The band 311 made its fans wait a long time for a new CD, going four years between the 2005 CD, “Don’t Tread on Me” and its recently released album, “Uplifter.” But singer Nick Hexum says the long gap between albums was the best thing the group could have done for its music and its future.
“If you want to become a better musician, become a better person,” the singer/guitarist said. “I needed to go through a bit of personal growth.”
By the time touring behind “Don’t Tread on Me” wrapped up, the group felt as if it had been on the album-tour treadmill too long and hadn’t been able to step away from its work routine to experience everyday life.
So in 2006, the band decided to take a break that ended up stretching into 2007 when 311 regrouped for its Unity tour, which has become an annual summer event.
It was after that 2007 run of dates that 311 began work on “Uplifter.” By that time, it was clear that the group was coming into the project eager for musical exploration and willing to accept outside input.
“In retrospect ‘Don’t Tread on Me’ feels a little stagnant,” Hexum said. “We realized that it was time to shake things up. We didn’t want to just hurry and make another album. We wanted to really make sure we were taking a huge step forward, because it’s about quality, not quantity.”
Hexum said a key step in the process was choosing Bob Rock to produce the new CD.
Rock came into the project urging 311 to set aside any preconceived notions about its sound and how the group should write and record songs. Hexum said Rock suggested changes to song arrangements and helped 311 discover new ways to approach its sound.
“Invariably bands are going to get into certain sort of ruts and grooves,” Hexum said. “And he (Rock) came in and it was like, ‘I don’t care how you guys used to do things. Let’s try a new way.’”
To say that Hexum is excited about “Uplifter,” would be an understatement.
He said that in some respects, it recalls the more rap-rock oriented sound of early 311 albums like “Music” (1993) and “Grassroots” (1994). But at the same time, it’s also a guitar-oriented album with a definite rock dimension and lots of melody.
“It’s more danceable, but then there’s more heavy, and then there are these shredding guitar solos,” Hexum said. “Then there’s some kind of reggae grooves, even a little bit of world beat, something that we haven’t really messed around with much. But Bob turned us on to some North African guitar textures that make an interesting little appearance in the bridge of one song.”
The reggae-ish grooves work their way into songs like “Hey You” (the CD’s bouncy first single), while the band rocks out on “India Ink” and “Never Ending Summer.” The band puts a little funk into the relaxed rocker, “It’s Alright,” while “Golden Sunlight” is one of several songs that finds 311 venturing into sweetly lit pop territory.
Hexum is also confident that 311 — which also includes SA Martinez (vocals/deejay), Chad Sexton (drums), Tim Mahoney (guitar) and P-Nut (bass) — did some of its best songwriting on “Uplifter.”
“We have 12 songs on the album, and all of those feel like breakthroughs to us, where in the past we might have a few breakthroughs on an album, and then the other songs, we’d be like well that’s just kind of like business as usual,” Hexum said. “Well, now we’re at a place where we don’t accept business as usual.”
Fans can expect to hear some “Uplifter” songs on tour this winter and spring, although Hexum also said the group will include familiar songs from its back catalog and perhaps a few rarities.
“We know that these songs are really going to work live,” he said. “And because we took a break in the middle of the recording to tour … it injected the enthusiasm of the fans into our songwriting. That process made it so the second batch of songs, which all made the album, are very live and friendly.”
Friday, February 26, 2010
Thursday, February 25, 2010
Show Review: 311 at The Fox Oakland (Spinning Platters)
The first time I saw 311 was at the tender age of 18. I stood staring in awe outside at the Justin Herman Plaza at a band I had only ever seen on a TV screen back when MTV still called themselves “Music” Television. My first live show, for free, and they played for at least two hours. It was a show totally worth skipping my early morning chemistry lab for. I walked away with each band member’s autograph written in black Sharpie on my arms. I felt so cool at the time.
Seven years later I find that 311 can still rock my world.
Their sound is so distinctive and so very 311. For me, they represent a significant part of the sound that made up ’90s, and are severely underrated. The show tonight didn’t sell out, but like any good band that has been touring for the past two decades, they had a slew of dedicated fans wearing 311 t-shirts from past shows. All of them eager to relive the awesomeness that is 311 live.
They kicked off the show promptly at 9:35pm with the classic “Omaha Stylee,” filing the theatre with their personal brand of white-boy stoner reggae rock. Each time the lights dropped, a string of glowing lights would float on stage, emanating from P-nut’s bass. Throughout the set, each band member performed his respective trademark move, from Nick’s leg kicks, to SA’s head bobbing. Along with the quintessential drum solo, and the band drum-a-long. It’s my own personal belief that Chad Sexton has the fittest forearms in the business, and he must surely carry around some hand weights for strength conditioning.
