Jack Barakat, guitarist for All Time Low, is a longtime fan of pop-punk legends Blink-182—ATL have even commented that they were originally a Blink-182 cover band. The first time he saw Blink was at Hershey Park venue in 2002. Tonight, he’ll play that venue—opening for the very band that inspired him to be a musician. In this exclusive with AP, he shares the experience from that first show and what it means to tour with his idols.

author: Jack Barakat

photo by: Willie Toledo

May 23, 2002.

The first actual tour I ever attended, I was 13 years old, about to graduate 8th grade and my mom had to give me her credit card. Blink-182 and Green Day were going on the Pop Disaster Tour, and I wasn’t going to miss it. To be honest, at the time I was purely going to see Blink, even though Dookie was the first album I ever got, thanks to my brother. I was a big Green Day fan, but I was a Blink-182 fanatic. I pierced my ear because Mark did it. I analyzed the Enema Of The State and Take Off Your Pants And Jacket cd booklets through and through. I was as diehard as you could possibly be.

I went to the show with my buddy John, who I started playing music with. He is also the man I attribute to helping me start a band—without him, there would be no All Time Low. Ironically, we ended up kicking John out because he couldn’t play the solo from “Rollercoaster” by Blink and Rian could (teenagers can be vicious).

We went as bandmates but mostly we went as best friends. My mom took us because we were young as shit. As soon as we got to Hershey Park Stadium, we noticed they weren’t checking wristbands to get down into the GA section. We asked my mom if we could go down there and join the pit. My mom obliged “as long as we checked in every so often.”

We watched Green Day’s set with our eyes wide open. It was a crazy experience watching one of our favorite bands, and one of the world’s biggest rock bands, perform. (Turns out that years later I would tour Europe with this band, as incredible as that experience was, it wouldn’t come close to feeling as good as what was to come.) Green Day’s energy was unparalleled to anything we had seen. Also, the smell of weed was rolling through the air, and we were stoked.

After a short changeover, the lights dimmed. I remember the butterflies in my stomach before Blink came out. This was a band I had studied: videos, CDs, pictures, websites. To me, they didn’t exist outside music videos and DVD footage. I had done all my research. I didn’t just love the music; I loved the lifestyle. I was balls deep at this point.

Anyways, I can’t remember whether it was a kabuki drop or curtain opening. But I remember the snare roll and the guitar beginning “Anthem Part 2.” I don’t remember a lot of the details, but I remember feeling numb, kinda floating. It was an out-of-body experience. It was that moment I remember looking at my drummer/best friend John and saying, “This is what we need to do.”

I think about that night every time I walk on stage. It’s the reason why I play music. It’s the reason why I continued pushing my friends to join and start bands. I never was big into writing songs—I always help a little when I can. We have three other guys who are exceptional at it and always have been. My thing has always been performing and that has never changed.

Today we will take the stage at the same venue, opening up for the same band that brought me here all those years ago. I realize that we won’t have the curtains, light show, pyro and crowd that Blink had that night. But even being mentioned in the same sentence as them has made this all worth it.

We have been on tour with Blink for a few weeks now, and all I can say is that we have never been treated better on a tour. The guys have been so great to us. They have set an example for how all headliners should treat the openers, and it makes me want to follow it.

Needless to say, hanging out with your idols is nuts. Fuck man. Dreams don’t always come true, I won’t lie and say they do. But when they do, nothing can prepare you for how great it is.

source: https://www.altpress.com/features/i_think_about_that_night_every_time_i_walk_on_stage_jack_barakat_on_first_t/

All Time Low are a band that have grafted hard and no doubt earned their success. After years of relentless touring and releasing albums, the pop-punks are about to embark on their biggest tour EVER in February as they headline The O2 in London and various other arenas around the UK.

author: Faye Turnbull

We recently caught up with guitarist Jack Barakat, just before he was off to see Elton John in concert, and spoke about their new record Future Hearts, having their hometown heroes Good Charlotte support them, and how they’re not afraid of anything at this point.


You’re bringing your Back To The Future Hearts Tour to the UK next month, supporting your latest record, Future Hearts. Going back a bit, you released Dirty Work in 2011 to mixed reviews and then Don’t Panic in 2012, which was very well received. Fans seemed a little anxious ahead of Future Hearts and the potential sound change, after nailing it with Don’t Panic

“I think every album we’ve released, we released for a purpose and a meaning. We don’t want to completely change our sound, but we want to make them a little different and don’t want to release the same album twice. I think with Future Hearts, we saw it as an evolution of Don’t Panic and a step forward; a more eclectic album with more diversity, but still kept the All Time Low sound, and I think we were really successful with that.

“We wrote and recorded the album we wanted to make and it clicked with fans, so we were lucky in that sense. We haven’t changed too much over the years, but it’s always good to keep changing. Our fans are growing up, so we don’t want to keep releasing the same album.”

You chose John Feldmann, who produced 5 Seconds Of Summer’s two albums, to produce Future Hearts. Did his work with 5SOS influence you to work with him? Did you want a more mainstream-sounding record? 

“Here’s a true story, before All Time Low had played a show, we dreamed of working with John Feldmann. I would always be like, “What if John Feldmann worked with us?” and this was when we were like 13/14. It was always kind of instilled in our bodies that one day we would want to work with him. For the most part, I’d say he was probably doing ‘darker’ albums, he did The Used and Story of the Year. He kind of always had a rock edge to him, so we thought for a while that he wouldn’t be a right fit.

Then we worked with him a couple of times on Dirty Work; we wrote ‘Heroes’ with him, which is a big song within our fanbase and two years down the road, his name was still being brought up. It was just finding the right time and the right place, and everything kind of came together. It wasn’t because of 5SOS that we went with John Feldmann. The 5SOS thing did help, because Alex was in the studio with Feldmann recently, so the experience was still fresh in his mind, but other than that, I would say that would be the only bridge there. It was just always something we wanted to do since the beginning.”

Feldmann also fronts the ska-punk band Goldfinger, were you not interested in going down the ska route?

“[Laughs] If you listen closely on the album, there’s definitely some weird things there. We do have trumpets in some parts. There was a song that was actually pretty horn-influenced that didn’t make the album that was really catchy, but it just didn’t feel right. There’s a lot of violins on the album, which was cool. It’s nice to have that kind of stuff, but still make All Time Low songs. Feldmann was really good for that and I think he brought a really cool energy.”

