Signature Dish: The Format

Responses by Sam Means. Lead photograph by Carlo Cavaluzzi. Other image courtesy of The Format. Written by Heather Hawke. 

Eleven years ago, when we last spoke with Sam Means, The Format existed more as a memory than a living, breathing band, two cult-classic albums, a devoted fanbase, and a quiet question mark hanging in the air. In the years since, Sam kept moving—writing, recording, building, living—never loudly chasing the spotlight, but never fully stepping away from it either. Now, in 2026, that question mark has been replaced with something far more unexpected: a return that feels less like a reunion and more like a continuation of a conversation that simply took its time.

With Boycott Heaven—the band’s first album in nearly two decades—Sam and longtime collaborator Nate Ruess pick up right where they left off, but with a deeper sense of patience, perspective, and purpose. The album arrives as a document of everything that’s happened in the space between: shifting industry tides, personal evolution, and a renewed commitment to doing things on their own terms (whether that means resisting the churn of the algorithm, obsessing over the tactile details of a physical release, or building community on the road through grassroots initiatives like their “Saturdays In The Park” events).

For Sam, the throughline has always been creativity in its purest form—unpolished, self-taught, occasionally uncertain, but all the more interesting because of it. From early days spent digging through CD bins and learning The Beatles songs on a chord book, to recording in Los Angeles under extraordinary circumstances (including a wildfire evacuation mid-session), his journey has never followed a straight line. And that’s exactly the point.

As part of our Signature Dish series, we go all in with Sam Means—tracing the long arc from Phoenix, Arizona beginnings to a reawakened present, unpacking the creative instincts that still drive him, and exploring what it means to return to something you never fully let go of in the first place.

Intro/Warm-Up

It’s been a wild few years globally. Before we get into music—how are you doing these days, really? How have you been navigating everything, creatively and personally?

I’m doing as good as I can, I suppose. I’m just trying to stay true to myself. 

The music landscape feels like it’s constantly evolving—post-COVID touring challenges, the rise and fall of trends on social media, the short lifespan of singles, albums, and music in general… What has that shift felt like from your perspective? Has it impacted how you approach your music—or how you release it?

I don’t particularly like it. Our attention spans have gotten a bit too short for my liking, so I’m always pushing to slow things down a bit. I love to add a physical element to each release. Especially one that may stand out a bit. It’s fun to get creative with packaging and merchandise around music releases. 

Origin Story

Let’s go back to the beginning—where did you grow up, and what role did music or creativity play in your early life?

I grew up in Phoenix, AZ. My older sister often had music on in the house. These were the early MTV days, so definitely got exposed to some cool stuff at a young age. My grandma loved to sing harmony, which I was always fascinated by. It was so effortless for her to follow along to any melody, even something she wasn’t really familiar with. 

What music filled your world growing up? Do you remember the first concert you attended or the first time you felt completely inspired by a song?

My dad’s family lived in Oklahoma City, and once or twice a year the two of us would make the drive out there. Ahead of each road trip, we’d pick out some cassette tapes to listen to on the trip. It was almost always 50’s and 60’s rock, and that’s when I first discovered The Beatles. At 10 I started learning how to play their songs though a simple chord songbook and that really was my gateway to songwriting. The first concert I ever went to was James Taylor at a Pavilion in Phoenix. Took my dad for his birthday. 

As you started discovering music on your own, where did you go digging? Were you a record store regular, a music blog browser, or someone trading playlists or mix CDs with friends? Who were some of the early artists that really stuck with you?

I was exposed to the internet at an early age, at a time when music blogs were just popping up. I remember one called SOUNDZ that introduced me to Neutral Milk Hotel. Once we got a car, my friends and I would hit the record stores pretty much every day. Browsing through the CD bins for hours at a time, picking something out strictly based on its artwork is one of my favorite memories. I was listening to a lot of pop punk and ska-punk in those days, so bands like Descendents, The Vandals, Op Ivy, and Skankin’ Pickle really stand out for me. 

What was your path into music like? Did you have any formal training, or was it more of a self-taught, experimental process?

Always been self-taught. I tried to take piano lessons in my early 20’s after starting the band, but just couldn’t get through it. I often wish I had because I feel like it could have made things much easier in a lot of ways, but I also enjoy the struggle a bit. I feel like more interesting things come out of not knowing what you’re doing half the time. 

Did you have any day jobs along the way that influenced your art or your outlook? Any favorites?

I worked at a punk venue in Mesa, AZ for several years, which I consider to essentially be my college. I learned everything about the music business there. Especially what not to do. 

