Interview with Joey Draper – South of Salem
Interview – Photos Credit: Adrian Hextall
In an era of fleeting digital fame and algorithm-driven trends, the old-fashioned metrics of rock and roll success – the sweat-soaked sold-out club, the roar of a festival crowd, the tangible connection between band and fan – can sometimes feel like relics of a bygone age. Yet, for Bournemouth’s South of Salem, these are not just ideals; they are the foundations of a rapidly ascending career built on raw honesty, relentless energy, and a profound respect for their audience.
Fresh from a triumphant, sold-out UK headlining tour, the band is currently basking in the glow of a staggering new milestone: four million streams across all major music platforms. For a band that, in the grand scheme of things, has only been an idea for “five or six years,” as frontman Joey Draper puts it, it’s a figure that is both mind-boggling and deeply humbling.
“It’s just amazing,” Draper says, his voice a mixture of awe and genuine gratitude. “When I think to like old bands that I done and we were excited to sell kind of 10 CDs in a night, you know, to have four million streams, like, it’s just insane.” He admits to being a latecomer to the streaming world, a former devotee of “MP3s and CDs,” which perhaps makes the digital achievement even more surreal. “To see other bands that are massive compared to us in my eyes, kind of hitting those numbers, and then we’re joining them in such a short time… it’s crazy to work and humbling as well. We didn’t realise it was going to be quite as successful as it has been.”
This success isn’t a fluke or the result of a viral gimmick. It’s the product of a simple, yet potent, formula: the band makes the music they want to hear. Drawing from a “weird mix of stuff,” they piece together their sonic jigsaw with a refreshing lack of pretence. “We just make what we think we would like,” Draper states. “And then people seem to enjoy it as well and say it’s great.”
That enjoyment was palpable on their recent ‘The Death of the Party’ tour. Across the UK, venues were packed to the rafters, the anticipation electric. At the legendary Underworld in Camden, the atmosphere was so thick with excitement “you could cut it with a knife,” a testament to a band that has cultivated a fiercely loyal following. “The feeling in the room, the energy was powerful,” Draper recalls. “Everybody seems really excited about what we do.”
A significant part of that excitement stems from the band’s unwavering commitment to putting on a show. This isn’t a group that clocks in, plays the songs, and clocks out. Their philosophy is one of constant escalation, a “dress for the job you want kind of thing,” as Draper describes it. “If we’re playing a little underground venue, then we’re playing it like we’re playing a large O2 venue. When we’re playing a large O2 venue, we’ll pretend that we’re playing a festival. We’ve just kind of upped the game every time.”
This mentality was on full display during their explosive set at Maid of Stone Festival in 2024, complete with a pyro display that had photographers cautiously stepping back for fear of “getting singed by the flames.” It’s an approach that demands immense effort and financial investment, with every penny earned being poured back into the live experience. “It takes a lot of work; it takes a lot of money. You don’t earn anything,” Draper admits candidly. “If we sold four million CDs, we’d be laughing. But we invest everything back into the band to try and grow it.”
For the headline tour, they made the bold decision, led by drummer James, to perform their acclaimed second album, ‘Death Of The Party’, in its entirety and in sequence. It was a move to reward dedicated fans and to showcase tracks that often don’t make it into shorter festival sets. Woven into this album-in-full experience were fan favourites from their debut and a killer cover, creating a comprehensive snapshot of the band’s journey.
Perhaps the most poignant moment of these shows, however, came during the encore. Amidst a catalogue of high-octane bangers, the band chose to play “Demons are Forever,” a slow burning, emotionally charged ballad. It’s a song that holds a profound significance for both the band and their fans.
“For me, ‘Demons are Forever’ was the first time that we truly connected with fans past the music and past the music videos,” Draper reveals. The song, a deeply personal track for the band, tackles themes of mental health with a stark and moving honesty. Its accompanying music video ends not with a fade to black, but with contact information for the Samaritans, a simple act that underscores the band’s genuine concern. “That song gave us that special bond,” he continues. “We’ve had messages about that song in particular, and people resonate with it because of mental health and everything being at the fore.”
