This year, Great Grandpa turned down the noise and leveled up their songwriting. See why the Seattle band is an Artist You Need to Know
), the band quickly grew wary of being tagged with contrived labels like “bubblegum grunge.” “I hate that phrase so much,” says Menne. “I literally despise it…I know people who use it to describe themselves, and that’s totally cool.
But I just feel like when it’s that rock critic voice using it, it seems very condescending — like, ‘Oh, your voice sounds like a lady.’” “We’ve never subscribed to grunge, but we’ve gotten that label our entire existence,” says Goodwin. “I’m convinced it’s only because we’re a rock band from Seattle.”Within moments, the band steers this heightened conversation about labels and genre into something more up their alley: “ ”, one of their favorite YouTube mashup videos, which merges Vanessa Carlton’s “A Thousand Miles” and AC/DC’s “Back in Black.” . began, it turns out, with Pat Goodwin making up placeholder lyrics about his family’s late dog Wilson. “I remember sitting with a guitar, just singing to him,” Goodwin says. “The original fake lyric was, ‘Wilson looked at me/He said, take me to the treat jar/Take me to the treat jar/Won’t you please.’ He would look at you, and then he’d look at the treat jar, and then he’d look at you again.’”Eventually, Hanwright reworked “Treat Jar” into a moving pop-punk anthem about the crushing demands of working service jobs. “Bloom,” meanwhile, which features the instant-classic opening lines, “I get anxious on the weekends/When I feel I’m wasting time/But then I think about Tom Petty/And how he wrote his best songs when he was 39,” also began as a song about Willie . “All the songs are secretly about Pat’s dog,” jokes Menne. Goodwin came up with the Petty line later on, as a lark, before recording a rough demo. He wrote the song’s semi-nonsensical chorus — “Step into whatever you want to/And let your spirit bloom” — simply because he loved the way the words sounded. , they’ll continue figuring out how to break out acoustic guitars without “Free Bird” heckling at future shows. “We’ve definitely had conversations about wanting to break out of the emo world, so to speak,” says Menne, “and gear more towards the, I don’t know what you would call…”“It’s less trying to fit into a world, and more just getting out of a constraint of playing only with loud, all-dude emo bands,” says Hanwright. “It’s more about a world where we can do our own thing and just be ourselves.”
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