Turnstile have deeply entrenched roots in hardcore, a genre and subculture as diametrically opposed to mainstream awards shows as you can possibly get.
But when you ask them about their first set of GRAMMY nominations, they dispense no punk-like opposition — just humility and gratitude.
"It's cool to be just honored from our circle," says Brendan Yates, vocalist for the Baltimore punks, who are up for Best Rock Performance ("Holiday"), Best Metal Performance and Best Rock Song ("Blackout") at the 2023 GRAMMYs. "But [the GRAMMYs represent] a whole other world of musicians, and recognition for things that the music industry does."
Read More: 2023 GRAMMY Nominations: See The Complete Nominees List
This broad-mindedness tracks with the overall aesthetic and vision of Turnstile, who expand the often monochromatic palette of hardcore to include all manner of vivid hues. Their breakout 2021 album GLOW ON contains everything from synths ("Mystery") to spacey balladry ("Alien Love Call," with Blood Orange). It even receives signals from Sly Stone on "T.L.C. (Turnstile Love Connection), which interpolates "Thank You (Falettin Me Be Mice Elf Again)."
From separate locations in Baltimore — guitarist Pat McCrory, bassist Franz Lyons, and drummer Daniel Fang outdoors in one Zoom window, and Yates in his cozy-looking house in another — Turnstile opened up to GRAMMY.com.
Topics included strange bedfellows of punk and the mainstream, the fellow GRAMMY nominees they're thrilled about, their upcoming arena tour with a reconstituted Blink-182, and why "selling out" is for the birds.
This interview has been edited for clarity.
What was the Turnstile fan community's response to the GRAMMYs news? Obviously, perceptions of prestigious awards shows can wildly vary when it comes to subculture.
Daniel Fang: You know, it's wild, because it might be a selective thing, but I feel this unconditional support that surrounds our band — where they'd still be so happy for anything we could receive, or do. It was full-blown love, and it feels like no matter what, they've always got our back anyway.
But it was one of those things where you're kind of rejoicing together. When you actually look at the people, anyone at the show, and see what they're saying or feeling — especially when we made these videos for that whole last tour — it feels like unconditional love somehow.
And I think it goes both ways, so it's like: Right on, they'll celebrate.
Through a punk lens, what's your relationship to the GRAMMY organization and show?
Franz Lyons: First and foremost, getting any sort of recognition and accolades from something so giant and formal is amazing.
When you start in a band and your parents are driving you, and you get the van and the trailer, and then you get a bigger van, and then you get the Sprinter — once you've taken all these steps and made it, being recognized on that grand scale is awesome.
And it's sweet that [the Recording Academy] took the time to watch someone do their thing, and then actually put them on a platform to be celebrated along the same lines — these are larger-than-life perks.
Brendan Yates: I feel like I always watched the GRAMMYs growing up, because the only TV I was really watching was music-related things. I was watching music videos all the time — MTV and VH1.
When the GRAMMYs came on — especially because I didn't have the internet much — I was like, Oh, I can see all these people that I love that are doing music. I could see them act as humans — sitting in the chair and stuff like that. That was kind of cool. And then, as I got older, I always paid attention just to see what was going on — seeing performances.
When I was younger, if I was playing drums, my mom was like, "Alright, it's 9 o'clock. You have to stop playing drums." "Come on, please, 10 more minutes!" And she'd be like, "Alright, you can play for 10 more minutes, but when you go to the GRAMMYs, you know who you're bringing, right?" I was like, "Yeah, OK, fine, I'll bring you."
She said that believing it, but also, it was kind of a joke. To see that actually come to fruition is kind of a shock, and really just cool all around.
How do these GRAMMY nominations color or frame your goals in the music business, now that they've upped the ante for what you can be recognized for on a global scale?
Pat McCrory: It's kind of wild, because it does seem like one of those things that you never really feel like you'll actively be able to attain. And then, after you're getting nominated for something, you're like: Whoa, OK, hold on. I don't know what's possible.
That's a cool feeling. It busted another door open. I don't even know what's on the other side, but there's no door now.
Fang: First of all, we never had any goals as a band other than to pursue the creative impulses that we all have, and work together and collaborate and make something that we all love, and then share it in as many ways as possible.
We keep having these new doors open, so to speak, and having really fun and fulfilling experiences of being able to make certain kinds of art and tour and play in all these different countries for all different types of people.
And then with the GRAMMYs — it's exactly like how Pat said it — we didn't expect it. I just think it's really exciting to know that unexpected, beautiful things can happen. That sets an unhealthy bar of expectation, but we're looking forward to [the ceremony] and all the experiences we can share together.
Lyons: A great friend of mine phrased our band as "We like to move forward, not upward."
Yates: There are never expectations for great things — opportunities like that. I think we have had so many amazing opportunities. Sometimes, you play a festival and you're playing to 100,000 people — a sea of people. It's not necessarily that at that moment, everything changes. Since day one, I've always kind of felt the same, even up to this point.
And as Daniel was kind of touching on, the acknowledgements and opportunities are amazing, and I think it's cool to see. I don't think it necessarily changed the trajectory or intention behind the original goal of just creating music we love, and creating environments where we can play the music, and touring, and doing whatever feels right to us.
