It’s early afternoon in Manhattan’s Chelsea neighborhood, and the boys of the rock band Greta Van Fleet—lead singer Josh Kiszka, his twin brother and guitarist Jake, their younger bassist brother Sam, and drummer Danny Wagner—have gathered in a studio to sign huge stacks of their fourth album, Palace for the People. (It’s out today.) Thinking about the task ahead, Josh can’t help but remember the Michigan-born band’s first trip to the city, right as they were breaking into the mainstream. “It was just total culture shock,” he tells Vogue. “Back then, I couldn’t stay here for more than a week because it was just too overstimulating.” Nearly a decade later, they’re more than used to the hustle and bustle. Driven by emotionally rich lyrics, Josh’s signature falsetto, and a general love of theatricality, Greta Van Fleet has become a keeper of rock’s sacred flame, earning four Grammy nominations and one win, for best rock album in 2019. According to Josh, the title Palace for the People comes from a real palace in England built for public use. “It’s such a Greta concept,” he says. “When we play shows, it’s incredibly inclusive and you see everybody from everywhere, and all ages. It’s a real-life palace for the people.” (Tickets for their globe-trotting Into the Beginning tour, launching next year, go on sale October 15 and will be offered exclusively at face value.) Here, Josh Kiszka explains why, after a three-year break, Greta Van Fleet is back and more plugged in than ever. Vogue: You’ve managed to stand the test of time for nearly a decade. What do you attribute that to? Josh Kiszka: We’ve overcome so many obstacles growing up inside this group. Even just out of high school, I remember Sam and Danny missed their school prom because we had to play some show. So we never really had the chance or circumstance to grow up in some kind of organized, traditional, or conventional environment because of the early success in our career. Only recently have I thought back and realized that that was really absurd to be inside of. So if we were to fall or collapse or divide, it would’ve happened earlier. There’s a brotherhood there. Without the four of us and that sort of support system, we wouldn’t be making the music we’re making and we certainly wouldn’t still be here now. How do you grapple with being one of the few rock bands to break out in the modern era? Have you felt added pressure as a result? I think there’s a pressure there, to an extent, because of the responsibility we have to this hallowed genre. When you’re steeped in it, you’re thinking: Oh, boy, we better be really on and be our greatest. But it seems that we are kind of a minority and I think that’s why we decided to make music. We’re providing something that wasn’t there when we were growing up. Nobody was making rock ‘n’ roll music. But it’s a beautiful, elastic genre that encompasses so many different sorts of influences, and it’s like a melting pot. It’s almost an analogy for the human fucking experience. I don’t think anyone’s really doing what we’re doing or has done what we’ve done. I mean that objectively, without any form of pretension or subjectivity. What was the reaction like when you first came on to the scene? Rock fans are known for being extremely serious about the genre. It was people shitting on us left and right. Like, “Oh, let’s castrate those fuckers.” People in the rock ‘n’ roll community really cling to their music like it’s scripture. Like it’s some kind of spiritual text. The feeling was, these snot-nosed kids are coming in here, and they’re gonna make a big mess of all this shit! And, of course, it’s quite the antithesis; we came in with the greatest respect and reverence. But now it’s kind of leveled out. I think when something new happens fast, big, and loud in pop culture, the instinct is to compare it to what’s come before.And when something doesn’t compare or fit a mold, people lose their minds. But all of our greatest influences went through that.
Photo: Sophia Matinazad
Can you explain the full backstory behind the title Palace for the People? I know it’s based on a real place.
It comes from Alexandra Palace, a venue we played in London. It sits on a hill named after Princess Alexandra. The royal family built it, and it has a beautiful view of downtown London. It’s wild that it’s a music venue—it’s unique and magical. We started thinking about the idea and breaking it down philosophically, and I thought, That’s such a Greta title and a Greta concept. The ethos of that humanity and how we’re interconnected. There’s a shared consciousness.
This is your first album release since you publicly came out. Were you guarded lyrically before, and has your creative process changed because of that?
I think it affected my songwriting and my approach to music—how I physically sing and how I write. I’m more self-aware and freer than I’ve ever been. It wasn’t that I was ever closeted. It’s just that nobody had ever asked. Then you become a public figure, and everyone wants to know, “Who are you dating?” Your first instinct is to keep some privacy, thinking, Maybe I should guard my life to protect my partner or something.
What would you say when people asked who you were dating back then?
