Raised on Radio

Rooney's power pop infiltrates a valley of angry young men.

I knew the band was something special, that's why I've been in it for four and a half years," says Matthew Winter, bassist for Los Angeles-based Rooney, of his band's rapid ascent. The group has grown from local favorite to second-stage upstart at the resuscitated Lollapalooza festival to main-stage opener. "I'm not surprised about where we are," he adds. "I have every bit of faith in the band."

Winter's bravado aside, more than self-assurance is needed to make it in the fickle world of pop music. It's all about who you know and how hard you work. And given the pedigree of one of the founders, a safe assumption would be that Rooney's success can be directly attributed more to the former. Guitarist/vocalist Robert Carmine (aka Robert Schwartzman) is the nephew of Francis Ford Coppola, the son of Talia Shire, the younger brother of Rushmore star Jason Schwartzman (who plays in his own Keanu Reeves-in-Dogstar-style celeb outfit, Phantom Planet) and the cousin of Nicolas Cage. Carmine's connections appear to have bolstered his acting career: He appeared in 1999's The Virgin Suicides and had a lead role in Disney's 2001 teen feature The Princess Diaries. But despite those connections, when it comes to his band, Carmine has made it the old-fashioned way -- by scrapping.

According to Winter, the band -- founded in 1999 by schoolmates Carmine, Winter and guitarist Taylor Locke -- didn't rely on nepotism for its rise to prominence; it was a self-directed affair. Juggling tour dates with geography homework, the members did their best to maximize on guerrilla marketing (handing out more than 10,000 copies of their demo CD to kids at shows) and built a significant fan base on the Internet.

Rooney is Ned Brower (from left), Taylor Locke, 
Robert Carmine, Louis Stephens and Matthew Winter.
Rooney is Ned Brower (from left), Taylor Locke, Robert Carmine, Louis Stephens and Matthew Winter.


Rooney, Jane's Addiction, Queens of the Stone Age, Audioslave, Incubus and more
Wednesday, August 13
Fiddler's Green Amphitheatre, 6350 Greenwood Plaza Boulevard
$53, 303-830-8497

"We've spent the last four years fliering and promoting the hell out of ourselves," Winter declares emphatically. "Small club after small club, and then eventually big clubs, working at getting every single person we knew to go see the shows. We were always looking at it very seriously, recording demos when we could, selling merchandise and selling out shows, and gradually our fan base grew. And before we knew it, it became something that L.A. was catching on to."

What the City of Angels grasped was Rooney's sound: a snappy, hook-heavy throwback to the SoCal power pop of the late '70s, as much a part of California as earthquakes and vanity plates. Winter and his mop-topped cohorts -- Carmine, Locke, drummer (and ex-model) Ned Bower and keyboardist Louis Stephens -- are unabashed fans of radio-friendly pop. While the other kids were hanging out in the parking lot after class smoking cigarettes and drinking 40s, Winter and his pals assembled a band with a musical ethos firmly based on the sound of groups like Badfinger and the Cars.

"I went to high school with Robert, and that's where we formed the first incarnation of Rooney," says Winter. "At the time, we were just looking to have some fun as an after-school activity. I'd spent a couple of years just doodling around, playing in less serious bands. But I liked a lot of stuff -- mostly rock, like the Beatles or ELO -- and we all shared the same passions for melodic rock and roll." That such a thread -- an affinity for '60s and '70s classic rock and '80s cinema (the act takes its name from Jeffrey Jones's character in Ferris Bueller's Day Off ) -- sews the quintet together is somewhat curious, considering the members' ages range from jailbaity eighteen to barely-old-enough-to-buy-beer 24.

The youngsters in Rooney have definitely done their homework, though. They're well versed in classic power pop, and recent tours with the Strokes and Weezer -- with whom Rooney shares a nearly identical, albeit distortion-free, pop sensibility -- have exposed them to current purveyors of the craft. Winter, however, says it was the recording sessions for Rooney's debut album that were most enlightening and a dream come true. Producers Keith Forsey and Brian Reeves -- whose production credits include '80s stalwarts Billy Idol, Simple Minds and Pet Shop Boys -- and Jimmy Iovine, Interscope Records' head honcho, came aboard to help polish the band's sound into submission.

"Our manager was one of Billy Idol's co-managers for a couple of albums, so we arranged a meeting with those guys even before we had a record deal. And the chemistry was there," recalls Winter. "We all really loved Billy Idol, and it seemed like they'd done a lot of really good stuff, so they kind of seemed like the right guys for us. We were also happy to have Jimmy Iovine take part, as we really respect the stuff he's done, and he's got a really good ear for music."

Something must have clicked when Iovine first heard Rooney. Not only did he produce one of the tracks, "Sorry, Sorry," on the eleven-song, eponymous debut album, but he handpicked the band for his label. That song, along with the dreamy "Blueside," garnered airplay on MTV and some mileage on modern-rock radio alongside notables like the White Stripes and Red Hot Chili Peppers, who the band also shared the stage with at this year's Coachella festival. Winter says that Palm Springs, California, gig gave Rooney's members a preview of their future on the Lollapalooza dates.

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