In the Deep End With … Guster

It’s no easy feat to be a band for 30 years. Longevity in the music industry requires a fickle combination of skill, adaptability, dedication, and luck. Guster, it seems, has found it all.

As the legend goes, Guster formed at Tufts University in Boston in 1991 and got its start gigging in dorm rooms on campus. Comprised of vocalist Ryan Miller, guitarist Adam Gardner, drummer Brian Rosenworcel, and multi-instrumentalist Luke Reynolds, Guster has released nine albums, including Ooh La La, which came out last week. Lost and Gone Forever, the band’s major label debut with famed British producer Steve Lillywhite at the helm, celebrates its 25th anniversary this year, and the band is slated to perform the record in its entirety at a series of shows, including a sold-out date at the Ryman Auditorium in September.

Although still commonly considered a Boston-area band, Guster recorded Ooh La La at Isokon Studio in Woodstock, New York, with Josh Kaufman, who is not only one-third of Bonny Light Horseman, but also has production credits with The National, The Hold Steady, Amy Helm, and even Taylor Swift. The new album is a thoughtful venture, with tracks like “Keep Going” and acoustic closer “Maybe We’re Alright” seemingly commenting on as well as cementing the band’s place in alternative folk rock as perennial fan favorites.

A couple months ago, Guster played Brooklyn as part of its “We Also Have Eras Tour.” A clever take on the “An Evening With” show model, the band’s musical retrospective integrates multiple set designs, comedy sketches, costume changes, multimedia, and more. Intrigued by the gig and the new tunes, No Depression checked in with Miller via email for this latest installment in our “In The Deep End” series. Responses have been edited for length and clarity.

Your ninth album, Ooh La La, came out on Friday. What are you most excited about with this record? What do you hope listeners take away from it?

Honestly, I think I’m most excited to be back with something pretty simple — new songs. The break between records was longer than usual (five years, what with the world ending and all) and we’re chomping at the bit to start playing new material. A lot happened in the last five years of our lives and, turns out, we wrote some songs about it!

How’d you link up with Josh Kaufman for production duties? What was it like working with him?

We met Josh years ago through the New York City scene and he was one of the people I immediately placed in the “righteous pals” category. It’s often great to work with a friend: It takes the getting-to-know-you vibes out of the equation and you can get into the mines on an accelerated timeline. Josh’s productions have a real depth of sincerity and heart and there was something about these songs that felt drawn to that energy. Cracking into his musical mind was a real joy and a real gift. He’s a stellar human and co-conspirator.

You’ve been a band now for more than 30 years! What are some of the biggest lessons you’ve learned?

Small museums > big museums.

Dogs make your life better, full stop.

Just because a vegan restaurant has five stars on Yelp doesn’t mean it’s a good restaurant.

Don’t poop in the tour bus.

The “We Also Have Eras Tour” is brilliant and the New York City audience loved it! How did you come up with a live show like this? Why was it important to you to update to the traditional gig experience in such a creative way?

We love a good story and realize that compelling people to spend considerable money to come see us live should be rewarded with more than, “Thanks for the cash, here’s some tunes.” Plus, we like to get out of our comfort zone. Staying scared is crucial to remaining invested and nimble as a band.

As for why “Eras?” Brian loves Taylor Swift and I’m writing a musical, so this was the perfect Venn diagram for us. Whenever Guster veers from the traditional presentation (i.e., symphony shows, acoustic shows, the improv comedy run we did with Connor Ratliff), we and our fans almost always leave feeling super energized. It was beyond a success, certainly in terms of tickets sold, etc., but mostly in landing what was a ridiculous conceit: Could we pull off a vaguely Broadway version of the story of Guster? We did and it was so, so fun.

Guster has always kind of existed on the fringes — of alternative rock, of roots music, etc. Like you joke in a shtick during the “We Also Have Eras Tour,” multiple bands that opened for you went on to win Grammys! But Guster is still here, and thriving in its own way. What does longevity in the music industry mean to you? And how do you reconcile a successful career with one on the fringes?

Longevity means we’re still at it and at a level that feels sustainable and fulfilling. And to be honest, if you look at the traditional metric for a touring band, tickets sold, we’re bigger than ever. Selling out Red Rocks in 3 days? Shows this summer with the Los Angeles Philharmonic, Newport Folk Fest, and headlining the Ryman Auditorium? Not something that would’ve been in my dreams in that dorm room in 1991. The audacity!

And yeah, we do exist outside of a lot mainstream channels (see: not a ton of significant airplay, elusive mainstream press, a Spotify algorithm that is not, um, super friendly to us), but there are more of us outliers than you would think. Dave Matthews, Phish, probably a dozen metal bands, jazz and funk artists all have raging careers outside of The System. We love this fringe and wouldn’t have it any other way, real talk. God save the fringe!