us to open that door. And I think 20 years into a career, we're trying to find new ways to do things. And this is one more of those steps. I feel like you guys are a very good band in terms of putting younger artists on like opening for you guys for sure i've discovered so many bands just based on

all-time lows openers we love it so i like that that extends to it could extend to a record label or something like that one day yeah i think i think that's the plan hopefully is to is to be able to facilitate uh you know in the same way that veteran bands, older bands facilitated us. Legacy acts. Legacy acts, as they say. I mean, literally, one of the reasons, going back, one of the first labels that we ever talked to was Triple Crown. And that was all through Andrew, who played in Receiving Into Sirens. It was a similar kind of thing.

We opened up for them. He put us onto the label. And suddenly, labels started calling. So we wouldn't be here now without that moment. It should be noted, Triple kind of thing. We opened up for them. He put us onto the label and, you know, suddenly labels started calling. So we wouldn't be here now without that moment. It should be noted. Triple Crown did not like us. They didn't sign us. They passed.

That's fine. No hard feelings. But Andrew is still a dear friend. Yeah. Now, when you're actually revisiting your old music, but through the lens of let's like rerecord and almost like analyze stems and break them down like that. What was that experience like? Is it weird listening to the stuff you made in high school?

Only just because of how terrible it sounds. Well, see, that's what I was wondering. As an all-time fan who's lived with this music and I've played it 10,000 times in the car and stuff, it doesn't sound terrible to me. No, it sounds amazing. But every time I talk to you guys about the re-record, you're like, yeah, we actually made it sound good.

It's so tough, man, because we all have songs that we attach ourselves to that band. So when I hear Dammit or anything off of Dude Ranch, tough man because like we all have songs that we like attach ourselves to that band so like when i hear you know damn it or or anything off of dude ranch for me it doesn't sound great but for me that's what i want it to sound like because that's what i attach that's what made me fall in love it's a point in time it's a landmark and an anchor to that point in time when you fell in love with it and i think that was the tricky thing for us was you know this is not a this is not a statement or a call out to the quality of the

songs then or the original releases it's really like it's about the a it's about the ownership but b it's about we're different musicians yep yeah we are completely different musicians we've played these songs thousands of times on stage and they still remain like massive staples in our show and i would say like for i've even heard it from fans who have discovered us on our newer records. They come to a show and they've gotten used to hearing dear Maria or whatever pop in at live. And then they go and listen to it on record. And they're like, it just doesn't connect with me because it doesn't sound like what I'm used

to hearing at your shows. So it was a big part of like getting that energy into the new recordings was, was finding like making it sound like we sound now and being able to put it, you know, putting dear Maria on next next to are you there or melancholy kaleidoscope or getaway green or something like that and having it just sonically feel like it's the same performers the same

my voice now because i i sound very different to how i sounded it was also really cool to redo some of those guitar tones yeah from back in the day i mean like listening to dear maria without ryan's part for i see your name in lights yeah sounds wrong now so the fact that that's like canonized and that's so true and it was daunting though because you know we've all had bands not necessarily re-record but put out new records and we feel that like damn they turned their back on why we love them you know and that's great that's good for that band to do what they want to do. But for us, we wanted to stay as true to these songs in the fans' ears as possible while still giving us something that like,

we want to listen to this now. Because I'll be honest, like Alex brings up a great point all the time. He's like, if you're at the bar and Touch Tunes plays Dear Maria, we're kind of like, oh yeah, here it is. But now if it was the new one, we'd be like, oh fuck yeah, this is it.

This is the one we want to be heard. And we didn didn't i don't think we lost any of that magic any of that that sonic like pleasantness you know and it's still there so it's been it's a good one it's a it's a tough thing to compete with because at the end of the day like we're never going to replace what those songs mean to the people that latched on to them then like those are always going to be the definitive versions i'm sure to whoever listened to them then but but you know this is our best shot at trying to bring them into the fold of where we are now as a band and you know i think a lot of that speaks to the fact that we're just not done banding you know 20 years in like we we want to keep going and we have new music that is still connecting with people and um we just kind of wanted to level the playing field and have it

all sort of sonically feel like it made sense together in the same picture. And real quick, before we wrap up on this portion, we have to give big shouts to Swank. Swank. Great job. For those that don't know, Dan Swank has been playing on stage with us for three years now, right around there. And he would be fine with me saying this, was a huge all-time low fan well before that loser um and has become you know sort of our fifth beetle as we call him sometimes and he produced this uh along with all of us alex especially but his he came at it from a fan angle you know he so we had that additional perspective of like okay you're a fan and you're sort of in

the band and he just he kind of shaped it so well so that we felt very comfortable in his hands of like, okay, this is what they want to hear too. Yeah. And he's crushing it in modern pop punk production. Yes. So many up and coming bands. He's like killing it. He's the man. He's becoming a go-to guy.

Yes. Yeah. He's so talented. We're lucky to have him out with us because we're probably removing him from what he's best at when he's, when he's home in the studio. But we're, we're super lucky to have him like on our team and playing on stage with us because we're probably removing him from what he's best at when he's when he's home in the studio but we're super lucky to have him like on our team and playing on stage with us live but also you know at our beck and call when we need to record something like this which song on the forever sessions volume one were you most excited to re-record and maybe like change a few things about like most eager to i can so not real quick but not yeah i think we're gonna have the same

answer not most excited about how it came out but going into it we're like we can't wait to hear this one yes okay so for me and again this is no hate on the old version it's just i think it's the one that sounds the least like us now uh lost in stereo getting to go back and redo that one um we've just played it so differently over the years and it's transformed and like i don't even recognize myself on that song as the singer like i hear that the original and i'm like i don't know who that is it's never i don't even think i sang like that then i just they they happened to get a take out of me that you know it i hit the notes also it was high for you it was so high it was out of my register at the time so i was like squeaking these notes out

on the original recording. And producers like Melodyne had just come out. They're like, it's fine. You're close enough. You know what that story reminds me of when you say that? It reminds me of how Hoppus kind of says the same thing about Dammit. Right. Yeah.

