A Dirty Dozen with FRANK VIELE – February 2026

Photo credit: Lisa Sanchez Gonzalez

According to a recent press release: “Frank Viele’s brand of New England Americana/blues rock tugs at the heartstrings, pulling the listener on a surprise journey that transcends genre. He is set to release a new EP, The Silo, on February 20, 2026, via his own Bigger Beast records (a label started to support and highlight some of his favorite artists, collaborators, and friends). With The Silo and several albums under his belt, along with a growing reputation as one of the most exciting voices in folk/Americana music, Viele continues to push the boundaries of what it means to be a modern singer-songwriter. Whether he’s performing on stage or in the studio, he approaches his music with a passion and intensity that is infectious, making more folks take notice, one stage at a time.” We get Frank to discuss new music, influences, and more…

1. Tell us a little about your latest release. What might a fan or listener not grab the first or second time they listen through? Are there any hidden nuggets you put in the material or that only diehard fans might find?

The Silo is a bit of a sonic departure for me. I approached it with a really cinematic mindset and built everything around my acoustic guitar instead of a live band in a room like my previous records. That gave us space to layer textures and really paint with sound. I worked closely with producers Lee DeWyze and Nico Grossfeld, and we focused on creating a landscape more than just tracks — little ambient moments and subtle parts that might sneak past you on the first listen. It’s definitely a headphones record. There are a lot of small details and hidden textures that reveal themselves the more time you spend listening. It’s the most intentional and probably the most immersive thing I’ve made.

2. What got you into music, and can you tell us about the moment you realized you wanted to be a musician?

Music always seemed to show up whenever I hit a crossroads. My kindergarten music teacher, Mr. Keefe, made music class feel magical. Then, my grandma used to play piano around the house and I’d just sit there completely hypnotized. The real turning point came in middle school when my older brother moved to the West Coast and left an old acoustic guitar behind. I picked it up out of curiosity and never really put it down. That guitar quietly changed the course of my life.

3. Building on that, is there a specific song, album, performer, or live show that guided your musical taste?

I basically learned how to play guitar in the parking lots of Dave Matthews Band concerts. Before I even graduated college, I’d seen them 137 times. I’d show up early, sit in the lot, and just play until security kicked us out. I studied the way Dave attacked the guitar — that rhythmic, percussive style — and it shaped my entire approach to playing. Those parking lots were honestly my first classrooms.

4. If you could call in any one collaborator to do a song with, who would it be, and why?

Toughest question ever. But right now? Everlast. It surprises people, but my first serious instrument was actually turntables. I grew up scratching records and loving hip-hop. When Whitey Ford Sings The Blues came out and he blended Americana songwriting with hip-hop production, it kind of blew my mind. That mix of grit, storytelling, and texture really stuck with me. After making The Silo in such a cinematic, production-heavy way, I feel like collaborating with someone like Everlast would push me into totally new territory — and that’s always where I want to be.

5. What is your favorite activity when out of the studio and/or not on tour? What do you like to do to unwind?

I’ve got over 4,000 records on vinyl, and I make it a point to listen to 365 different albums cover-to-cover every year. Lights off, glass of bourbon, phone away — just me and a couple of great records. That’s therapy for me. I also love hunting Facebook Marketplace for old furniture to refurbish. There’s something really satisfying about bringing old, beat-up things back to life. Probably the same reason I love old guitars.

6. How would you describe your music to someone who’d never listened to you before? What is the one comparison a reviewer or fan has made that made you cringe or you disagreed with?

Lately people have started calling it “heartland rock,” which honestly surprised me at first — but when you grow up loving Bruce Springsteen and Bob Seger, it kind of makes perfect sense. The comparison I hear a lot is Bon Jovi. For a while, I’d cringe because I thought I was supposed to be “cooler” than that. But the older I get, the more I realize JBJ is a total badass with a huge heart and a gift for connecting with people. If I can make a fraction the impact he has, I’ll take it.

7. When your band is hanging out together, who cooks, who gets the drinks in, and who is first to crack out the acoustic guitars for a singalong?

Honestly, probably me for all three. My band is my cousin and my two best friends, so it’s less “bandmates” and more “guys who know way too much about each other.” Lots of roasting, lots of laughs. We don’t get to play full-band shows as often as I’d like, but when we do it feels like home. My drummer even 3D-printed me a little Homer Simpson Buddha for good luck — it lives in the merch box. That’s the kind of crew we are.

8. When was the last time you were starstruck and who was it?

I interned at major record labels all through college, so I got desensitized pretty quickly. I’ve eaten a Blooming Onion with Ice Cube and run lunch for Beenie Man — which feels very surreal looking back. These days I don’t really get starstruck. I just tend to talk a little too much the first time I meet someone I admire.

9. What is the best part of being a musician? If you could no longer be a musician for whatever reason, what would be your dream job?

Getting to see the country and build these little families everywhere. There are people in towns all over the map who feel like home now. That tribe you build on the road — that’s the best part. If I couldn’t play anymore, I’d probably want to be an A&R person. I love discovering artists and connecting dots. I honestly can’t picture my life without music being the center of it in some way.

10. What is one question you have always wanted an interviewer to ask – and what is the answer? Conversely, what question are you tired of answering?

I’d honestly rather talk about other people’s music than my own. Ask me, “Who’s an artist I don’t know but should?” and I could talk all day. Guys like James LeBlanc, Eddie Seville, Ari Hest, Will Hoge — there are so many incredible indie songwriters that deserve more ears. As for questions I’m tired of, anything that makes music feel like a business report instead of a story.

11. Looking back over your career, is there a single moment or situation you feel was a misstep or you would like to have a “do over,” even if it didn’t change your current situation?

Early on, I didn’t slow down enough to enjoy the good moments. I was always chasing the next thing — the next tour, the next release, the next opportunity — and sometimes I forgot to actually stand still and take it in. If I could redo anything, it’d just be appreciating those early wins a little more while they were happening.

12. If you could magically go back in time and be a part of the recording sessions for any one record in history, which would you choose – and what does that record mean to you?

Tom Petty’s Wildflowers. No question. That record is flawless to me. It’s tender and vulnerable one minute, gritty and swaggering the next. The songwriting is unreal, and the sonic world just feels timeless. Every time I start making a record, I throw that album on the turntable for inspiration. It sits on its own little pedestal as a masterpiece.

FRANK VIELE LINKS:

OFFICIAL SITE

FACEBOOK

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Category: Interviews