Future Hearts was very well received, and I saw Alex [Gaskarth – lead vocalist] recently tweet that you’re already writing again…

“Yeah, we’ve definitely started writing. We were waiting until January to get back right in there. If there’s anything our fans have learned from All Time Low – we don’t take long between albums. I don’t have a day or anything, but I’d expect something sooner rather than later.”

After your commercial success, is there pressure to maintain that popularity? Do you ever approach songs like, ‘Would this sound good on radio?’

“There’s always that conversation, because you want to continue growing. You want to write songs that people are going to like. We never wanted to be the band that writes dark, indie music.

“Since the beginning, we’ve always wanted to write catchy, poppy songs that everyone can have a good time to, so I don’t think that’s going to change. It’s our seventh record, so I think we’ll feel the least pressure we’ve ever felt making an album. We’re not afraid of anything at this point. We’ve been through the ups and downs, so we’re just going to make a new All Time Low album and it’ll probably be the best one we’ve made. I think fans will like it.”

t’s amazing to see how far you’ve come, from supporting the likes of Plain White T’s in 2007 to headlining The O2. Only a few other bands from that era and scene have really made it, like Fall Out Boy and Paramore. What do you think is your appeal?

“I think it’s a mix of right place, right time. I’d say we were kind of on the tail-end of that whole scene of bands. We were a little late to the party, but we got there just in time. I do think we have a very unique connection with the people that listen to our music. I don’t know if many bands have that same connection, it’s rare and I haven’t seen it that much before.

“It’s a special thing, especially in the UK, the fans that saw us open with the Plain White T’s in 2007 are coming to see us play at the O2. It’s that kind of fanbase we have and I think it’s the reason why we’re able to play these massive venues. I’d say we’ve had a low commercial success in the UK, we’ve been on the radio a bit, but I don’t think that’s the reason we’re able to play these big venues.

“I feel like it’s been a snowball effect; once these UK fans became All Time Low fans, I don’t think they went anywhere. We’re very appreciative of it and we definitely wouldn’t be able to play those kind of venues without them.”

Is it a bit mind-blowing having a band like Good Charlotte supporting you on your Back To The Future Hearts Tour, surely you grew up listening to them? 

“It definitely is mind-blowing! I grew up idolising Good Charlotte, they were the band that gave us hope to become a band out of Maryland. They were like the hometown heroes.

“Every time we hang out, even now since we’ve become friends, it’s still so bizarre to be in their presence, because they’re the reason why we’re doing what we’re doing. I would say it’s more flattering that they accepted the tour with us and they wanted to do it. It’s great for younger fans too who have heard of Good Charlotte, but don’t know their music.”

It’s been 10 years since the release of your Put Up or Shut Up EP, will you be playing any shows to commemorate it or anything? 

“That’s something that we’ve kind of discussed, but we haven’t confirmed anything. We did one show at the end of last year and we played Put Up or Shut Up in full, it was just a cool experiment to see how it would do and it was probably the most fun show I’ve had in a really long time. I think it’s a very strong possibility.”

You also take out a lot of newer and younger pop punk bands on tour like Neck Deep and State Champs, is that a label thing or do you have a say?

“That’s a good thing about being All Time Low – everything we do, we do because we want to. We’ve never been that band that’s been told what to do. We always have an opinion and we’ve had the same manager since we were 16.

“When we headline, we take out whoever we want to take out. The label sometimes suggests bands they’ve signed and we’ll take them out, if we like them. That’s a cool thing about being in this band, it’s nice to have that influence on fans and introduce them to newer bands and give them our stamp of approval.”

What was the last gig you went to as a fan? 

“Actually tonight, one of my best friends scored me tickets to see Elton John in like a 2,000 cap venue, so I’m literally freaking out. I had trouble sleeping last night. I’ve never seen Elton John play and it’s such an intimate venue. I have really high hopes that it’s going to be one of the best shows I’ve ever seen. I’m excited!”

Are there any bands you’re excited about at the moment or any releases you’re looking forward to? 

“I’m really excited about the new Panic! At The Disco album, I’ve always been a big fan and think Brendon Urie is a genius. He does no wrong in my eyes.

“I’ve been listening to the Twenty One Pilots album a lot; I’m friends with Josh in the band and he’s become a close friend. Me, personally, when I make a personal connection with a band member, I tend to listen to their music and it kind of makes you appreciate it a bit more. I like good people making good music.”

Thanks for your time! Do you have any final words about the tour? 

“The UK has always been, in my opinion, my favourite place to tour, so I’m really excited to get back. I look at our Facebook every day and I can’t believe we’re headlining the biggest venue we’ve ever played. It’s something myself, and I’m sure the other guys, think about pretty regularly, so we’re really excited!”

source: http://www.mtv.co.uk/all-time-low/news/were-not-afraid-of-anything-at-this-point-all-time-low-talk-5sos-new-music-more

At night, you’ll find Rian Dawson holding down All Time Low’s rhythm section with his airtight drumming. But before the lights go down, the 27-year-old musician is likely holed up backstage working on a different sort of passion project. For the past few years, Dawson’s become a budding producer and engineer, the product of an ever-inquisitive disposition and time spent rubbing elbows with the likes of John Feldmann (5 Seconds Of Summer, Good Charlotte) and Grammy-winner Chris Lord-Alge (Green Day, Smashing Pumpkins). He recently signed his first management deal with Self Titled Management—who helm the careers of fellow producers Casey Bates, Rob Freeman, Brandon Paddock and Ace Enders—and is eager to fill downtime on tour with production and mixing projects. Backstage at the Back To The Future Hearts tour in St. Louis, Dawson chatted with AP about his emerging new career behind the boards, and how an exercise in staving off boredom actually saved some of the best tracks from All Time Low’s Future Hearts, from ending up on the cutting-room floor.

author: Evan Lucy

What was the moment for you where you went, “Oh, I could do that”?

It was never the moment of, “I can do this.” It was the moment of, “How the hell do they do this?” It was when we finished Put Up Or Shut Up, we started playing to backing tracks. Back then it was a tambourine or shaker, stuff like that. We had to get the guys who mixed it, Zack [Odom] and Ken [Mount], to send me the tracks. I remember me asking all these questions: “How do you actually do this? Do you have to pull it from the song?” I just had no idea what went into making a record. At that point, I got interested in how the pieces fit together.

You guys were really young at that point.

Back then it was just a real juvenile interest. I didn’t know what Pro Tools was, didn’t know anything like that. But as the years moved on, I’d figure out what I loved sound-wise about my favorite albums. I’d listen to Enema Of The State and that drum sound. I loved Jerry Finn’s style. Then Take Off Your Pants And Jacket came out, and I’m like, “Jesus, how do they do this?” I really just dove in and tried to find out on my own what I really liked about this sound, what did I like on this record vs. that record. That led to more and more research.