Read More: Like Turnstile And Code Orange? 10 More Bands Expanding The Boundaries Of Hardcore
"Selling out" used to be heresy in guitar-music circles; now, that concept has eroded to borderline nonexistence. Can you talk about that shift in your world?
Yates: I think things have become so accessible with the internet, and the idea of selling out is something that is so transparent. At the end of the day, I feel like the general idea of it is doing something against your will — selling yourself to do something against what you would want to do, for fame or recognition or money or whatever it is.
As it still exists, when you see someone doing something that's genuinely themselves, any sort of recognition or opportunity is almost more celebrated. You can really see genuinely if someone truly cares about what they're doing and has a lot of intention behind it, and is in touch with what they're doing.
So, I think with the accessibility and transparency of everything, you can see a little bit more about what's going on and decide whether you support it or not.
Fang: I think that's a larger, logical kind of observation of what "selling out" means in the context of punk, especially. But like Brendan was saying, things are so accessible. You can put something on YouTube, Spotify or Bandcamp; you can create with really minimal barriers to access.
So, I think what that results in is people being motivated and inspired by things, rather than seeing this inaccessible platform that seems so far away. I can understand why that can result in resentment or feeling detached from something that felt so intimate and underground and subcultural.
I don't think those ceilings exist anymore, in the same way. People's perception of something they love is because they see it growing, or individuals do something that they like to do. Now, I just think people are inspired by that [more] than anything, and that's amazing.
Lyons: Originality is celebrated, bro.
Speaking to Rolling Stone, Franz mentioned he's ready to "kick it" for a bit after your tour-intensive 2022. Once you're recharged and reset, what's on the table for the year?
Yates: Our 2023 definitely has plans. We definitely have plans touring — not as much as [last] year, but there's some select touring. And there's time at home just to be making and living and existing. But, yeah, I think we'll just kind of take it day-by-day.
McCrory: It'll be a nice, busy year, but it will also buy us some time to do what we want. Write music or just sit on your ass, or go out and sit at the beach or in the woods or something. It's been a long couple of years since the world opened back up.
It'll be a nice combo. I feel like it'll be a traditional mode, where we're out there and doing it a lot. And then there's also the affordable time where you can focus on anything you need to focus on.
What about you, Franz?
Lyons: Uhhh… skate. [Laughs.] Chill back in Ohio. Play music with Dan. Tour with Blink next summer! I mean, it's kind of like the year is going to be some playing shows, some creating. Finding our balance is to do that, but also maintain a healthy standard of living here as well.
Not being shoulder-to-shoulder for six months in a row.
Lyons: I mean, these are my guys. I'm down with the shoulder!
Fang: We all love spending time with each other. But it does have the sacrifice of seeing people at home and maintaining certain relationships. So, I have a lot of rainchecks to attend to — a lot of people I'd like to see, a lot of quality time I'd like to spend with my partner and family.
So, I'm really, really happy we're finding a better balance with that [this] year. It's a good problem to have, but I think it's really good for us to strike a balance.
*Turnstile. Photo: Alexis Gross*
That tour with Blink-182 will be a watershed achievement. What do you think about that, now that it's on the immediate horizon?
Lyons: I'm actually so incredibly down. But they [points to Daniel and Pat] really love that. Obviously, playing a big, giant show is sweet, but playing a show with the band that resonated so hard with my people, and playing with them all summer…
Not to mention that you get to see Blink every night, get to see Travis Barker play drums every night, and you get a whole venue to run around and just be crazy and do whatever — just completely soak up that environment.
Fang: We're pretty gassed up about it. For me, that was the first show I'd been to, so it's another full circle that'll be pretty surreal. Because you get another, different stage to do some wild stuff on, and be yourself for a sector of people, and also be inspired by one of the bands that changed the game.
Yates: It'll be our first arena tour as well. We always love accepting the opportunity to play in different environments — whether it's some field outside, or a basement, or a big festival, or a club venue. So, this will be checking off new territory, in that we're able to play in that environment for a full tour.
Before I let you guys go, what have you been listening to lately?
Lyons: I've been rocking the new SZA record lately.
Fang: JD Beck and DOMi. We're all really excited about them receiving GRAMMY nominations. We really want the world to see them and hear them. I think all of us are really looking forward to seeing how they blossom, because they're both really serious and phenomenal artists.
Yates: Fiddlehead. I've been listening to the new Caroline Polachek song; I'm excited for her album. Our friend Mary Jane Dunphe has a new album coming out; I'm really excited about that. The new Paramore album. [Editor's note: Yates directed a music video for the title track to Paramore's upcoming 2023 album, This is Why.] I'm also excited to see IDLES at the GRAMMYs.
McCrory: I was watching this Netflix documentary about drums last night, so I listened to a lot of Deep Purple yesterday. It's not a new band to shout out, but… shout out!
Brendan Yates On Turnstile's Vibrant New Album Glow On: "The Goal Was To Breathe As Much Imagination Into These Songs As Possible"