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Peter Livingston Holsapple (born February 19, 1956) is an American musician who, along with Chris Stamey, formed the dB's, a jangle-pop band from Winston-Salem, North Carolina.[1] He became the band's principal songwriter and singer after Stamey's departure. The band, with Stamey back in the fold, reformed with new material in 2005–2006.

After the dB's disbanded in 1988, Holsapple played as an auxiliary musician with R.E.M. and Hootie & the Blowfish, before joining the Continental Drifters, a rock band originating from Los Angeles.

In 1997, he released his first solo album, Out of the Way. He followed it up twenty-one years later with 2018's Game Day and will follow it in 2025 with Face of 68.[2]

Early life

[edit]

Holsapple was born in 1956 in Greenwich, Connecticut,[1] to Henry and Ann.[3][4] He moved south with his family to Winston-Salem, North Carolina, in 1962. He had an older brother, Merritt (named for their maternal grandfather),[5][4] who died in 1997, aged 52.[6] Merritt was a fan of the Beach Boys and the Left Banke, which got his brother listening to them as well.[7]

Holsapple graduated from R. J. Reynolds High School.[8]

Musical career

[edit]

School bands

[edit]

Holsapple began writing songs in third grade,[7][9] and began playing in bands in 1964, when he was 7 or 8, beginning with the three-piece Dana & the Blue Jays.[10] In 1969, he formed Soup with Chris Stamey. They played one show together, at a local church coffeehouse.[10] In 1970, he joined Rittenhouse Square,[11] which included Mitch Easter, Stamey and Bobby Locke. They released an independent album in 1972,[12] recorded at Crescent City Sound Studios in Greensboro, North Carolina, in the spring of 1971. 500 copies were pressed.[10]

When Rittenhouse broke up, Holsapple joined future dB's drummer Will Rigby and several other former high-school friends in Little Diesel, a proto-punk rock band fronted by Bob Northcott which ran against the tastes of Southern rock. Little Diesel's album, the 17-track No Lie (produced by Stamey in 1974) was released on twenty 8-track cartridges, and it was re-released in 2006 on Telstar Records. "Kissy Boys" was an original, as were two early songs of Holsapple's.[10] The band's music was heavily inspired by Lenny Kaye's 1972 compilation Nuggets: Original Artyfacts from the First Psychedelic Era, 1965–1968.[13]

The dB's

[edit]
Main article: The dB's

College broke Little Diesel up, but Holsapple continued to write and sing, eventually moving to New York City from Memphis ("thinking some of the Big Star magic might rub off on me"),[10] where he had recorded at Sam Phillips Studio with Big Star engineer Richard Rosebrough, three months into the dB's existence. While working part-time at a record store called Musical Maze at 294 Third Avenue,[14] in October 1978[15] Holsapple joined as keyboard player and backing vocalist, but he quickly began submitting his songs, playing guitar, and singing lead vocals alongside Stamey. Holsapple and Chilton's cuts from Memphis were released by Omnivore on The Death of Rock in 2018.[16]

The dB's released four studio albums before their disbandment in 1988: Stand for Decibels (1981), Repercussion (1981), Like This (1984) and The Sound of Music (1987).

In 1981, while living in New York City, Holsapple would often hear the dBs' first single, "Black and White", on Meg Griffin's Saturday-morning show on WXRK. "There's something about hearing that pumping out on the radio, when you drive into town and you hear yourself on a college radio station as you're getting close, it's just so cool that it makes you feel like, 'Yeah, I'm doing the right thing, this is exactly what I want to do,'" said Holsapple in 2022.[9]

Stamey left the band after their second album, at which point Holsapple became the primary singer-songwriter.[7]

R.E.M.

[edit]

After the dB's broke up in 1988, Holsapple worked as a full-time auxiliary guitarist, bassist and keyboardist for R.E.M. on the Green world tour. He participated in the writing and development, as well as the recording, of their 1991 multi-platinum release Out of Time,[17] but subsequently left his sideman role with R.E.M. due to rumoured disputes over songwriting credits.[18] "It was a privilege to get to play those beautiful songs every night for months," he said in 2022.[10]

1990s and beyond

[edit]

Holsapple next worked with Hootie & the Blowfish as an auxiliary musician.[19] He remained with them for 26 years.[20]

