The Hooters

Born in the streets of Philadelphia, The Hooters exploded onto the rock scene with a sound that defied logic and gravity. They mixed folk grit, reggae pulse, pop shimmer and pure rock adrenaline, turning a humble melodica into their battle cry. With anthems like And We Danced, Johnny B. and All You Zombies, they became unlikely heroes who opened Live Aid, conquered Europe and proved that hooks and heart still rule louder than hype. Four decades later, The Hooters play every show like it could blow the roof off. They write like melody is a weapon and they still remind the world that real rock never fades. It evolves. Just before The Hooters set Stuttgart on fire, we caught up with Rob Hyman, founding member, vocalist and multi-instrumentalist, to talk about music, inspiration and the big questions in life.

How are you doing?

Super. Very good. Although it’s a bit sad because the tour is winding down. Almost finished. The whole trip was almost seven weeks. In the beginning, it’s all still ahead of you, and now it goes fast. It’s like a vacation: the first few days are really slow, and then suddenly it flies by. So, we say “bittersweet.” I’m sure there’s a German word for that mixed emotions.

Yeah, bittersüß is also quite common in German. How long have you been in Stuttgart already? One night?

Yes, we arrived yesterday. We went down to the Schlossgarten and walked around. We know the city a bit, because we’ve been all over Deutschland. But yeah, we like it here. It’s nice.

What’s the happiest accident that ever made it into a Hooters song?

Oh, wow. That’s a good question. I can’t think of one specific example, but there are many, because we have a set program, a setlist — and yet every night something different happens. For example, one night Eric started playing Major Tom, you know, Peter Schilling’s song, just as a jam improvisation. And then we thought, “Oh, let’s try that.” The next day we tried it again, and now it’s a part of the show. So that’s one. But there are many, because we’ve been playing these songs for so many years, and we still need to find ways to keep them fresh, new, and exciting. So, there are happy accidents every night.

Sounds amazing. How did you come up with the idea of bringing a melodica into a rock band?

Well, the melodica actually came first for this group. That’s the Hooter. That’s where the band’s name comes from. A friend of ours, a recording engineer, said that during our very first demo tape session. Just something to get club gigs, you know, like an audition tape. He said, “Let me hear the hooter.” And we said, “What’s that?” We didn’t even know! So, when we needed a band name, we said, “Okay, that’s it — The Hooters — because we hoot.” It’s the sound it makes. That came from Eric, actually. He and I formed the band. A friend of his had a melodica in his apartment, and I said, “Oh, let me try that.” I had never played it before, but I knew the sound from a lot of reggae music. I’m a big reggae fan. There’s an artist and producer named Augustus Pablo. His recordings are mostly melodica and keyboards with echo and effects in Jamaican reggae. I loved that sound. So we brought that into the band, but in a rock and roll setting. Then a few years later, the mandolin came in. Eric picked it up and started playing that. And We Danced has that signature mandolin sound. Then he added the mandola, which is like an octave mandolin. It’s tuned the same as a mandolin but an octave lower, more like an acoustic guitar. Then I picked up the accordion, he played the recorder, and then the saxophone. You know, we just kept adding instruments along the way. So the idea was to mix all these elements. We all had our inspiration from rock ‘n’ roll bands. Beatles, Stones, all the British bands we loved. But we also added folk, reggae, and ska influences. I think that mix is one reason we’ve done so well in Germany, because there are folk elements in the sound. Especially with the accordion. It kind of speaks to the heartland.

I think that variation also makes you very popular in Germany. Your drummer actually came more from punk music, right?

Yeah, that’s right. Everyone in the band came from different groups, and they bring their influences to the sound. David’s on the drums — he’s been with us from the very beginning. Eric, David, and I are the three original members. He’s rock and roll on the drums. He hits it hard. So even though the mandolin textures are a bit folky, when we play it, it’s powerful — more rock. That’s the concept. We just keep exploring.

Is there a Hooters song you secretly wish fans would stop requesting, but they never do?

No.

No?

No. I know some bands get tired of playing the same songs, their hits, every night and want to change the setlist. But we love playing those songs. Those are the high points of the show. People come to hear them. I wish we had more of them! But those songs are what the audience wants to hear. And again, we find new ways to interpret them. Johnny B., for example. We might have different improvisations to lead into the song. Sometimes it’s a little piano piece, or Eric plays something on the recorder. There’s a breakdown where the audience gets involved. The record version becomes something new live. So it’s one thing on the album, but live, it’s something completely different. That’s why people come to the show: to experience something new.