The only thing that marred the show’s energy was the muddled sound that made it seem like I was watching the show behind a wall. But I was pleased with the band’s decision to not play too many new songs from their new album, Uplifter. I’m very partial to the classics.
The set list:
1. Omaha Stylee
2. All Mixed Up
3. Homebrew
4. India Ink
5. Come Original
6. 8:16 AM
7. From Chaos
8. Visit
9. 1, 2, 3
10. Applied Science
12. Flowing
Bass Solo
13. Nutsymtom
14. Amber
15. You Wouldn’t Believe
16. Mix It Up
17. Beautiful Disaster
18. Beyond the Gray Sky
19. Jackpot
20. Down
ENCORE:
21. Creatures (For a While)
22. Fuck the Bullshit
311 is a band that has forged a symbiotic relationship with their fans over the years, and never fail to deliver exactly what they want.
Seven years later I find that 311 can still rock my world.
Their sound is so distinctive and so very 311. For me, they represent a significant part of the sound that made up ’90s, and are severely underrated. The show tonight didn’t sell out, but like any good band that has been touring for the past two decades, they had a slew of dedicated fans wearing 311 t-shirts from past shows. All of them eager to relive the awesomeness that is 311 live.
They kicked off the show promptly at 9:35pm with the classic “Omaha Stylee,” filing the theatre with their personal brand of white-boy stoner reggae rock. Each time the lights dropped, a string of glowing lights would float on stage, emanating from P-nut’s bass. Throughout the set, each band member performed his respective trademark move, from Nick’s leg kicks, to SA’s head bobbing. Along with the quintessential drum solo, and the band drum-a-long. It’s my own personal belief that Chad Sexton has the fittest forearms in the business, and he must surely carry around some hand weights for strength conditioning.
The only thing that marred the show’s energy was the muddled sound that made it seem like I was watching the show behind a wall. But I was pleased with the band’s decision to not play too many new songs from their new album, Uplifter. I’m very partial to the classics.
The set list:
1. Omaha Stylee
2. All Mixed Up
3. Homebrew
4. India Ink
5. Come Original
6. 8:16 AM
7. From Chaos
8. Visit
9. 1, 2, 3
10. Applied Science
12. Flowing
Bass Solo
13. Nutsymtom
14. Amber
15. You Wouldn’t Believe
16. Mix It Up
17. Beautiful Disaster
18. Beyond the Gray Sky
19. Jackpot
20. Down
ENCORE:
21. Creatures (For a While)
22. Fuck the Bullshit
311 is a band that has forged a symbiotic relationship with their fans over the years, and never fail to deliver exactly what they want.
Sunday, January 31, 2010
Music promoters rope Twitter into their cause (Jakarta Post)
In the local music industry, Twitter has also taken on an important role: spreading the news and making long-harbored dreams come true. It also helps that it's very intimate - you can talk directly to any person you want as long as they have a Twitter account.
The Concerts for Justice, held for Prita Mulyasari in Jakarta and Bandung, were one such example of Twitter at work: Both concerts were initiated through the social networking site.
Rolling Stone Indonesia managing editor Adib Hidayat was one of the initiators. He tweeted the basic invitation for musicians to take part in supporting Prita, the subject of a legal system gone wrong.
"We only picked up the idea two weeks before the event," he says.
"That Friday night, the idea got really wild. At the time, we didn't know yet whether it was viable or not."
These concerts helped raise almost Rp 1 billion (US$105,000) for Prita's legal costs. Top bands including Nidji and Slank, and indie ones such as Seringai, played their part.
Another example of Twitter at work in the music industry goes back several months to when concert promoter Adrie Subono began his Twitter adventure.
"I'm no good with technology, I can never keep up with it," he says.
"My daughter taught me how to use Twitter. At the time, I was in a bind trying to figure out how to promote my concerts."
So he began tweeting about his job. He wrote of the negotiation process, future plans, even his failure to sign a certain artist.
His followers grew in number. On the first day, he had about 5,000. Now he has more than 60,000.
"I know most of them are music lovers; those who want to know about music concerts here follow my tweets, and I benefit from it by promoting my concerts," says the industry veteran.
The simple link has had an extraordinary impact on his business, most remarkably in how he decided to bring American rock band 311 to perform in Jakarta.
The idea was initially broached by the band's fans.
They flooded Adrie's page on Twitter and then made themselves heard, both by the promoter and by the band.
Surakarta-based Adia Prabowo is a die-hard 311 fan who was in on it from the start.
"Every day I'd send a tweet to Adrie's account," she says.