And when you go back and listen to Dammit, it's like it kind of doesn't sound like Hoppus. Yeah. Like he's really the top. He's screaming. He's kind of yelling. Yeah. He's at the top of his register. And he has a lower voice, you know. But it is an interesting kind of similarity to that yeah and so

that that song in particular was one that over the years like we've we've brought it down a half step live just so i can survive it on stage and um we've sped it up we've sped it up a little bit we all play heavier a little heavier i mean it was always yeah it was always a little more rocked up live and and so to be able to go in and like capture all those things that we feel have made it a staple in our show over the years, because that one's never left the set. Yeah. So it was like, we need a version of this. I won't allow it. We need a version of this that actually makes sense.

So that one, I was pretty, pretty damn stoked. Do you have this? Was that your answer as well? For that question? Yeah, it was. And then I think we're all really excited about Damned as well. The way way that that came out i know it's a kind of a different answer to your question that i have i have that in there all right but yeah that was gonna be my answer for sure stereo and then do you have like a favorite actual specific change that you oh my god yes i

do i have another one for this uh the so the solo section in poppin that's what i was gonna say that's the obvious one it was, it was just a moment. It was a moment that put its hand up in the studio. And it was so, you know, that solo section in the original is so simple. It was just sort of an octave part. More of a part than anything else. And like, to get to go in and actually make it something that like kind of hits you over the head. And it was an opportunity there to do something super unexpected without throwing the entire song for a loop.

Yeah. So that was pretty fun. And especially back then, we didn't have a lot of instrumental bridges you know nowadays especially with like don't panic we have a ton of those but back then it was the bridges were all pretty vocal heavy so you couldn't throw a guitar solo over top of it or anything like that i think we were just in that mindset when we were doing popping back in the day just all right throw some octaves on it and call it a day yeah to be fair probably i also didn't know how to right yeah like you we've all gotten so much better at our instruments.

At one point or another, there probably was a conversation with Matt Squire being like, you could solo here. And I was like, I don't know how, sir. You know what I mean? I could give you harmonics. I got you an octave all day. You saying I could solo here and him being like, no.

You can't. I was actually thinking about you when I was recording JC because I added some like 10s and 11s. Yeah, because I was playing it. was actually thinking about you when I was recording JC because I added some 10s and 11s. Yeah, because I was playing it. I'm thinking about you right now. I got Ryan's drum part, and I was like, what the hell is he playing? I had to go through, and every chorus, his kick pattern changes. Oops.

And so I got to, I just A-beat it with just drums and bass, and I was thinking about it. I was like, Robbie would love this. You're like, Robbie can't play this shit. All right. I hate to interrupt this interview, but I got to remind everyone who keeps the lights on here at my mom's basement. It's ButcherBox. You can get incredible deals on premium cuts of meat from ButcherBox.

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it's a truly great product again, code basement or visit butcher box.com slash basement to redeem that offer. Now let's get back to the interview um all right let's get into some of the songs dear maria obviously being the first one do you remember the day you wrote dear maria i remember the day that the court that we jammed out the progression the progression and the skeleton of in the basement but yeah words till probably a couple months later honestly i seem to remember it too in my parents basement did it evolve a lot as a song or was it so yeah we do have a a demo version of it um that we did with paul levitt um and it's pretty much there the melody is there not quite full and the lyrics aren't there but chorus is super different yeah there was there was a lot of changes i'll play it become an instant holy

grail i think the bridge was a lot different too. The bridge was completely different. Matt Squire had played a huge part in making that song what it is and make sense. That was a demo that we took in to the studio and he was kind of like, there's so much to this that doesn't add up. Writing wise. So he definitely helped us

kind of craft it into something that makes sense and is what it is. The bridge was more of a down kind of like snare roll type thing, I believe. Yeah. And then he was just like, it's an odd bridge, man.

Like, yeah, it's a bridge written to be played live. Yeah. Nobody, nobody wants to hear a record of just flams and a guitar pan, right? Like it just doesn't.

Yeah. It's so interesting. Yeah. It's, it's, that was it. That was a cool one. And like,

it was definitely one that went through several iterations because at the time back then, I would never write lyrics. It would take me a long time to write lyrics. So I would just kind of riff melodies in the studio and we'd live with these songs for weeks. And everyone would be pushing me like, get your lyrics done, get your lyrics done. So it took a while for that one to come together.

Wasn't the bridge something along the lines of you get the verse, but I'll get you all into the'll get you all that was a different song was it that was different yeah and also you guys are speaking of lyrics when we were younger alex would never like have lyrics so if you listen to old stuff like back in the day like everything's different every show yeah oh yeah yeah we would play songs live that just weren't finished yeah they would just had parts famously you could look up different versions of Party Scene where literally every single verse is different. Yeah, this is going even further back now,

before we made our first full-length So Wrong and even before the EP. But yeah, there's shows where we didn't have enough songs. So it was like we were writing music. I wasn't finishing the lyrics, but we still had shows to play. It's scary, though. For you, that would be... I guess people don't know the songs, we still had shows scary though for you that would be i guess people don't know the song so it's like you're singing them wrong yeah you gotta be you

gotta be real though like this is back at a time when like we were the shows were vfw halls and the pas were and you were in a band to play shows that's all that's the only reason why you were in a band yeah yeah yeah and and the pas arguably were like you couldn't hear what you couldn't hear what i was saying regardless these are are like muffled bowling alley shows. Sounded like guns screaming into a mic. So it didn't matter as long as the melody was solid. And then Coffee Shop, the next one. The re-record of Coffee Shop was the intention like,

let's go in and make sure every chorus of this song fucking explodes. Yeah, because that's what it sounds like. Yeah. That was, again, because that's what it sounds like. Yeah. That was, again, like that was, JC and Coffee Shop were pretty difficult needles to thread because those songs

were written for us at a time where our musicianship was so much different and so much more simplistic. Different's a good word. Yeah. It's simplistic, but at the same time,

busier. A lot of it. It's so busy. We were all trying to fit as much in as we could it wasn't it wasn't busy to be smart it was busy just to be busy and intricate and someone tell you to knock that off before so wrong it's right or was that like a decision within the band i think it was more producer than than anything just basically being like you don't always have to do everything all the time like when squire did was. Yeah, there was, you know, someone taught us dynamic in music