He joined the Continental Drifters, for whom he had first produced some demos, a single, and the Nineteen Ninety-Three album. "Easily the best band I ever was a part of," Holsapple recalls. "Superb harmonies, top-shelf songwriting, and my favorite people on earth. We should all be so lucky to find friends like that."[10] The band was originally based out of Los Angeles but the members eventually relocated to New Orleans. The band included members of the Dream Syndicate, the Bangles, and the Cowsills. Holsapple subsequently married Susan Cowsill and had a daughter.[20] The group went on to record three well-received albums, an EP of Sandy Denny and Richard Thompson covers, and several tribute-album tracks, none of which translated into a lot of sales. Holsapple and Cowsill divorced in 2001, with Holsapple citing his reliance on alcohol at the time as a contributing factor.[20]

In 1991, Holsapple and Stamey reunited to record an album entitled Mavericks,[10] and a couple of years later Holsapple contributed to Melissa Ferrick's 1993 album Massive Blur.[21] In 1997, he released his first solo album, Out of My Way.[22]

In September 2005, the classic line-up of the dB's performed two shows in Chicago and two in Hoboken, New Jersey. December 2006 brought Stamey–Holsapple Christmas shows in North Carolina. The Bowery Ballroom in New York City hosted the dB'S in January 2007, and the following month the dB's made a brief appearance at Cat's Cradle in Carrboro, North Carolina.

Holsapple and Stamey released a new duo album, hERE aND nOW, on Bar/None Records in June 2009. This album featured a cover of the British progressive rock band Family's 1972 single "My Friend the Sun."[23]

The dB's in 2012

In 2012, Holsapple reunited with the dB's to complete their first new studio album in 25 years and their first in 30 years with the original 1978 lineup. Falling Off the Sky was released on Bar/None Records on June 12, 2012.

Holsapple released a solo single, "Don't Mention the War",[7] on his own Hawthorne Curve Records on February 3, 2017, and released his second solo album, Game Day, in July 2018 on the Omnivore label.[22] His record label is named for a notorious section of Interstate 40 in Winston-Salem.[24]

On June 12, 2021, Holsapple and Stamey released Our Back Pages on Omnivore,[25] an album of acoustic arrangements of songs by the dB's for Record Store Day.

Holsapple undertook a Peter Holsapple Makes Himself at Home Tour in 2022.

In 2024, Holsapple was playing with The Paranoid Style, alongside Michael Venutolo-Mantovani.[20]

On Record Store Day 2025 (April 12), Holsapple released his third solo album, The Face of 68, on Label 51 Recordings.

Personal life

[edit]

Holsapple has three children (a daughter from his second marriage and a son and daughter from his third),[7] and is also a grandfather.

In the aftermath of Hurricane Katrina, Holsapple relocated from New Orleans to Durham, North Carolina.[7] He has a small recording studio behind his home which he calls the Hit Shed.[9]

His father died in 2008, at the age of 95.[3] "He was the kindest man I've ever known," Holsapple said in 2024.[20] His mother died in 2013, aged 91.[4]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Peter Holsapple

View on Grokipedia
from Grokipedia
Peter Livingston Holsapple (born February 19, 1956) is an American musician, singer, songwriter, and guitarist renowned for his contributions to and genres, most notably as co-founder and co-leader of the influential band . Born in , Holsapple relocated to , during his childhood, where he immersed himself in the local music scene spurred by 1960s and . Holsapple's musical journey began in 1964 at age eight, when he joined the school band Dana & the Blue Jays, followed by the formation of Soup in 1969 alongside future collaborator Chris Stamey. In the early 1970s, he played in Winston-Salem's vibrant "Combo Corner" scene at RJ Reynolds High School, contributing to bands like , which covered acts such as Free and while developing original material, and Little Diesel, considered the area's first punk outfit. Influenced by groups like , , , , and later , Holsapple honed his skills in this tight-knit community before moving to New York in the late 1970s. In 1978, Holsapple and Stamey formed The dB's, a pioneering jangle-pop band that released key albums including Stands for Decibels (1981), Repercussion (1981), Like This (1984), and Falling Off the Sky (2012), establishing Holsapple as a prolific songwriter with a distinctive melodic style. The band's work blended new wave energy with power pop hooks, influencing subsequent indie rock acts. Beyond The dB's, Holsapple served as an auxiliary musician for R.E.M. during their Green tour in the late 1980s and as a touring guitarist and keyboardist for Hootie & the Blowfish for 26 years. He also co-founded the Continental Drifters in New Orleans in the 1990s, contributing to their rootsy, collaborative sound. Holsapple's solo career includes albums such as Out of My Way (1993) and Game Day (2018), while his duo project with Stamey yielded Mavericks (1991) and hERE aND nOW (2009). In his , he was previously married to Continental Drifters bandmate until their 2001 divorce and has been married to since; the couple resides in , following a relocation from New Orleans after in 2005. His most recent solo release, The Face of 68 (2025), reflects on aging, humor, and personal loss at age 68, recorded for Label 51 Recordings and featuring tributes to departed friends. Over five decades, Holsapple has remained active through online collaborations and live performances, embodying a versatile presence in American indie and .

