Across the water with the Bridge City Sinners: an interview with Michael “Sinner” Flecha

Bristol Music Weekly: How was the Dublin show last night?

Spectacular. We sold out Whelan’s — about 400 people. Everybody was super stoked on it. I don’t think it could have gone better, honestly.

It’s our second time. It’s been three or four years, but it’s good to be back. Too long.

What has been your highlight of the tour so far?

Last night was, of course, awesome, but Glasgow was a really good night too. The crowd was just really, really into it.

We sang them a few songs, you know — a real give and take. I think Scotland would be my favourite so far.

Going back to the beginning, did you start with piano and drums before moving to guitar?

I started playing piano at five. Then, when I joined band, my mum let me choose the instrument I wanted. I said, “Screw the piano, I’m playing drums.”

Not very long after that, I stole my sister’s guitar and started playing. It’s pretty much been guitar ever since.

My uncle got me an acoustic guitar, and I started rolling around on that a little bit. But then my sister got an electric guitar, and when I started playing that, it was just way cooler.

Which guitar have you brought with you on this tour?

I’ve just got the one. It’s a National custom. They had one coming down the line and reached out to us: “You guys want a guitar?”

So, yeah — a 2024, brand-new National. Whatever they decided to send us.

How does it play?

It’s the nicest thing I’ve ever owned.

Is that the guitar you’ve been using in the studio too?

We just finished the record — recording, at least. We’re still in the mixing phase right now. I used this guitar, but on the one before, it was a different National.

Before that, I was using a Gretsch Honey Dipper for a long time. I think the first one was a Gretsch Boxcar — the wooden one, the cheapest resonator money can buy.

You mentioned that resonator guitars can be difficult to get right. Why is that?

They don’t specialise in that. It’s a difficult technology, I guess, to get right. A little out of date, you know?

Do you still return to other instruments?

I played organ in a band in Salt Lake for a little while. That was pretty sick.

On the new record, I’m playing accordion, so that’s got a piano on one side. There’s accordion coming.

It’s going to take me some practice before I can do it on stage. In the quiet of the studio is one thing. Having to do it on a stage in front of other people — it’s going to be a bit.

You’ve revisited In the Age of Doubt for its deluxe edition. What did that give you the opportunity to change?

We added a new song. We had recorded the entire album before, and I just felt like holding some stuff back: “We can release this again later.”

“Death’s Door” ended up being the song that we decided to hold back and save for re-releasing in the future.

We kind of used that song as an excuse to reorganise all the tracks on the record. Me and Luke did a lot of the writing and planned this whole storyline. We wrote all the key changes to blend from one song into the next, and we mixed the order all up when we actually released the record the first time.

It gave us a second chance to reorganise things again and recontextualise.

When you write it, you’re not really assuming what the hit’s going to be, or that the lead single’s going to be “Break the Chain”. That was just one song on the record. Once you finally hear it, your priorities change.

It was cool to go back to re-releasing it in sort of the order it was written, instead of the order it turned into, I guess.

For someone discovering the band, which track would you recommend first?

My favourite is by far “Break the Chain”. It shows off everybody’s abilities in songwriting.

Luke came with the intro chord progression. I wrote the melody for the verses and the chorus, and Libby helped out on a lot of the lyrics.

Especially putting all the horns in the background — the mariachi horns and the string section — we really got to explore more than we have in the past. I think it became greater than the sum of its parts.

Which song is the most fun to play live?

“Spears and Blades” has got to be the most fun to play live because it’s so fast.

I wrote it, and everybody looked at me and was like, “How are we supposed to play this?”

It’s so fast, but it’s so fun. People just get moving. Everybody yelling at the same time — it’s a little less about musicality and more about just violence, you know.

The band gets described as everything from death folk to folk punk. Where do you feel you fit?

I always say folk punk because the folk punk community, at least in the US, is really supportive and really open.

When we started off, they opened their arms to us. In the beginning, it was a lot of house shows and coffee shops. This community really opened their arms to us and has supported us a lot.

So I always say folk punk, but realistically, we’re probably a jazz band. Everybody’s like, “Oh, this is jazz, but then sometimes you scream.”

What first drew you towards the darker side of American roots music? Was there a particular song or artist that made you think, “That’s what I want to make”?

I found a song called “Marijuana, the Devil’s Flower” — an old country song about how bad weed is. Then, in the related videos on the side, there was a list of jazz songs, and I heard the Harlem Hamfats’ “Weed Smoker’s Dream”.

They’re not from Harlem; they’re from Chicago. They’ve been so massively influential on our entire scene.

I heard it and I was like, “I’m doing this for sure.”

If you could collaborate with any musician, dead or alive, who would you choose?

I’d probably say Cab Calloway. He’s got to be my favourite entertainer of all time.

The man was just made for the stage, you know? He’s amazing. An amazing entertainer, an amazing performer.

Do you draw inspiration from him for your own live performances?

Oh yeah. Oh yeah.

What do you listen to while travelling between shows?

I only listen to podcasts.

I’m a big fan of 99% Invisible. Definitely my top favourite — a podcast about architecture and design.

Well-crafted investigative journalism.

What is taking shape with the new record?

We just finished the record — recording, at least. We’re still in the mixing phase right now.

I think we’re working on maybe doing a new visual identity. Like I said, we’ve changed the instrumentation with the accordion.

We haven’t got our first round of mixes back yet, but it definitely feels like a different direction musically. A little more laid back. We’re older now.

I don’t know if I’d say quite ambient, but just a little more relaxed.

Are you planning more music or shows as King Strang?

Nothing really planned for the future, but I might record a new album.

We got an offer for a festival in Europe, so maybe King Strang will come to Europe. It’s only a maybe, but I’m thinking about it.

Do you have a pre-show ritual?

Me personally, three or four beers.

Then we always put our hands in and do a little chant. It changes day to day. Whatever’s funny, or whatever we’re joking about that day, we usually scream it and say, “Let’s give them the greatest rock show in the world.”

We put all our hands in and do a little cheer.

If we’ve got local support with us, or another band, or security from the venue, or the promoter — anybody who’s in the room is welcome to our chant. All the energy from the room.

You’ve had Cheap Dirty Horse out on this run. What has touring with them been like?

They were really great. They’re like the most amazing people I’ve ever met. Super fun to see live.

I’m a huge fan of their music, so I begged the band to let them open for us.

They’re very, very fun. A super great live show, and also sweethearts.

What is your favourite part of touring with other bands?

My favourite part of being on tour, especially with another band, is making new friends.

It’s a difficult lifestyle. Everything’s better with friends.

You can come out with some lifelong friends, which is really fun. Then you get to travel the world and visit your friends wherever you go.

Bristol is the last date of the UK tour. How are you feeling about it?

It’s sold out, so I’m definitely looking forward to it. I’m pretty stoked.

Will you have time to stay afterwards?

No, I wish. I’m going straight to the airport in the morning. I’ve got to get home to my baby.

Got to dad it up.

Finally, what would you like to say to the Bristol fans coming to see you?

Thanks for selling it out.

It’s really amazing to be this far away from home and still be supported.

Nothing but appreciation.