Aug. 20, 2026
Mikey Returns: Mallory Knox’s New Era, Afterglow, and Finding Creative Purpose
In this episode of The Adventures of Pipeman on W4CY Radio, Pipeman sits down with Mikey Chapman from Mallory Knox. The conversation delves into the band's return to music after an extended break, the journey of self-discovery that led to their latest release "Afterglow," and the realities of life as a musician, both on and off the stage. Mikey shares personal insights on creative burnout, the challenges and rewards of reconnecting with fans, and what the future holds for Mallory Knox.Main Topics Covered
- UK Festival Experiences and Comparisons with the US
- Coping with Festival Environments as a Performer
- The Journey to "Afterglow" and Reigniting Mallory Knox
- The Pressures and Realities Behind the Artist’s Life
- Evolution, Nostalgia, and Authenticity in Music
- The Importance of Taking Breaks and Artistic Growth
- Fan Connection vs. Social Media Algorithms
- Upcoming Shows and the Excitement of Being Back
- Pipeman shares stories from his recent UK trip, noting unexpected heat and festival dust at Bloodstock compared to past experiences in the US (00:48).
- Mikey reflects on dusty festivals in the US and the unique weather impact at UK events like Download (02:04).
- Both discuss the struggle of keeping voices healthy amidst festival chaos, highlighting the use of products like Vocal Zone (02:51).
- Mikey notes that being a singer sometimes means being less social at festivals to protect one’s voice (03:35).
- Mikey explains the band’s hiatus and his personal journey, describing "Afterglow" as a song born from self-discovery and moving forward after challenges (04:28 – 05:58).
- The theme of resilience, personal renewal, and embracing creativity after taking needed time away.
- Pipeman raises the point that fans often only see the glamorous side of being an artist, not the hard realities (05:59).
- The importance of stepping back for soul-searching and creative reevaluation (06:23).
- Discussion about artists evolving, navigating nostalgia, and the pressures of both audience expectation and social media (10:06, 13:35).
- Reference to Bring Me The Horizon and the necessity for musicians to pursue new creative directions even if it challenges their fanbase (10:32).
- Mikey describes the emotional return to Slam Dunk Festival, the support from "their tribe," and how sold-out shows confirm their path forward (14:45, 16:43).
- The struggle to stay true to oneself as a band in a digital world driven by algorithms over genuine audience-building (13:40).
- “The journey between then until now is kind of what this new song Afterglow is all about...understand that there's life after the catastrophe.” — Mikey (05:10)
- “If you're not having fun creating or playing the music, there's nothing else that's fun in the industry.” — Pipeman (09:31)
- “You can try and remove [reflection] to try and speed things up. But in my opinion and my experience, that only causes burnout.” — Mikey (08:10)
- “The artist's responsibility...is to weave nostalgia into the mix, but at the same time, constantly be looking for the new.” — Mikey (11:56)
- “If you just do your thing, you're going to be better at it and you're going to attract your tribe.” — Pipeanm (13:28)
- Mallory Knox
- New single: "Afterglow"
- Recent and upcoming UK shows:
- 21st at The Lower Third (London)
- 22nd at The Deaf Institute (Manchester) (16:10)
- Festivals Referenced
- Bloodstock Festival
- Download Festival
- Warped Tour (including Montreal edition)
- Slam Dunk Festival
- 2000trees Festival
- Product Mentioned: Vocal Zone (throat lozenges for vocalists) (02:52)
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WEBVTT
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This is the pipe man here on the adventures of
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pipe man, W4CY radio. And I'm very excited about our
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next guest. I just got back from the UK and
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now I get to visit the UK again, virtually, uh,
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So let's welcome to the show Mikey from Mallory Knox.
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How are you?
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What's up, dude? Yeah, doing good. Thank you, man. Very good.
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All the better for speaking to you.
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Well, thank you. All the better on my end, though.
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How was your trip to the UK?
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Oh, well, I always loved coming to the UK, except
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for the bipolar weather, which this year wasn't so bipolar.
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Well, not now.
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In June it was, but now with the drought, oh
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my God. I'm happy to be back in South Florida
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so I can cool down because it was so hot there.
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I never expect that at all.
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No, I don't think anyone did, to be fair, hence
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the state of the place. But I can't say no
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to some perpetual sunshine, at least for a little while.
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Well, I definitely can't for sure, but I wasn't used
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to it. I'm used to having to pack for all
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four seasons for one hour.