Eventually I started fiddling around with Pro Tools on my own. I’d take a track that was already mixed and mastered and figure out what EQ did, what compression did. That really took hold when we were doing Future Hearts, and I wanted to take a crack at mixing some of the songs just for fun. We’d recorded a song called “Kids In The Dark,” but it wasn’t going to go on the record. We didn’t think it had the energy, so I took a crack at it thinking it would be a B-side. I mixed the song—it wasn’t mixed, but it wasn’t a demo; it was just raw, and there wasn’t a ton of life to it—and I guess Alex and our manager, Keith, heard my mix and decided it needed to be on the record. It ended up being mixed by Chris Lord-Alge, so not my mix, but it was a really cool feeling.

[Future Hearts] is the first album I’ve ever been listed as an additional producer on songs. The ones I mixed originally—“Kids In The Dark,” “Dancing With A Wolf”—were ones we weren’t sure were going to make it, so I took a stab at them out of boredom. When you’re in the studio with the band, John Feldmann and his engineers, you don’t say all of your ideas. Nothing against John—he’s very open, and so is Alex, more so than me. But you’re still kind of reserved. I’m still nervous around John Feldmann; he’s made some of my favorite records and is an amazing songwriter. I knew these songs weren’t necessarily going to be on the record, and when you’re sitting with the song by yourself for six hours, you kind of get these ideas. I’m lucky enough to have the ability to put the ideas into the song. I sent those songs over to Alex, and we decided we were going to do them for the record. When they went to Chris Lord-Alge for mixing, you always send a reference, and that reference was my mix. As it went along, he said, “Hey, there’s a few things from your reference that I don’t have in the track.”—yeah, that’s my production, and CLA wants it! That’s going on my tombstone.

And it’s kept building from there?

I kept going at it. I’m one of those guys who hates being still. I love working. When I’m home, I can play drums, but I’m not going to play drums all day. I started building a studio about two or three years ago and I’m just always in it. I help out my girlfriend [Cassadee Pope], so I decided to open it up to other bands to take a crack at it. I openly tell them, “If you can afford someone better, get someone better.” I charge what I think is fair. I don’t take my name into account or anything like that. I know it is a benefit; Twitter followers alone, it’s a benefit [Laughs.] I make sure they know what my sound is, that I love a big pop-punk, energetic production. It’s been really fun, man. It takes up a ton of free time on tour, too. The room we’re sitting in now is dubbed “the Pro Tools Room,” so every day I have a dressing room that I can mix in from 9:30 a.m. to 4 p.m., which is when our first meet-and-greet starts.

You’ve got a lot of projects in the works?

Yeah, right now I’m doing this band called the Everyday Anthem. They took a chance on me, and I took a chance on them. They didn’t have a ton of music out at the time, but they covered “Something’s Gotta Give” acoustic, which a lot of bands don’t do. I heard it and thought, “Damn, these guys are good.” I think I put out a tweet saying I’d love to mix some records, and I saw their name. They sent me some songs and it was really rough, but I was lucky enough that the songwriting was there. At this point, I’m sure a lot of the projects I’m doing will need a lot of work. But I’m finishing up an EP of theirs right now, and I’m really stoked on it.

You’re moving to Nashville in the near future, which will probably open a lot of doors.

Luckily, moving to Nashville lets me pursue this as a career, because the guys in Nashville… I feel like I could work at producing and engineering for the next 50 years and not get close to what they can do. It’s the best of it. I’m always eager to learn. I’m lucky to have our sound guy, Phil [Gornell], who runs a studio out of Sheffield, England called Steel City Studio. He’s a phenomenal mixing engineer, so he’s been a big help. I have no pretense about how good I am; I know I have a lot left to learn. It’s exciting to be around people who are willing to teach. It seems like this world of engineers and producers want to help each other out to an extent. At the end of the day, it is competitive, but you’re always sharing secrets. It’s like a secret club of magicians who only share with each other. I’m lucky to have had conversations with Chris Lord-Alge, Neal Avron, John Feldmann. I’ve got a huge advantage in that aspect.

As a drummer, how do you avoid wanting to keep the drums way up in the mix?

[Laughs.] It’s definitely tough, man. Generally the first mix note I get back is, “This is fucking great, but maybe turn all the drums down about 3dB.” [Laughs.] It’s so true. Modern-day rock recordings—not so much in country, which I’m also really interested in—have a ton of the drum energy up front. I’m pretty lucky in that aspect, but on “Bottle And A Beat,” which is a song I mixed on the Future Hearts deluxe edition, I knew I was going to mix it from the start. I had Alex come to my place to do mix revisions, rather than emailing me and being, “It’s the third line of the chorus on this part…” The first thing Alex says is, “I’m sorry, man; drums have to go down a lot.” He said down by 5dB, we agreed on 3dB. We got it back from mastering, and the first thing I thought when I listened on a real stereo system was, “Wow, the drums are pretty fucking loud!” [Laughs.] He still tells me he can barely listen to it because the drums are just so loud.

But it makes me realize the audience doesn’t just want to hear drums all the time. Even the way I play, you almost don’t want to know the drums are there until they’re gone. A lot of audience members can’t tell when I’m hitting the kick or the snare, but you take the drums away and the song is gone. I’ve learned to mix like that: Accent the parts where the drums should be showing, and otherwise strip them away as much as possible. But for all I care, take out guitars and bass! [Laughs.]

What’s the biggest difference between producing and mixing?

The production work is a lot more creative. I see mixing as algebra: There’s a solution and a way to get there. You can’t go too far outside the box or the song is gone. The pieces are all there for you. With production, you’re creating those pieces, and that’s something I’ve never really been that good at. I’ll openly say I’m not the most creative drummer or songwriter—and that’s okay, because I have Alex who is nothing but creative. With production, it’s a scary thing, but it’s a lot easier for me to sit in a day for eight hours without anyone looming over my shoulder. I’m very new to the production aspect, but everything is a step in the right direction for me.

source: https://www.altpress.com/features/twiddle_knobs_not_fingersall_time_lows_rian_dawson_on_his_budding_producing/

Heading into their 10-year anniversary, All Time Low has plenty to be excited about: a new album, huge tour, and wedding bells. Wait—wedding bells? You’ve got it. These rockers aren’t the youngsters we fell in love with 10 years ago. Does anyone else feel old yet? But, if it helps, All Time Low doesn’t seem to be slowing down whatsoever. After all, their newest album, Future Hearts, has sent them running head-first into yet another lengthy tour.

author: Samantha Curreli

Of course, they’re usually out and about playing somewhere in the world. They’re now known for playing a handful of performances one week, chill the next, and then set out again for another round. According to All Time Low’s lead singer, Alex Gaskarth, he prefers it that way, which is understandable—who really wants to be cooped up in a tour bus for months on end?

