Nathan Williams, best known as the rebellious frontman of the band Wavves, has come a long way since he was labeled a ‘brat.’ At 30 years old, his journey is a testament to transforming youthful defiance into a thriving business and creative outlets.
Having established a reputation in San Diego’s music scene, Williams, alongside bassist Stephen Pope, adeptly navigated the pressures of major record labels seeking to capitalize on their rising fame.
“We were just trying to go to eat at nice places in LA,” Williams reflects, emphasizing the perks of their unexpected popularity.
With labels eagerly vying for their partnership, Williams and Pope seized the opportunity, indulging in lavish dinners while keeping their artistic integrity intact.
Their choice to sign with Warner Records ultimately hinged on a vital aspect: they retained ownership of their music. “For them it was a shot in the dark,” Williams recalls, illustrating both the allure and the risks associated with major label deals.
However, the reality of working with a major label quickly proved to be a turbulent experience. Williams described the internal chaos at Warner, likening it to a poorly managed company. “I’d never come in contact with such a poorly run company in my life. It was anarchy,” he says, noting a staggering staff turnover rate that affected the label’s effectiveness.
By the time they approached the release of their second album with Warner, ‘V,’ tensions boiled over. Williams took matters into his own hands by releasing a single on SoundCloud without the label’s consent, marking a pivotal moment that shaped his future.
With this tumultuous backdrop, Williams found inspiration to establish his own business, Ghostramp.
Believing he could do better than the bigwig executives at Warner, he set out to create something meaningful and self-sustained. In October 2016, Ghostramp opened its doors in Chinatown, LA.
The store serves as an embodiment of Williams’ vision and is more than just a merchandise outlet; it operates as a label and a community-driven space, revitalizing the connection between artists and fans in an increasingly digital world.
As he speaks from the stock room of Ghostramp, Williams highlights his artistic rebirth and the anticipation surrounding the upcoming Wavves album, ‘You’re Welcome’. This new release signifies not just a fresh chapter for Williams but also marks his return to self-released music, centralized around his own creative command.
Years of navigating the uncharted waters of the music industry have led Williams to appreciate the autonomy of being his own boss.
In a stark contrast to previous recording experiences, Williams crafted ‘You’re Welcome’ with intention.
He worked primarily with producer Dennis Herring in a structured environment, reflecting on the chaotic sessions of past recordings that were marred by excessive partying and a lack of direction.
This new approach meant that Williams could focus on refining his vision, leading to an album characterized by diverse sounds and intricate compositions.
The creative process involved Williams producing around 40 tracks, ultimately honing in on twelve precise punk anthems.
Delving into a variety of musical influences, including 1950s doo-wop and international folk, he crafted songs that display his eclectic tastes, such as ‘Come To The Valley’ and the title track ‘You’re Welcome’.
As he describes some tracks’ unique inspirations, it’s clear that Williams is proud of the evolution in his songwriting and storytelling.
Unlike the introspective nature of ‘V,’ ‘You’re Welcome’ carries narratives that speak to broader experiences outside his personal realm.
Tracks like ‘Stupid In Love’ narrate stories from different perspectives, demonstrating a shift in both subject matter and emotional depth. Williams also tackles socially relevant themes, with songs embodying his anti-corporate stance and concerns about contemporary issues.
One track, ‘Exercise,’ addresses the current socio-political climate directly, a departure from his previous reluctance to engage in political discourse.
“I never thought I’d write a song like that,” Williams admits.
He acknowledges an evolution in his maturity as he articulates his frustrations with modern society, utilizing his platform to deliver clear messages in lieu of obfuscation.
The transformation is further highlighted by a newfound sincerity in his lyrics, culminating in a love song titled ‘I Love You.’
This marks a significant personal milestone as he sheds previous defensive barriers around vulnerability.
Williams’ entrepreneurial spirit is on full display as Ghostramp gears up for expansion into a larger space.
From its inception, Ghostramp has morphed into a legitimate business venture rather than just a hobby.
Since the independent release of the Wavves EP ‘Life Sux’ in 2013, Williams recognized the need for a team of dedicated individuals to support his vision and foster a collaborative environment.
With Ghostramp, Williams is not only providing a platform for Wavves but also supporting and promoting local garage bands while educating DIY musicians in merchandising techniques that contribute to their longevity in the industry.
The cash advance from Warner proved instrumental in funding Ghostramp, yet the profits from Wavves merchandise during the Summer Is Forever II Tour fueled its continued success.
As Williams thrives in his entrepreneurial venture, he expresses gratitude for the freedom it fosters.
His journey exemplifies that artistic expression and business acumen can coexist, leading to a fulfilling and empowering career.
Looking forward, Williams remains committed to steering his own path, reclaiming control over his artistry and career choices.
With every step taken, he embodies the spirit of self-empowerment, reminding others that it’s possible to embrace one’s individuality in a landscape that can often feel restrictive.
As he aptly concludes, “If I want to do something now I don’t ask anyone. I just fucking do it – that’s priceless.”
With Nathan Williams, it’s evident that the future is bright, and his rebellious spirit is here to stay.
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