"I'd say, *Please bring 311 to Indonesia'. Later, I realized I wasn't alone. There were others doing the same. So every night we met over the Internet.
"I don't know what he thought about our tweets. Maybe he was sick of all the requests to bring 311 to Indonesia."
But Adrie responded. He raised the issue with the band.
"The fans had basically petitioned me, so I told the band's management that the demand for them to play here was high," he says.
The rest fell into place: Adrie struck a deal with the band. 311 are now scheduled to perform in Jakarta on March 30. Everyone's happy.
Even Nick Hexum, the 311 front man, paid homage to the Indonesian fans via his Twitter account, @NickHexum.
"It was so cool the way the Jakarta show came together," he tweeted on Dec. 19 last year.
"311 fans there organized and let the promoter know that there was a lot of support."
Later on, he told Brazilian fans to take a hint from the way the Indonesian fans had got the band a gig by local promoter.
"Brazilian 311 fans often ask me when we're going to play there," he says.
"Take a tip from the Indonesians and tweet the local promoters. Grassroots!"
Learning from the 311 case, Adrie tried the same approach with Cobra Starship, another American band.
"The whole Cobra Starship deal was completed within just three days," he says.
But all new technology is prone to abuse. Since anybody can tweet whatever they want, sometimes information can be spread without a proper reference.
News that can only be categorized as rumors often sneaks out via Twitter. It happened with the Jakarta and Bandung gigs for the band Kings of Convenience.
On several occasions, misdi-rected tweets left the public confused about ticket info for the concerts.
Out of nowhere, certain sources tweeted that tickets would go on sale Jan. 17. This was then revised to Jan. 25. That info was re-tweeted hundreds of times by hundreds of people, thus propagating the misinformation.
At the end of the day, it all comes back to the people who use the media in the proper and smart way. Anyone can be a source of information. But the choice is up to the individual to choose what to believe.
The Concerts for Justice, held for Prita Mulyasari in Jakarta and Bandung, were one such example of Twitter at work: Both concerts were initiated through the social networking site.
Rolling Stone Indonesia managing editor Adib Hidayat was one of the initiators. He tweeted the basic invitation for musicians to take part in supporting Prita, the subject of a legal system gone wrong.
"We only picked up the idea two weeks before the event," he says.
"That Friday night, the idea got really wild. At the time, we didn't know yet whether it was viable or not."
These concerts helped raise almost Rp 1 billion (US$105,000) for Prita's legal costs. Top bands including Nidji and Slank, and indie ones such as Seringai, played their part.
Another example of Twitter at work in the music industry goes back several months to when concert promoter Adrie Subono began his Twitter adventure.
"I'm no good with technology, I can never keep up with it," he says.
"My daughter taught me how to use Twitter. At the time, I was in a bind trying to figure out how to promote my concerts."
So he began tweeting about his job. He wrote of the negotiation process, future plans, even his failure to sign a certain artist.
His followers grew in number. On the first day, he had about 5,000. Now he has more than 60,000.
"I know most of them are music lovers; those who want to know about music concerts here follow my tweets, and I benefit from it by promoting my concerts," says the industry veteran.
The simple link has had an extraordinary impact on his business, most remarkably in how he decided to bring American rock band 311 to perform in Jakarta.
The idea was initially broached by the band's fans.
They flooded Adrie's page on Twitter and then made themselves heard, both by the promoter and by the band.
Surakarta-based Adia Prabowo is a die-hard 311 fan who was in on it from the start.
"Every day I'd send a tweet to Adrie's account," she says.
"I'd say, *Please bring 311 to Indonesia'. Later, I realized I wasn't alone. There were others doing the same. So every night we met over the Internet.
"I don't know what he thought about our tweets. Maybe he was sick of all the requests to bring 311 to Indonesia."
But Adrie responded. He raised the issue with the band.
"The fans had basically petitioned me, so I told the band's management that the demand for them to play here was high," he says.
The rest fell into place: Adrie struck a deal with the band. 311 are now scheduled to perform in Jakarta on March 30. Everyone's happy.
Even Nick Hexum, the 311 front man, paid homage to the Indonesian fans via his Twitter account, @NickHexum.
"It was so cool the way the Jakarta show came together," he tweeted on Dec. 19 last year.
"311 fans there organized and let the promoter know that there was a lot of support."
Later on, he told Brazilian fans to take a hint from the way the Indonesian fans had got the band a gig by local promoter.
"Brazilian 311 fans often ask me when we're going to play there," he says.
"Take a tip from the Indonesians and tweet the local promoters. Grassroots!"
