The 1950s ushered in a revolutionary era in popular music, featuring iconic figures like Elvis, Buddy Holly, and Chuck Berry, that paved the way for the rise of rock 'n' roll, ultimately serving as the foundational cornerstone for the evolution of modern pop. It was a time marked by chivalry, where politeness and courtesy held great significance. Television shows like I Love Lucy and Leave It to Beaver became staples of the traditional family's first-ever TV experience. No one is saying that those times were perfect. Amidst the optimism of post-war hope and passionate love, the era grappled with stains of gender norms, segregation, and discrimination, issues still contended with today. Yet, it's viewed through a nostalgic lens, harkening back to a time when artists delivered meaningful and powerful messages, treating music as both an art form and a genuine expression, less enslaved to commercial motives and more devoted to serving the public.

In the ever-evolving landscape of contemporary music, Stephen Sanchez emerges as a rare storyteller, weaving narratives that transcend time in his debut album, Angel Face. The album bears the indelible influence of the '50s and '60s, resonating with a timeless quality that captivates a diverse audience. With a storytelling prowess reminiscent of classic balladeers, Sanchez unveils the inspiration behind the album's narrative arc—a captivating tale of love, loss, and the struggles of a troubadour ensnared in a bygone era.

Interview by David Gargiulo

"The whole spiritual process of crafting music is just magical and beautiful, and it's an experience that's hard to compare to anything else."

— Stephen Sanchez

David Gargiulo __ You are originally from Sacramento, your father designs kitchens and your mother is a paralegal. Where does the interest in music come from? And how did it develop over time?

Stephen Sanchez __ The only musical influence in my family was my grandpa on my dad's side; he played the guitar and wrote songs. When I was growing up, we would drive to Oregon to go and visit. At some point during the visit, he would pull out a guitar and his big old songbook and would start to play and perform for us. That experience sparked in me the interest in playing guitar and writing songs. But the real drive happened later when I started going to concerts and really listening to music. From there, I decided I wanted to write songs that felt more personal than those I'd heard from others.

DG __ And through that process did you acquire your musical skills through self-instruction, or did you undergo formal training in instrumental and vocal classes?

SS __ I just took one ukulele lesson. The ukulele was my first instrument. I remember taking the ukulele lesson and I hated it, so I went back home and learned how to get good at playing it. Then, I decided that I wanted to learn how to play the guitar. So I bought a guitar for Christmas and learned how to get good at playing it as well. I had many wonderful people in my life who helped me learn and get better at singing. Everything was self taught for the most part.

DG __ The ukulele is an interesting instrument choice. How did that happen?

SS __ There was a girl at my school who was an amazing multi-instrumentalist. She could play the flute, the ukulele, and the classical guitar and it just made me so jealous. I loved to sing and I wanted to be able to play as well, but I couldn't, so it just filled me with this drive to learn. The ukulele seemed the easiest instrument to start with and then move on to playing the guitar. 

DG __ Your style is a homage to the 50s and 60s, lending you a timeless appeal that resonates with a broad audience. Yet you are in your early twenties, so it is odd that a time you didn’t experience called to you artistically. What is it about the music of that era that captivates you?

SS __ I loved the storytelling in that music. It encapsulates a profound sense of its time, addressing not only romantic relationships but also broader societal struggles. The tunes from that era articulate the challenges people faced, delving into prejudices and cultural hardships. I admire how the music became a voice against discrimination, using sounds and lyrics to champion the human spirit. The dual nature of this music is fascinating—on the one hand, it confronts societal issues with a powerful fight, and on the other, it beautifully captures simplicity and romance. There are constant references about love, how to deal with heartache, the “I broke your heart and you broke my heart, but I'm sorry, and I want you back” kind of thing, it just feels so real. The music serves as a unique blueprint, offering insights into various aspects of life, such as love, dealing with heartache, and standing up for one's beliefs. I think being surrounded by that music just inspired me on so many fronts in my romantic life and my life as a human being. The music of the 50s and 60s hits so many themes, offering a timeless quality. That’s why I find it so inspiring in contrast to modern music.

DG __ Very well put. Now allow me to flip the question. Why do you think people resonate so much with your music? In your opinion, what captivates your audience?

SS __ I think it's the fact that modern music feels very self-serving. Nowadays, it's all about musicians and young artists chasing the trend of going viral, aiming for that hit song on some platform to get all the glory and gratification. When in reality, music is about serving others. That is what music is all about. It's us storytellers sharing our tales with the world because there are folks who can't express themselves that way. As songwriters and musicians, it's our job to deliver a story through music, bringing people together. This music we're talking about pays homage to a time of innocence and a fight for the human spirit, filled with heartache and responsibility on both sides. I think people are craving that depth in music these days, longing for something meaningful. That's why I believe this record strikes a chord—it resonates with the desire for music that goes beyond the surface. People are tired of the fluff; they want something real. I think the reason that old music still resonates is that it takes them back to a time when artists said things that were meaningful and powerful.

