Modern hard rockers Pop Evil have been slowly carving themselves a serious niche in their genre over the last 5 years. I remember seeing the band for the first time back in 2009 (I believe) when they opened for Saliva. I knew these guys were going places, and sure enough, they did. This year, the band was a featured perfomer at Carolina Rebellion 2013, as well as a slew of other festivals. On a shitty-weather Sunday, Pop Evil were one of the bands who took the stage in spite of the rain and saved the day. After a monster second LP, the band just released their highly-anticipated third album, Onyx. I got a chance to catch up with guitarist Davey Grahs backstage to talk about the band’s set that day, the new record, and more.
Pop Evil broke out with their major-label debut, Lipstick On The Mirror, in 2008. The band worked with Kid Rock producer Al Sutton on the record, and it spawned the hit single “100 in a 55”. The band proceed to tour with Buckcherry, Saliva, Whitesnake, and Judas Priest on their British Steel 30th Anniversary North American Tour. Pop Evil have exploded onto the mainstream with the success of their sophomore effort, War of Angels, which hit #43 on the Billboard Top 200. The disc produced four hit singles. The album’s third single and huge radio hit, “Boss’s Daughter”, was co-written by Mötley Crüe guitarist Mick Mars, and Mars also makes a guest appearance on the track. On this album cycle, the band has toured with the likes of Drowning Pool, Trust Company, Finger Eleven, Escape The Fate, 3 Doors Down, Puddle of Mudd and Theory of a Deadman. Last Summer, the band toured on the Trespass America Festival, then headed to Canada for a run with Black Label Society. The band recently released their third studio album, Onyx, on May 14. The album hit #39 on the Billboard Top 200, and the lead single, “Trenches”, recently gave the band their first #1 Mainstream Rock Radio hit. The band will be hitting the road hard again this summer with Godsmack, so get ready to get back in the trenches and rock out. – by Matt Bishop