Creative Union / Current Project

Is this your first music project, or have you been making music in other forms before this? Did this project come together organically, or were you actively looking to build something new?

I’ve been in bands with Nate in one way or another since we were about 17. We had a 20 year gap between albums, so it took a minute to get here again, but it did evolve very organically, which to me is the only way. 

Let’s talk about your latest release. What sparked it, and what did the creative process look like—from songwriting to recording?

Nate learned how to play guitar over the last couple years and that process more or less brought him out of retirement. He invited me over to his house to hang out and played a few demos and over the next several months things sort of just evolved from there. 

Has your creative process shifted since earlier releases—or even since you first started making music? Has it become more intentional or more intuitive over time?

Absolutely.. I think if you make music long enough, you eventually try everything. I don’t think there’s really one right answer for the best way to work. It changes frequently, depending on mood, or the message you’re trying to relay. 

Do you write best in bursts, or are you someone who chips away slowly and steadily? What helps you get into the right headspace creatively?

It’s hard to get in a headspace for being creative.. It’s not generally something I can force, but I have noticed that watching music docs, or going to concerts. Simply watching other people make things will get me much more motivated. 

Place & Space

Does travel or place influence your work? Do your surroundings shape your sound, or is it more internal for you?

Not so much. Tend to do my best work. I’m a creature of habit, so I feel like I need my comfortable space to really be efficient with most creative projects. 

Where did you record this project, and what was the vibe like? Did the environment (a basement, a studio, somewhere else) impact the energy or intimacy of the songs?

We recorded it at Henson Studios in Los Angeles, which was recently acquired by John Mayer and renamed Chaplin Studios. It was a proper old school studio, but didn’t feel stale in any way. We absolutely loved working there and with our producer Brendan O’Brien. 

Were there any limitations—technical, emotional, or logistical—that shaped how this record came together? 

No real limitations, other than the first week of recording, the LA wildfires broke out and we had to evacuate from the house we were staying in. So that put a damper on the work, but all things considered, we made it out of that situation ok. I do think it presented some level of urgency to the work, which I think is important for this album in particular. Like, we waited all this time between albums, only to spontaneously come together and knock it out in a couple weeks. 

What track are you most proud of, and why?

“Boycott Heaven” is my favorite track on the album, and to play live. I think it just perfectly encapsulates the overall message. 

When did the album title click into place for you? What does it mean in the larger story of this record?

The album title was decided before we even began. Funny story, Nate saw what he thought was a trending topic on twitter, #boycottheaven, but was actually #boycottheineken

What part of the process—writing, arranging, recording, releasing—brings you the most joy?

Finishing it!

Visuals & Aesthetics

Let’s talk about the visual world around your music—how hands-on are you when it comes to artwork, press photos, videos, etc.? Do you see visuals as an extension of the music, or something separate?

I design just about everything. I think it’s very important for us in particular to maintain The Format aesthetic. The art and merchandise have always been a strong element in the band, so it was important to keep up the tradition. We did venture a bit off path with the album cover this time around, but found some interesting ways to keep it all related. Plus, the Crystal Mary statue doesn’t have a face, just like our previous two albums. 

With social media being so omnipresent, do you feel pressure to “present” your work a certain way—or does it give you more freedom?

Literally never think about social media. We just do what we do and use those outlets as tools to present the information, but definitely aren’t trying to feed the algorithm.  

Performance & Life

What’s your rehearsal or creative space like? Any weird rituals, memorable moments, or mishaps worth sharing?

We generally practice at this place called Mates in North Hollywood. It’s been around for years and I’ve been told just about every band out there as rolled through there at one time or another. Shout out Mates. Love those guys. 

How do you mentally prepare for a show—and how do you wind down after?

We have our rituals for sure.. Lots of warm ups and practicing ahead of it. We’re professionals 🙂

Scene & Community

What’s the music scene like in your hometown or current base? What do you love about it—and what would you like to see grow or change?

I’m not as connected to it as I once was, as I’ve gotten older, but we have some great music coming out of Arizona. Check out Jason P. Woodbury, Astrologer, Dad Weed, Sneak. 

I do wish we had more all ages venues around Phoenix. Sad to say, most of them have closed. 

Final Question:

What’s something you’ve learned—about music, about yourself, or about the world—that’s shaping what you want to create next?

I think I’ve just learned to have patience with all this stuff. Slow down. Enjoy the moments we have and the opportunities presented. A lot of people don’t get to do what we do and we certainly don’t take that for granted.