and like tension building. Like I can't play any of your parts on put up. I mean, it's also, yeah, you just learn to like to pick your spotlight because, you know, there are bands that the drummer is essentially soloing the whole time and that works and whatever. There are bands that during the chorus there's solos happening on guitar. But for us and our type of music like you learn pretty quick that it's distracting from what people want to hear which

is generally the the melody and the lyrics and you just got to pick your moment to be like okay here's a little spot that i can put in here and that was squire for sure that's a good example of what a producer does because a lot of people do ask like what does a producer do like that is like this bridge sucks you need a new one but also like even further than that what is a bridge like when we went in to do so wrong i'm not sure we knew what song structure was i mean if you listen to some of those stuff before so wrong and like put up times it's hard for us to remember those songs because there's no structure it's just and also like it's just random parts again like i already i already referenced receiving into sirens but

like at the time like i remember I was listening to Boys Night Out, and obviously the first Panic record that Matt Squire did, there are more parts than structure, and it was less about the chorus and the bridge, and it was just about right catchy parts. And I think at the time, we were about that life. So we were just throwing parts out and seeing what stuck. Fall Out Boy was kind of doing the same thing around that time.

It was kind of a little bit of a popular thing. Fall Out Boy starting line is doing weird structure. For sure. So I think coffee shop to your point, like there's, we went in and like simplified the verse. There's a, there's a new part in the verse that kind of glues it together rather than

the, whatever the disconnected bullshit we did the first go around. So I think there were just some, like some key moments that we went in and just glued that song together a bit more. Shorten the ending a little bit. Yeah, exactly. Left us leaving wanting more. Oh, yeah.

Yeah. I like that, though. Had to do it. Really good. Did that come before or after JC writing was? That was before. Yeah, that was so... Was that closer for you guys back then?

Or was Circle still? I think we opened with Coffee Shop a lot, but we probably did close with it sometimes too. We probably was closing with Damn It back then, honestly. We closed with Damn It a lot back then. Those two were additions, late additions to the EP. Wow. Yeah, all the other songs on that EP we had already written,

already put out on a self-released record called The Party Scene. And then we kind of threw a couple Hail Marys in when we signed with Hopeless, and they wanted to basically repackage a few songs from our self-release, and we went, no, we want to redo these because we're not happy with them, and we got to write Coffee and JC.

I remember that being a big discussion because it wasn't really part of the record deal, putting out that EP, but we were like, we want to do this because these songs are good, but we can do it a little bit better now. And we were going on Warped Tour, and we wanted to have something to sell at at our merch yeah that's like really how

you survive on warp tour yeah was selling cds for five dollars then four dollars and three dollars please listen just fucking take it i saw you guys at a warp tour in scranton pennsylvania that had like the worst hail story i remember that yeah so i was there and it was gonna be like my first time meeting you guys, and I was stoked. So I got, you had to show up early at the tent and get like a flyer, and then later you would show up and get the flyer signed.

Interesting. And it hailed so much that the flyer disintegrated. Oh, no. And I like brought up like this floppy piece of paper, and I was like, can I still get in there? Like, definitely not. Get out of the line, nerd.

So we were in the day, and you pointed me out because you were on the other side of the fence we were both wearing the same t-shirt which said boner on it oh where'd you get yours like the coincidence that we both had it on that day uh speaking of which actually when's this air friday yeah we can we can talk about the gk thing right a little bit yeah I don't know you can talk about it there's thing, right, a little bit? Yeah. I don't know. You can talk about it. There's a GK thing? A recent GK thing? Oh, I'm like, what's the connection?

Well, GK shirt's coming out tomorrow. A comeback? Yeah. So at the time that this airs, we'll have just done, we were doing a pop-up shop in Baltimore, in our hometown, and one of the little surprises that we got together with Marky from Glamour Kills, and we actually managed to twist his arm enough to let us do some GK collabs.

Wow. So a couple of the items there are the GK callback shirts, which are so funny. And he's still got it. Yeah, yeah, yeah. They're fully like 2006 coded as hell. It's still the stuff I wear on stage with Pop Punk. It's an old photo of us that we dug up from Warped Tour.

It's awesome. I love that. Yeah, he sent the designs over and I was like, he's the man. I had a Glamour Kills Christmas where it was just like go on Tumblr and see what all my favorite bands are wearing and then just request those exact outfits. You know, Glamour Kills was such an important part of our scene and

community of what we came up in and yeah, so it was really cool to bring that back. We always looked at it like, you know, us looking up to Blink. Blink was always like so tied to Hurley, their own brands, Macbeth. Which were really like understated, like small logos. And we were like, we're going to do different.

Giant pigs. Yeah. Why not? Still though, the straight to DVD show at the Hammerstein Ballroom. That's like one where I'm like, oh, if I could go to any concert, that's high on my list. Really? Yeah. That's sick. I've watched that DVD a thousand times. That was good, man. Sorry.

Hey, I'm going to grab my cold brew. Oh, yeah. Grab your cold brew. Damned. Did you feel a lot of pressure on Damned re-recording The Goes? Oh, no. The Goes or Alex? Oh, The Goes U? I figured figured jack would do on the re-record just because you do a lot on record uh yeah i think i think honestly the goes on the new one

were we i think we just turned a mic on like hot in the room and just had like started yelling yeah we just had someone go and then like which like whichever one sounded best just got dropped so maybe jack it could be jack yeah could be Swank's dog, Tito. It could be Dan. But you did say this is your favorite. Damned was my favorite the way it came out. Yeah, because Damned for me, a lot of these songs we've played almost every show, Stereo Maria, Damned probably one of them. And there are times live where you kind of go on autopilot.

You just think about other things. What do you think about? A lot of times, like, what am I doing after the show? What am I going to grab for dinner? Oh, so you can't wait to get out of there. No. You really have to decide whether you want a grilled chicken Caesar wrap or just grilled chicken. Speed the tempo up so you can get to it quicker.

