Today we’d like to introduce you to Christopher Crabb.
Alright, so thank you so much for sharing your story and insight with our readers. To kick things off, can you tell us a bit about how you got started?
I was interested in music at a very young age. My parents met playing in a band, and my older siblings were very involved in school musicals, choir, and things of that nature. My Dad played guitar, and at about the age of 12/13, I asked him if he could show me the ropes. He agreed, and I started playing in bands with guys I went to school with at South Pasadena High School. I grew up in a Mormon home, and at the age of 19, I left on a Mormon mission, which is a two-year commitment during which no music is allowed outside of that which is church approved. I returned home at the age of 21 and attended BYU, a Mormon college located in Provo, UT. I was not interested in pursuing music upon returning from my mission. My Dad was an entertainment lawyer in LA and at the time I thought I wanted to follow in his footsteps.
Back at BYU, I played in various wedding and corporate bands to help pay for school and supplement my income. I learned a lot playing in cover bands. As a vocalist, they really challenge you to learn how to sing everything from Michale Jackson to Prince to Journey to jazz standards. While playing in one of these bands I met a guy named Jake Justice who was interested in starting an original project. I was not really interested, but he was persistent, and I eventually acquiesced and agreed to show up to a writing session. We wrote a few songs and entered a battle of the bands at BYU. We called the band “The Strike” because we felt that the word encapsulated the high-energy nature of the music. The original band was huge. There were ten members. I’ll never forget the first show we played. I had played in a lot of bands before, but this was different. There was a certain magic that was not present in other projects I had been a part of.
At this point, I was hooked. I quit my first job out of college, which was in tech, to pursue the band full-time. While in Utah, I met Jay Tibbitts, who plays drums and helps write and produce the music. We decided to move to LA and became roommates with David Maemone, whom Jay had met while touring with David Archuleta. Maemone plays keyboards and guitar and has become a major addition to the project on the writing/production front. During our time living together, the three of us spent a ton of time working on the band. Not long after, We were offered a label deal with Nettwerk Music Group. We recently recorded our third studio album with acclaimed producer John Fields (Ben Rector, Switchfoot, Cory Wong). The album will be released over the course of 2024, with each single being put out every six weeks. The next single comes out on February 16th.
I’m sure it wasn’t obstacle-free, but would you say the journey has been fairly smooth so far?
That’s a good question. We have had moments of smooth growth as well as moments of doubt and frustration just like anyone who pursues a career in entertainment. It has been smooth in the sense that we have always had pretty consistent and steady growth, often punctuated by opportunities that have come our way, such as movie/TV placements or unique chances to tour. And as far as the creative process goes, the three of us have a pretty good workflow. Sometimes I reflect on the history of the band, and I feel like it has been a pretty smooth journey. I think most of the struggles have arisen from the economic realities that face a band as well as the ever-shifting landscape of modern popular music. The fact of the matter is that running a band, like any business, requires capital. Recordings, merch, touring, and social content all cost money.
And sadly, the return on investment in these assets is pretty low for most artists. Streaming revenue is limited, and touring 300 cap rooms (which is where we are at) doesn’t yield a whole lot. When a band is young and more interested in gaining experience, this isn’t a huge problem. It’s an adventure. But as you get older, your wants change. That is a tough thing to balance as a band. Additionally, the method of fan engagement is always changing in the modern age. When the band first started, it was all about having a music video go viral on YouTube and growing your Facebook page. Now, it’s all about short-form content and consistency on all social platforms. It can be tough to recognize the trends and adapt. All that being said, we are grateful for the journey we have had. It has been one I wouldn’t trade for anything.
Thanks – so what else should our readers know about your work and what you’re currently focused on?
The Strike is an alt-pop band based in Los Angeles, CA. The members of the band include myself (Chris Crabb) as lead singer, Jay Tibbitts on drums, and David Maemone on keyboards. The three of us write and produce all of the music. The band plays live with 6 musicians on stage, including the three members previously mentioned as well as guitar, bass, and saxophone. The Strike’s music is reminiscent of pop-rock bands from the ’80s, with modern sound production. We are often compared to The 1975 or The Band Camino. I’m the most proud of the music we have produced over the years. We have really tried to pour our heart and soul into every song we have released. I think that people are drawn to the band because they can feel sincerity in the music. We write songs about everyday life in a way that we hope people find interesting. We put a lot of care into the details of how each song is recorded. On top of this, we are known for our live performances. Everyone in the band is a master of his craft. It is common for fans of the band to come back each the band plays in their area.
The band recently recorded its third studio album with Nettwerk Music Group. The album was recorded with acclaimed producer John Fields (Ben Rector, Switchfoot, Cory Wong) at his studio in Minneapolis, MN.
Can you talk to us about how you think about risk?
Definitely, I had a pretty comfortable job out of college and quit it to pursue music full-time. All artists are risk-takers. You have to be. Art is almost synonymous with risk. It is the attempt to make something that people didn’t know they wanted in the first place. You spend countless hours on something and throw it out and hope for the best. The only thing you can really do as an artist is make something that you like and let the chips fall where they may. I don’t think risk is inherently a good or bad thing. Some people want to live a life that is high-risk and pursue something because they feel they have to. For me, I love music and performing so much that I felt I had to take the risk and chase after it. Others are much happier having stability in their lives. Neither is right or wrong. The world needs both types of people. I guess I would say that if something calls to you and you can’t shake it, you owe it to yourself to go after it, at least for a certain amount of time.
Contact Info:
- Website: wearethestrike.com
- Instagram: @wearethestrike
- Facebook: facebook.com/wearethestrike
- Twitter: @wearethestrike
- Youtube: https://www.youtube.com/wearethestrike
- Other: https://open.spotify.com/artist/6VB4TqEl0yfaF88LYHH4wj?si=9j0DE_tpRsOda4_6hsTz9Q
Image Credits
Nathan Tecsun Kayla Gaddis Frederik Barasinski
