About this interview
In a 2008 interview with Ryan Minic of Ryan's Rock Show, Erik Engstrom from Horse the Band shares his journey from UCLA to becoming a full-time musician, reflecting on how his college experience felt uninspiring and how he found a true passion for music instead. He explains that the band never set out with a specific goal but simply loved making music together. His deep involvement in the DIY scene—mail-ordering records, trading music, and discovering independent bands—pushed him to start booking their own tours, even when no one knew who they were. With sheer determination, they forced their way into the underground scene, playing basements and small venues across the country.
Engstrom recalls how their early tours were grueling but the most fun they ever had. Their first major DIY tour lasted three months, covering 88 shows in 90 days across eight countries. He explains how they booked shows internationally by putting up open calls on their website, which led to unexpected opportunities in Europe, Mexico, and Canada. As the band gained traction, they continued their self-sufficient approach, booking flights, renting vans, and sometimes relying on local friends to transport them. Despite facing logistical nightmares—including totaling a rental van overseas—they managed to build a sustainable touring strategy.
Their current plans are even more ambitious: a 40-country world tour, covering places like Japan, South Korea, the Philippines, Hong Kong, Malaysia, Thailand, Indonesia, and more. Given the distances, they will need to fly almost daily, a costly endeavor requiring nearly $40,000 upfront on credit cards. However, they believe they can make it back through smart business moves, merchandise sales, and foreign currency advantages. Engstrom details how certain countries, like Canada, still allow them to sell merchandise at pre-adjusted prices, helping them profit despite currency fluctuations.
Discussing different countries, Engstrom describes how music culture varies—Canada feels similar to the U.S., while Mexico offers an overwhelming level of fan devotion, treating bands like rock gods. Japan, though unvisited at the time of the interview, is another highly anticipated destination. However, there are concerns about safety in certain regions, such as Turkey and the Philippines, where U.S. travel advisories warn against potential terrorist threats. He acknowledges that being labeled an “American band” on flyers could attract unwanted attention but maintains that fear shouldn’t dictate their choices.
Engstrom also touches on the broader music industry, expressing skepticism toward record labels. He notes that labels are struggling to make money, leading to deals where they take percentages of a band’s total income, something he strongly opposes. Despite being signed, he highlights how their label failed to push their music in international markets, forcing them to continue relying on their DIY methods. He contrasts this with labels like Victory Records, which, despite their flaws, have managed to keep their business model profitable.
When it comes to promotion, Horse the Band takes a grassroots approach, calling on fans worldwide to help with street team efforts. Engstrom emphasizes that many industry roles, such as promoters and managers, are often just people with connections rather than any special expertise. His belief is that bands willing to put in the effort can do much of this work themselves. He also acknowledges that while not every band has members with the necessary drive, those who do can accomplish a lot independently.