As they prepare for yet another bunch of performances in our neck of the woods, Alex had some time to talk about the group, their newest album, and what we should expect from this pop punk band later this year and spilling into 2016. Oh—and provided a little inside scoop about the process of filming their newest music video for “Something’s Gotta Give.”

When on tour, what’s the hour before going on like?

            You know, we don’t really do anything that crazy. Like, we don’t have any cool rituals. So, I guess the biggest thing we do is warm up. We’ll start warming up my voice and stuff, but aside from that, we’ll listen to music, get loose, but nothing too wild. We wanna put on an energetic show, so it would be unfortunate to burn out before we play.

You’re on tour now, traveling through Canada; will you guys keep the current setlist, or are you planning to switch things up?

            Yeah! When we get into the Back To The Future tour, I think it’s gonna be a new set. I don’t wanna give anything away, but, we put a lot of emphasis on playing stuff off the new record and this record has had the best reaction that any of our records have ever had. So, we really want to put a lot of emphasis on those songs. But it’s really, really fun and we have a lot of tricks up our sleeves.

Hey, that’s good! Why do you think this record is getting so much more attention?

            I don’t know! (Laughs) I think the big part is that we’ve gained some new fans, which is a lot of it, but I also think that this band has finally figured out what it’s supposed to be. And so, I think that’s really played a factor in our music. We were trying to figure out the point of All Time Low, and I think that the quality of the music has gotten a little better. It’s pretty cool for us. It’s been a growing experience for us and this band. We started as kids and with practice, good things happen.

You have so many records and so much material to choose from, how on earth do you guys pick songs to play?

            It’s pretty f***ing hard! (Laughs) We have a lot of songs and we’re in this place now where we have plenty of songs from our past that have been kind of career-defining for us, I guess. So, we obviously try to play those. But I think it’s cool that our fanbase has grown with us and we can play new songs and people are familiar with them. It’s not like those situations where people just wanna hear the first record or whatever, so it’s nice to be able to plan a tour—like the Back To The Future tour where we’re focusing on new material and have the response be really positive. So it’s really cool for us to be able to grow as a band and have others support that. But we can’t really play all of our songs, which is a bummer, because it’d be a three-hour show.

As the band grew, did you guys notice your audiences grow with you?

            Yeah! It’s kinda interesting but strange for us because we have those younger, newer fans and then we have those fans who’ve been coming to the shows for years. It kind of depends on the city. Some places, there’ll be a younger audience, and then others, I’ll look into the crowd and they’ll be a little bit older, but I like to see the wide range.

It must be nice. Do you have any memorable shows, or venues?

            Aw, man. We’ve played so many shows at this point! But actually, more recently, we just played a show in Reading in the UK and that was the best feeling we’ve had at those festivals. That was a pretty amazing experience. We played later in the day, and there were a lot of people there. But yeah, it was pretty special.

Wait. You were just in the UK. Now you’re in Canada, heading for the U.S., and then you’re going back to the UK?

            Uh, yeah! Yeah, later this year. Or, in February, actually. But, the funny thing about the UK is that it’s not a giant country. So, it’s not like doing the U.S. tours where we would do, like, 30, so it’s a very short tour.

But you guys tour year-round; don’t you get tired?

            (Laughs) Uhm… It can be [tiring], but we usually take pretty good care of ourselves and we’ve been doing this for a while now. So, not only are we used to it, but we know how to handle it. But we get rest when we can, and we go hard just when we need to, so that’s just sort of the way it is. But we love doing it. We love playing shows, so that keeps us fueled. It’s hard to burn out when you love what you do.

Yeah, I’ve noticed that no one’s left the band, so you must all love it.

            Yeah, it’s pretty wild. I mean, I love the guys in this band and we’re family. But I think the big thing is, that we’re all pretty close and we’re all doing this for the same reason. We’re all really passionate about our music and we love interacting with our fans… It’s pretty crazy to think about because a lot of bands come and go and a lot of others have member changes and stuff and it’s hard to keep a band together, so I’m very grateful that we’ve managed to keep it going all this time.

It’s a gift. Now, on this upcoming tour, you guys are playing with Sleeping With Sirens and a couple of other bands. Have you guys toured together before?

            Uhm, I think we played Warped Tour with them? Maybe? I don’t think we’ve played much with them. We’ve definitely been on shows together, or something like that, but no—we’ve never done a tour together, so this is a first. And I’m excited. It’s exciting! It’ll be nice to hang with those guys and they’re pretty interesting dudes.

It sounds like it’d be a great time! I was watching your music videos and was wondering—what’s the filming process like?

            We just kind of have fun with it. Music videos—we’ve never taken them too seriously. I think we just have a couple, but we just really use them to show off our personality and the songs are what they are. You hear the song first, and you’ll know what it’s about. But music videos are just something for entertainment. That’s the biggest thing.

Yeah! I love “Something’s Gotta Give”—especially the zombie part.

            (Laughs) Yeah, it’s got a funny twist to it. It was definitely something that caught our attention. Out of all of the ideas we were reading, that one really got our attention. It was fun, but after being in that costume for two days… I don’t know. But it was really worth it.

I saw somewhere that you prefer touring over recording; is that true?

            Uhm… I wouldn’t say that I “prefer” it… It’s hard to say because they’re two very different things. I love being on the road, but we have to record music so we can go on tour. There are some bands who live to be in the studio, and that’s where their focus is. But we write music and make records so that we can get out and tour. I think that’s what I mean when I say that; I don’t dislike being in the studio, because the creative process is incredible. I love making records. But, ultimately, like I said, we make records so that we can tour.

They go hand-in-hand. But, what’s a typical day on the road like?

            It depends. You know, some days we have band obligations where we go out and we do interviews like this, or something else. But other times, we have nothing really going on during the day, and it’s just like hurrying up and then waiting for the show, so on days like that, we try to find things to do because it’s really easy to fall into that habit of just sitting around and not doing anything. That feels like a waste, especially when you’re in different cities every day. But, even if it’s just as simple as going out and finding a local coffee spot, or finding a really rad burrito place, it’s just fun to get a feel for the city.