Biography

Early life

Peter Holsapple was born on February 19, 1956, in Greenwich, Connecticut. His family relocated to Winston-Salem, North Carolina, in 1962 when he was six years old. Holsapple's parents were Henry Taylor Holsapple and Ann Curtis Holsapple. Henry, born May 17, 1912, in Hudson, New York, was a World War II veteran who commanded USS LST-560 in the South Pacific. He practiced law in New York City, served as a trust officer at First National City Bank (now Citibank), and was vice president of the Trust Department at Wachovia Bank in Winston-Salem from 1962 to 1977. Ann, whose maiden name was Curtis, supported a household environment that included musical instruments such as a piano, an organ, a mandolin owned by Henry, and a guitar belonging to her, though neither parent actively played them. This setup, combined with the family's relocation to a city with a burgeoning local music scene, contributed to Holsapple's early exposure to music. Holsapple had an older brother, Merritt Curtis Holsapple (1945–1997), who played a key role in fostering his interest in music by maintaining instruments and records in the home, including listening to radio broadcasts and albums that introduced pop and rock sounds. Merritt's enthusiasm for music helped spark Holsapple's curiosity during his formative years. Holsapple attended High School in Winston-Salem, graduating in 1974.

Personal life

Holsapple married musician on April 18, 1993, in an outdoor ceremony; the couple, who had met through shared musical circles, collaborated creatively during their marriage but divorced in 2001. They have one daughter together, Miranda Holsapple. Holsapple has two additional children—a son and a daughter—from his current marriage to Sarah Holsapple, making him a father of three; he is also a grandfather. In the early 1990s, Holsapple and Cowsill relocated to New Orleans, Louisiana, where they established a home amid the city's vibrant cultural scene. Following their divorce, Holsapple remained in New Orleans until devastated the area in 2005, prompting his return to ; he settled in Durham, where he has resided since. Holsapple experienced significant family losses in adulthood, including the death of his older brother, Merritt Curtis Holsapple, on November 9, 1997, at age 52. His father, Henry T. Holsapple, a former vice president at Bank, passed away on January 25, 2008, at age 95. His mother, Ann Hamilton Curtis Holsapple, died on July 5, 2013, at age 91. These personal bereavements have occasionally influenced themes of reflection and loss in his songwriting. Now in his late 60s and based in Durham, Holsapple maintains a home studio for creative work and prioritizes family life, describing fatherhood as his "best gig" and emphasizing time with his children over extensive touring. In recent interviews, he has reflected on aging through the lens of his 2025 solo album The Face of 68, which contemplates life's milestones at age 68 while embracing ongoing creativity and family bonds. Among his non-musical interests, Holsapple enjoys building model cars as a hands-on that provides a meditative contrast to his professional pursuits.

