In recent years People in the Daytime have become a pillar within the alternative scene in Cleveland, Ohio, as a result of their unique stage presence and distinctive lyricism. Following the release of the deluxe version of their sophomore album We Can Give You Special Powers alongside the band’s largest tour to date, WRFL’s Local Music Director Rachel Ferguson and I spoke with People in the Daytime to discuss all things from their production process to tour mishaps and what the band’s growing fandom means to them.
Rachel Ferguson: How did the project to start a band come about? Had you all known each other prior, or did you find each other along the way?
Anthony Liotta: John had met Evan and I independently through high school, but there were no immediate aspirations for a band. John had asked us to record some stuff for a solo album he was working on at the time, like 2018, and one of those sessions had all three of us playing together. I definitely know I was chasing a new type of collaboration at that point, but I didn’t think a band would blossom from it. John and Evan have such a focus on rhythm and colorful arrangement, they’re very unique artists on their instruments. More than anything, it was fun to make sounds with them. Especially in high school, there was a lot more time to explore sounds and ideas, and time to learn each other’s musical language.
After recording with John, we had naturally started playing and learning songs together. After a few of these random meetups, Evan’s dad had entered us into the TriC High School Rock Off, a battle-of-the-bands-type event that is a Cleveland staple for high schoolers to enter. We had Evan’s friend Gina join us on the drums, and we’ve been doing that ever since. At that point, our band name was Funkbox. Which is a bad band name. Sorry if that is also your band name.
Ben Kingrey: You guys recently released a deluxe version of your sophomore album We Can Give You Special Powers on June 5th, including unreleased demos and cut tracks from the original release. How has going back to an already finished project differed from other releases?
John Polace: It was sort of weird. When you finish an album it feels like it’s done, you’ve closed the book on it. It was something we have never done before. But, most of the tracks on the deluxe were already recorded. “He Cut Up His Face” was the only song that had to be done from the ground up. Despite it being weird to revisit the project, making “He Cut Up His Face” was really fun because the pressure of the album was already gone. Production wise, we almost see it as an in between of special powers and our next album. We used the song to explore other ideas that we might use on the next album. It was also nice to spotlight elements that were more tucked away in the original record, like the “You Have This Power Over Me” string section. Recording those strings was one of the highlights of making the original project.
Ben Kingrey: When it came to the production of your sophomore album, what albums or artists would you say have influenced this release the most compared to your self-titled debut?
John Polace: Inspiration really came from all over, but if I had to just list out some things… Surf’s Up by The Beach Boys, the film House (1977), There’s A Riot Goin On by Sly and the Family Stone, I’ll Be Okay by Sign Crushes Motorist, In The Court Of The Crimson King by King Crimson, The Point! by Harry Nilsson, Imaginal Disk by Magdalena Bay, and Forever Dolphin Love by Connan Mockasin.
Ben Kingrey: From that deluxe release were there any unreleased songs that almost made the original release? If so, what ended up leading it to the cutting board?
Evan Schonauer: The song “More Than I Ever Knew” was probably the last song written for the album. I think there was a point at which we all felt like the album’s narrative could possibly use a little more exposition before we dove into emotionally heavier songs like “How Dare You, Boy!” and “As We Fall Away.” This song was my attempt at that. It came out pretty quick, but by the time I shared it for consideration with the rest of the band, we were beginning to sequence more finished versions of the songs in the final track list. There was some conversation, but we decided it really wasn’t necessary. That’s kind of a thing with us. I believe we referred to it as “Quincy Jonesing.” Everything non-essential to the song/album always goes in the end and that song was deemed unessential. We still thought it was really cool though, which is why we decided to include it on the deluxe!
John Polace: Same thing for “He Cut Up His Face,” except that was written more in the middle of production.
Ben Kingrey: Taking a look into your sophomore album as a whole, how do you think this album highlights growth within the band compared to your freshman self-titled?
John Polace: The reason we decided to do special powers in the first place is because it explored emotions that weren’t on the self titled. I think we were all into the idea of telling a story that was darker and more horrific but still fun. When we were making it, we were really excited about the idea of really leaning into imperfections by using ugly sounds in beautiful ways. I feel like compared to our self-titled record, we were able to create something more conceptual and abstract. I also think we were able to achieve a more authentic and vintage sound.
Ben Kingrey: Looking through your personal discography for a moment, which song do you think holds the most personal value to the band that fans may not be aware of?
John Polace: I would say “It’s All Gone,” that’s a safe space song for us. Especially live. If we are having a stressful day, we can put it first in a set and be able to chill. I’d also put up “You Have This Power Over Me.” It’s very vulnerable and comes from an honest place. It actually wasn’t originally written with We Can Give You Special Powers in mind, it was just its own song.
Ben Kingrey: What’s a song in your discography you think often gets overlooked?
John Polace: “Auditual Ritual!” Or again, “It’s All Gone,” from the self-titled. That song was really the deepest collaboration between all four of us.
Anthony Liotta: I agree with John, I fucking love “It’s All Gone.” I’ve had someone call it a “filler” song but I love any song where we get to pull back and sit in a vibe. I feel like fans love the crazier songs or the biggest hooks, but I love our more intimate, lowkey moments just as much.
Ben Kingrey: Although People In The Daytime originates from the Cleveland scene you guys have quickly become well known names in scenes across the country from Kentucky to New York. What do you think has been the driving factor in being able to capture such a diverse fanbase?