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Absolutely.
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Yeah, I usually just don't go outside. I just cut
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out the middleman, you know, just stay indoors.
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Yeah, and I made a big mistake because normally, like,
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first day, I won't jump into a mosh pit because
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I still have a lot of interviews to do and,
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you know, the festival dust. I didn't realize how bad
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the festival dust was because you guys haven't had rain
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in so long. So I didn't like, I was like, ah,
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it's the UK.
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I don't have to worry as much.
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And I did jump into a pit with a bunch
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of dinosaurs at bloodstock. So I think that was a
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first for me.
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Awesome.
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The dust is I'm usually expecting dust in America. You know, um,
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when we did walk tour like years ago, it was,
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it was quite, uh, yeah, it was quite, um, frequent,
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I guess, across most of the shows. So I had
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like a little dust mask thing on, but, um, yeah,
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like download was a bit, it was pretty dusty this year.
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Um, yeah.
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Yeah, not the usual over here.
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Exactly, and you're right about the U.S. I do all
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the U.S.
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Festivals, and I always have festival flu after every festival.
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But then Bloodstock, I didn't have such a bad time
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at Download as I did Bloodstock. After the first day,
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I was every morning pumping myself with that vocal zone,
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which we don't have here in the States.
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Oh, for real?
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Yeah, so I collect it every time I'm there because
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that stuff works wonders. I gave it to somebody that
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runs media at one of the festivals here and she
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tastes it and she's like, oh my God, what are
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you giving me, Dean?
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That's disgusting.
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And then like an hour later, she's recommending it to everybody. Like,
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it's gross, but it really does work, you know?
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They're missing a trick.
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If they ain't got it in the States, that's for sure.
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I was living off of those and tea and honey
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to get through my interviews.
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Sounds like me on tour, to be honest, dude.
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I don't even know how you do it as a singer,
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to be honest. Like, you know, I think about that
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and the festival does and you're singing in it.
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Like, that's brutal.
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Yeah, man.
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Some people are just hardcore. Like, you know, some people
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are just like, they're built different, I swear. But for me,
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it makes festivals sometimes pretty unsociable, which sucks. You know,
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I like to go to festivals as a punter for
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that exact reason.
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You know, I can have a drink. I get a
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bit dusty. I can do it as everybody else does.
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But otherwise, it is always in the back of your
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mind when you've got a set to play that day.
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And if you're on tour, it's even worse because it's
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not even like you have time to recover. So let's
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talk about this new music. It's very exciting. And tell
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the listeners the story of how this all came about.
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and the story about Afterglow because it kind of tells
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the whole story.
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Yeah, dude.
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I think it's kind of the perfect song for us
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to be releasing at this time. For some context, I suppose,
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for those people who don't know me and Mallory, we
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had a good run of things in 2010 on for
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about seven, eight, nine years. I had the best of times,
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but it kind of got the better of me, I'm
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not going to lie. And I took some time away
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from it, have been away from Mallory for quite some
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years since then.
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And in that time, there was a lot of soul
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searching to be done.
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You know, I don't think at a few points, I
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didn't really think I was going to make music, write
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music again.
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And the journey.
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Between then until now is kind of what this new
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song afterglow is all about.
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I suppose it's.
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About that journey of reigniting and, and, and finding new
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ways to, to see your future, to visualize things, to, to, um,
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to understand that, I guess that there's, uh, there's life
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after the, uh, the catastrophe, you know, um, it's, it's
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kind of deep, but surface level, you know, I, I
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think the song really embodies a lot of the energy
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that we have, have sort of rediscovered within ourselves, uh,
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within our writing and, and has given us a sort of, yeah,
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given us this sort of first moment out of the
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gate to really kind of establish what we want to
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be doing from now till goodness knows when, you know?
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Right.
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And, you know, correct me if I'm wrong, but Like
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I think sometimes no matter what you do, but especially
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in music, especially with everything that goes along with it,
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because everybody looks at an artist and they're like, oh,
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they're living the dream life. And part of that's true,
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but then they don't see the other part that is
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everything else, you know? And that's why maybe they can't
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understand when an artist needs to step away for a bit.
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But I think sometimes you have to step off that
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hamster wheel to recharge. And like you said, the soul searching,
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even to find out, what kind of music you want
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to do. Cause like I said that about COVID, if
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you're going to take a positive thing about COVID that
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any artists that was on that hamster wheel, like they
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got a chance to discover really where they wanted their
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music to go.