Musical career

School bands

Peter Holsapple's initial forays into music occurred during his childhood in , beginning with the formation of Dana & the Blue Jays in 1964. At age seven or eight, Holsapple joined this informal three-piece ensemble, which featured two acoustic guitars and a with , as they learned and performed contemporary pop and rock songs sourced from the Golden Beatles Songbook and Hit Parader magazine. Influenced by the and radio hits of the era, the group represented Holsapple's first experience with collaborative playing, though no formal recordings or public performances are documented. By high school in 1969, Holsapple had advanced to more structured groups, co-founding with Chris Stamey. This short-lived duo performed just once, at a local church coffeehouse, where they used the modest earnings to purchase snacks like Cherry Cokes and sandwiches. The band marked an early partnership with Stamey, foreshadowing their future collaborations, but produced no recordings. Later that year, Holsapple joined , a high school outfit that evolved through several lineups before settling on Holsapple on guitar and backing vocals, Mitch on lead guitar and vocals, Stamey on bass and backing vocals, and on drums. The group played venues such as church coffeehouses, recreation centers, and children's shows, blending covers with originals in a style drawing from the , , and —early precursors to jangle-pop's melodic guitar-driven sound. Over Easter weekend in 1971, they recorded their self-titled album at Crescent City Sound Studios in , pressing 500 copies for independent release on R2 Records in 1972; Holsapple contributed one of the album's six original songs, honing his songwriting amid the band's raw, energetic aesthetic. After disbanded, Holsapple transitioned to Little Diesel in the early 1970s, joining high school friends including drummer Will Rigby and vocalist Bob Northcott, with additional members Tommy Eshelman on guitar and Phil Thomas on bass. Described as North Carolina's first punk band, the group adopted a and glitter rock approach, performing aggressive covers and originals to challenge local audiences amid the dominant scene. Holsapple took on roles as electric and acoustic guitarist, Wurlitzer keyboardist, and harmony vocalist, while contributing songwriting to early material that reflected influences from , T. Rex, and . In spring 1974, the band recorded their album No Lie in Stamey's bedroom on a four-track Teac reel-to-reel machine over one afternoon, followed by overdubs; the 17-track release featured three originals—such as "Kissy Boys" and "Flamingo"—alongside covers of songs by Free, , and , initially circulated in a limited run of about 25 eight-track copies that year before later reissues. These school-era bands solidified Holsapple's versatility on guitar, keyboards, and vocals, while his songwriting contributions began to emphasize clever, hook-laden structures that would define his later jangle-pop innovations.

The dB's

Peter Holsapple co-founded the power pop band with Chris Stamey in , in 1978, drawing on their shared roots in the local music scene before relocating to later that year to pursue opportunities in the burgeoning punk and new wave circuit. The group, completed by drummer Will Rigby and bassist Gene Holder, quickly established itself with a distinctive sound blending jangly guitars, melodic hooks, and witty lyrics, initially releasing the single "(I Thought) You Wanted to Know" b/w "If and When" on Stamey's Car Records label. This relocation positioned the band at the heart of Manhattan's downtown clubs, where they honed their live performances amid influences from and . The dB's core discography spans four studio albums that showcase Holsapple's evolving role as a primary songwriter, singer, , and , often contributing keyboards and harmonies alongside Stamey's complementary style. Their debut, (1981, ), introduced Holsapple-penned tracks like "Bad Reputation," capturing the band's energetic edge with its crisp production by . The follow-up, Repercussion (1981 UK release on Albion Records, 1982 US on Bearsville), expanded on this with Holsapple's "Big Brown Eyes," a standout for its infectious melody and introspective lyrics, balancing Stamey's more angular compositions. After Stamey's departure in 1982, Holsapple took the reins for Like This (1984, Bearsville), writing most songs including "" and "Spitting in the Wind," which highlighted his knack for concise, hook-driven narratives amid the band's tightening . The final album, (1987, Enigma), featured Holsapple's "" and experimental touches like , reflecting his broadened instrumental palette while maintaining the group's pop precision. The band disbanded in 1988 following The Sound of Music's modest commercial reception, as Holsapple pursued other projects amid shifting industry dynamics. They reformed in 2005 for a series of reunion shows, culminating in the full original lineup's return by 2006, which reignited interest in their catalog through live performances and reissues. This led to their first new material in 25 years with Falling Off the Sky (2012, Bar/None Records), where Holsapple co-wrote and sang lead on tracks like "World to Cry," preserving the jangle-pop essence with modern production. In 2021, Holsapple and Stamey released Our Back Pages (Omnivore Recordings), a collaborative acoustic reimagining of dB's classics such as "Big Brown Eyes" and "Nothing Is Wrong," emphasizing their harmonic interplay and treating it as an extension of the band's legacy. The dB's exerted significant influence on jangle-pop and power pop genres, bridging Big Star's emotional depth with the post-punk energy of late-1970s New York, paving the way for acts like R.E.M. and The Replacements through their melodic innovation and DIY ethos. Despite limited mainstream success, their albums—particularly the first two—earned critical acclaim as foundational texts in alternative rock, with Holsapple's songcraft often cited for its accessibility and lyrical acuity. The band's 2022 activities included select live appearances, underscoring their enduring appeal among indie rock enthusiasts.

R.E.M.