Learning from the 311 case, Adrie tried the same approach with Cobra Starship, another American band.
"The whole Cobra Starship deal was completed within just three days," he says.
But all new technology is prone to abuse. Since anybody can tweet whatever they want, sometimes information can be spread without a proper reference.
News that can only be categorized as rumors often sneaks out via Twitter. It happened with the Jakarta and Bandung gigs for the band Kings of Convenience.
On several occasions, misdi-rected tweets left the public confused about ticket info for the concerts.
Out of nowhere, certain sources tweeted that tickets would go on sale Jan. 17. This was then revised to Jan. 25. That info was re-tweeted hundreds of times by hundreds of people, thus propagating the misinformation.
At the end of the day, it all comes back to the people who use the media in the proper and smart way. Anyone can be a source of information. But the choice is up to the individual to choose what to believe.
Wednesday, December 16, 2009
Rain didn't stop 311 concert
The Unity Tour with 311, Ziggy Marley and The Expendables pounded Red Rocks Amphitheatre with love and jams Friday night.
“In case you didn’t know, we’re about bringing people together,” 311 frontman Nick Hexum, yelled out into a soaked and riled-up crowd (hence the “Unity Tour”).
The rain came down, but it didn’t put out the musical fire that was lit by opener, The Expendables and fueled by second up, Ziggy Marley (one of the Bob Marley sons). By the end of the night, 311 had the fire raging.
Fans at Red Rocks were also given a little treat.
“How about a world premiere?” Hexum asked the crowd with a smile. 311 went on to play, for the first time ever live, a bonus track from their newest album Uplifter, titled “I Like the Way.”
“In case you didn’t know, we’re about bringing people together,” 311 frontman Nick Hexum, yelled out into a soaked and riled-up crowd (hence the “Unity Tour”).
The rain came down, but it didn’t put out the musical fire that was lit by opener, The Expendables and fueled by second up, Ziggy Marley (one of the Bob Marley sons). By the end of the night, 311 had the fire raging.
Fans at Red Rocks were also given a little treat.
“How about a world premiere?” Hexum asked the crowd with a smile. 311 went on to play, for the first time ever live, a bonus track from their newest album Uplifter, titled “I Like the Way.”
311 Maps Fall Headlining Tour (Ultimate-Guitar)
Alt-rockers 311 will head out on the road late this year for a run of headlining dates in support of the band's most recent album, "Uplifter."
The group kicks off the outing Nov. 11 in Temecula, CA, east of Los Angeles, and will hit 19 cities on the trek, which concludes Dec. 8 in Austin, TX.
Opening acts will include State Radio and Kottonmouth Kings, along with one show (11/21 in Atlantic City, NJ) with Slightly Stoopid. Full details on opening acts and additional ticketing information can be found at the band's website.
"Uplifter," the 311's ninth album, surfaced in June. The set was produced by hard-rock veteran Bob Rock (Metallica, Motley Crue), which resulted in a louder direction for the band's latest effort, according to guitarist/vocalist Nick Hexum.
"It evolved that way [toward a more aggressive sound], but it wasn't pushed," Hexum told LiveDaily earlier this year. "Early on, there was a batch of songs where we thought, 'This is going to be our most heavy album to date.' He loved our reggae stuff, but we found a way to merge the heavy side with the funky reggae side, which I think 'Hey You' does pretty well.
"I realized after we were done that not a lot of bands can get away with putting this many styles on an album."
The group kicks off the outing Nov. 11 in Temecula, CA, east of Los Angeles, and will hit 19 cities on the trek, which concludes Dec. 8 in Austin, TX.
Opening acts will include State Radio and Kottonmouth Kings, along with one show (11/21 in Atlantic City, NJ) with Slightly Stoopid. Full details on opening acts and additional ticketing information can be found at the band's website.
"Uplifter," the 311's ninth album, surfaced in June. The set was produced by hard-rock veteran Bob Rock (Metallica, Motley Crue), which resulted in a louder direction for the band's latest effort, according to guitarist/vocalist Nick Hexum.
"It evolved that way [toward a more aggressive sound], but it wasn't pushed," Hexum told LiveDaily earlier this year. "Early on, there was a batch of songs where we thought, 'This is going to be our most heavy album to date.' He loved our reggae stuff, but we found a way to merge the heavy side with the funky reggae side, which I think 'Hey You' does pretty well.
"I realized after we were done that not a lot of bands can get away with putting this many styles on an album."
Monday, December 7, 2009
Interview with 311 (Austin 360)
Tim Mahoney is always and forever conscious of his fans.