Yeah! If you’re there, may as well experience it all. Have you ever tried writing on the road?

            I seem to have a hard time doing it; I’ve been talking about lately wanting to put more of a focus on writing with some of that downtime that we have, but in the past, it’s been kind of tough. There are a lot of distractions, there’s a lot going on, so sometimes it’s hard to find a nice, quiet spot to get creative. But I’m gonna make more of an effort, so we’ll see how it goes.

Good luck! Now, once this tour is over, what do you have going on?

            At some point, we’ll be getting into new music. Future Hearts is still pretty fresh to us, so we’ll wanna play those songs some more, but yeah, there’s always new music on the horizon; we always have new ideas. So, we’ll have more music and with that, we’ll have more tricks up our sleeves. So yeah, there’ll be more touring, more writing, uh… I’m getting married, so that’s when I get rid of my life (laughs). But that’ll be happening next year. So lots of exciting stuff!


Don’t miss All Time Low as they make their rounds on Nov. 21 at Liacouras Center in Philadelphia, Nov. 22 at Starland Ballroom in Sayreville, and Nov. 24 at the Theater At Madison Square Garden in NYC. The band’s newest album, Future Hearts, is available now through Hopeless Records. For more information, go to alltimelow.com.

source: https://www.theaquarian.com/2015/11/11/an-interview-with-all-time-low-challenge-accepted/

Back to the Future Hearts Tour
Bayou Music Center
Houston, TX
October 15, 2016

All Time Low performed in Houston this weekend for what feels like the millionth time in their career. The Baltimore natives, who formed about 12 years ago, have been performing in Houston since 2006.

So far, none of the shows–at least any of them in the last five years here–have been a disappointment. Despite the fact that they tour so often, the band always manages to bring something new to each show, to each tour. This time around, they decided to heavily focus the setlist on their newest album Future Hearts. Of course, the tour was aptly named “Back to the Future Hearts Tour,” paying homage to Oct. 21 being the future date Marty McFly traveled to in the “Back to the Future” film (despite the many memes and photoshopped images that have floated around the last few years, Oct. 21 is in fact the correct date).

Anyway, back to the show. It started early with Japan pop-rockers One Ok Rock, so early in fact, that I managed to make it into the venue when the band was already meeting a long line of fans. At first glance, they seem like an odd addition to the tour, but over the last few summers, the band has gotten quite acquainted with the US pop-punk scene because of their time on the Vans Warped Tour.

UK band Neck Deep poke fun at themselves, labeling their music “generic pop-punk,” but their performance was anything but generic. The crowd hadn’t quite filled the room yet, so at first, something seemed off. However, after their second or third song, many of the concertgoers proved themselves to be fans of the band. Hundreds of voices soon filled the empty spaces of the room.

Sleeping With Sirens are no strangers to All Time Low fans because they’ve toured together countless times (along with the likes of Pierce the Veil and A Day to Remember). They unofficially co-headline the tour, playing an impressive 15 songs before All Time Low finishes out the night with about 19 tunes.

Sleeping With Sirens put on a great show with incredible production qualities. It was clear that even though All Time Low were headlining, SWS fans were in full force. Their light design, specifically the panels spelling out the acronym “SWS,” really added to the overall show on top of the carbon dioxide cannons that were choreographed with certain parts of the show. There has been an obvious increase in show production, specifically with bands of their caliber in the sort of underground, anti-mainstream scenes. Their setlist consisted of a perfect mix of old and new songs that re-captured the attention of fans of their older music, as well as excited their newfound fans of the recent Feel and Madness era.

After a long night of music, the main act made their way on stage just after the crew hung a massive white sheet in front of the stage. Tiny circles were projected onto the sheet, resembling stars in space as All Time Low started off the night with a mashup of “Satellite” and “Kicking and Screaming” from their newest album, Future Hearts. Lead singer Alex Gaskarth started off the night with his guitar and the soft beginning of “Satellite” repeating the lyrics “we were just kids, we were just kids singing” before the huge sheet dropped and the full band joined him for “Kicking and Screaming.”

Between “Backseat Serenade” and and an old favorite, “Weightless,” All Time Low brought a fan on stage who asked to play guitar with the band. It wasn’t the first time this lucky fan was able to join All Time Low on stage; last spring, he got the chance to play a Blink-182 cover with the Baltimore rockers. Lead singer Alex Gaskarth giggled as the fan started playing “The Girl’s a Straight-Up Hustler” from their often forgotten first full-length album The Party Scene and first EP, Put Up or Shut Up. Before leaving the stage, the fan gave a heartfelt speech, thanking All Time Low for helping him realize his dream of playing guitar in a band. The sincere exchange had nearly every fan, and even the band themselves, smiling and wiping away tears.

Halfway through the show, the band left the stage and Gaskarth and bassist Zack Merrick claimed the spotlight with acoustic guitars. They performed a slowed-down “Cinderblock Garden” before asking the fans to choose between “Remembering Sunday” from their second full-length So Wrong, It’s Right and “Therapy” from Nothing Personal. Surprisingly, the crowd overwhelmingly chose “Therapy.” They finished the acoustic interlude with “Missing You.”

Guitarist Jack Barakat and drummer Rian Dawson rejoined Gaskarth and Merrick for perhaps the most out-of-place part of the show. They included odd song choices such as “Do You Want Me (Dead)?” from Dirty Work, “Don’t You Go” from Future Hearts, and “Poppin’ Champagne” from So Wrong, It’s Right. With the band’s vast discography, it was surprising that they seemed to pick some of the worst and least popular songs from some of their older releases. It definitely altered the energy of the show, but all of it was nearly forgotten as they closed out the show with “Old Scars/Future Hearts” and the lights on the stage went dark.

They came back for a three-song encore featuring “Kids in the Dark,” “Something’s Gotta Give” and of course their most popular song, “Dear Maria, Count Me In.” Carbon dioxide and heart shaped confetti burst from cannons as Gaskarth and Barakat interacted with fans in the front row.

When you go to an All Time Low show you can always expect a fantastic light show provided by their lighting technician, Jeff Maker. He’s truly a genius at his craft. It’s rare that fans, or anyone outside of the band for that matter, even know the names of crew members such as light technicians and tour managers. All Time Low isn’t your typical band, though. They’ve been at it for 12 years and it’s a rarity that bands keep their original lineup, especially without making additions. However, they’ve managed it, and for the most part, they’ve kept the same crew members as well who have become so adored by fans that they could almost be considered part of the lineup of the band.

It’s hard to be a band for 12 years, people. But here we are because you guys keep coming back and supporting us and buying our new records.

