The 15th November marks the date that we’re joined by all round musical force and ex Candy Butchers frontman Mike Viola, following the release of his latest album ‘Rock Of Boston’, recorded alongside members of both Weezer and Panic At The Disco. Get to know ’em!
Hey Mike! We’re buzzing to have you here at The Bodega, how are you feeling about this run of UK dates?
I’ve never really done any touring in the UK like this before, it’s a first for me, and I can’t wait. The band I’m playing with is pretty special, Sean Payne and Jay Lewis from the Zutons and Jake Sinclair from Panic at the Disco. some exciting shows ahead.
You’ve got a really fruitful back catalogue and the latest album sounds great, what goes into selecting a setlist from all of your material?
Mostly playing songs from the last 4 records. Really whatever makes the best show. It’s funny, when I ask fans to send in their requests it’s always the most obscure weird ass song I’ve ever been a part of! Like one time I sang on a cartoon called like Penguin Club or something, my friend was doing the music to it and asked if I would, I had no idea I’d be credited and that years later that song would show up in a request to play live in an online thread somewhere. I both love and hate the internet for that.
Your latest album ‘Rock Of Boston’ was recorded at your home studio, as a producer yourself do you feel an extra sense of creative freedom when hitting record?
Oh most definitely. The freedom is what it’s all about. If I’m not having fun or loving what I’m making I stop. It’s not a job, it’s my work. I make a living off doing my work. And my work involves the utmost freedom. Being at home is a plus mostly because I can jump in there whenever I want. I don’t have to schedule anything or wait. For some people that can be a drawback, almost like they fell guilty if they’re not in there using it all the time. But the remedy for that is, use it all the time.
You made the choice to record to tape, is that something you’ve experimented with in the past or was that a conscious choice to get that particular sound?
I started out on tape, moved to a DAW at some point when tape was hard to source, the companies making it just went out of business. But then ATR started making a decent formula and I started up again, this must have been around 2014 or so. Everything I’ve recorded for myself or otherwise has been on tape since then. I prefer the work flow. Sure I like the way it sounds too, but I’d never die on that hill; tape versus digital. It’s a boring argument. Just make your art, who cares how you do it.
The album featured a roster of artists who you’ve previously worked with. Getting friends in must be a lot of fun as opposed to hiring session musicians?
I’ve never hired people that I don’t know. Even when I’m working on a record for somebody else. But yes, to play with your friends, to put together a band to make a record, to spend a few weeks or months with them being creative, existing in that creative space together then hopefully taking that on the road, it’s the dream, and sometimes I can’t believe I’ve been doing it my whole life.
When you’re on the road do you find yourself writing often or is that something that’s saved for the studio?
Actually it’s a little of both. I like the discipline of always writing. of always being on high alert for a riff or lick, a lyric or melody that might be worth pulling on. The romantic idea of writing a song in the back of the bus or van cutting across the country somewhere tugs at my kid brain, and I always respond.
We can’t wait for the show, so before you go, what’s the album you’ve got on repeat in the van whilst you’re on tour?
It really depends on who’s at the wheel but my go to forever and after forever is Black Sabbath. I like to start at the first record and go to Volume 4. There’s never a complaint, not a peep, from anybody in the van when the wind and rain starts on the first song…. it’s like… “Here we go boys…”.
Catch Mike Viola live at The Bodega on the 15th November. Tickets on sale now.