Speaking by phone from Dallas on Saturday afternoon, the guitarist for the multiplatinum alternative rock band 311 is prepping to make the kickoff for the University of Texas and University of Nebraska-Lincoln game alongside band mates Chad Sexton and S.A. Martinez.
But he’s quick to qualify the Omaha, Neb.-born band’s love for the Cornhuskers the moment he twigs to the fact that he’s speaking to an Austin paper.
“Oh man, we’ve made friends with Major Applewhite. Other than when we play Texas I’m always a big fan of Texas teams,” offers Mahoney. “I’m a huge Pantera fan and they come from Texas. Outside of Nebraska I do like Texas a lot!”
That gesture seems less about calculation and more about inclusiveness — few bands that sell their numbers have a more intimate relationship with their fan base than 311. The last thing Mahoney wants to do is alienate any of the fans he’ll be playing for at Tuesday’s show at the Austin Music Hall.
Now Los Angeles-based, the quintet, long famous for incorporating scattered bits of rap, ska and reggae into their radio-friendly waves of guitar, post the set list to every show online and have participated in video chats with their fans. They even host an annual event, 311 Day — held, naturally, on March 11 — where thousands of fans journey from around the world to see the band play a concert that lasts upwards of five hours and 60 songs. As you might predict, lasers are involved. For the band, says Mahoney, that level of fan interaction is one part mutual love fest and one part job security.
“The fact that we can still make records and go out and play live and have an interaction like that is because of the fans. Because every night even if some of the songs are the same it’s still just a moment that only exists right there and then. And to have that energy and shared moment of a celebration with a like-minded group of people is a pretty amazing thing,” says Mahoney. “And basically, especially nowadays, the hardcore fans of a band support them. We never take that for granted.”
Nearly two decades ago, when 311 was just emerging from the musical primordial ooze of the barely extant Omaha scene, that wasn’t the case. Playing to crowds of thousands was a pipe dream for Mahoney when he joined the still-young band in 1991, replacing original guitarist Jim Watson.
The band self-released three albums before packing its bags and moving to Los Angeles. They toured relentlessly, contending with an apathetic mainstream press and an RV fire that destroyed their gear. At one point they moved all their belongings into storage and simply lived on the road, reasoning that most of their time was spent on tour anyway.
When the band did find success, it was substantial — 1995’s self-titled album, often called the “Blue Album,” eventually went triple-platinum, with single “Down” reaching No.1 on the Billboard modern rock chart. A series of commercially successful albums followed, and the band refused to slack off on touring, playing a series of amphitheater dates every summer.
With a dozen studio albums under their belt, the band has an extensive back catalogue to mine for live shows, an effort Mahoney says they make every time, even if the sound has changed a bit.
“We try to tailor the set more to songs that we haven’t played in a long time that probably are more challenging to play live. And maybe things die-hard fans would love,” says Mahoney. “When I look back I wouldn’t want to change how any of those records sound, but we definitely talk about how it would sound if we recorded the older material now. Because you hopefully, as a band, grow over time. And it sounds different now because we were more like crusty young punks with a lot of energy then. You hope you don’t lose that as you get older but it’s an inevitably that you evolve.”
Evolution was a key theme on their most recent release, this year’s optimistically titled and lyrically positive “Uplifter.” Seeking a change after four years without an album release — by far the biggest break in the prolific band’s career — they sought out producer Bob Rock. With a name like that, it’s no surprise that Rock’s resume includes a who’s who of renowned acts: Metallica, Motley Crue, the Offspring, Bon Jovi and Aerosmith, among others.
“He’s just a solid guy. I remember the first thing he said to me was ‘For me, it’s just about doing the work. There’s no Bob Rock sound. I just want to help you guys make a great album,’” says Mahoney. “So just his taste in everything was smart, really, because he’s been doing it so long, everything from rock to Michael Bublé.”
Nearly two decades into his tenure with the band, Mahoney seems as enthused about 311’s prospects as ever. Maybe that’s because the band has the money to give each other the kind of space that makes touring comfortable — they split two buses, with Mahoney traveling with drummer Chad Sexton and his bulldog, Zoe. That can’t hurt a touring band’s morale. Just as importantly, though, they’ve managed to keep a healthy respect — for each other, for their music and for their fans.
“We’re friends, and I think we all respect each other and respect each other’s songwriting. And having to all travel together in our RV early on, and having to share a house, we got on it pretty quick in terms of knowing how to coexist and respect each other’s space,” Mahoney says. “And I think everyone enjoys what they do. We’re about ready to turn 20 now and it’s amazing. We’re real fortunate to get to still be playing music.”