One of the biggest differences of this show was how much All Time Low repeated that they were having a great time and that this was one of their favorite crowds to perform in front of. It’s a cliché thing to say and bands get in the habit of repeating it too often, but this time felt so genuine. Instead of their regular inappropriate, gimmicky chatter in between songs, they showed their genuine appreciation for the fans that came to see them that night over and over again to make it a truly unforgettable night.

If this tour is coming through your town and you’re looking for a visually and musically appealing shows, you won’t want to miss the Back to the Future Hearts Tour.

author: Sarah Hoffman

source: https://coogradio.com/2015/10/concert-review-all-time-low-return-to-revention-music-center/


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Set List

Kicking & Screaming
Lost in Stereo
A Love Like War
Dancing With a Wolf
The Girl’s a Straight-up Hustler (fan on stage)
Backseat Serenade
Cinderblock Garden
Missing You
Do You Want Me (Dead?)
Don’t You Go
Poppin’ Champagne
Damned If I Do Ya (Damned If I Don’t)
Old Scars / Future Hearts
Kids in the Dark
Something’s Gotta Give
Dear Maria, Count Me In

Last week, the ABC Family movie Fan Girl wowed audiences with its humorous take on what it means to be a fan in the modern age. Fictional Telulah Farrow [played by Kiernan Shipka] is obsessed with All Time Low, wears Glamour Kills clothing and just doesn’t want to do her film project.  Can you relate? AP caught up with vocalist/guitarist Alex Gaskarth to talk the new movie, new tour and how he feels about being a professional actor.

author: Mackenzie Hall

How did All Time Low get involved in the production of Fan Girl?

ALEX GASKARTH: It kind of came out of nowhere for us. It was brought up to us as: This movie’s been written, the script had been written based on the person who wrote the script, her daughter and the fact her daughter was a fan of the band. So she had this idea for the movie, but then it turned into this broader story and narrative about this high school girl. It was basically pitched to us because the movie was written around our band—and I guess the band would have been interchangeable, had we turned it down. But we just thought it was something different and cool. It was rad to be a part of.

How was that acting experience different from what you’ve done in the past, as opposed to music videos and being on camera in a band sense?

Well, the performance part was pretty similar, to be honest. Obviously the focus was a little more on the actors and a little less on us. But [performing] felt pretty much like familiar territory. I mean [in terms of acting] it was such a small part—it was a lot of fun to do it and everybody was very cool about the fact that I don’t know what I’m doing. So, like I said, it was something different to do and it’s always fun to try out new things.

Did you have any problems getting into the character of yourself?

[Laughs.] No, they kept it easy on me. The fact that we just got to be ourselves helped, for sure.

What do you think this movie will mean to both All Time Low as a band and our scene at large?

It’s pretty hard to say whether it will have sort of any long-standing consequences. For us, we’ve been a band for 12 years, and it’s cool to be recognized as something more than a band that only a few people know about. It’s really cool to get to be a part of something like that. As far as what it does for our band: The coolest thing is it introduces us to some new people. There were definitely people tuning into the movie [who] watch ABC Family that weren’t familiar with our band. So from a standpoint of reaching new people, I think it was great. And obviously, it helped us out tremendously that our music was so heavily a part of the film. There were songs that were constantly playing in that movie, along with some other bands’ songs. It helps the bands, but it also brings the genre of music into the forefront, which is great because this genre of music has been tucked away for a little while. It was very, very cool that they embraced the scene as a whole. It wasn’t just about All Time Low—which I think made it feel a little bit more real to all of us. If it had just been solely about us, then it could have felt contrived. But the fact that they did their research and they were very much aware of aspects of the scene, I thought that was really cool.

How much of that was originally written into the script? Did you guys get to contribute anything?

We didn’t do much with that. A lot of that stuff was actually already in there when the script was given to us. Which I really commend, I think they did a great job of really knowing their facts and having a lot of that stuff already in there. We didn’t have a whole lot to do with the creative process. We were the band that the script was written around. [Directors] asked us if we wanted to do it and we were super-down.

It’s no surprise All Time Low have a predominantly young, enthusiastic, female fanbase—who I’m sure were avidly watching this movie specifically for you guys. What do you want them to take away from this movie?

I think it’s just a nod to the scene. I don’t necessarily think the movie’s trying to make any bold statement. It’s pretty tongue-in-cheek. I think that even down to just the title. It’s kind of a critique, but also a commentary. It’s a commentary on where some people are at in their life. I think the message of this film would be to not completely lose yourself in obsession. [Telulah, main character] takes her obsession and applies it and turns it into something creative and awesome. I think that’s something people could take away from it as far as getting more involved and taking your passions and making them into something productive.

Regarding Back To Future Hearts Tour, what sort of cool new stuff are you guys bringing for this tour that fans can anticipate?

The big thing with this tour is the focus on the new record. Until now, we’ve been playing maybe four or five songs off the new album. What we really wanted to do this time around was give a complete and fully rounded out experience of the record. One of the things we noticed with this album was how passionate people were for the new music. More so than ever before, people [were] saying, “ We want to hear the new songs, we want to see this song live,” etc., etc. So, we had this idea to play the majority of the record and we’re still touching on all of the songs that people would want to hear from our past. But it’s pretty awesome for us to be able to come out here 12 years into a career and people want to hear the new material…that doesn’t always happen. It’s really cool. It’s one of the biggest tours that we’ve ever headlined in the States. From a production standpoint, we’re doing a lot of cool things—the show looks amazing, the light show looks incredible. I’m really excited for people to just see it. It’s definitely taking the stage show to the next level.

source: https://www.altpress.com/features/it_was_rad_to_be_a_part_of_alex_gaskarth_talks_fan_girl_movie/

After the release of their sixth studio album, Future Hearts, All Time Low have been busy touring the world performing to their thousands of fans. 

Their European leg of this epic album campaign is ending with the legendary Reading and Leeds festival. 

We caught up with frontman, Alex Gaskarth and guitarist Jack Barakat, before their set to chat everything from Miley Cyrus hosting the VMAs, to their exciting UK arena tour announcement.

author: MTV UK

I saw you back in 2008 with Cobra Starship, on your co-headline UK tour, what’s changed since then?

Jack Barakat: “Not much! We’re all a little bit hairier.”

Alex Gaskarth: “Yeah I have slightly more chest hair now. I mean, so many things have changed, we’ve grown up a lot, we were young then, we were kids, so it’s pretty wild to know that we’re still a band.”