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Cause when you're on that thing, it's like, you just
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got to keep going, doing the same thing.
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And you never have a chance to really sit there
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and go, Hmm, is this really how I want it
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to sound? And so I'm probably thinking that, you know,
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after glow and anything else coming, like, I think it's
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probably going to be the best music you guys ever do,
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because you, I think you're at a point in life
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now when you decided to return that, you know, exactly
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what you want, what you don't want and how you
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want your art to be.
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I think you've, you've, you've touched on a lot of
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very accurate points there.
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And I think, you know, they're very true for musicians and,
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for people in music in general, I think, but also
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kind of the wider idea of things, right?
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We're all so close to what we're doing now. It's
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always hustle, hustle, grind, grind, the next thing.
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You don't get a moment, firstly, to celebrate, to understand
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what you've done, to take those little wins and solidify
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your relationships with people and the hard work that's gone
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into the thing you've done before.
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It's always on to the next thing.
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And also, like with anything creative or iterative, you know,
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like the different stages to creating something better and better,
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you have to, as part of that process, have time
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to stop, evaluate, and then grow and progress from that point.
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That is part of the journey. You can try and
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remove it to try and speed things up. But in
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my opinion and my experience, that only causes burnout.
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It only causes..
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You know, this kind of detachment from the reality of
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the things that you're trying to achieve. And especially as
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a group, that's extra hard because all it takes is
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a couple of you to start feeling that a little
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harder than the rest. And it all just starts on
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a kind of negative trajectory. So yeah, like I love
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that you've touched on it in that kind of way,
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because honestly, for me, this is as much of like
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a declaration about how we want to proceed as human beings,
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as much as it is about, you know, new music
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and everything like that it's it's kind of a it's
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a promise to ourselves and and i guess hopefully like
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a a rallying call for those people who feel something
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similar whether it be in music or not to to
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sort of embrace the same you know that like find
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the reason why you're doing that stuff and and and
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create the system by which you can do that to
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the best you possibly can even if that means only
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doing it half the time that you used to do it,
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you know, or to do it, you know, to do
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it in a way that doesn't necessarily please everybody you're
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trying to please. I know it's very generic, but yeah,
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it's quite a meaningful thing for us, I think.
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So it's great you touched on that.
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Well, and I think you touched on points that are
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true too, because like, first of all, if you're not
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having fun creating or playing the music, there's nothing else
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that's fun in the industry. So like at that point,
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you're doing yourself a disservice and the audience. And I
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think even when you have like such a long break
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as you've had, it also allows.
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You to kind.
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Of create who you are because a lot of times
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the fans won't let you, you know, you know, and
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we're all guilty of it at times, you know, and
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it's like, sometimes you just want to evolve as a musician.
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You don't want to do the same thing.
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Say, sing the same things, write the same things, you know,
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like everybody gave Ali a lot of crap when, when
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changing the whole sound to bring me to rise in
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an interview, he said, why do I want to write
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the same song over and over again?
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Okay.
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I already did that, you know, type of thing.
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And I'm so down with that because like a lot
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of us self included, we're nostalgic about that garage band
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that we saw in some little club, you know, when
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the band didn't even know what they were doing, you know?
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And so now that they're better musicians, better human beings
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have more, you know, knowing of what they want.
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The nostalgia people don't want that, but they come back later.
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And that allows you to bring the new people into
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and have, you know, I think the best experience possible
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for everybody.
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Absolutely.
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You know, the, it, stagnation isn't a good place that
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anyone wants to be in at any time, especially when
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that stagnation is reinforced by things people liked and want
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to hold on to. You know, there's like a particular,
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I don't know, universal truth of life, isn't there, where
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we want to hold on to the good old days,
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you want to hold on to these kind of elements
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of nostalgia. And as much as I love you know,
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my nostalgic playlist as much as the next person.
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Like, it's the artist's responsibility, really, to.
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Sort of realize they have to be above that and
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to try and weave nostalgia into the mix, but at
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the same time, constantly be looking for the new.
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Because ultimately, if I think the artist or the.
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Creative isn't feeling inspired, isn't feeling like they're absorbing something new,
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they're not creating anything that gives them purpose.
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And meaning anymore, you know.
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And Oli is a perfect example of that. He's been
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through phases of where he could have just hit the brakes. Well,
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the whole band could have hit the brakes and just
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been like, this is where we sit. And we're going
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to make a buttload of money off of it. We're
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