Speaking by phone from Dallas on Saturday afternoon, the guitarist for the multiplatinum alternative rock band 311 is prepping to make the kickoff for the University of Texas and University of Nebraska-Lincoln game alongside band mates Chad Sexton and S.A. Martinez.
But he’s quick to qualify the Omaha, Neb.-born band’s love for the Cornhuskers the moment he twigs to the fact that he’s speaking to an Austin paper.
“Oh man, we’ve made friends with Major Applewhite. Other than when we play Texas I’m always a big fan of Texas teams,” offers Mahoney. “I’m a huge Pantera fan and they come from Texas. Outside of Nebraska I do like Texas a lot!”
That gesture seems less about calculation and more about inclusiveness — few bands that sell their numbers have a more intimate relationship with their fan base than 311. The last thing Mahoney wants to do is alienate any of the fans he’ll be playing for at Tuesday’s show at the Austin Music Hall.
Now Los Angeles-based, the quintet, long famous for incorporating scattered bits of rap, ska and reggae into their radio-friendly waves of guitar, post the set list to every show online and have participated in video chats with their fans. They even host an annual event, 311 Day — held, naturally, on March 11 — where thousands of fans journey from around the world to see the band play a concert that lasts upwards of five hours and 60 songs. As you might predict, lasers are involved. For the band, says Mahoney, that level of fan interaction is one part mutual love fest and one part job security.
“The fact that we can still make records and go out and play live and have an interaction like that is because of the fans. Because every night even if some of the songs are the same it’s still just a moment that only exists right there and then. And to have that energy and shared moment of a celebration with a like-minded group of people is a pretty amazing thing,” says Mahoney. “And basically, especially nowadays, the hardcore fans of a band support them. We never take that for granted.”
Nearly two decades ago, when 311 was just emerging from the musical primordial ooze of the barely extant Omaha scene, that wasn’t the case. Playing to crowds of thousands was a pipe dream for Mahoney when he joined the still-young band in 1991, replacing original guitarist Jim Watson.
The band self-released three albums before packing its bags and moving to Los Angeles. They toured relentlessly, contending with an apathetic mainstream press and an RV fire that destroyed their gear. At one point they moved all their belongings into storage and simply lived on the road, reasoning that most of their time was spent on tour anyway.
When the band did find success, it was substantial — 1995’s self-titled album, often called the “Blue Album,” eventually went triple-platinum, with single “Down” reaching No.1 on the Billboard modern rock chart. A series of commercially successful albums followed, and the band refused to slack off on touring, playing a series of amphitheater dates every summer.
With a dozen studio albums under their belt, the band has an extensive back catalogue to mine for live shows, an effort Mahoney says they make every time, even if the sound has changed a bit.
“We try to tailor the set more to songs that we haven’t played in a long time that probably are more challenging to play live. And maybe things die-hard fans would love,” says Mahoney. “When I look back I wouldn’t want to change how any of those records sound, but we definitely talk about how it would sound if we recorded the older material now. Because you hopefully, as a band, grow over time. And it sounds different now because we were more like crusty young punks with a lot of energy then. You hope you don’t lose that as you get older but it’s an inevitably that you evolve.”
Evolution was a key theme on their most recent release, this year’s optimistically titled and lyrically positive “Uplifter.” Seeking a change after four years without an album release — by far the biggest break in the prolific band’s career — they sought out producer Bob Rock. With a name like that, it’s no surprise that Rock’s resume includes a who’s who of renowned acts: Metallica, Motley Crue, the Offspring, Bon Jovi and Aerosmith, among others.
“He’s just a solid guy. I remember the first thing he said to me was ‘For me, it’s just about doing the work. There’s no Bob Rock sound. I just want to help you guys make a great album,’” says Mahoney. “So just his taste in everything was smart, really, because he’s been doing it so long, everything from rock to Michael Bublé.”
Nearly two decades into his tenure with the band, Mahoney seems as enthused about 311’s prospects as ever. Maybe that’s because the band has the money to give each other the kind of space that makes touring comfortable — they split two buses, with Mahoney traveling with drummer Chad Sexton and his bulldog, Zoe. That can’t hurt a touring band’s morale. Just as importantly, though, they’ve managed to keep a healthy respect — for each other, for their music and for their fans.
“We’re friends, and I think we all respect each other and respect each other’s songwriting. And having to all travel together in our RV early on, and having to share a house, we got on it pretty quick in terms of knowing how to coexist and respect each other’s space,” Mahoney says. “And I think everyone enjoys what they do. We’re about ready to turn 20 now and it’s amazing. We’re real fortunate to get to still be playing music.”
Interview: 311 (playing Austin Music Hall Tuesday night)
Tim Mahoney is always and forever conscious of his fans.
