Fat White Family's Lament and Triumph
Discourse: Fat White Family's Lias Saoudi Discusses Survival, Industry Struggles, and Forgiveness Is Yours Album
The Fat White Family, known for their fusion of garage rock, punk, and psychedelic sounds, has weathered numerous storms, with the departure of founding member Saul Adamczewski being the most seismic. In this conversation, lead vocalist Lias Saoudi delves into the band's survival plan, indie rock, life under Domino, and his take on the music industry...
INTERVIEW: Ben Homewood | PHOTO: Louise Mason
Given that Saul, your creative partner, left the band for good during recording, are you surprised that the new album even got finished?
"It was a goddam miracle that it materialized at all. The interpersonal clashes became unbearable, and post-pandemic, we had grown apart in fundamental ways. When we tried to reconcile, it was like pushing against a brick wall. Emotions leak into each other in strange ways, and that's what makes a great band, albeit in a twisted, unhealthy fashion. It's heartbreaking, especially when you're young and brimming with optimism, but it's often the story of British bands, where the creative duo sinks into a pit of hatred."
So do indie rock clichés still hold sway over Fat White Family?
"We stuck to that tradition of sensationalism and iconoclasm. But is low-life, angst-ridden indie rock still viable? It's obsolete, an outdated relic. Capitalism has waged a successful campaign to convince everyone that it's no longer worth it. Perhaps they're right, but maybe they're wrong. We're attempting to disprove them, using sheer self-destruction as a form of protest. But at a certain point, you hit your 40s and think, 'I'm not dead yet, but I'm tired. I'd like a stable life, a sense of normalcy.' I'm not sure, it's a young person's game."
The '90s indie generation still thrives with bands like The Wombats and The Kooks...
"I've never met a soul who's ever listened to that crap. Maybe it's controlled opposition? [Laughs]. Maybe it's the alt-right, the woke crowd, Elon Musk, or those goddam Sacklers? I mean, they've got that kind of pull, to manipulate legions of brainwashed zealots! [Laughs]"
Now you're on your second record with Domino, are you edging closer to the level of commercial success enjoyed by Arctic Monkeys and Wet Leg?
"Those are the bands that compensate for our existence! [Laughs]. I like Laurence Bell, Domino's co-founder — he's a proponent of karmic reparation in the music realm, the shift of resources! [Laughs]. But I don't ponder success in those terms. This album is more introspective, with lyrics that are more poetic and philosophical. I think the songs will resonate with listeners, though perhaps not on a global scale. I envision the band as more of an experiential, ongoing art project."
Have you gained more insight into the industry since signing to Domino?
"A while back, artists could still scrape by on sales and subpar performances. I recently read about Dave Berman, and he had a Texan estate from Silver Jews' record sales. That blew my mind! Even a simple house feels like pure fantasy these days. Despite selling 4,000 tickets in London, you're compelled to play in other bands, write a book, and even pull pints just to make ends meet. It's maddening, as you yearn for something more and gratefully accept scraps."
What rankles you most about the industry?
"It seems like the world has conspired to refuse us fair pay for our labor. The shocking disparity between arena shows' profits and grassroots venues' demise is appalling. It signals the end of an era — sixties counterculture to now — an era that cultivated artists who defied societal norms and scaled unimaginable heights. Now complacency prevails."
1. "Despite our new album being a product of struggle, we continue to infuse it with our trademark blend of music, delivering a mix of garage rock, punk, and psychedelic sounds that offer a form of protest and entertainment."
2. "Following our journey in the music industry, we've come to realize that despite selling tickets and potentially creating a resonating art project, the financial rewards are unfair, especially when compared to the profits made by arena shows."
