Bowling For Soup’s Jaret Reddick Discusses The Bands New Studio Album “Pop Drunk Snot Bread”

Jaret Reddick is the lead vocalist and guitarist for the Pop-Punk band Bowling For Soup. The group has been turning out tongue and cheek hits like “Girl All the Bad Guys Want” and “1985” since the early 2000’s. On April 22nd the band released their 11th studio album titled “Pop Drunk Snot Bread”. Media Mikes had the chance to speak with Jaret recently about the album, what it was like working with WWE Superstar Alexa Bliss and how he balances both performance and production roles.

Adam Lawton: Can you give us background info on the new album “Pop Drunk Snot Bread”?

Jaret Reddick: Our last studio album came in 2016 which is crazy that it’s been that long. We did do a greatest hits and a couple live records between now and then, but it’s been a while since we went into the studio. Honestly are plan was never really to release or make a record now. When quarantine hit this album ended up becoming a reaction to not being together with everyone. We thought the best and safest way for us to all get together was to create our own bubble and make this record. In August of 2020 we took a tour bus to the Pocono Mountains and stayed in an Air B and B which was only about a mile from the studio we were recording in. This album came out of all that. There is a lot of reflection in this material which I feel has to do largely with how it was all conceived.

AL: The album’s first single “Alexa Bliss” was released in 2020. Can you tell us about that?

JR: “Alexa Bliss” was originally intended as a bonus track for our second greatest hits album which is still not out. When the new record came to be, we felt this song fit the vibe of that well. It’s funny because this song existed long before there were any talks of a new album.

AL: Alexa also appears in the video for the song. How did that relationship come to be?

JR: My son is a big wrestling fan. I was a fan in the 80’s but I wasn’t really up to date with any of the new stuff. I didn’t know anything about her, but I had been sent some photos of her wearing a Bowling For Soup shirt. I told my son about the photos and he told me that I should send her a message. I ended up sending a message and she replied and from there we became good friends. When we were talking, I told her she needed a pop-punk song as most of the other wrestlers have these cock-rock type songs which is great as it fits the brand. I didn’t write the song with intentions of it being her walk out song. It’s just a tribute to her being a cool individual and great character on the show. She’s a great friend.

AL: Was it difficult working with the WWE to make all this happen?

JR: Alexa helped navigate those things quite a bite. This was something she really wanted to do. I would have never asked her to be in the video as much as she. That was all her. I was cool with just getting a look alike and have this be more of a dream for the kid. She loved the project so much that she walked it into Vince McMahon’s office and got me hooked up with all the right people. Whenever I would hit a snag, she would help me out. The WWE was very gracious and happy. There were a few rules with what we could and couldn’t have in the video but for the most part it was simple. WWE ended up sending out one of their digital media staff to film a bunch of behind-the-scenes stuff which was cool.

AL: “Alexa Bliss” was the first of four singles you have released from the new album. How does the band go about selecting which songs will be released as singles?

JR: “Getting Old Sucks” was the next track we chose to release. We picked that one because the song is about us and I had already had the video made. I found this guy on Instagram by the name of Mike Roche whose daughter made these cool little puppets. I always wanted to do a puppet video for the band, and these were just perfect. I didn’t want the puppets to be so good that it wasn’t funny anymore. I do voice over work and some of those puppets are insanely good. That’s good for that type of platform but for it to work in this context where we are singing about getting old the beards had to be stringy and they had to bring some humor to this thing. Mike’s daughter nailed the puppets. I think at the time she was around 13. Her and her family ate up six weeks of their quarantine working on this project for us. They all appear in it and they knocked it out of the park. For the next single which was “Killin’ ‘Em With Kindness” it was getting close to the time of the album’s release before being pushed back a third time. The band has a character called “Super Rob” and he is featured in that video. We have a comic book centered around the character that is coming out as well. That video was made almost entirely by Rob and his brother. They shot most of it around where they live in the Pocono’s and then came out and shot some band footage where we are located. Our fourth and most recent single is titled “Brad Pitt”. We took more of a traditional route with that as we hired a director and then flew out to the location to shoot which was a lot of fun.

AL: Do you think big budget production Music Videos are making their way back around in popularity?

JR: I don’t think its that they are coming back around more as they have been around and never really left. The viewing platform has shifted. You used to see music videos on television now you watch them on YouTube. Every video released doesn’t need to be a professional quality video but there needs to be a visual representation of your music this day and age. Video is king! Its starting to get to be where places like Instagram which weren’t originally video based are now predominantly videos. I miss when you had different apps for different things like Vine was for mainly video and Instagram was just a quick snap of what you were doing in that moment. Those big budget videos only really disappeared for a couple years as you still have artists like Taylor Swift putting big budget material out and getting millions of hits.

AL: You mentioned that the album was pushed back three different times. When that keeps happening does it affect the bands mindset at all?

