Behind the Horns and Riffs: A Conversation with Ax and the Hatchetman

Known for turning packed, sweat-slicked club venues into chaotic mosh pits and translating that raw energy onto massive festival stages, Ax and the Hatchetman have spent the last few years quietly establishing themselves as one of indie rock’s most dynamic live acts. But behind the soaring brass sections, sharp guitar lines, and raucous crowd reactions lies a band grounded in deep formal musical training, tight-knit collaboration, and an unfiltered approach to making music.

We caught up with band members Axel, Phil, Sal, Hunter, Chondaman, and Quinn backstage to talk about festival setlists, the art of analog recording, and how six musicians manage to balance intricate brass arrangements without overwhelming the mix.

All Photos by Laundryscamera

For a band whose reputation is built on high-octane energy and crowd-surfing intensity, stepping onto a festival stage in the middle of a sunny afternoon requires a unique kind of calibration.

"I think we might take some of the more abrasive stuff off sometimes," frontman Axel explains when asked how the band adapts their setlist flow to convert daytime festival-goers into die-hard fans. "I think of a lot of songs in terms of day and night. Certain ones fit one occasion better, so we try to tailor it to whatever we feel like playing during the day—whatever feels right."

Despite shifting their sets to match the ambient sunlight, a few staple tracks remain constant, serving as the bedrock of their live performances. Songs like "Blurry Lights," "Hotel Room," and "French Press" have earned long-standing spots in their rotating sets. But when pressed on the track that has held its ground the longest, the band turns to "Flagstaff."

"Goofy was a long time," notes guitarist Phil, "but right now, 'Flagstaff' has probably been on the list the longest."

When teased about fan-favorite track "Utah" being rotated out of recent setlists, Axel laughs. "We’re holding it for a rainy day."

Before Ax and the Hatchetman were commanding festival crowds, many of its members were honing their craft through jazz band and formal music education—a background in brass, woodwinds, and music theory that heavily shapes their current six-piece arrangements.

"Music theory greatly helps us arrange our tunes," explains guitarist Phil. "From the guitar parts and vocal harmonies to the horn sections, it dictates how we layer everything. Throughout a song, we’ll build it up—starting with just a vocal, then adding vocals and horns, and then layering more background vocals over that."

Managing six distinct musical voices without creating a cluttered soundscape is no small feat, but the band relies on their strong collective instincts to keep their instrumental balance tight.

"It helps so that we don’t step on each other," says Axel. "It’s a fluid process. Someone might write a guitar part, and then we’ll repurpose it into a horn line. We’ll play a section together and say, 'Okay, let’s make sure this isn't stepping on anything. If the guitar part should shine here, let’s cut down on the brass.'"

"Or you’ll write a horn part," Hunter adds with a grin, "and then I'll realize my part isn't as cool as 

That collaborative, give-and-take dynamic was put to the test during the recording of their debut album, So Much to Tell You. Working alongside producer Jackson Ciavarella (known as Jake), the band took a stripped-back, anti-gloss approach to capturing their studio sound.

"Jake actually liked working in the smallest possible room we could find," Axel chuckles.

"I loved working with Jake because he’d be in the control room and go, 'Oh yeah, that was a great take!'" recalls guitarist Sal. "And we’d be like, 'Dude, I messed up four times in that take.' And he’d just say, 'We’re using it.' It was very bones-and-all."

For drummer Chondaman, the sessions marked a pivotal milestone in his recording career. "Recording So Much to Tell You was my first experience recording to tape—and keeping a singular take," he shares. "Tracks like 'Loser' were recorded that way, and it was a blast. Playing it live now is probably my favorite part of the set."

With single "Loser" gaining momentum, the band acknowledges a slight shift in tone—moving from early indie-rock influences toward a gritty, early-2000s Y2K alt-rock edge.

"The deluxe version of our album hinted at a slightly darker direction," says Axel. "It’s been fun to see where that goes. Whatever happens, we just play what we enjoy. We’re not trying to pigeonhole ourselves into one thing."

To close out our chat, we posed one final scenario to the group: If you had to pick a single song from your entire discography to force a crowd full of complete strangers to open up a mosh pit, what would it be?

The answer from the band was instantaneous and unanimous: "Flagstaff."

"I don't even know if we're technically a 'mosh' band," Axel laughs, "but if anyone wants to try it, they're more than welcome. We’re pretty chained to our instruments up there, so we can’t jump out into the pit every night. But if the opportunity arises? Hard yes."

With new music on the horizon, an evolving sound, and a relentless tour schedule, Ax and the Hatchetman show no signs of slowing down. Whether they're playing mid-afternoon festival slots or packed midnight venue shows, one thing is clear: they’re bringing the energy, live imperfections and all.