Modern punks The Bobby Lees had just completed a sold-out European tour when they realized something was wrong. Crowds flocked, merchandise shifted – but when the band got home to the States and tallied the numbers, the reality was stark. “Everyone made almost no money,” says guitarist and vocalist Sam Quartin.
The Woodstock-founded foursome had self-funded their last three album releases after struggling to secure major-label support. But even for a band accustomed to doing it themselves, the situation no longer worked.
The perpetrator was clear – in an Instagram post later that year, Quartin and bandmates Kendall Wind (bass) and Macky Bowman (drums) announced an indefinite hiatus, citing streaming services' payouts as one of the biggest reasons mid-sized bands can’t sustain themselves.
“People don't want to say something because they're scared they won't get put on the playlist,” reasons Quartin. “We were like, 'Fuck it. Someone's gotta be honest!’" After the announcement she took a moment to disconnect, heading for a swim at her local river – oblivious to what was playing out online.
“I don’t have a personal Instagram account,” she says. “But my friend does. She said, ‘You should check the post, there’s a really positive response!’”
Expecting a message from a label or manager, Quartin instead found something far stranger. “There was a message from Jason Momoa, a video of him in his car saying, ‘Hey, you gotta call me. I want to help. I’m hosting SNL next week – I’ll be in New York. Maybe we can find a solution.’”
Quartin called him immediately. “He said, ‘We’ll get the record funded. How does that sound?’ He didn’t ask for anything in return. If only everyone who has the same position could just do one act of kindness for one of their favorite artists.”
The experience was surreal – while Momoa was busy promoting Aquaman, he was equally happy talking gear. “Kendall ended up giving him Zoom bass lessons when he was on set!” Quartin recounts.
If Momoa’s involvement felt like the beginning of a Hollywood ending, reality quickly intervened. The Bobby Lees found themselves confronting the same barriers they'd been railing against in the first place. Only this time, the challenges were being chronicled on Momoa’s HBO docuseries, On The Roam.
“Jason took us to Atlantic, Turnstile’s label, and they passed,” Quartin says with a droll laugh. “I wish that hadn't been filmed!”
The rejection was especially stark given the flawed discovery model of one the industry’s biggest streaming platforms and the ramifications for its algorithm towards new artists. As Momoa joked to the band, “‘If a new Nirvana or Bob Dylan emerged today, would the industry even recognize it?’” For a moment, it seemed the answer might be no.
Enter Epitaph – founded by Bad Religion guitarist Brett Gurewitz, the legendary punk imprint connected with The Bobby Lees’ first new music in years in a way others hadn’t. For Quartin, the relief was overwhelming.
“They filmed us going into Epitaph on the show, but they weren't with me after,” she recalls. When I got in the car to go back to the hotel,I just started crying.”
After years of self-funding records, scraping together tour budgets and publicly questioning whether they could continue, The Bobby Lees had finally found a home.
Momoa wasn’t the only famous supporter to emerge from the hiatus. “When we were in San Diego, Keanu Reeves came to a show,” says Quartin. “He said, ‘I'm a fan.’ I said, ‘Me too!’ It's cool when people whose work you admire appreciate what you do.”
Another unexpected ally was Flea, who Bowman knew thanks to his mom’s stint as a backing vocalist for Red Hot Chilli Peppers. “When we posted about the hiatus, Flea helped save money for our West Coast tour by putting the band up at his house – but I still haven’t met him!”
The emotional rollercoaster has inevitably bled into their latest record, New Self, specifically in the rap-rock leanings and snare snaps of the title track. Quartin admits to seeking something heavier while songwriting. “I was listening to the Beastie Boys and Rage Against the Machine. The goal was an empowering ‘don't fuck with me’ undeniable head nod.”
While longstanding guitarist Nick Casa has since amicably parted ways (“Every reason he had for leaving, I agree”), the pair’s dual-Telecaster command was still at play for the album. But Quartin was ready to push past some long-held studio habits.
“Dave Sardy [producer] brought over a few guitars. I used to be so superstitious about using mine. I bought it at the Chelsea Hotel, in Dan's Guitar Shop.” It’s a landmark of Manhattan that was once home to Patti Smith and Jimi Hendrix. “I was like, ‘Maybe it has some of their juice!’”
Wind and Bowman also picked up some fresh tricks in the interim, playing as part of Jon Spencer’s Blues Explosion. “Kendall and Macky are telepathic now,” she boasts. “A conjoined force!”
Ahead of hitting the road again this autumn, Quartin can see that while the economics that pushed The Bobby Lees to the brink haven’t changed, her perspective has. For the first time, they’re are no longer starting from underwater.
“This whole process turned the volume down on all the crap. I used to be like, ‘Why is that happening?’ But now, it's like, ‘Okay, we've said something. We've done our part. Let's use this opportunity to make the best work we can.’ We’re no longer paying attention to the bullshit.”
- New Self is out now via Epitaph Records.