It's not that I don't enjoy playing. It's just we play it so many times. And then I would listen to the original recording, and I'd be like, wow, we really have changed this quite a bit live. It just feels different. There's a different weight to it. And I was a little, not nervous, but whether or not we could capture it on the re-record and it's just awesome it's great and a few new hooks to it like yeah that's that's one that we we took a couple new creative liberties with it that was a fun one because i always felt like that song even when we

did it back then was kind of a missed opportunity like i felt like that was a hit song like it was a in my mind that that felt like it should have been a radio hit at the time we didn't have the structure around our band to kind of facilitate that then so like we made it in my mind we sort of reimagined it to update it and bring it into a world where like i could hear it probably on radio now yeah like and i think like that's what we went for with that song that was always such a single in our minds and uh yeah so it was it was fun kind of leaning yeah into that and all the ingredients like the intro is catchy and this isn't just patting ourselves but just looking back it really is intros catchy verses catchy chorus bridge is awesome like it's just a really great song that i feel like throughout the years maybe the original recording didn't age very well

and so to be able to put it out there again it did yeah i know to me no to my ears i'm glad that this exists because especially when you guys did the it's still nothing personal recording yeah yeah it's like as soon as i knew that was recorded i texted you i was like oh did you play the new live parts and damned yeah like that was like so one of the things that all-time low fans like you said you hear the part live so many times and you're such a great live band. People want to come back and see the show so many times that you listen to it originally and you're like, Ooh,

but I wish he did that. Like, yeah, butch Walker songs will always be, always be just amazing. Like, yeah. So like a fine wine to this day.

I mean, sick little games to me is still a top all time low song. You know, it's never really caught on as a great live song and a huge like fan favorite but to me yeah that that's a that's a butch song through and through which i love um and then we've got six feet under the stars is it true that six feet under the stars is like a sequel to coffee shop soundtrack oh yeah somewhat somewhat songs are connected same setting same same same universe yeah it's all cinematic universe same same city yeah same city same uh

same evening out on those cobblestone streets people always like those little connections they like the modern love stacy's mom one from the last interview yeah yeah yeah and people love to assert truth to them oh yeah not this but i'll read some online and be like what oh yeah some of my favorite shit is like the stuff that we share with each other of like people's – People's – Theories, fan theories. Speculate online as though it's fact and they know. And there's – so there's just stories of like, oh, no, this is what this song is about.

And it's complete bullshit. And I'm like, we'll just send it to each other like, yeah, that's – Well, that's why I said like is it true that this is the sequel? Because if you go online, it's like this is the direct sequel and follow-up to Coffee Shop. My cousin works with Alex's mom, and sometimes he comes into work. No, there is truth to that one for sure. It is kind of the follow-up to Coffee Shop, definitely. This is probably what the Star Wars directors also talk about.

It's even to the point sometimes where I've been like, do we retroactively confirm? Yeah, because sometimes it's cool. We could look like geniuses. I'm just taking all your shit from the internet whatever you guys come up with the theories and then i'm like you guys are smarter than us is what we realize i'm canonizing all the good but it also goes so much like deeper like you'll read not even about us but like oh you can tell that that's when fueled by ramen really started like writing their songs for them and we're like wait what yeah it's such interesting, like it's taken on its own life of like how labels work, how the industry works.

You hear all this like industry plant stuff. And we're like, we've been in this world for 20 plus years and never seen evidence of any of this stuff. It's like how we talk about like football. It's exactly that. We think we know what we're talking about. It sounds like something an industry plant would say. I'm going to be real right now just have any of you guys ever had the experience of getting recognized on tame street

actually we did that one time we were doing we were doing uh we were doing videos for it was when we were on last young renegade that record and we were doing that song we did it it's called nice to know you all over the place we filmed all all over Baltimore. And we had this moment that was so deflating and humbling. We're out literally on the corner of Tame Street and South Broadway getting that sign for the footage. And two young women drive by in a car, and they stop the car and roll down the window. And they're like, aren't you the guys from All Time Low?

And we're like, yeah, yeah, you know, it's us. We're like, we didn't know you guys were still a band. That's right. We're like, fuck. We're all standing there together. We just come down here all the time. We meet here

once a year and just talk about it. I just deadpan walk into the river. If you're a diehard All Time Low fan though and you run into you guys there, just deadpan walk into the river. That would be, if you're like a diehard all-time low fan though and you run into you guys there, it's like running into like the Beatles on Abbey Road. And they could truly

have not given two shits. So speaking of music videos, Weightless is the next song on the Forever Sessions. I think Weightless is one of the most iconic all-time low videos, obviously. I agree.

Dude, I love that video so much. Do you have like an actual favorite music video? Man, Weightless, I kind of, it always slips my mind, but that is a really good one. I love that the Weight much. Do you have an actual favorite music video? Man, Weightless, it always slips my mind, but that is a really good one. I love the Weightless and Damned videos are probably the best, I think.

That was the first time that our videos really took a step up quality-wise. The CGI in Weightless is holding up to this day. It was, yeah. Cameos. Yeah, we had Mark in it, we had Pete in it. It was a cool one. I know that like...

Vegas. Say what you want about the song, but I think Dancing is one of the best videos. It is? I love that so much. All the recreations? Yeah, the recreations, the tongue-in-cheek,

just the... Along with the song, that was also just like a fun Party Who Cares song. The video, it was so well done and just the feeling about it was perfect, I think.

It was fun. I got my wallet got stolen that day. I remember. And we had just come from Vegas, and I had like $1,800 or something that I won. That's bad. You won't forget that one. Dark times. I think something's got to give was up there.

Weirdly, I made $1,800 that day. Oh, nice. Something's got to give. That's good. The waitlist rerecord doesn't sound too different than the original. Was this one where you were kind of like, we're going to stick to how it sounded, but update the production? Yeah, that was another one that felt pretty important to not stray too far. Kind of in the same school of thought as Maria.

It was like, this feels like such a staple Cornerstone all-time low song. We didn't want to take it so far off the rails that it would feel unfamiliar to people or throw people too much. But it was, you know, again, it's a nice one to kind of have a new touch of production on it and get to approach it in a new way and add a little grit to it, add some weight to it. I think the breakdowns really kind of hit now. I call it a breakdown, but just the heavier moments in the song.

Yeah, so it's kind of nice to have it bumping. Yeah, it's interesting how some of you know, some of the songs we wrote and then we kind of like shaped throughout the years like we've been talking about. And then some songs like Weightless kind of like shaped us moving forward, like how we write. Is that going to be okay, that sound?

