With their fuzz-soaked riffs, wry sense of humor, and decades of unapologetic genre-bending, The Dandy Warhols have always thrived on reinvention. Fresh off the release of Rock Remaker, a remix EP that enlists heavy-hitters like Ride’s Andy Bell and Danish producer Trentemøller to reimagine tracks from last year’s Rockmaker, the Portland psych-rock veterans are hitting the road for what they’ve dubbed “a bit of a last hurrah.” The tour promises the band’s trademark chaos and cinematic swagger, but also signals a pause to recalibrate, write, and dig into their archives.
We caught up with the band to talk about the new remixes, wrangling legends like Slash and Debbie Harry, and what fans can expect from their latest run of shows.
“Rock Remaker” puts a fresh spin on Rockmaker with some heavy-hitter collaborators. What sparked the idea to reimagine the album so soon after its release?
I’ve always liked remixes. Not necessarily “dance mixes,” but someone’s reimagined version of a song. I really wanted to do a full record of them, and I had so many other cool artists lined up. But the EP turned out fantastic. Oliver, Anders, and Andy did beautiful work. The Night Club remix was great too; that was Courtney’s connection. And the rework of “Root of All Evil” isn’t a “proper” remix, just a funkier bass line from Melvin Brannon.
You’ve called this tour a “bit of a last hurrah.” Can you elaborate? Is this a hiatus, a farewell, or just some well-earned downtime?
We need a little time to focus on making records and restructuring how we do things. The business of being in a band has changed a lot. We’ve adapted pretty well, but it could work better.
Ride, Trentemøller, and others left their mark on the new EP. How did you choose the artists to remix your tracks?
Pretty simple. Do we like what they do? If so, we ask if they’re interested in working with us. Everyone who contributed has a distinctive style we love. In some cases, like Andy Bell, we’ve been fans since the beginning.
Your live shows are known for being chaotic, cinematic, and loud in the best way. What can fans expect from this tour’s setlist and production?
Our sets are always a little similar since there are songs we need to play to keep everyone happy. But we do our best to add new material and revive older tracks. Lately, we’ve been playing more from Rules OK.
You’ve had Slash, Debbie Harry, and Frank Black guest on recent material. What’s the secret to roping in rock legends and do you write differently with those icons in mind?
The guest stars are always a later addition. The secret is simply asking and being lucky that they have the time and interest.
Psych-rock has evolved in wild ways over the decades. How do you see The Dandy Warhols’ place in the genre’s lineage now versus when you started?
That term came along well into our career. I associate it with The Black Angels and The Austin Psych Fest. I know we had some indirect influence, and some of what we do fits in nicely.
From “Bohemian Like You” to now, your sound has twisted through glam, psych, and garage. How do you keep pushing boundaries without losing your signature vibe?
We can’t seem to escape our vibe. Not necessarily a bad thing, every band has one. But we’re always curious about new styles and enjoy pushing boundaries.
If this is your last tour for a while, what do you want fans to walk away remembering?
I always want fans to enjoy the show. For me, music as a listener is an escape … 90-plus minutes of peace. Hopefully, everyone feels some of that.
Any plans for unreleased material, archival projects, or surprise drops during or after this tour?
Yes. There are a few things in the works, and we’re working with PIAS to get our back catalog out on vinyl. Hopefully, one of them will be ready in time for this tour.
The Dandy Warhols plays the Regency Ballroom in San Francisco on Oct. 8 // 1300 Van Ness Ave, San Francisco, CA 94109
