The Ataris’ Kristopher Roe on Legacy, Loss, and Finding New Life in “Car Song”
After nearly two decades without a new studio album, The Ataris are roaring back with a deeply personal single—and frontman Kristopher Roe has a lot to say about where he’s been, where the band is going, and how grief and growth have shaped his return.
“It’s super exciting. For me, this single is really special because it’s a tribute to my father,” Roe says of “Car Song,” a cathartic new track that marks the first release in years. “I feel like the song is really strong, and it’s had a great response so far. I’m really, really excited for people to hear the new record once it’s finished—it’s almost done.”
Watch the full interview with The Ataris Below!
A Journey Sparked by Tragedy and a Breaking Bad Volvo
Roe never stopped writing songs, but the real burst of creativity came from an unlikely source: the literal car driven by Walter White in the final scene of Breaking Bad.
“My car had died, and I ended up buying the actual Volvo from the final episode,” Roe explains. “I traded it to my best friend, who runs the studio, for recording time. That kicked everything off. The first track I recorded was ‘Car Song,’ and that moment reminded me: ‘I remember how to do this.’”
He dove into an archive of over 200 song ideas, funneled them down to 20, and recorded as much as he could. “Now I’m only four songs away from finishing the new album,” he reveals. “I also have 15 more tracks partially done for a second album. So it’s definitely not going to be another long wait before the next one.”
Loss and Tribute: The Heart of “Car Song”
The song’s emotional centerpiece is Roe’s late father, who worked at General Motors in Indiana for 37 years. Roe speaks reverently about the man who supported the band through its early years.
“He was our biggest supporter. You’d never catch him without an Ataris shirt,” Roe recalls. “I think part of that was him trying to make up for not being around earlier in my life—and I’m grateful for that.”
The imagery of the song is vivid, grounded in both personal history and rustbelt Americana:
“The winter sky is weeping / The factories lie in their graves / Like Cold War artifacts marching in some ghost parade.”
“That’s about my dad, the factory he worked in, and my hometown. It’s about every small-town USA that’s seen better days.”
A Final Resting Place in the Music
Perhaps the most unique element of “Car Song” is the limited edition vinyl pressing that contains Roe’s father’s ashes.
“I saw an article about a company that could press ashes into vinyl. I instantly thought: ‘That’s what I want to do for my dad,’” Roe says. “Even the urn he was in had an Ataris sticker on it. When it came time to press ‘Car Song,’ I wanted to make him a physical part of the music he championed so much.”
He partnered with Double Helix Records and Hellbender Vinyl to make it happen. “They had to stop the presses, clean everything, press each one individually, then clean again so my dad didn’t end up in someone else’s record,” he laughs. “Each copy is unique—the clear vinyl looks like a swirling galaxy of ash.”
Proceeds from the release go to support families affected by addiction and mental health challenges—another tribute to Roe’s upbringing.
Cameos and Cinematic Closure
The “Car Song” video plays out like a love letter to Roe’s past, complete with a road trip, a Breaking Bad Easter egg, and a surprise reunion with his old bandmates.
“I get pulled over by a cop—played by Bob Hoag, who produced the track—and just as I’m getting arrested, Walter White shows up and drives off in the Volvo,” Roe reveals. “It’s this hilarious, cinematic ending that ties the whole thing together.”
Revisiting “The Boys of Summer”
Roe also reflects on The Ataris’ most recognizable hit, their cover of Don Henley’s “The Boys of Summer,” which continues to get daily radio play across the globe.
“I didn’t cover it just because it was catchy—I did it for a really personal reason,” he says, recounting how the song reminded him of visiting his grandmother in Florida after his parents divorced. “When she passed away in 2002, I was working on So Long, Astoria, and decided to cover it as a tribute to her.”
Despite initially being told backstage that it would become their next single—without warning—Roe has since embraced what the song represents.
“I’m proud of our version. We didn’t change much—just rebuilt it around guitars instead of synths,” he says. “And knowing that it started as a tribute to my grandmother makes it all the more meaningful.”
The New Album: Nostalgia, Growth, and Urgency
The upcoming Ataris album is still untitled but takes cues from both So Long, Astoria and Roe’s more meditative influences.
“There’s a real sense of urgency on this record—some of the most energetic, immediate tracks I’ve written in a long time,” he says. “But it also takes you somewhere. The later songs go off into layered, atmospheric moments. It ends with a seven-minute song—no chorus, atypical structure. For me, every record should feel like a ride.”
Roe also makes it clear that, after years of self-doubt and burnout, he’s back for the right reasons.
“I didn’t want to be a rock star—I just wanted to be the most approachable, humble band out there. But looking back, I think I subconsciously fought success. Now? I’m ready. I’m content.”
And his mission now?
“I get to make music, connect with people, and hopefully bring some light into their day. What a gift.”