Jack: “That tour was really special to us because it was our first time seeing an All Time Low crowd in the UK, so I think that was very special because we knew this was going to become one of our favourite places to tour. It kind of jump-started our career here and made us want to come back more.”

Alex: “It was a very early indicator for us that there were people getting really passionate about our band here.”


What’s different about the UK?

A: “I think that the UK has just always embraced rock music, there’s an undying love for rock and roll here. For a band that walks that line it’s made things much better for us.”


What’s it like to be sharing the Reading Main Stage with the likes of Panic! At The Disco? Those guys have been around a similar time to you and on the same circuit…

A: “It’s pretty rad, I love those guys, we’ve grown up next to them and we’ve both been at it for a really long time.”

J: “I admire Brendon, I think he’s a great performer.”

A: “It’s one of the things I always love about Reading, you can pretty much guarantee that there’s gonna be some peers and friends on the bill with you so it’s always fun.”


You’ve just announced a UK arena tour, tell me a bit more about that, are you excited to be coming back next year?

J: “Of course! It’s our first headlining arena tour in the world, it’s awesome that we’re getting to do it in the UK.”


You’re playing the O2 Arena, which is huge!

A: “I know, it’s insane, it really is.”

J: “It’s intimidating!”

A: “We kept getting asked to come back and bring the Future Hearts tour to the UK so this is our best way of doing that and hitting as many people as we can.”


We’re coming to the end of festival season, has this year been a busy one?

A: “Oh my gosh, yeah! This year has been insane, it’s been non-stop since the record came out we’ve been touring, touring, touring. It’s a great way to spend your summer, the festival circuit is so much fun, we’re sort of wrapping it up in Europe with Reading and Leeds, this is a great way to end it.”


What can we expect from your set here at Reading this year?

A: “A dance party!”

J: “I think the best part about these shows is that you never know what’s going to happen. They’re very spontaneous which usually makes for an interesting show.”


We’ve got the VMAs coming up on Sunday (August 31), what do you think about Miley Cyrus hosting them?

J: “Big Miley fans.”

A: “I love Miley, I think she’s gonna kill it. She’s so, so charismatic and she’s hilarious so I think she’s perfect for it.”

J: “I think she’s punk-rock as f**k too! She just does whatever she wants.”


I know you’ve been non-stop since the album came out, but when can we expect some new music?

A: “I don’t know, that’s such a good question. We are still so heavily into Future Hearts right now that it’s hard to think about what’s gonna come next. Who knows! Maybe next year, I don’t know, we’ll have to see.


Obviously you’re absolutely huge now, where do you envisage yourselves five years down the line?

A: “Hopefully still doing this! It’s not something we want to stop doing. We want to keep growing it, we wanna keep playing for as many people as we possibly can.”

J: “Yeah, five years ago we were playing like 1st or 2nd on the Main Stage at Reading, and we’ve all said we just wanna be deeper in the line up. We wanna headline Reading one day. We started in a tent so it’s cooler to be here on the Main Stage.”


Finally, if you had to share a tent with two people from the line-up who would it be and why?

J: “Brendon [Urie, Panic! At The Disco] is a good cuddler.”

A: “And he’s got some good ghost stories.”

J: “And Vic Fuentes from Pierce The Veil, he’s a gentle man. Vic and Brendon, no girls apparently! It’s a boy’s club. 

source: http://www.mtv.co.uk/all-time-low/news/all-time-low-talk-2016-uk-arena-tour-miley-cyrus-at-the-vmas-and-their-reading-festival-dance-party

All Time Low talk festivals.

Alex Gaskarth and All Time Low and Alex Gaskarth hit Reading & Leeds Festival this weekend, so here’s a blink-and-you’ll-miss-it preview with All Time Low‘s main man.

Get excited.

author: Andy Biddulph

What’s the weirdest thing you’ve witnessed at a festival?
“To this day, I can’t get over the amount of public urination. Especially when it’s dudes pissing through fences that face back-stage. Do they not realize that all the bands see are a bunch of flaccid dicks?!”

What would be your go-to festival fancy dress costume?
“Brony. Like every other day.”

What was your scariest moment at a festival?
“I always hate when you get holes in the crowd where people have fallen. It just kind of devolves into a mass panic instead of people actively trying to help each other back up. That gets pretty scary, especially to witness it from stage. I never want to see people getting trampled or hurt at shows.”

What’s your dream festival line-up? You’re allowed three headliners and no, you can’t be one of them. Sorry.
“Foo Fighters, Jimmy Eat World, Third Eye Blind. That would be a rad show.”

If you could ban something from festivals, what would it be?
“Creepy guys trying to do inappropriate things to girls. Fuck those guys.”

If you could see any album played in full at a festival, what would it be?
“Nirvana – ‘Nevermind'”

What’s the worst reaction you’ve ever had at a festival?
“We’ve played some heavy festivals where some folks in the crowd didn’t think we should’ve been there, but the extent of it was pretty much just loud-mouth heckling. We handle hecklers very well because we heckle each other all the time, so we just have a good time with them.”

What’s the worst thing you’ve ever eaten at a festival?
“Mud. A car drove by a sprayed me with mud. In the mouth. :(“

Sum up what your 2015 Reading & Leeds set will be like in three words.
“Gosh darn party!”

source: https://www.rocksound.tv/features/read/alex-gaskarth-i-cant-get-over-the-amount-of-public-urination

All Time Low’s definitely a major success in terms of sales, grinding out that Hot Topic and Warped Tour appeal and also, having teenyboppers jumping through hoops at their whim and fancy. The demographic they’re targeting is lapping them up and no matter your taste, that should be respected. Then again, Falling In Reverse has that same effect. Without straying too much off the topic, let me admit I recalibrated my mindset to high school me who was into this brand of soft, cheesy pop-punk to take in this album, and well, Future Hearts lives up to expectations as a record that’s unimaginative and very musically mediocre.

I liked The Ataris, Silverstein, Hawthorne Heights and Yellowcard so it’s not like I’m biased against cookie-cutter pop-punk. Stickup Kid’s a band that fits this genre but with a slightly more aggressive approach, I really took to them. ATL, however, just seems stuck in a monotone sandbox. Tracks like “Satellite” are begging for radio play, a Q&A segment on MTV2 or most likely, a spot on Pixar’s next space-oriented soundtrack. This song’s very bare-boned but catchy, which fits the bill for too many of the tracks they put out. It’s always been a staple of this band to make these simple, minimal tunes that while polished, clean and spiffy, are all made for pop-market junkies out there who save their money for said records and hair gel.