Uh-oh. We're virtual sound checking downstairs, what you're hearing. Oh, that is a virtual sound check? We don't even have to be there. Technology. So this is probably our last show, whatever our last show was,

is what he's sound checking with with now that's crazy yeah that's some high-tech shit you guys got but he can like solo out anything so he can solo kick bass whatever so it's like wait shit really um yeah i have to go do so like throughout the years waitlist hasn't really like changed that much live like there's a few like chunks that we've updated did you think about changing the intro for the re-record big talk yeah it was talked about it it wasn't like an argument but it definitely was at least brought up yeah so we we the nice thing about that was we got to redesign that loop yeah which at the time when the song came out like that was controversial like i i will never forget that's so much shit waitlist was one of the first songs

we put out from that record and it literally got shit on on the message boards absolute for being way too poppy in a loop yeah because someone someone prepared it to postal service and the the post chorus like breakdown whatever you want to call it is maybe like one of the heaviest moments in your entire right it's just always just like oh i always knew these guys weren't pop punk this just proves it like now looking back like nothing personal wasn't pop punk i love the postal service but what like have you ever heard the postal service well even then like that was kind of the intention of the song though was to do this these drastically different moments on one song was to have something that leaned into like program drums and and fully leaning into that and then have this heavy moment

at the end of the chorus but yeah it was kind of fun to get to go and reinvent that loop because back then like we were using reason and like kind of these bad samples uh to to make beats like that so it was nice just being able to pull from like an updated folder of samples and stuff like we went from an open hi-hat every bar to every other bar yeah really finessed i had that less is more there's gonna be riots over this uh pop and champagne again one of the first things that i texted you i was like this knocked me on my ass when i heard it it was like the star wars fan of me initially it was like that's not canon but then it's like oh my god i've listened to it a thousand times and even the second half of that bridge breakdown it hits so much harder with the guitar solo in it you guys

did like a portion of pop and champagne at the acoustic show last night first time well you guys did the full thing actually initially gonna do a portion and the crowd kept going that was the first time we've ever done that alex literally was handed a bottle of champagne that's probably prosecco he's gonna he's always does it's actually not champagne unless it's actually and jack started playing Poppin' and we had to do it. And after he was like, are we going to keep going?

I was like, yep. There was part of me where I was like, I don't think anyone's going to be able to do that solo on an acoustic guitar. It was just a mouth organ. Another one. You were there. On the record,

that sounds not too different than the actual like instrumental of the original is jc yeah i feel like this sounds like pretty similar enough um where do you ever take a step back and you're like damn we were pretty fucking good in high school no yeah not really i will say jc is a song that like a lot of songs we wrote back then i'm not particularly like not not proud of but jc is a song that i could put on today and be like damn that's pretty cool that we were yeah 17 it's insane to me years old that like i'm listening to a teenager yeah it's one where i feel less of the growing pains you know what i mean like i look back on on the younger version of us making music and for sure like to kind of parallel you said it's like okay yeah we were

we had something with that one for sure how many people do you think got the bridge tattooed on them? I've seen some crazy ones over the years. There's the full rib cage one. Oh, I've seen that. It might be in your handwriting. It's handwriting. I've definitely been... I don't love doing it,

but people have asked, will you write this out for me to get tattooed? And it's at your own discretion, sure, kind of thing. But I feel bad because my handwriting is not great. But yeah, I've written that song out a lot for people. That was one of the main Tumblr tattoos. It's just JC with a bunch of Ys. JC.

That's the tattoo. Lost in Stereo. I know I've told you guys, I don't know if you know this, my band growing up, which was initially named to the party scene. I love that. Let's go. We eventually changed our name a hundred times and took three band names

from the same line in Lost in Stereo. Wait, what? Can we get this without him telling us? At one point, yeah. Can you get it? You what? There's one line in Lost in Stereo that we pulled three separate band names

from our band went by. It should be obvious, I think. what you what there's there's one line in lawson's area that we pulled three separate band names from our band went by these it should be obvious i think second verse i believe i was a snake snake by heart bubble gum yeah we were we were switchblade attitude and then the band said that sounds like a hardcore band like we can't be switchblade attitude and we're all in sixth grade so we changed to bubblegum smile went the other way with it and it went away the other way and they were like we're not bubblegum smile and then we said let's meet in the middle and we were snakebite heart which i was like this is kind of sick and then it got changed to uh fixed at zero was our eventual ban which wasn't as good

damn snakebite heart's kind of dope and this was this was our closer we would open with dear maria close with lost in Stereo. We just said, let's take straight to DVD and flip it. That's awesome. We butchered it. We butchered both songs. These all-time low fucks aren't going to know what hit them. This is some amazing lore.

I had no idea. That's so sick. Snakebite Heart's kind of a great band name. I was going to say, next time, if we ever do one of those where you put yourself on a bill as a fake band name, I think you're going to have to do Snakebite Heart. That's your Foxborough hot tubs. Yes.

Oh, yeah. That's a good one. All right, I've got to cut the podcast off one more time to tell everyone about tonight's PFL playoffs. That's right. If you're listening to this on Friday, August 23rd, the playoffs are going down tonight. It's welterweights and featherweights headed to Washington, D.C.

Win or go home as these fighters compete for a spot in the million-dollar PFL World Championship. And the stakes, I feel like, just got raised by this whole Francis Ngannou press conference they had this week. I know that doesn't necessarily have to do about the tournament, but it was a massive moment for PFL. You know, Jake Paul was there. They're hyping up the Cyborg fight.

PFL really has a lot of momentum right now, and if you win this season, I feel like you're going to be as big a star as the PFL has ever had. Don't miss the action. Again, it's tonight, Friday, August 23rd at 10 p.m. Eastern on ESPN and ESPN+. And if you're looking to attend in person, there are tickets still available. Wallow and Gilly for a million dollars worth of game are going to be there, so maybe if you buy tickets, you'll run into them. Again, tune in tonight, Friday, August 23rd, 10 p.m. Eastern on ESPN and ESPN+. Tickets still available.

