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Alex Dezen of The Damnwells on Storage Space Rehearsals and Being Nice

Tuesday, October 15, 2024 By Mayer Danzig

Alex Dezen of The Damnwells

Tell us about your tour vehicle. Any notable breakdown stories?

Oh, man. So many stories. We had two vans: the Grey Ghost and the Spruce Goose. Both Dodge Ram 15 passenger vans. The GG spun out on some black ice outside of Indianapolis and wrecked. Everyone was ok, but Steve (the drummer) and I had to play the show as a duo since Ted (bass) and Dave (Guitars) drove the van up separately.

How do you eat cheaply and/or healthy while on tour?

Whole Foods buffet, if you can find one. Def not cheap, but healthy-ish if you stay away from the pizza. Subway is still a viable option. Panera. But it’s all crap. Drink a lot water.

How many strings do you break in a typical year? How much does it cost to replace them?

Hmmm. Not a ton. We’ve had the same guitar boat for like 12 years. Typical stuff: strings, drum heads, sticks. We take good care of our stuff. Mostly.

Where do you rehearse?

Well, we don’t have a designated rehearsal space anymore. But for years, we used to practice in a Manhattan mini storage in SoHo. It was just a big tin box with carpeting on the walls. Sounded awful. But we learned how to make it sound good in there, which helped us to sound better on the road. Was freezing in the winter and hot as hell in the summer. But we didn’t really have to pay for it, so that was nice.

What was the title and a sample lyric from the first song that you wrote?

The song was called “I’m Just a Ghost.“ The lyrics were “I’m just a ghost, I’m here to scare you folks.” Pretty straightforward. Not a lot of flowery the metaphor in those days.

Describe your first gig.

Somewhere in Philadelphia. There wasn’t enough room on the stage for everyone, so I think I had to put my amp on the floor or maybe I stood on the floor? Nobody was really paying attention, but we got paid! That didn’t happen very often.

What was your last day job? What was your favorite day job?

Delivering pizza. I wasn’t very good at it. My favorite day job was babysitting. I had this kid, Henry, who was just really sweet. He was a great kid, and we had a lot of fun. I taught him how to cross the street on his own, but he still wanted to hold my hand.

How has your music-related income changed over the past 5-10 years? What do you expect it to look like 5-10 years from now?

Up and down. A lot of down. A lot less down now, but still plenty of down. It’s a mercurial beast up and down forever.

What one thing do you know now that you had wished you knew when you started your career in music?

Be nice. I was never very good at being nice. But now I am! Mostly…

Fronted by platinum-certified songwriter Alex Dezen, The Damnwells aren’t just a band these days — they’re an institution, having spent more than two decades blurring the boundaries between American rock & roll, classic pop, and melody-driven Americana. From major-label deals to hard-won independence, they’ve navigated the rollercoaster ride of the 21st century record industry by focusing on what matters most: hooks, heart-on-sleeve songwriting, and the resilient chemistry of four longtime collaborators.

Bad at Beautiful, the band’s first release in eight years, finds Dezen back in the driver’s seat, having spent the past decade expanding his career as a producer, mixer, and songwriter for artists across the musical spectrum. He’s joined by the band’s original lineup — bassist Ted Hudson, guitarist David Chernis, and drummer Steven Terry, all of whom appeared on The Damnwells’ first two LPs before reuniting for the group’s self-titled album in 2015 — as well as guests like country music innovator Morgan Wade and Grammy-nominated songwriter Aaron Lee Tasjan.

Formed in Brooklyn, The Damnwells held their first band practice in 2000. Dezen, a former stage actor who starred in Les Miserables as a child, was no stranger to the stage. Neither was Terry, who’d kicked off his career as a member of the iconic alt-country band Whiskeytown. Those unique backgrounds gave way to an equally unique sound, and Bastards of the Beat — The Damnwells’ 2003 debut album, recorded in the musicians’ own rehearsal space and released by Epic Records — introduced a band caught halfway between the streetwise swagger of New York’s indie-rock scene and the raw, rootsy timelessness of Americana. Air Stereo followed in 2006, along with a documentary film, Golden Days, that chronicled the band’s departure from Epic Records. The Damnwells reformed in 2015 for a self-titled album and accompanying tour.

The Damnwells will celebrate Bad at Beautiful at NYC’s Racket on 14 November (info). Connect with them online.

Filed Under: Interviews, Rock, Why It Matters Tagged With: Alex Dezen, The Damnwells

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