Now, don’t get me wrong, there are some cute, fun pop-punk jams like “Runaways” and even the inspiration-themed “Kids In The Dark” but these songs, which are more substance than style, come few and far between. In fact, the band’s losing any style they ever really had (which wasn’t much in the first place). Fourteen tracks is way too long for ATL’s brand of music and while you get a few pop anthems, most of the music comes off forced and really lacking effort. I’m not sure what comfort zone the band slipped into but this album doesn’t even feel like they’re trying. Hopeless Records has great bands like Have Mercy, great prospects like Worthwhile and a few old timers in The Used and Taking Back Sunday to shore up the stable but what’s very evident here is that ATL (a band they’ve backed for several years now) are there to pay the bills and not for any musical ingenuity. If you made it through this album, I salute you.

author: RENALDO69

source: https://www.punknews.org/review/13422/all-time-low-future-hearts

Properly appreciating All Time Low’s Future Hearts requires a bit of background education. While the Baltimore quartet’s newest effort is impressive in its own right as a complete and well-rounded pop record, the gravity of All Time Low’s current success, in songwriting and in relativity, weighs more when it’s put in context.

Put simply, the argument can be made that All Time Low shouldn’t be in this position; they shouldn’t be releasing Future Hearts at all, and certainly not to this much fanfare. The band didn’t just face a major crossroads after the release of its 2011 major label debut Dirty Work, but a question of whether they should still exist.

At least, that’s how it seemed to the public. The band that became scene-famous with 2007’s So Wrong, It’s Right and experienced even more success with the terrific Nothing Personal in 2009 found itself trying to merely tread water with Dirty Work, an album that strayed from the group’s pop-punk roots and divided the band’s rabid fanbase. To many, it seemed like All Time Low might go the way of many other mid-aughts, neon-era pop-rock bands — that is to say, the way of a Forever The Sickest Kids or any other band whose name you forget until they randomly came up on shuffle. It would have been easy to call it quits back then, and simply forego the hard work and humbling experience that comes with rebuilding. 

But it’s a testament to the band’s passion, enthusiasm and savvy that they kept going. They were smart, first and foremost — returning home to indie label Hopeless Records and releasing what was an obvious return-to-form record in 2012’s pop-punk-tacular Don’t Panic, a title that, in retrospect, was phenomenally fitting. They found their groove again, reconnected with a reinvigorated and constantly refreshing (but still ever-loyal) fanbase, and then did what they quite apparently do best — simply keep going. 

Future Hearts is All Time Low finally finding its sweet spot. The album has pure pop tunes, with lead single “Something’s Gotta Give,” the Mark Hoppus-assisted “Tidal Waves” and sure-to-be-future-single “Missing You” being the strongest among them. The latter of those three is the type of feel-good pop anthem ready to dominate the playlists of everyone across the spectrum — from Mumford & Sons fans to Ariana Grande fans and everyone else in between. “Runaways” is another standout, and it’s more indicative of the balance All Time Low has struck: Alex Gaskarth soars to some of his highest highs, but the number is decidedly driven by its pounding rhythm section, and its distorted guitars are never too far out of earshot. 

The album additionally succeeds in throwing curves right when you’re thinking you’ve figured it out. All pre-existing opinions based on early song releases are thrown out the window when Future Hearts kicks off with the anthemic, chanting “Satellite” before launching into a future live set favorite in “Kicking & Screaming.” You’re hit with with a few singles before the phenomenal “Cinderblock Garden,” then at the end of the record you’re caught winded by a double-shot of the electronica-tinged “The Edge of Tonight” (a song that works…honestly, surprisingly well) and the dark, intense, moody closer “Old Scars / Future Hearts.”

That All Time Low has found a way to fit head-bopping, radio-friendly tunes like the mainly-acoustic “Missing You” and “Tidal Waves” on the same tracklisting as its pounding, rocking closing track is further indicative of the band coming to terms with the best parts of its past releases. “Cinderblock Garden,” with Gaskarth’s standout vocal performance and sticky melody, strikes a particularly poignant chord; when this record really digs into people, this song will be the first choice for high school mixtapes the same way “Dear Maria, Count Me In” and “Weightless” once were. “Don’t You Go,” while perhaps a little heavy on The Young and the Hopeless-era Good Charlotte vibes, sticks out as another solid tune in the record’s latter half. The misses on this album are few and far between, and remarkably easy to look past given that the record is paced very well throughout its 46-minute runtime. 

It’s easy to see Future Hearts as a triumph in many ways for a band that is — somewhat shockingly — now six albums and a decade deep into what’s going to be remembered as one of the most celebrated careers to come from a band born of the Warped Tour community. Where Nothing Personal could and should have been a breaking point — arriving just a half-minute too late for rock radio that had just dismissed pop-punk by its 2009 release — Future Hearts feels like it’s laughing in the face of those “problems.” 

This is a version of All Time Low that doesn’t need a hit single with national airplay to garner the most album sales in America and the UK during its debut week; it’s a version of All Time Low that not only has zero interest in moving past its pop-punk roots, but is embracing them with more vigor and pride than ever, laying the groundwork for punk bands that imagine a world where “maturing” doesn’t mean leaving behind what you grew up loving. And the fact that we’re here, in 2015, talking about All Time Low garnering the most album sales in any country, would have been insane to imagine four years ago, when longtime fans and casual observers alike (me among them) were writing this band right off the map, waiting for their fade-out. It’s proof that a deep connection with loyal fans is more important than a flash-in-the-pan radio single. It’s proof that a band’s steady commitment to pushing itself is more important than one big arena tour. It’s proof that doing the hard work can turn a pop-punk band into a dominant force that everyone must notice. Not only has All Time Low become the most successful band from that mid-2000s neon era, but it’s managed to establish a career that will support constant, steady success and relativity for another decade to come. 

There’s a chance that a breakout single for this band will still happen, and we’ll get to compare them alongside the mainstream currency of acts like Imagine Dragons — but we can also, perhaps more impressively, begin the early stages of comparing All Time Low to groups like Less Than Jake, Taking Back Sunday and others that have become massive, long-lasting rock bands that will seemingly never tire or disappear, the type of band that will release reliably quality music on a regular basis for as long as they damn well feel like it. All Time Low has accomplished something more rare than a No. 1 single or a platinum album with Future Hearts — they’ve reached one of the most unreachable points for a band from their corner of the world, a point of true lasting value. And now we can be sure, in case we were still wondering, that they’re here to stay.

author: Thomas Nassiff

source: https://chorus.fm/reviews/all-time-low-future-hearts/