Now let's get back into this interview with All Time Low. And then, so this is coming out on Friday. Sure is. You guys did some of the best musicianship you've ever done as a band on the Forever Sessions, I think. Thanks, man. But I also think a lot of people are going to be talking about the features

when this drops. And they're going to be talking about people that aren't sitting on this couch right here. Right. Remembering Sunday featuring Lindsey Stirling and Lisa Gaskarth.

Yeah. So when I got this, it said, Lisa G-A dot dot dot. And there was no way to continue. And I was just like, wait a minute. wait a minute he said he said quote no fucking way that's his wife singing right yeah i didn't know she was a singer yeah i don't know if anybody knew she was a singer because

you've been teasing the features everywhere she has the best voice in the band literally nobody guessed her nobody has guessed it to this moment she blew us away man really and i noticed when you're playing it last night a few people gave her a nudge like i know i know we're like we're like waiting on that moment when she finally comes on stage and does it with us but yeah like i don't know man that it was when we first met we've known each other since high school when we first met like one of the things that i found so amazing about her was how good of a singer she was like i was very attracted to her for how dope she was as a as a singer and performer performer. And, but like, didn't do it much. Like just saying like karaoke or like she ever in a band or performed or

anything. No, not really. Like she was never, she was never a performer. She, every now and then she'd like get up on a karaoke stage or at like a talent show and just flex on everybody.

And, and I was like, damn, she's got a really good voice. And then, you know, we, our,

our roads have led us here. We, we did a band and, and she is a, an event planner and a wedding coordinator and just took a different path in life. But but I've always. And a wedding singer.

Yeah. So this is the new this is the new marketing angle that we've got. Not but like so it was always kind of like known to us, but it wasn't really ever put out there into the world that she absolutely kills it. And did you ever have the thought over the last 20 years of like, you're doing a song with a female vocalist, not that she's like at every show that you're going to, but have you ever had the thought,

hey, hop on stage and do this? Yeah, early days, didn't she do a couple of those? There might've been, or very early on, there might've been something, but yeah, not in any capacity of like, you know, at any shows or anything like that. I think it was just always like, maybe she felt a little weird. I felt like, I don't know what it was,

but we just never really crossed that bridge. And then when we had the opportunity to go and re-record this song, it was like, A, how do you replace a feature that was pretty iconic from that moment? You know, like the first version of it featured Juliette Sims, who I think now goes by Lilith Czar.

And she's got a great voice and it's such a staple voice and so unique and it was going to be really hard to find a person to replace her you know what I mean like for this new version and so going out there and putting out feelers and being like who do we get to feature on this thing was a really

tricky task and then it was like alright we haven't played we've never played this card we've never like like been in the family. Yeah. This is something we've never explored before. So I went to her and just said like, do you, would you feel comfortable doing this? Do you want to try? And she was like, I haven't sang in years, but I'll give it a go. And he brought it up to us and you know, it's,

it's a beautiful thing for many reasons, but also just celebrating 20 years of us. And she's been there almost from the beginning, like in one capacity. And, you know, we were like, look, man,

this is a great idea. And we all knew she could sing, but what if she said, but you have to be okay. And we said, that's, you have to be okay. If it's not awesome.

Like I know she can sing that. We're going to say, sorry, man. And he's like, of course it's, it's, you know,

they're not a problem. I'm like, yeah, yeah. And I had to have that conversation with her. I had to sit, I had to sit down with my wife and say, hey, like, A, are you comfortable trying this? And B, if it's not. We might not use it.

If it's not sick, we may not. And she was like, totally get it. I don't. She was so. Bless her. She was so, like, humble and nervous about it and was just like, I don't think I'm going to kill this. And I was just like, at least you're going to kill it. We got it back.

And I was out somewhere and the guys are all like oh my god dude she killed it she killed it's awesome and i was like okay and i was out in public somewhere and i listened went to the bath mariposa and i was like oh my god it's perfect it's such a great song for this moment too because when she comes in it's like whoa she's a good singer and then you start to realize like oh but you're gonna have to get to that yeah it's gonna go high and then she goes high and you're like oh like i've chills talking about yeah it's that good it's really good it's that good it's she she absolutely crushed it it was it was really special we we had never like only in sort of uh more like just behind the scenes fun capacity had ever like recorded anything together you know like and so we'd never really gotten to do anything official

and just i mean even just sitting on the couch like watching her do takes of the song was like amazing when she heard it yeah yeah yeah yeah i mean you know again like coaching someone through it's so different singing in the vocal booth than it is like getting on a stage and singing so like kind of coaching her through those moments it was really fun to kind of get to do that together it was special awesome unfortunately her um her feature rate nearly bankrupted the band. We're working through it. Which is kind of weird because you guys are married, so like, hmm. With that new car, you're just going.

She also has a writing credit on the song. Producer credit. She's cut in. And then with Lindsay, it was perfect too because going back to the way the song sounded originally, it was perfect for the time. But the strings, again, that was kind of like a big thing back then was these programmed strings and programmed synths and everything. And we were trying to think of how to recreate that and keep the magic. And we've known Lindsay for many years. She's got on stage with you guys, right?

Yeah. I remember that. She did Kids in the Dark with us. And she's so talented and such a good composer. She writes incredible parts, has a great ear for melody. And so it was kind of another one of those moments where it was like, this is a no-brainer. If she's available to do it, she will absolutely kill this.

So we hit her up and just said, hey, would you want to write the string arrangements for this? And she came through. She did it on tour. And the next day, she had it. That is one that i saw not a lot but some people did guess that and i think it's because it makes so much sense when you said specifically when you said we have two features people were like well they're probably not gonna

have two singers at the end of the song so it's got to be a string arrangement and it makes a lot of sense and not to undercut that at all by talking about how great lisa's part is because the string arrangement on this is great as well yeah um that song is all ear candy now like i i love listening to that one in particular on, on headphones. Yeah. The way you come in a little differently on the drums with the, with the drum roll.