Speaking by phone from Dallas on Saturday afternoon, the guitarist for the multiplatinum alternative rock band 311 is prepping to make the kickoff for the University of Texas and University of Nebraska-Lincoln game alongside band mates Chad Sexton and S.A. Martinez.
But he’s quick to qualify the Omaha, Neb.-born band’s love for the Cornhuskers the moment he twigs to the fact that he’s speaking to an Austin paper.
“Oh man, we’ve made friends with Major Applewhite. Other than when we play Texas I’m always a big fan of Texas teams,” offers Mahoney. “I’m a huge Pantera fan and they come from Texas. Outside of Nebraska I do like Texas a lot!”
That gesture seems less about calculation and more about inclusiveness — few bands that sell their numbers have a more intimate relationship with their fan base than 311. The last thing Mahoney wants to do is alienate any of the fans he’ll be playing for at Tuesday’s show at the Austin Music Hall.
Now Los Angeles-based, the quintet, long famous for incorporating scattered bits of rap, ska and reggae into their radio-friendly waves of guitar, post the set list to every show online and have participated in video chats with their fans. They even host an annual event, 311 Day — held, naturally, on March 11 — where thousands of fans journey from around the world to see the band play a concert that lasts upwards of five hours and 60 songs. As you might predict, lasers are involved. For the band, says Mahoney, that level of fan interaction is one part mutual love fest and one part job security.
“The fact that we can still make records and go out and play live and have an interaction like that is because of the fans. Because every night even if some of the songs are the same it’s still just a moment that only exists right there and then. And to have that energy and shared moment of a celebration with a like-minded group of people is a pretty amazing thing,” says Mahoney. “And basically, especially nowadays, the hardcore fans of a band support them. We never take that for granted.”
Nearly two decades ago, when 311 was just emerging from the musical primordial ooze of the barely extant Omaha scene, that wasn’t the case. Playing to crowds of thousands was a pipe dream for Mahoney when he joined the still-young band in 1991, replacing original guitarist Jim Watson.
The band self-released three albums before packing its bags and moving to Los Angeles. They toured relentlessly, contending with an apathetic mainstream press and an RV fire that destroyed their gear. At one point they moved all their belongings into storage and simply lived on the road, reasoning that most of their time was spent on tour anyway.
When the band did find success, it was substantial — 1995’s self-titled album, often called the “Blue Album,” eventually went triple-platinum, with single “Down” reaching No.1 on the Billboard modern rock chart. A series of commercially successful albums followed, and the band refused to slack off on touring, playing a series of amphitheater dates every summer.
With a dozen studio albums under their belt, the band has an extensive back catalogue to mine for live shows, an effort Mahoney says they make every time, even if the sound has changed a bit.
“We try to tailor the set more to songs that we haven’t played in a long time that probably are more challenging to play live. And maybe things die-hard fans would love,” says Mahoney. “When I look back I wouldn’t want to change how any of those records sound, but we definitely talk about how it would sound if we recorded the older material now. Because you hopefully, as a band, grow over time. And it sounds different now because we were more like crusty young punks with a lot of energy then. You hope you don’t lose that as you get older but it’s an inevitably that you evolve.”
Evolution was a key theme on their most recent release, this year’s optimistically titled and lyrically positive “Uplifter.” Seeking a change after four years without an album release — by far the biggest break in the prolific band’s career — they sought out producer Bob Rock. With a name like that, it’s no surprise that Rock’s resume includes a who’s who of renowned acts: Metallica, Motley Crue, the Offspring, Bon Jovi and Aerosmith, among others.
“He’s just a solid guy. I remember the first thing he said to me was ‘For me, it’s just about doing the work. There’s no Bob Rock sound. I just want to help you guys make a great album,’” says Mahoney. “So just his taste in everything was smart, really, because he’s been doing it so long, everything from rock to Michael Bublé.”
Nearly two decades into his tenure with the band, Mahoney seems as enthused about 311’s prospects as ever. Maybe that’s because the band has the money to give each other the kind of space that makes touring comfortable — they split two buses, with Mahoney traveling with drummer Chad Sexton and his bulldog, Zoe. That can’t hurt a touring band’s morale. Just as importantly, though, they’ve managed to keep a healthy respect — for each other, for their music and for their fans.
“We’re friends, and I think we all respect each other and respect each other’s songwriting. And having to all travel together in our RV early on, and having to share a house, we got on it pretty quick in terms of knowing how to coexist and respect each other’s space,” Mahoney says. “And I think everyone enjoys what they do. We’re about ready to turn 20 now and it’s amazing. We’re real fortunate to get to still be playing music.”