Anthony Liotta: I think it’s because we really put 110% of ourselves on the line in the music we write and especially the way we perform it. We cry while we play these songs, we scream at the top of our lungs, we dress exactly how we feel, we let our bodies move in ways we can’t control on stage; we just care very deeply. I think in 2026, it’s important to put love and energy into the things you do. The humanity should not be ignorable, it should be undeniable. I think we do that well. I wish every person in the world could see us live, because I think seeing us play, watching us put everything on the line, that’s when it’s easiest to make that connection.
John Polace: For me, I’d say it’s cause we have music that comes from very diverse inspirations.
Ben Kingrey: Being able to see your music be accepted by so many different places and people is something most musicians aren’t ever able to reach. Could you take a moment to just talk about what witnessing that feels like?
John Polace: The first time I really felt that sort of reach was when we played Mahall’s Apartment in Cleveland. We sold out the room and the crowd was screaming our lyrics louder than we were. Sometimes, as a band, it’s hard to believe our music has that reach. When we get reminded that people love our music, it’s crazy; it’s the best drug in the world.
Ben Kingrey: You’re currently on your largest tour yet in scale, that being the He Cut Up His Face Tour. How would you describe the change in this tour with the growth you’ve experienced since the last time you guys hit the road?
Anthony Liotta: In regards to the tour planning and growth, it doesn’t feel that different. We still book the tours ourselves, stay with friends and family, etc. Its in the day to day interactions though, that’s where the differences are most observable. It’s been great to meet people who already know the songs, or anyone who traveled from far away to see us on this tour. Everyone is so unbelievably nice. The fact that what we do connects with people, and we can play in states outside of Ohio and have a great show and make connections with so many people who don’t even KNOW us is WILD. They have no reason to invest, they maybe don’t even know why they feel drawn to our band. But they do. That’s beautiful to me. It’s been so rewarding to be going for it and taking bigger and bigger swings.
People in the Daytime’s BONUS ADDENDUM: This tour is already so different because for the first time since like, 2019, we’re playing with a new drummer. We’ve been playing with John Finley, who is a fucking MENACE and also the loveliest, most considerate guy. He has a big heart for the music and people. It’s been so fun to play with him. But it’s a new thing! We’re also doing this tour with Touchdown Jesus, and they helped book the tour as well. It’s been nice to have people we trust so deeply joining us on this journey. They are all so so amazing and it gives me a lot of security to have them around on such a long trek.
Ben Kingrey: When it comes to touring things can change suddenly at a minute’s notice, what has been the biggest last minute change you guys have dealt with on this current tour?
Anthony Liotta: Some days, you run up on stage, ready to lay waste to the venue and then as soon as you play the first note, every follicle of energy gets sucked out of your body and you have nothing to give. It’s very unpredictable, and there are SO MANY situations where you’re just thrown into something and you just have to react. The sleeping situation every night is very much like that too. A lot of kind, awesome people have been housing us, but the conditions are all across the board. Some couches, some beds, some floors, sometimes you’re just BOOKING it back to Cleveland at two in the morning. I love damn near every second of it though. I think the sacrifices and difficulties just make every fun, electric moment even more enchanting. That cost is everything. It’s a slumber party, a vacation, and then you get to play a bunch of songs with your friends all month.
John Polace: My biggest last minute change on tour is when I change into my stage outfit 2 minutes before we go on stage.
Ben Kingrey: On the He Cut Up His Face Tour have there been any specific songs the band has had on loop while on the road?
Anthony Liotta: There has been an influx of Masayoshi Takanaka on the road. An Insatiable High is the record I’m associating with this tour right now, but the tour theme song is “The Way It Is” by Bruce Hornsby. Every time we leave for the next leg of the tour, John plays that damn song, first thing, on the AUX. It just fits spiritually. We also listened to Wish You Were Here by Pink Floyd all the way through as we arrived in NYC, and that was a very spiritual experience. Charly Garcia’s second record, Clics Modernos, is hitting too. John Finley showed us this record and we’re all falling in love with it together. Apple SharePlay is a lovely little thing. I hate to shill for Apple but it’s been lovely for everyone to throw whatever songs they want to hear in the queue and we all get a fair shot at subjecting the car to our favorite shit at the moment.
Ben Kingrey: In your own words what do you guys think makes People In The Daytime unique in comparison to other bands in the scenes you occupy?
John Polace: I don’t know, you tell me 😉
Anthony Liotta: Aside from what we’ve said about laying it all on the line and bearing our souls, vulnerability and such, I also think we are making music that is very specific. I think it’s the opposite of broad appeal, the music and our personalities feel singular, a wild collection of influences and personalities, but that allure and strangeness is, I think, very exciting. What we do very much serves ourselves, it’s the things that excite us specifically, but I do think we try to push our audiences, at shows and especially with our new records. That energy feels inclusive though. I don’t want to alienate people, I want to push them. Encourage them to dance, try new music, get emotional, meet new people, and live. I think a lot of bands could lean into making their audience a part of the journey.
Evan Schonauer: The jumping.
Ben Kingrey: Is there anything you guys would like to mention or talk about that we haven’t discussed yet?
Anthony Liotta: Be yourself and live with vivacity. Don’t dull yourself for anybody. Thank you to everyone for being so supportive of what we do. There is more coming, there will always be more. People in the Daytime forever : 3
John Polace: Drink lots of water.
After a few years shy from a decade together along with the release of two studio albums, the Cleveland based band shows no current signs of slowing down. The growth People in the Daytime continues to experience is a testament to how many people have accepted the invitation to live in their world. Afterall, it’s not so different from ours.