"When we step onto that stage, it's all about serving the people who come to the show, each with their unique stories of love and heartache."

DG __I couldn’t agree more. The good part is that if someone is authentic and has skills, they can go viral anyway, so it's a good lesson for all aspiring artists. Your on-stage charisma is remarkable. I'm curious, did you consciously cultivate your stage presence through deliberate learning and practice, or did it effortlessly fall into place? 

SS __ Oh, man. It's a bit embarrassing, but hey, it's the truth. Whenever I'm listening to music, I always pretend that I'm performing the song that I'm listening to. If there's a mirror nearby or I’m at home, I'll go all out, moving to the rhythm and checking out how I look to see what the world would see if they saw me performing. When we were recording this new record, I was imagining what it would be like to perform it live on stage. So, I started practicing different moves. Now, being on the road and actually performing the record for people, some moves were part of the plan, but others just naturally happened as they resonated with who I am as an artist.

DG __ It sounds like you really love the stage experience. So maybe I can already deduce the answer to the next question. Do you like to perform on stage more or take the time to create music in a recording studio?

SS __ Oh my goodness, it's such a good question because it's so hard to answer. I feel very satisfied being in a studio making and recording music. There's this unique satisfaction in creating something from scratch, turning ideas into music. The whole spiritual process of crafting music is just magical and beautiful, and it's an experience that's hard to compare to anything else. Don't get me wrong; playing a song live in front of fans is an amazing feeling. However, the process of creating something entirely new in the studio, something that didn't exist before, and then shaping it into a complete record is truly special. Witnessing where different songs take you, how things unfold, and the excitement that comes with the entire creative journey—it's something else. So, if I had to choose, I'd go with the magic of making music in the studio.

DG __ You kind of caught me off guard. I was expecting that you’d have said performing live because of the energy of the fans.

SS __ I absolutely love it. There's just a personal aspect to recording and making music that really attracts me. It provides space for creativity and allows me to play with ideas and shape them in a way that resonates with me. While performing live may offer a similar experience, there's a higher chance of mistakes and unexpected issues. I just find a special joy and comfort in the process of creating music in the studio. 

DG __ Talking about mistakes or things that could go wrong, have you ever had an accident during a performance? 

SS __ Oh boy, it happened back in February during our tour. We were in Minneapolis, rocking a sold-out show at the Fine Line venue. Up until that point, every night, I'd been pulling off this crazy move—standing on the drum set while playing the guitar. This time, though, I had on these super grippy shoes for some reason. So, there I am, rocking on the drum set for a while. When I tried to step down, my foot got stuck, and the next thing I knew, I tumbled off the drum set and landed right on my butt on the stage [laughs]. It's not the first time I've had a run-in with a drum set. On our first night of the tour, I crashed into it within the first 30 seconds of the show—full-on collision, things toppling over, an absolute disaster!

DG __ Oh dear! And how did you recover?

SS __ Recover from that? I didn’t. I just died with embarrassment [laughs].

DG __ Oh, it happens to all artists. Don’t be so hard on yourself. After performing with Elton John and at Sofia Richie’s wedding. What is next in your bucket list?

SS __ Gosh, ​​having artists I admire, like Arctic Monkeys and The Last Shadow Puppets, who've been a huge inspiration to me, being a part of this deluxe record would be incredibly exciting. It would be like a dream come true and definitely a bucket list moment for me. Also, a stadium tour would be beyond surreal for the boys [band members] and me. 

DG __ Every dream you have seems to be happening.

SS __ Yeah, it has been pretty surreal. Every dream we've ever had is coming true, and we're deeply grateful for that. Maybe some more will happen. 

DG __ Your last answer gives me a good link to the next question. I have seen some of your interviews and you always appear very grounded. How does it feel to rise to fame so quickly? What do you do to keep yourself grounded?

SS __ Faith is a big thing for the boys [band members] and me; it's something we all lean on as a guiding light. It helps us remember that the glory we receive doesn't belong to us—it's not about us. When we step onto that stage, it's all about serving the people who come to the show, each with their unique stories of love and heartache. We're there to provide a soundtrack to their experiences, and being a part of that is incredibly exciting for us. We're grounded in the understanding that it's not about us. By releasing the pressure of the glory, we can remain true to the people we were when we grew up simply loving music, cherishing our families, and doing our best in everything.

DG __ I’d like to go back to your music and how you use it to tell stories. Your album Angel Face is not just a collection of songs held together by a theme. The songs are a narrative of a boy, the Troubadour Sanchez, in love with Evangeline. She reciprocates the love but is trapped in a relationship with a mobster. The album culminates with the death of the main character in the song The Death Of The Troubadour. Where did the inspiration come from?