I’d kind of say, “Someone.” When I came out, I thought it was important to make a point because in Tennessee, they were challenging a bunch of ridiculous laws and passing some really bizarre regulations. I felt politics was sticking its nose into social and moral ethics. So I was like, “Okay, how about this, fuckers?” And here we are. Even though I also thought I’d have a target on my back. But I didn’t mind. I said, “Kill me if you want. This is human. This is natural. This is who we are. This is part of us.”
The first show we played on that last tour was in Nashville, at Bridgestone Arena. We hit the song “Light My Love,” a beautiful love song that wasn’t tied to any specific thing. It was just a very romantic song about identity and self-expression. I wasn’t prepared for it, but the entire venue—God knows how many people—had organized this shining rainbow from their phones, and the whole arena was filled with rainbows. I could barely finish the song because it was so emotional. Now I have mothers saying, “My six-year-old son just opened up to me today, and now we’re closer than ever. Thank you.” So it started a bit of a movement I didn’t expect.
Then again, queerness has always been part of the genre. So it must feel a bit like you’re continuing a legacy.
I’m lucky enough to be standing on the shoulders of giants. Without predecessors like Elton [John] and Freddie [Mercury], it all would’ve been twice as difficult. A lot of what I do is about giving people permission to be themselves. I want to wake them up and bring them out of their shell.
Your soaring single “Saw You Stand,” with that falsetto of yours, is a powerful song. Can you take me through the story behind it?
I’d never written a song from heartbreak before. I have singer-songwriter friends, and they were always like, “I can only write when I’m miserable and sad,” but I never got that. But after nine years with my partner, we separated. We grew apart, and it was devastating. I still love and respect him, but it just wasn’t built to last. So that song is kind of a reflection on that relationship. I wanted to write it in a way that was for everyone, so the first line is “Anyone who ever loves.” It’s like, this is a song about love, and any person at any point in their life in any scenario can interpret it for themselves. I hate being vague, but sometimes when you’re ambiguousWhen you give people enough space, they can find their own place to belong. Earlier you mentioned standing on the shoulders of musical giants. The same could be said about your sense of style. Who are your style icons? I think Elizabeth Taylor is a fashion icon. Liberace too. I’m very involved in my style, and many people have inspired me—not just musicians, but also filmmakers. I design a lot of what I wear. If you envision something that doesn’t exist yet, you have to create it. That happens to me often, which is why fashion can be frustrating but also rewarding. I work a lot with Amber Doyle here in New York, and she’s a visionary. I can bring her any idea and she makes it real. Recently, for example, we made a suit inspired by something Cher wore to the Met Gala—a jumpsuit with feathers. For a show in Nashville, we created something similar: a pullover with feathers on the legs and arms, made of mesh with a low neckline covered in rhinestones. Cher is just eccentric. But I think that captures a kind of rock ‘n’ roll spirit. When I’m anxious or depressed, or I don’t want to do it, I put on my outfit and then it’s like, “Oh, I’m so ready for this.” This conversation has been edited and condensed.
Frequently Asked Questions
FAQs About Greta Van Fleet Still Shining Brightly
1 Who is Greta Van Fleet
A rock band from Frankenmuth Michigan made up of brothers Josh Jake and Sam Kiszka plus drummer Danny Wagner They formed in 2012
2 Why do people say theyre still shining brightly
Because theyve kept growing since their early dayswinning a Grammy selling out big venues and releasing new music years after their first big hit They havent faded away like many expected
3 What kind of music do they play
Classicstyle hard rock and blues rock with a modern twist Think big guitar riffs soaring vocals and heavy drums
4 Whats their biggest song
Highway Tune released in 2017 It put them on the map and is still their most recognized track
5 Did they win a Grammy
Yes They won Best Rock Album for From the Fires in 2019
6 Why do they get compared to Led Zeppelin
Josh Kiszkas highpitched vocals and the bands bluesy heavy sound remind many listeners of Led Zeppelin The band says their influences are broader than that
7 What albums have they released
From the Fires Anthem of the Peaceful Army The Battle at Gardens Gate and Starcatcher
8 Are they still together and touring
Yes They continue to tour and release music with a strong fanbase worldwide
9 What makes their live shows special
High energy extended jams and Joshs powerful vocals Theyre known for sounding even bigger on stage than in the studio
10 What common criticism do they face
Some say they sound too much like Led Zeppelin or rely on nostalgia Fans argue theyve developed their own identity over time
11 How have they changed musically over the years
Their early work was raw and bluesy Later albums like The Battle at Gardens Gate are more ambitious with longer songs and bigger production
12 Whats a good song for a new listener
Start with Highway Tune then