Speaking by phone from Dallas on Saturday afternoon, the guitarist for the multiplatinum alternative rock band 311 is prepping to make the kickoff for the University of Texas and University of Nebraska-Lincoln game alongside band mates Chad Sexton and S.A. Martinez.
But he’s quick to qualify the Omaha, Neb.-born band’s love for the Cornhuskers the moment he twigs to the fact that he’s speaking to an Austin paper.
“Oh man, we’ve made friends with Major Applewhite. Other than when we play Texas I’m always a big fan of Texas teams,” offers Mahoney. “I’m a huge Pantera fan and they come from Texas. Outside of Nebraska I do like Texas a lot!”
That gesture seems less about calculation and more about inclusiveness — few bands that sell their numbers have a more intimate relationship with their fan base than 311. The last thing Mahoney wants to do is alienate any of the fans he’ll be playing for at Tuesday’s show at the Austin Music Hall.
Now Los Angeles-based, the quintet, long famous for incorporating scattered bits of rap, ska and reggae into their radio-friendly waves of guitar, post the set list to every show online and have participated in video chats with their fans. They even host an annual event, 311 Day — held, naturally, on March 11 — where thousands of fans journey from around the world to see the band play a concert that lasts upwards of five hours and 60 songs. As you might predict, lasers are involved. For the band, says Mahoney, that level of fan interaction is one part mutual love fest and one part job security.
“The fact that we can still make records and go out and play live and have an interaction like that is because of the fans. Because every night even if some of the songs are the same it’s still just a moment that only exists right there and then. And to have that energy and shared moment of a celebration with a like-minded group of people is a pretty amazing thing,” says Mahoney. “And basically, especially nowadays, the hardcore fans of a band support them. We never take that for granted.”
Nearly two decades ago, when 311 was just emerging from the musical primordial ooze of the barely extant Omaha scene, that wasn’t the case. Playing to crowds of thousands was a pipe dream for Mahoney when he joined the still-young band in 1991, replacing original guitarist Jim Watson.
The band self-released three albums before packing its bags and moving to Los Angeles. They toured relentlessly, contending with an apathetic mainstream press and an RV fire that destroyed their gear. At one point they moved all their belongings into storage and simply lived on the road, reasoning that most of their time was spent on tour anyway.
When the band did find success, it was substantial — 1995’s self-titled album, often called the “Blue Album,” eventually went triple-platinum, with single “Down” reaching No.1 on the Billboard modern rock chart. A series of commercially successful albums followed, and the band refused to slack off on touring, playing a series of amphitheater dates every summer.
With a dozen studio albums under their belt, the band has an extensive back catalogue to mine for live shows, an effort Mahoney says they make every time, even if the sound has changed a bit.
“We try to tailor the set more to songs that we haven’t played in a long time that probably are more challenging to play live. And maybe things die-hard fans would love,” says Mahoney. “When I look back I wouldn’t want to change how any of those records sound, but we definitely talk about how it would sound if we recorded the older material now. Because you hopefully, as a band, grow over time. And it sounds different now because we were more like crusty young punks with a lot of energy then. You hope you don’t lose that as you get older but it’s an inevitably that you evolve.”
Evolution was a key theme on their most recent release, this year’s optimistically titled and lyrically positive “Uplifter.” Seeking a change after four years without an album release — by far the biggest break in the prolific band’s career — they sought out producer Bob Rock. With a name like that, it’s no surprise that Rock’s resume includes a who’s who of renowned acts: Metallica, Motley Crue, the Offspring, Bon Jovi and Aerosmith, among others.
“He’s just a solid guy. I remember the first thing he said to me was ‘For me, it’s just about doing the work. There’s no Bob Rock sound. I just want to help you guys make a great album,’” says Mahoney. “So just his taste in everything was smart, really, because he’s been doing it so long, everything from rock to Michael Bublé.”
Nearly two decades into his tenure with the band, Mahoney seems as enthused about 311’s prospects as ever. Maybe that’s because the band has the money to give each other the kind of space that makes touring comfortable — they split two buses, with Mahoney traveling with drummer Chad Sexton and his bulldog, Zoe. That can’t hurt a touring band’s morale. Just as importantly, though, they’ve managed to keep a healthy respect — for each other, for their music and for their fans.
“We’re friends, and I think we all respect each other and respect each other’s songwriting. And having to all travel together in our RV early on, and having to share a house, we got on it pretty quick in terms of knowing how to coexist and respect each other’s space,” Mahoney says. “And I think everyone enjoys what they do. We’re about ready to turn 20 now and it’s amazing. We’re real fortunate to get to still be playing music.”
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