After 40 years, the Afghan Whigs still sound like no one else — and they’re not done yet

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It’s been a fantastic start to 2026 for fans of The Afghan Whigs! The popular band, originally from Cincinnati, is marking its 40th anniversary with a tour that covers their entire history, and they’ve even released a couple of new songs this year.

The tour finishes this week with three Southern California shows: Wednesday at the Bellwether, Friday at the Observatory in Santa Ana, and Sunday at Pappy & Harriet’s.

The Whigs truly deserve all the praise they’re getting. They started with the influential label Sub Pop and became beloved alternative rock heroes in the ’90s, releasing a string of fantastic albums like the fan favorite “Gentlemen,” along with “Black Love” and “1965.” Though the band initially broke up, they reunited in 2011 and have been just as strong ever since.

The Times recently interviewed Greg Dulli, the lead singer of the band, about their incredible four-decade run, his admiration for Muhammad Ali, how the Cincinnati Reds sparked his move to Los Angeles, and the current wave of ‘90s nostalgia. This conversation has been condensed and clarified for readability.

Artists don’t often get a chance to reflect on their work. Many were able to do that during the COVID-19 pandemic when things slowed down. But it’s always good to take a moment and appreciate everything you’ve achieved. Speaking of which, how are you enjoying this tour?

We started out playing shows where we’d perform eight songs, each from a different album, and it was a lot of fun. The fact that we have so many albums and still enjoy playing those songs is something we really appreciate.

It’s interesting how your perspective on your own songs shifts over time—we’ve discussed this a lot over the years. Are there any songs you’re hearing differently now, or noticing that songs sometimes seem to predict the future?

I’m not sure if it’s prophetic, but it feels incredible to still enjoy playing songs from the early 90s – 1990, ’92, ’93 – and to see audiences react the same way. We perform a mix of songs from all those years, about half and half, and it’s amazing how well they all fit together as one seamless show.

You’ve mentioned playing characters from different time periods. Do those periods feel distinct when you’re acting, or do they blend together as one continuous experience?

Looking back, my work with The Twilight Singers and The Gutter Twins were important steps in my musical path. The music I made between my time with The Whigs was just as crucial in shaping who I am as an artist today. If I’d stopped making music for over a decade, I don’t think my current work would have the same impact. I kept performing, stayed motivated, and focused on delivering great shows – it’s all part of my ongoing passion for rock and roll.

I’ve spoken with many artists who’ve found that taking a genuine break – one that isn’t rushed or imposed – helps them reconnect with their passion for their work. Looking back, do you think that break was crucial for The Whigs’ resurgence, giving you the breathing room to reflect on and value everything you’d already accomplished?

The reunion tour was fantastic, and we initially thought that would be it. Then we received an unexpected offer to perform with Usher at SXSW in Austin. After that, John and I talked and realized we wanted to make another album as The Whigs. We knew having new music was the only way we’d want to continue playing shows. We didn’t want to become a ‘legacy act’ – just playing old songs. If that appeals to some bands, that’s fine, but it wouldn’t work for us. It’s great to still be relevant after 12 years, and it’s amazing that we can play shows featuring almost all of our albums.

My friend was at the show in Denver, and I know you’ve been playing new songs.

We’ve put out two songs, “House of I” and “Duvateen,” and we’re performing them at our shows. That means we play two new songs at every performance.

Lately, there’s been a lot of reminiscing about the 1990s, likely because looking back, it feels like a less complicated era.

It’s interesting to consider where nostalgia comes from. For those growing up in the past, the 1970s – shows like “American Graffiti,” “Happy Days,” and “Laverne & Shirley” – represented a simpler era. There’s always a time people remember as being easier, and we naturally feel a longing for the past. It’s fine to revisit those memories, but it’s best not to dwell on them.

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You know, I totally get what you’re saying about the ’90s feeling so nostalgic now. It’s wild to think back – we all lived through it! But what really gets me thinking is seeing it play out live. When you guys tour, are you noticing a younger crowd discovering those albums? Are there fans coming who weren’t even alive back then, but still connect with the music? That’s what I’m curious about – seeing that generational leap with your songs.

Oh, absolutely! I was in Denver, and it was amazing to see so many young people right up front, packed onto the rail. It was really cool watching them sing along to all the songs – both the classics and the new stuff too. It felt like a really vibrant, energetic crowd.

When you revisit your older songs, are you ever surprised by which ones still sound good?

We often find ourselves drawn to the songs fans love, even if we don’t perform them all. For example, we enjoy “Bulletproof” as a song, but don’t play it live. However, “Summer’s Kiss” is a popular track that we do perform. When it comes to choosing songs for our setlist, we really blend both phases of our band’s history, something we’ve been doing since the “Do to the Beast” album. With each new record, we add those songs to our performances. Now we can easily switch between our different eras and create a really exciting mix. It’s interesting because we’ve been a band for longer than we were during our initial run.

You’re known for being a great team player. What do you think sparked that ability to work well with others? Was it something you learned growing up?

Growing up, playing team sports taught me the importance of collaboration. That experience really carried over when I started playing music. I quickly realized you can’t succeed on your own – even incredibly talented artists like Prince still rely on others for live performances. I began writing songs with others at a young age, and while I didn’t pick up guitar or piano until my late teens, I learned a lot from the musicians I eventually played with. They were often more experienced than me, and I valued their skills and learned from them. I contributed through songwriting and arranging, which became my strength. This collaborative spirit ultimately helped me become a good music producer and has been invaluable in other ventures, like co-owning bars. I’ve always believed in teamwork, surrounding myself with people who excel at what they do.

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Are there athletes who inspired you at a young age?

Growing up, I really looked up to athletes like Dr. J and Muhammad Ali. I was amazed by how talented they were. I was also a big fan of the Cincinnati Reds – they were so exciting to watch! Their rivalry with the Los Angeles Dodgers was intense, and I remember staying up late to watch them play in L.A. Seeing the palm trees made me dream of going there someday.

I’ve been working on a project celebrating Miles Davis’s 100th birthday, and I’ve had the chance to speak with people who knew him, like Ron Carter and Carlos Santana, as well as younger artists like Nas and Wyclef Jean who were inspired by his work. Miles and Muhammad Ali were both incredibly strong-willed and didn’t compromise their vision. I see a lot of that reflected in your own career. Growing up, did witnessing that kind of unwavering commitment from people like them influence your own approach to music?

You probably don’t realize it, but we all pick up on things simply by observing others. It’s impossible to watch how people act and how it impacts those around them without being subtly influenced by it.

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2026-05-18 13:37