Dashboard Confessional

Dashboard Confessional

Dashboard Confessional, Emo’s King of Pain, Rises Again

Jon Caramanica, writing for The New York Times:

Yes, and it wasn’t. If you were to have been my accountant at that time, you would say there might never be a better time than right this minute to release a record, but it just doesn’t work for me that way. So the waiting game began. We did our tour and a year passed. I wrote, like, snippets and then I would stop. I’d physically stop. I put the pencil and the paper down and said, “Stop it. You’re just eager, you’re eager to deliver.”

Then one day off tour I woke up one morning and I walked downstairs and I wrote a song, and it was evident from the first melodic idea that this was a Dashboard song. And the next morning I woke up and I bolted for my guitar. I realized, “I’m there.” After all that time I’d begun to wonder if they’d ever come back, and when they came back they came back in rapid succession. The whole thing was a cavalcade and I just surrendered to it.

This is a really well done and informative interview. I’ve been spinning the new album for a few weeks now, and there’s some really good classic Dashboard Confessional songs on it (and a few I’m not sold on), but man, I will go do my grave thinking Alter the Ending was criminally underrated.

Dashboard Confessional on the Latest Rock Sound Podcast

Chris Carrabba of Dashboard Confessional is on the latest episode of the Rock Sound Podcast. He talks a lot about growing up in the emo/pop-punk scene, and how it’s changed:

The part that I don’t feel connected with was when certain bands started to use their songs as a platform to brag, about how much money they had or how wonderful they were. That’s when I checked out. When I say we got knocked down a peg, I think it’s maybe a better choice of words to say we got knocked off our perch a little bit. We weren’t played on the radio – we were kind of whipping boys who were made fun of.


Dashboard Confessional Talks New Music

Chris Carrabba talked with Billboard about the upcoming Dashboard Confessional album:

“It’s probably not savvy to say this, but I’ve begun to admit that I like my older records better — and I know why,” he explains. “As time went on, people came along with good and different ideas, and one thing I kept hearing a lot is that lyrics don’t matter — and I think I’m not the right guy to say that to. They might be completely right, but that’s why I write songs. So this (upcoming) record, to me, is very much like the first three and a half records, where it’s just like — I have something to say, not just a nice thing to sing.”

Dashboard Confessional at Taste of Chaos 2016

The Taste of Chaos tour may be all wrapped up, but I was fortunate to be able to capture some images from their stop at the famous Red Rocks in Morrison, CO. I have been to quite a few shows here, but this one is at the top of my favorites, based on nostalgia alone.

Seeing the lineup of Dashboard Confessional, Taking Back Sunday, Saosin, and The Early November was surreal to say the least. Some of the first times I photographed many of these bands was in the early 2000’s, before radio or television had taken their careers to new levels. After seeing these bands in venues with only other bands, and maybe a few fans watching, it was amazing to see them on stage in one of most iconic venues in the world. I’m going to split these galleries up by the different bands, and today’s gallery is for Dashboard Confessional. You’ll find the photos below.

Review: Dashboard Confessional – Dusk and Summer

Dashboard Confessional - Dusk and Summer

Dusk and Summer is my favorite Dashboard Confessional album. How’s that for a contrarian statement? For most fans of Dashboard, Dusk tends to occupy the lower rungs of discography rankings—if not the very bottom slot. There are obvious reasons for this lowly reputation, and they happen to correspond with the various groups of Chris Carrabba fans that exist out in the wild. The first group of fans is the “there from the beginning” group. These people were listening when Carrabba first arrived on the scene and released The Swiss Army Romance (2000) and The Places You Have Come to Fear the Most (2001). Fans in this group are incredibly attached to the stripped-down acoustic arrangements and heart-on-the-sleeve angst of those first two records. They cite Swiss Army and Places as foundational albums in the emo and pop-punk movements, label them as classics, and point to Carrabba going full-band (on 2003’s A Mark, A Mission, a Brand, a Scar) as the moment where everything went to hell.