In 1989, following the breakup of the dB's, Peter Holsapple joined R.E.M. as an auxiliary multi-instrumentalist, performing on guitar, keyboards, and mandolin during the band's Green world tour, which spanned from late 1989 to early 1990 across North America, Europe, and other regions. This role marked R.E.M.'s first expansion beyond their core four-piece lineup onstage, with Holsapple helping to flesh out the arrangements and support guitarist Peter Buck by handling secondary guitar parts and keyboard textures during high-energy live sets. In reflecting on the experience, Holsapple noted in a 2022 interview that it was "a privilege to get to play those beautiful songs every night for months," highlighting the collaborative energy and the tour's demanding schedule of international performances. Holsapple's involvement extended into the studio for R.E.M.'s 1991 album Out of Time, where he contributed as a session musician on six tracks, providing bass, acoustic guitar, and keyboards to enhance the record's layered, acoustic-leaning sound. Notable performances included bass on the upbeat opener "Radio Song," featuring guest rapper KRS-One, and the moody "Low," where his bass line anchored the song's introspective groove. He also added acoustic guitar to tracks like "Losing My Religion" and electric guitar to "Belong," drawing on his jangle-pop background to complement the band's evolving style without overshadowing their core dynamics. Holsapple later described the album's romantic undertones in a 2016 oral history, expressing pride in his acoustic contributions to "Losing My Religion" and the overall artistic growth during sessions at Bearsville Studios. Throughout his tenure, Holsapple often filled in for core members during rehearsals and performances, allowing to experiment with fuller arrangements while maintaining their signature economy. His departure came after the Out of Time promotional activities concluded in 1991, ending a two-year stint that positioned him as an unofficial "fifth member" during the band's transition to mainstream success.

1990s and later

In the early 1990s, Holsapple joined the Continental Drifters, an eclectic roots-rock ensemble formed in that later relocated to New Orleans, where he contributed guitar, vocals, and songwriting alongside members including and . The band released its self-titled debut album in 1994 on Monkey Hill Records, featuring Holsapple's tracks like "Invisible Boyfriend," followed by Vermilion in 1998 on , which showcased collaborative songwriting and harmonious pop arrangements. The group recorded a third album, Better Day, in 2001, but internal dynamics and personal changes led to its dissolution shortly thereafter. During the same period, Holsapple began a long-term association with , serving as a and touring member starting around 1993, contributing to their breakthrough album (1994) on keys and guitar. This collaboration extended over 26 years, encompassing studio work, extensive road performances through the 1990s and , and appearances on shows like . Holsapple's solo career gained momentum in the late with Out of My Way (1997, Monkey Hill Records), a low-key collection of introspective pop songs produced in New Orleans that marked his first full-length under his own name. He returned to solo work with Game Day (2018, Recordings), a self-produced effort reflecting on through 13 original tracks plus bonuses, evoking a "middle-aged " with themes of inventory-taking and relationships. His third solo album, The Face of 68 (April 18, 2025, Label 51 Recordings), produced by Don Dixon with bassist and drummer Rob Ladd, explores aging and personal reflection through muscular and rock, as in the title track's cheerful self-assessment and "Larger Than Life"'s tribute to late collaborator Carlo Nuccio, infused with humor and grief. In the late 1990s, Holsapple participated in recording sessions with , the former frontman, contributing to post- projects that echoed the group's jangly legacy. More recently, he collaborated with The Paranoid Style, providing on their 2024 album The Interrogator (Bar/None Records) and joining live performances, including a June 2024 show opening for at 9:30 Club. Holsapple's 2025 activities included a solo house concert tour across the Pacific Northwest in June and July, promoting The Face of 68 in intimate settings for around 50 fans each. In October, he performed at Irving Place Records in Milwaukee followed by opening for Steve Forbert at Shank Hall on October 23, at The Bur Oak in Madison, WI on October 24, and at The Parkway Theater in Minneapolis, MN on October 25. Later that year, on November 10, he joined The Paranoid Style for a performance at The Pinhook in Durham, North Carolina. On November 18, he appeared on the Kreative Kontrol podcast discussing The Replacements' Let It Be 41st anniversary box set. In interviews that year, Holsapple discussed his songwriting evolution, emphasizing adaptability from power pop roots to broader "omnicana" influences while maintaining melodic precision. Reflecting on his career, Holsapple has highlighted the 2024 reissues of debut Stands for Decibels and follow-up Repercussion by Propeller Sound Recordings, which introduced their sound—marked by tight harmonies and jangly guitars influenced by and —to new audiences via vinyl and expanded tracks. These releases, supported by reunion shows, underscore his enduring commitment to the genre's honest, hook-driven ethos amid decades of collaboration and reinvention.

References

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