Pete Hayes on New Beginnings, DC, and Finding Hope in Uncertain Times
- Mar 19
- 2 min read
After a decade as the frontman of The Crystal Casino Band, Pete Hayes is stepping into a new chapter. I got the chance to ask him some questions as he prepares for his sold out, solo show at the Pie Shop in DC this Friday night.
Regarding the new music, Hayes says, “For the most part, I was the singer and primary songwriter in The Crystal Casino Band, so there will definitely be similarities.” “But with this project, I’m playing every instrument other than drums, adding orchestration, and pushing my voice into deeper places than I ever did before.” The result is a sound that nods to the warmth and ambition of post‑Beatles ’70s solo records, layered with strings, piano, and organ, while still carrying the melodic DNA longtime listeners will recognize.
That evolution is inseparable from Hayes’ roots in Washington, DC—a city he believes is deeply underrated musically. “The DC music scene has such a special place in my heart,” he explains, pointing to the city’s history of go‑go and punk alongside its current indie rock renaissance. What really sets DC apart, according to Hayes, is its sense of community and its proximity to politics. Bands support each other relentlessly, and many artists channel the realities of living near the political epicenter into their work. That influence is especially present on this EP, with songs like “No Hope,” written at the beginning of the Trump administration, capturing the dread of the moment while still reaching for optimism amid the chaos.
Sonically, Hayes had a clear vision going into the studio with his producers, Sunday Coffee. “We wanted to achieve something similar to George Harrison’s All Things Must Pass,” he says, noting that he feels they achieved it most clearly on “It’s All Good.” Beyond that, the EP became a space to experiment—bringing in more piano, strings, and organ than he’d ever used with The Crystal Casino Band. Lyrically, the record revolves around two core themes: starting over and maintaining optimism in uncertain times. Tracks like “Contradict” and “Greyhound Station” lean into that, while “It’s All Good” wrestles with the idea of reassuring yourself through difficulty—a tension a friend perfectly summed up for Hayes as “exploring all these things that are very much not all good.”
Asked which song he’s most excited for listeners to hear, Hayes doesn’t hesitate. “Starry Eyed stands out,” he says. “It’s darker, kind of badass, with deeper vocals and some really wild guitars.”
Looking ahead, this EP is just the start. Hayes plans to keep releasing music consistently under this new project, continuing to play most of the instruments himself and using the space to experiment with sound and recording techniques. “I’m already back in the studio,” he adds. “I can’t wait for people to hear what’s coming next.” We’re excited too Pete!
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