Draper is refreshingly open about the band’s own struggles, dismantling the myth of the unflappable rockstar. “Some of us in the band aren’t that confident,” he confesses. “And then we go up on stage and we’re running around and there’s a break from reality. And then when we finish on stage, it’s like, you go back into your little huddled corner… you just get all these insecurities and things.” This vulnerability is central to their identity. “We try and be very honest, and I think that’s where that comes from. We do genuinely care about people. It’s not a marketing campaign.”
In the modern age of social media, this honesty is not just welcome, it’s essential. The veil of mystery that once shrouded rock icons has been torn away. “A band like Slipknot couldn’t exist now because everyone knows who you are straight away,” Draper muses. The pedestal has been removed, and he sees this as a healthier dynamic. “You are just a normal human being. Social media allows you to be that human in front of people. It’s nicer for fans to have an open and honest vision of what’s happening in the music industry and how much work it takes to be successful.”
This ethos of transparency and fan connection was the driving force behind their unique VIP upgrade packages on the recent tour. Faced with the logistical impossibility of meeting hundreds of fans at sold-out shows, they designed an experience that eschewed the typical “conveyor belt” photo-op. Instead, they offered an intimate, value-packed session. “We tried to keep the price really low and just go all out on what we gave to people,” Draper explains. “You got a t-shirt, you’ve got the lanyard, you’ve got an acoustic set. We could have just done a ‘Hi, we’ll have a photo with you,’ which is what most people do for that price point, but that’s not our style. We don’t like not giving the money’s worth.”
It’s a principle they will carry forward, even as they gear up for a massive co-headline tour with gothic rock legends The 69 Eyes later this year. The fact that an established act like The 69 Eyes was happy to share top billing speaks volumes about the respect South of Salem has earned. “It’s so nice of them to be in a mindset that they’re happy for a band that’s been going for six years to co-headline with them,” says Draper, appreciative of the lack of ego. “It gives us a push.”
This humility seems to be a recurring theme in their encounters with their heroes. He recounts their tour supporting W.A.S.P. with a sense of wonder, recalling initial nerves that quickly dissolved into camaraderie. “We were watching horror movies together, like all sat on the sofas together in the tour bus,” he laughs. He describes Blackie Lawless as a “big presence” who was incredibly supportive, even publicly praising them on the radio. Lawless told an interviewer he was “so proud of what we were doing,” calling them “kids” and promising to take them to Europe. “Literally a month later, we got a call,” Draper says, though scheduling conflicts sadly prevented it. “It wasn’t just him saying it. He was just a really cool guy.”
The band’s relentless schedule continues this summer. They are set to headline Firevolt and their hometown festival, Love Rocks – a prospect Draper finds “epic” but also “so much more nerve-wracking” than playing to strangers. They will also make a celebrated return to Maid of Stone, the festival that provided them with the iconic catwalk stage last year. This time, they will be performing a special, stripped-back acoustic set for VIP ticket holders. It’s a challenge they relish, despite the vulnerability it entails. “The vocals feel very vulnerable,” Draper admits. “I’m not above the big drums and I’m not running around and have an excuse to be out of breath… but we enjoy it and we love the challenge.”
One of the secret weapons in their arsenal, both live and on record, is their masterful use of the singalong chorus – the “woahs” and “oohs” that have become a somewhat lost art in modern rock. “I think Kodi [Kasper; their guitarist] and I are probably the champions of that,” Draper says with a laugh. “We connected through a love for ’80s rock… but we also kind of connected through like horror punk bands, like the Misfits. I mean, most of their choruses have ‘woahs’ in them, so it’s kind of engrained into our psyche a bit, I think. We love doing that because it’s something where we can all join in, as a band, but also as a crowd.”
And what of the future? With the tour wrapped and festivals looming, the band’s gaze is already fixed on the next chapter. A new song, “Fallout,” has already been introduced to live audiences, and Draper confirms that the wheels are very much in motion for a third album. “I believe that we have some dates set in stone for recording,” he teases, confirming their intention to work with their trusted producer again. “We’re writing as much as we can, and I think there’s some very cool stuff coming out.”
Four million streams. Sold-out tours. Main stage festival slots. Co-headlining with legends. For South of Salem, these are not just achievements to be ticked off a list; they are the validation of a path chosen. A path of honesty, hard work, and an unbreakable bond with the people who sing their songs back to them. The party is far from over; in fact, for South of Salem, it feels like it’s just getting started..
About Author