I love that too. Yeah. You weren't there. So I was able to do it. I'm a, I'm really good. I really get to become a stickler when it comes to drum parts. If the forever sessions were not a rere-record album, but a tribute album,

are there any bands you could imagine or would like to hear covering these songs? Whoa. That's a great question. I would love to hear Post Malone do Remembering Sunday. I would love to hear that as well. He just put out a country album. Like emotional kind of like, yeah, the voice for that. Yeah, Posty shouted that song out at one point as something that was

like kind of in his formative therapy or sunday i can't remember i was remembering sunday but uh but yeah it would be cool to hear him do that yeah that's a great question and i can't think of a cool answer i'm going song by song halsey did it with us in new york i was there yeah so that would be cool to hear her on it again um i mean damn there's so many good like if i were to mention like a blinkink, for example, like of the eight songs on the Forever Sessions, which one could you imagine Blink doing? Jay-Z maybe?

I think they could do, I mean, they could do any of it. I'd love to hear that. I'd like to hear like Tom's kind of like darker angels type vibe on like with Jay-Z. Yeah. I think of like Coffee Shop being a cool Travis-Z. Yeah. I think of Coffee Shop being a cool Travis song. That's what I think of it. Very Travis-y verses.

What do your four-year-strong do weightless? Yeah. That would be awesome. He used to play with us. Yeah, he does. That's right. Warped to our throwback, he would come out and play. For some reason, I'm trying to think of a gritty band doing stereo,

like Royal Blood or something. Dope. Very dark. Sick. I don't know why I thought of that. I don't know if you mentioned Punk anywhere. Can't afford them! Again.

Yeah, we're just talking about people we can afford. We blew the feature budget on Lisa, so sorry we don't have that. So I want to play the All Time Low Eras game with you now. So what we're going to do is act like every album from All Time Low is its own era, and then I'm going to ask you questions, just a couple.

And we'll say which era you associate most with that. Love that. So which all time low era was the real party scene? No. If you just had to name one, I know there's probably a couple. That's a great, just like the way we named the record basically.

Yeah. Yeah. Yes. Which era was with? Yeah. I'm going to go. So we named the record basically? Yeah, yeah. Yes. Which era applies to that? I'm going to go nothing personal. Yeah.

Yeah, nothing personal. I'm going to say Dirty Work. Yeah, I was going to say Dirty Work too. Oh, okay. Dirty Work was like the first album where things started clicking for us. It was a third record, full record. We were out there. We had become and grown into a good, steady touring business. That we were out there, we were, we had become

and grown into like a good steady touring business. That's fair, yeah. We were going all over the world. Don't panic that year with Pierce. Oh my God. Yeah, okay.

That was the Warped Tour year. Yeah, yeah. Crazy shows. A lot of them had been. A lot of Jameson. You could say it's like a central theme of the entire band.

I have a feeling the next question might have a similar answer. Which era was the biggest whirlwind for you guys? We're looking back on it. It's almost like hard to even remember a lot about it. Wake Up Sunshine was weird because COVID. Yeah.

True. So we put out that record and less than a month later, the world shut down. Dirty Work was probably the most touring we did because we were international a lot yep yeah there was a new label at the time we were like international in europe we were on toward green day in europe record came out randomly when we were in germany yeah like that's weird yeah yeah yeah that is a whirlwind too yeah a lot of australia asia yeah we were we were constantly promoing that one it was the definitely the toughest touring schedule we'd ever had so far and like it was big stuff but also like it was stuff that was like we were doing things you know

taking the 1am slot on a festival in the middle of nowhere in germany that kind of thing like to sort of break into these markets we hadn't really tapped into yet so it worked to a degree yeah i mean like i think at the time we we made a lot of progress in those places that we could then follow up with also also the green day tour like really helped us yeah it was a big one like it really did a lot for us but it was it was grueling for sure this one might be a tough one what is the most underrated all-time low era oh dirty underrated renegade yeah yeah i'm gonna go renegade because i think that that's a great answer one day if we ever if we continue with these re-records i think that renegade will really shine and i love that record so much i love the songs but watching videos of us playing them live

nothing like gets me more excited like there's just a certain spark there of the type of songwriting versus how we do it live versus the production it's just it's all works together that that record was a that record had to walk so that like our the rest of our music following could run and like um it was an interesting one because it sounds very very different for us and i think to your point like the recordings even sound drastically different from anything we've ever done before because it was essentially us experimenting with like how to make all time sound different and how to evolve it past what people i think were used to hearing from us so at the time i remember like when that record came out it threw a lot of people and like it it now is looked upon really fondly within our

fan base and a lot of those songs stand out as favorites in our show live staples yeah dirty laundry is a huge one and like party yeah yeah exactly but at the time i remember it was a record as a whole that was met with a lot of criticism not from like like it was i think critics like loved it because it was different and it was us like evolving songwriting is very good. But our fan base was very much like, I don't know what this is. I don't know if I know this band. So it was an odd, tumultuous time for us

because we were trying to kind of get people to still be on board with the kind of music we were trying to make. And we didn't really know what we wanted it to sound like. We had the songs right where we wanted them. We had the parts, but the mixing of that record was a really tough thing for all of us and looking back now i just kept saying i want synths we yeah since no symbols and it makes sense but now like seeing how we do it

live if we could get another go at the mixing of it i think it would be super powerful for sure um and then we've got the most punk rock all-time low era i might say that one just because it was us doing what the fuck we wanted to do. So maybe that. But like from a live show, live amps, not giving a fuck, definitely Purpose Shut Up. Yeah, I figured.

The earliest. We were playing basements. We had like live amps. It was chaotic. There was no barricades. Yeah. That was like the most it felt like we were

a pop punk band. I think something said about, go ahead. Oh, go ahead. I was gonna say don't panic as well. Because just of what

it represented for the just of what it represented for the band and what it did for the band like we had just come out of dirty work which was our first major release and then the the carpet got pulled out from under us you know what i mean and um we dropped from the label and basically re-sign and had to go and make like essentially what i look at is like a return to form yeah kind of album and we were like we knew that we had to go and make just a really fucking solid pop punk record. Like back to what made us,

you know, what made people jump on board to begin with, but still like super it's technical. Like it's not easy. It's not just like, it's not down the middle, which is why I say it's like, I'm so proud of that record because it's exactly that.

Like we did have something to prove, but we did it in a really difficult way, which panned out perfectly, because the songs are tough musically, tough vocally, and we pulled it off live too, so there's a proudness to that, but I think that is our most pop punk record.