SS __ Honestly, everything fell into place in its own time. Each song we wrote started weaving a story, playing with characters and ideas. Personally, I began formulating a narrative with timelines and characters. As the records took shape, I delved into more music for inspiration, and Marty Robbins' album, Gunfighter Ballads and Trail Songs, stood out. There's this song on the album called El Paso. It tells the tale of a gunslinger who enters Rose's Cantina, meets a dancer named Felida, and ends up fighting for her with another gunslinger. The story takes a tragic turn, with the gunslinger fleeing the town after killing a rival. Years later, he returns to see Felida because he loves her, but the lawmen in the town gun him down, and Felida kisses him goodbye. My album echoes those classic 50s cowboy gunslinger stories but with a modern twist. This narrative deeply inspired me, and it all came together organically. After years of immersing myself in this music, the story felt like a natural progression. It wasn't a forced effort; it just existed, almost like it was there before me and now has found life again.

DG __ And why wasn't there the “they lived happily ever after”?

SS __ Why? Because it's more beautiful that way. I feel that if they rode into the sunset, it doesn't leave much for the imagination—it simply closes the chapter on the story. On the other hand, the element of death leaves a lot of room for speculation about what happens to Evangeline and the whereabouts of Hunter [the mobster]. It adds a level of mystery.

DG __ Will we ever find out what happens to Evangeline and Hunter?

SS __ Time will tell ...

DG __ Because of the music you sing, people say you have an old soul; how do you respond to that?

SS __ Yeah, I would say so, for sure. An old soul, but one that is young and looks at love in the old-fashioned way and craves it.

DG __ If that’s the case, would you be drawn to go back to that era, if humanity invented a time machine?

SS __ I don't think so. I love that music because it doesn't exist anymore, at least until we made this record. Now, it has a life again, but back then, there were such devastating things happening, and I couldn't imagine being a witness to the cultural challenges of that time. Then there's this other element—I mean, there's no way I'd ever want to compete with legends like Elvis, Roy Orbison, Bobby Darin, or Frank Sinatra on the charts because, honestly, I don't think I could measure up as a musician. 

DG __ I was listening to the song Be More, and the high notes you hit are just phenomenal. I was like, "Wow, this is great." How did that happen? Is there a story behind that portion of the song? 

SS __ There actually is. We wrote the song, and it was the first one for the new record, setting the stage and standard for the rest of it. We spent quite a while working on it. I've been challenging myself on how I sing on this record. I remember it was around 9:30 at night, and I entered the room wanting to try the last part again; it just didn't feel right yet. As I attempted it, I played around with a variant of the high note, the one that's on the record now. We all got stuck on it. So, I kept trying and trying, and finally, that note happened—I hit it a few times the way it is on the record. Leaving the studio that day, I thought, "Gosh, that probably sucked. It's not going to be good." Yet, when we returned the next day, Conrad, our talented engineer and songwriter, was like, "My God, what we just did is unbelievable."

DG __ Pretty sure you love all your songs; otherwise, you wouldn’t have put them out there but do you have a favorite?

SS __ It's a great question. Mmmmh … What is my favorite? I distinctly remember having strong feelings about releasing Be More because it felt like something I'd never done before, especially vocally. 

DG __ I noticed that you have many tattoos. Do your tattoos hold specific meanings for you?

SS __ They’re just an expression of my personality. I just love tattoos; what can I say? There aren't really stories with any of them, though; it's just something I enjoy doing on the road and having the guys [band members] come with me. It's just very, very chill.

DG __ So they are related to your tours, right? If you do them on the road.

SS __ Oh yeah, it's kind of nice that I can pinpoint which city I was in when I got each tattoo. I guess there's a level of sentiment to it after all.

DG __ So could the tattoos be the story of your success?

SS __ I didn’t think about it that way, but I guess it would be a way to look at it.

DG __ Which city do you prefer? New York City or Los Angeles?

SS __ That’s hard to answer. Mmmmh … LA is filled with a lot of really wonderful memories. When it comes to playing shows, the crowds are amazing every time. Ooh, it's so hard to answer. New York has been wonderful to us as well. [pause] You know, I'd have to say LA. It's just beautiful there, people are cool, and the crowds are wonderful. But it's hard to pick.

DG __ I like to ask that question because I'm in the same place as you. I think I agree with you, I would say LA because I like LA's weather more especially in the thick of New York Winters [laughs].

SS __ Right?!? I’m currently renting in Brooklyn, so it’s going to be a hell of a time [laughs].

DG __ For my last question, your tour ends on February 25th. What happens next after your tour ends?

SS __ I think I’m going to Iceland.

DG __ Oh why Iceland? What made you choose Iceland?

SS __ I’ve never been. It just feels like a weird thing to do. So maybe Iceland, who knows? Maybe some more music.

DG __ Oh, you’re looking for inspiration?

SS __ Always!

Photography Kevin Sinclair, Fashion Editor Oretta Corbelli, Grooming Sonia Lee for Exclusive Artists using Balmain Hair Couture, Production David Gargiulo, Talent Stephen Sanchez with Mercury Records, Republic Records, and 2B Entertainment.