Was there ever a song you held back, maybe because it was too personal or for any another reason?

Well, All You Zombies was one we held back in a way, because we thought it was a very strange song. And it kind of is. That was one of the very first songs we wrote for the band in 1980. We’ve been playing it forever. The first version was before Amore — a vinyl 45, recorded live in Philadelphia for a radio broadcast. When people first heard it, they said, “What’s that?” It was strange. When we played club gigs back then, we’d usually play it first and then move on, because it was a bit odd. And now, it’s become one of our biggest songs. Just today, our driver, a young kid, was taking us to the venue, and that’s the song he knew. So it’s reaching the next generation. That one took us a while to realize what we had. We didn’t know. And yes, it’s even more relevant today.

How would you describe your song Johnny B. to someone who has been deaf since birth?

Johnny B. is a warning. A song to a friend. It’s based on a true story, about someone getting into trouble, doing dangerous things — as we all do as kids or teenagers — going down a dangerous path. It’s a warning: “Straight ahead, a green light turns to red. Open your eyes, and listen to me” It could be romantic, or it could be about risky behavior. Something that’s pulling you down. It’s a strong melody, and I think a lot of people sing along without realizing the meaning. The “she” in the song — “She’s calling your name” — could be a woman, or something dangerous, or symbolic of temptation. We wrote it quickly. Most good songs come quickly. And that one, especially in Germany, became a really big song for us.

There have also been many interpretations along the way. One of them is drug abuse. But in your imagination, does Johnny B’s life have a happy ending?

I don’t know. There’s no conclusion. We hope so, but we don’t know. Yes, there’s a drug reference, a romantic reference. It could be anything that causes harm. The music video is dark – maybe an overdose. The guy’s in a fever dream, the woman’s calling him, and in the end, they take him away. That’s one interpretation. It’s open. You can see it however you want.

If you could collaborate with one of today’s popular musicians, who would it be? I mean, you’ve written for and with great artists. Is there someone you’d like to write a song for?

Well, we toured with Sting and opened some shows for him. He was fantastic. That would be fun. We also opened for Peter Gabriel. He’s always been a big influence and icon for us. I don’t know if we’re worthy, but that would be great. He’s no longer here, but Bob Marley was a huge hero of mine, of course. We’ve worked with Cyndi Lauper, Joan Osborne, Eric especially with the Scorpions here in Germany, and Robbie Williams. We’ve really enjoyed that. Co-writing or playing on someone else’s records. It’s a different challenge. But we love focusing on this group. That’s our baby, our creation. My sons are into younger bands. One of them loves Vampire Weekend. They’re fantastic. I’ve seen them several times. I told my son, “Hey, find Ezra Koenig from Vampire Weekend and let’s do a song together!” So maybe someday, if he’s reading.

How do you feel when music is hijacked for political agendas?

That’s an interesting question. We just celebrated the 40th anniversary of Live Aid, which we opened in Philadelphia, a great honor in our hometown, back in 1985. That was a very political and humanitarian event. And yes, there’s always the question of where the money goes. We’ve also done Amnesty International shows and played The Wall in 1990. Semi-political events. We have a brand-new song we’re playing tonight, not exactly a protest song, but more about bringing people together. Especially in our country – and we also follow German and European politics – people are divided. In the U.S., the two sides don’t even talk to each other anymore. The song’s called Pendulum, because the pendulum swings. Right, left. We have two major parties in the States. Red and blue. And everyone’s caught in the middle. We hope the song unites people, at least for a few hours at a concert. We’ve just released it as a vinyl 45 for our 45th anniversary. It hasn’t even come out in the U.S. yet. This is its debut in Germany and Europe. People are reacting really well. I think they get the message.

With your experience of politics in Europe and the U.S. — in the U.S. you have two major parties, but in Germany, we have coalitions. What do you think is the better system?

Well, I think having more parties gives you more opportunities, more choices. In the U.S., there’s usually a small independent or third party, but they never get enough votes to win. They just swing it one way or the other. So I think it’s healthy to have more choices and more options, even if it can be more complicated.

Thank you so much for your time.

My pleasure. Thank you.