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Conversations to An End: Switchfoot

It's been a busy year for the San Diego, Cal. outfit Switchfoot and the release of the band's major label debut "The Beautiful Letdown" has only added to the insanity. The band's fourth record, the success of songs in a popular movie soundtrack that has catapulted the band's career suddenly has a lot more people paying attention. We talked to frontman Jon Foreman recently about the movies, the philosophy of the record, and the songs that have driven them forward into the uncertain future of the mainstream major label world.

I was reading a student newspaper last weekend at a college in Virginia and I noticed a review of The Beautiful Letdown that started out somewhere along the lines of how a common frustration for bands is to not get credit for songs that they've written. Puzzled by this statement, I read on and had to nearly get halfway through the article before there was anything said about the new record. Kind of like how long it's taking me to ask this question.

In any event, what I'm getting to is this: Has this been a frustration for you as a songwriter? I know personally from one encounter at a live performance (which is also mentioned in this particular review) you seemed to have had a good sense of humor about iit, demonstrating a different path of resistance than say Ryan Adams has shown in his own identity/name association struggles.

My frustrations as a songwriter are few and I feel amply credited for songs that Iíve written. These songs are my passion and Iím excited about getting them out of my head, (and maybe into yours). A frustration of mine? I wish that more of the articles written about us would focus more on the music and less on the surrounding politics.

Speaking of the movies still, the new record is the first album you've recorded since having music in A Walk to Remember. How would you say the experience of being involved in a film impacted the process and development of the new record?

Weíve been through a lot over the past seven years as a band; The joys and heartbreaks of living life. All of these moments have an impact. For me, the movie might be best categorized as a interlude between sets. Weíre a rock band. We spend our time on the road playing live and writing new tunes. Thatís our focus. The movie was a gift along the way, a wonderful reminder that people are listening.

I've heard it said and I've read it more than once that The Beautiful Letdown and Learning to Breathe represent somewhat of a stylistic split between The Legend of Chin and the second offering. Is this something you recognize when you look over the work you have done or do you see it differently?

Many bands set out to capture a sound and write the songs to fit that sound.. All of our albums have built their respective ìsoundî from the songs. The song is king... More of a Sergeant Pepperís approach. So every album represents growth and change, but Ýin my opinion, this album is a big leap ahead of Breathe. I feel like there is an energy captured on this album that weíve never been able to get before.

The title of the record "The Beautiful Letdown" reminds me of a title to a Frederick Buechner (the Magnificent Defeat) book. It has that similar philosophical tone, which is mimicked somewhat lyrically in words that express the contradiction of what life has to offer.

Iíve never read the Magnificent Defeat but the title does sound analogous to the TBL. Both titles express the paradox of existence: If you seek to find yourself you will lose yourself, and if you lose yourself you will find yourself. Blessed are the poor in spirit for they will inherit the kingdom of heaven. Our world spins upside down and sometimes we have to lose our grip on the things we value in this life in order to grab on to true life.

In an article that recently ran in an Orange County newspaper, you mention Pascal and the philosophical influence. Tell me a little bit about your approach and the philosophical theme to this record. Isn't this pretty heavy stuff for a major label debut?

For the most part, our songs arenít coming from a philosophical place, they come from a very personal place. Many of these songs read like journal entries for me. These songs are my way of exploring the world and answering questions of my own. Why are we on this planet? What does it mean to be human? Iím interested in hearing what some of the best minds in history have to say about all of this and I think thatís why I find philosophy so interesting. Still, I know only enough to be dangerous.

You've been quoted stating the obvious before of how surreal the ride has been from little known act to virtual overnight success through Grammy nominations, the Les Paul award, and the movie ordeal. You're only a year or two older than me and I know I would feel pretty overwhelmed by it all. Are you kind of just enjoying the ride and soaking it up right now or does the work load not allow you much time for such reflection?

Weíve been very busy lately: touring and interviews and such... But I have no complaints. I have a lot to be thankful for and have plenty of time to be thankful.

In the decade or so now that I have been following music closely, this term major label has always either come up as either the ultimate dream, the golden ticket in Charlie and the Chocolate Factory that young 14-year-olds with guitars in the garage think is the answer to all life's problems or the ultimate nightmare that cheats and manipulates and sucks talent and integrity from people in the name of shrewd business. What is your take on this now that you have reached what some would consider the pinnacle and what others might consider the beginning of the end?

Again, the songs are king. There are a lot of great albums that have come out on major labels and indies. There are cheats and thiefs and friends and foes and people just trying to get by everywhere. The songs that have something to say usually end up getting heard. Thatís not to say that the industry is as it should be, but the industry is not the problem: we are.

2003 White Elephant Productions