For nearly three decades, Atlanta’s alt-metal titans Sevendust have quietly gone about their business, trekking across the globe and uncorking 14 studio albums, selling millions of records and earning a Grammy nomination along the way.

And to what do the proprietors of thick grooves, chugging riffs and soaring melodies attribute to their success and longevity? Chemistry, says longtime guitarist John Connolly.

“Chemistry is chemistry. Like, whatever the secret ingredient is in your favorite thing, it just makes so much sense, you know?” Connolly shared during a sit-down with BraveWords.

“When I look at these five guys and like anyone can step out and we could put someone else into the mix and it's Sevendust-ish, but it's not really Sevendust. It really takes the five of us to be Sevendust … Everyone has their thing. They bring their thing to the party, man. And it's crazy to think that 30 years later we still haven't gotten bored of going to that party, you know what I mean? Like all five of us still want to go to the same party.”

Deep in the sizzling summer heat, Sevendust launched their latest studio effort, Truth Killer, which sees the quintet of Connolly, Lajon Witherspoon, Clint Lowery, Vince Hornsby and Morgan Rose re-team with longtime producer, friend and collaborator Michael “Elvis” Baskette. 

Subdued opening cut “I Might Let The Devil Win” juxtaposes fierce album closer “Fence”, for a dynamic and winding journey through the Sevendust wormhole. 

“Everything is inherently Sevendust on this record with a slightly different approach. I don't want to say we focused on certain things more than other things, but I think melody was a big thing. “I Might Let The Devil Win” was all about that vocal hook. I remember the trickiest thing about that song was not what to do in it, but what not to do,” shares Connolly, explaining that all hands in the band contribute to the sound and scope of the record, adding to their individual eccentricities. 

“Sevendust is more than what one person is focused on. You know, if it was all Clint's vision or Morgan's vision or LJ's vision, it wouldn't be Sevendust. It wouldn't have this combination of all whatever it is, whatever Vinnie adds with the bass thing, that locks in with the kick drum, and then L.J. starts singing over our riffs. I don't know how to put it any better. You know, even on our worst day, it still sounds like Sevendust.”

Across a dozen-plus records and nearly three decades of output, the Sevendust mothership have reached a place of confidence when it comes to refining and sifting through material, resulting in a balanced and, as Connolly so aptly puts it, fully “cooked” end product. 

“That's the one thing we've gotten better at. Like, we know something sucks, let's not waste studio time. Let's put it at the back of the pile and if we get around to it, fine. But if something's not happening we don't throw it in the trash, we hit the pause button. But there've been a lot of songs, a lot of pieces of music that a lot of people think, well, it just wasn't worthy. “Decay” and “Thank You” were two that weren't worthy at the time. And one of them got nominated for a Grammy. So it's not just ‘it sucked’. It was like, alright, it's not cooked. I don't know why it's not cooked, but it's not cooked.”

Diving down memory lane, Connolly reflects on a turbulent, though fruitful period for Sevendust during the release of Seasons, an album which celebrates its 20th anniversary in 2023, and one marred by a complete breakdown of understanding with their then label, TVT. 

“We knew we had to get away from the label because Seasons worked on many levels, but the level that it didn't work on was TVT still didn't really understand what we were doing. I don't know if we really understood what we were doing either, but it was a lot of no's. We came out of Animosity. We wanted Ben Grosse to produce the record and we were told flat, no. It wasn't even a conversation, like not even in the mix … So we knew that there was just a disconnect from what they thought we were supposed to be versus what our fans wanted us to be because they wanted us to be that. In hindsight, looking at Seasons, they also wanted us to be that as well.”

Though a divide between band and studio reached chasm-length levels during the Seasons sessions, Connolly is quick to praise the songwriting and craftsmanship of one of their highest charting records, buoyed by the top 10 hit, “Enemy”. 

“Man, there's some great songs on that record. I think that could have been the pinnacle and the high point of just the songwriting. I think Animosity was that perfect cross-section of how we wanted it to sound versus how good a song we could write at the same time. But I think Seasons actually took it one level up as far as the songwriting went … I think that was the record that kind of changed everything. We knew what the potential for the band was, and we knew we weren't getting the support from the label.

“We're like alright, we gotta get out of here, because we know they don't get it and we don't care that they don't get it. We've tried for four records for them to get it. And they got some of that. But I think it was at a time and a place where if you didn't have 'the' in front of your name and you weren't wearing a cardigan and you weren't playing “Mr. Brightside”, you know what I mean? It was all The Strokes, The Killers, The Hives, the, the, the. It was all those bands which were popular and we're like no man, we're closer to Pantera really. TVT didn't want to have anything to do with that. Like, no, no, you got to be hip. And I was like, I don't know if we've ever really been hip.”

Twenty years later and Sevendust is at peace both personally and professionally, releasing dynamic, layered and varied music which embraces the artistic instincts and personalities of all five band members. Because when you love what you do, it no longer becomes work. At that, Connolly agrees wholeheartedly. 

“Man, just accepting the fact that it's such a fucking cool band to be a part of,” he says with a smile. “There's a lot of oh this sucks, travel, losing luggage, you know, anything any other normal person goes through. But the second the intro rolls and we're all suited up and someone hands me a guitar and we all kind of smile it's like, man, this is so cool.”

(Photo - Chuck Brueckmann)