JR: Luckily for us we were on a major label for nine years. During those years we got used to these types of things as nothing ever happened on time. It’s always hurry up as there are deadlines which need to be made and then when you meet those you are told things are getting pushed back for some reason. For this record and for the first time since 2009 we let our managers and distribution company have some input on the release. The record just came out on the 22nd so we will have to see if it worked.

AL: Being that you also produced the record how do you go about balancing your production duties and your musician duties?

JR: From the beginning I have always co-produced our stuff. I think a lot of that comes from when you are working through the songs and arranging that’s all considered production. I take my songs in pretty much done. From the standpoint of when is it done? I am the worst. Once I have something recorded and I get it back and say that’s fine then I am good with it. Unless something completely horrible jumps out at me I tend not to want to make any changes. Thankfully I have been working with Linus of Hollywood for the last thirteen years as it takes having another person to help me with these types of decisions. He is the guy that decides if it needs more bass or treble. I am usually ready to move on to something else by that point.

AL: Now that the album is out what are the bands plans going forward.

JR: We just got back from the UK and I will be heading back there again soon to do some make up shows for an acoustic tour which never was able to happen because of the pandemic. Once we wrap those dates up, we will be mostly caught up except for one or two dates. This summer we will be out in the United States with Less Than Jake and then in October I will be heading to Hawaii for a solo show there.

For more info on Jaret and Bowling For Soup head over to and

Interview with Jeffrey Reddick

Jeffrey Reddick is known best for creating the successful horror “Final Destination” series.  Jeffrey also was involved writing the 2008’s remake of “Day of the Dead”.  Media Mikes had a chance to chat with Jeffrey about the series and also what else he had planned for 2012.

Mike Gencarelli: You created the very successful horror franchise, “Final Destination”, tell us the origin of how to created it?
Jeffrey Reddick: The idea stemmed from a strange real-life incident. I was on a plane, flying home to Kentucky. I read an article about a woman who was on vacation, in Hawaii, I think. On the morning of her flight, her mother called her and told her not to take the flight she was booked on because she had a bad feeling about it. The woman changed her flight and the plane she was supposed to be on crashed. This story got me thinking…what if she was meant to die in that crash? What if she cheated Death? At the time, I was working at New Line Cinema and was trying to get an agent. I was told to write a spec script for something on TV. “The X-Files” was my favorite show and it was really hot at the time. So, I came up with an episode where Scully’s brother had the premonition. The script got me an agent. Mark Kaufman, a colleague at New Line Cinema, really loved the script and convinced me to try and turn it in to a feature.

MG: Why did you leave “Final Destination” series after the second film?
JR: After the first film, I thought I had a really clever way to expand on the original movie, without just rehashing the first one. It’s interesting, I’ve done two of films, James Wong and Glen Morgan did two, as did David Ellis and Eric Bress. But the studio decided to go with completely new folks on the last one. But I didn’t leave the series. Each movie is its own animal and the studio always waits until the last film does theatrically, and on DVD, before deciding if they’re going to make another one. So, it’s really their call. But I’d only want to do another one if I could bring something fresh to the table. Just redoing the formula doesn’t interest me.

MG: After your departure from the series, how do you feel the the series continued through the latest fifth film?
JR: I always remember how fortunate I am to have created a horror film that’s had such a long life, so I’ve found things I’ve enjoyed about all of the films. But when you get to a part 5, sequel fatigue always sets in. The studio doesn’t want to mess with the formula, so the movies tend to blend together and feel repetitive. But each of the films has managed to be a fun ride.

MG: I feel the fifth film did a nice touch are related to the first film, do you think the franchise still has steam left?
JR: I think the fifth sequel was great. I feel they really made that one for the fans and not just to cash in. They brought Tony Todd back and added some real depth, and twists, to the story. I think part 5 is a great way to go out with the current formula. But I think if they want to keep the series vital, they should do a reboot. Death is a crafty mother…and can always come up with a new design.

MG: You took on the task of writing the screenplay to the 2008 remake of “Day of the Dead”, what was you most difficult task?
JR: Steve Miner’s involvement was the main reason I signed on. The hardest task was trying to craft a film that was reverent to the original. Because of the rights, we could only use the basic story and characters from “Day of the Dead.” We couldn’t reference any of the other movies, so it had to be a standalone story. But the treatment I wrote, which got me hired for the job, was much closer to the original film. I really feel it paid tribute in a respectful way, while creating a fresh new story. But after I got hired, the studio started making me change things…and strip out everything related to the original. There were many arguments, but at the end of the day they usually win. So, watching the film turn in to something other than what I intended, was the hardest part. At the end of the day, I think it’s a fun film…but it shouldn’t be called Day of The Dead.

MG: Any truth to the rumor of a 3D follow-up to “Day of the Dead”?
JR: They just announced they’re releasing the remake on Blu-ray in 3D. I’m excited to see it.

MG: What do you have planned next in the works?
JR: I’ve got several irons in the fire, but nothing I can report right now, as you never know if, and when, things will pan out. But I can say they’re all genre projects and I’m hoping to direct one of them. I’ll keep you posted.