It was kind of us getting back to the ethos that we started with, which was like, all right, well, if the major label system didn't work for us, let's just go and DIY the shit out of this record and um and yeah it sort of brought people back into the fold in a really big way i was playing break breakout breakout in the basement with 50 kids that's pretty punk yeah our amps just just feeding back the entire time it's just never working never

working were you guys like a big thing with my band in middle school was like because i think you guys used wireless packs, we were like, we need wireless packs for all of our shows. And we were playing the smallest stages of all of them. 100%. 100%. That was one of the things. And it was the same for us.

When we were first coming up in high school, and we were really lucky that Baltimore had this pretty incredible local scene. And there were a couple of older bands that really held it down in that world. Shout out Adelphi. Shout out Supergiant md shout out underscore um matt flies like matt flies our original tour managers he was a singer um and like these these bands that were that we looked up to in the scene and were kind of inspiration for us to get better and do better and and uh have older have bigger amps where it was, it was those bands. And there was like,

Oh shit. Like flies. It's on any years now. Like you hear. And so then we're like, the next thing is like, all right, we've got to play a show and save up enough money to go like,

get an in-ear. I can't, I can't spin my guitar on my back if I'm using a cable. Yes. Yeah. So it was, it was kind of like, we were striving for like the,

the gear that you had with you was like, I remember we, it was like early shows with just surrender. Yep. Just surrender rolled through and came and did a show with us in baltimore and this was early days and they all had like they had signed a deal so they got that advanced so they got that nice gear update and we were just like damn dude that's a real band that's a real band watching brighton the band brighton with uh gosh now he now justin plays in dan and shay but a bunch of bands spawned from brighton and i I remember watching them and being like,

wait, there's a tambourine being played, but no one's playing it. And that was like the next week we had tambourine in all of our songs. Backing tracks. Everyone was singing Rocket to the Moon too? Yeah. I saw that was,

they opened up for you on that first all-time best show I ever saw. Before you exit, Rocket to the Moon. City, common state? City, common state. Yeah, yeah, yeah. All right. And then the final on the errors game game what is the era you're most proud of you just spoke about having pride in you know the the punk rock era i mean it's hard not to say the forever era yeah it's like

all we've been doing this year is looking back at a 20-year career that you know anyone would have guessed would have been 20 weeks maybe. And it's just insane that we're still here doing it bigger than ever. The era of all the eras. Yeah. I would agree. I would have to agree. I think also maybe, I mean, as odd as it was because of COVID, I think that maybe the bridge from Wake Up Sunshine into PMA and Once in a Lifetime and

those songs that bridge the gap into Tell Me I'm Alive. I think that was also really kind of special for us. That was a moment for you guys, for sure. For sure. Yeah. Yeah. It's been a crazy, crazy ride. Now, I only have two questions left, but selfishly, one of them has to be, I think I'm probably

the biggest dual all-time low and kiss fan in the entire world jesus so i mean i have to ask my largest you mean only how many people can say that i don't know if anyone else could say that but i am like a card carrying member of the kiss army love that loving kiss more than any other i went to the last show at msg dude like they are the band i grew up with more She must have freaked when he was playing General Simmons or whatever his name is There was a time when my brother texted me He's like, hey, Alex is going to be playing Peter Criss in a movie

And I was like, I'm pretty sure I'm high right now There's no way that's true I'm pretty sure I was high Are you a Kiss fan at all? So, to be completely honest Not because I don't like the band Or anything like that I'm just not a huge, I never got into kiss yeah um but like so my friend evan that movie is about his

father okay and so he he was sort of his brother directed it he was putting helping put this movie together and out of nowhere i get a text one day from my buddy evan and he's just like hey man like do you want to be in a movie? I was like, yeah. What do you got? He's like, you're playing the drummer in Kiss. I was like, sign me up. Let's go.

Why not? I'd never acted in anything really before. I'm not an actor. And this was like, it's a real movie. It was in theaters. You're in a theatrical release. It's a real movie.

That's crazy. I was terrified going into this thing. But it was really cool to be a part of. Do you feel better when you put the cat paint on? You're like, all right, it's my war paint. It's a real movie. That's crazy. I was terrified going into this thing. But it was really cool to be a part of. You feel better when you put the cat paint on? You're like, all right, it's my war paint. It's a disguise. Transform, man. War paint.

But because of the movie, I obviously had to do a little bit of research. Because I think people just expect that you kind of know the legacy and all of it. But I really didn't know the story or anything of how that stuff played out with the band. So I had to go in and do some research on Peter, Chris and the song that he wrote. Yeah. Yeah. Their first, their highest charting song ever. It was, it's wild story.

Yeah. Yeah. It was frustrating though. Cause that whole like month or two prior, he would just always be wearing the makeup. Yeah. It was very method for a 30 second scene. Yeah. Um, and then my final question, what do you want when it's all

said and done people to say about all time low i know that's like kind of a loaded question it's hard to answer but is it the the live shows the fan connection the longevity the music itself like what do you want to be the most talked about thing when all time low is said and done that's such a tough one i think i think the legacy and the community. Yeah. I think the thing that's really important to me is that whatever this little thing was that rose out of a basement in Baltimore, and for most of it has really just been us figuring it out as we go and growing up doing it. I think it's, A, looking back, just wild and incredible that we've managed to stand the test of time this way. And it's mattered to people as much as it has. You know what I mean? The fact that 20 years in, there's still people showing up to come and see us in droves in certain

places is it's just wild. And like, I hope that we're remembered for that. I hope that we're remembered as like the, the band that just wouldn't go away. You know what I mean? Like a lot of artists come and go. And I think it's where we've been very lucky that it's been this kind of

incredible ride for us that we've continued on. I love it. I think that's we've been very lucky that it's been this kind of incredible ride for us that we've continued on I love it I think that will be how you're remembered honestly the longevity you guys are second to none with how you've evolved with your fans with the music all of it the all time low forever album or forever sessions I'm sorry is out now check it

out download it wherever you can download it stream it by the physical copies that helps them a lot. And go see him on tour. The tour will be over by the time this comes out. Yeah. So one show left. Wrapping up.

Be able to play on Saturday. Oh, yeah. Saturday. Go see him tomorrow. Come see us tomorrow at Merriweather. Yeah. All right. See you tomorrow.

Thank you, Robbie.