Photo by Lyle Bell

Dana Wylie (vocals, keys), alongside Harry Gregg (bass), Jamie Cooper (drums), Kyle Mosiuk (guitar, vocals), Chad Murphy (guitar, vocals), Rooster Davis (Hammond organ), Dave Babcock (saxophone), Bob Tildesley (trumpet), and Peter Filice (trombone)

Your sound blends nostalgia with something distinctly modern. When you’re writing, do you consciously chase that balance, or does it emerge naturally from the way you play together?

JC - I feel like it totally emerges naturally, I don't think we are consciously chasing a sound, and I hear elements of each band member's character in the songs.

Secondhand Dreamcar is a striking name. What does it represent for you creatively, and how does it shape the identity of the band?

DW - The band name came about from a joke a friend of ours made. He uttered the phrase as part of the joke and we thought it had a ring to it; we weren’t thinking at all at first about what it could mean or how it might represent us as a band. But there is something about the idea of a secondhand car that is grounded, earthy, gritty, gets the job done. And it’s a dream car, so it gets the job done with style! There’s a connotation in there too about how things get better over time, and how, you know, they don’t make ‘em like they used to. And we relate to that too, as musicians who have been at this game a long time, and because the music we play is rooted in musical genres and traditions that have stood the test of time.

There’s a cinematic quality to your arrangements. Are there particular films, visual artists, or non‑musical influences that feed into your songwriting ?

DW - This is an interesting observation! From a lyrical perspective, the honest answer is no, the songs aren’t particularly influenced by other artists or art forms. What compels me endlessly as a lyricist is nothing more or less than the human condition, ie. the big questions about what drives us as humans, what guides us, where we get stuck, and what it takes to get unstuck. I’m always trying to get to the heart of what makes for a meaningful life, and even to get down to the meat of questions about what’s behind our need as humans to feel, and to make, meaning. And on some level the songs (yes, all of them) are simply vehicles to express gratitude for life and its lessons. When the band writes and arranges the musical aspects of the songs collectively, we have a natural aesthetic that invariably comes out, which seems to complement my lyrical bent perfectly. And that feels like magic. I can’t explain it.

Every band has a moment where the project “clicks.” Was there a specific rehearsal, show, or song that made you realize this band had its own unique chemistry?

JC - I think it was after playing a number of months at the SoHo jam when we realized that this was a real thing and we should start writing together. There was also the first night of our residency at Blues on Whyte that felt amazing.

HG - I think that specific moment you are referring to was actually a random short notice gig that Jamie had booked us at a golf course. It was an ok paying gig and we’d probably been doing the SOHO house band thing and we figured we had a couple sets of music and should go make some extra bucks.  During that gig we all kind of looked at each other (at that point it was just 4 of us, Me, Dana, Jamie and Kyle) and realized we were a band.  It was that same night we decided we should start working on original material and record what would end up becoming “Answer the Call”

Your live performances have a reputation for being immersive. How do you approach translating your recorded sound to the stage without losing the atmosphere that defines your tracks?

DW - Really, the atmosphere that defines our songs emerges from our live performances, rather than from the recording studio. Right from our inception as a band, our focus is always on live performance; that’s what we really love to do. Our songs grow best in that environment too; we always road-test songs at live shows as many times as possible before recording them, and that feels essential. The intangible but unmistakable feedback you get from audiences is very much part of the process. And when we go in the studio, we put down what we do live. It’ll get honed and shaped and tightened through the recording process, inevitably, but the songs are built in live performance.

The indie scene is crowded, but your aesthetic feels intentional. How do you think about visual identity — artwork, videos, stage presence — as part of the overall storytelling?

HG - I mean, there’s some intention with it, as I guess there needs to be, but really for us, the music comes first, and it comes naturally, but most of everything else just sort of there to support it.  The way we combine retro and modern elements and influence in our music is reflected in our style, which itself is really just a slightly curated version of everyone's individual styles.  We put some effort into making sure everything feels cohesive for sure, but it’s nice to hear that it feels intentional… for the most part it’s just us! And I guess that’s a part of the story too!

Collaboration can be both energizing and challenging. What does your creative process look like when you hit a disagreement or a creative block?

HG-   Fortunately we don’t run into that roadblock very often… Since everyone in the band has so much experience as a session musician, people are used to leaving their egos at the door and serving the music first.  Usually it makes for a pretty incredible process, and on the rare occasion there is a disagreement, it usually involves me, and we still all respect each other, that even when we but heads we’re able to find compromise and move past it.

Looking ahead, what’s the next evolution of Secondhand Dreamcar? Are you leaning toward expanding your sound, experimenting with new genres, or refining what you’ve already built?

JC - I think we have really found our sound and after a busy year of playing, followed by the recording of our next album in early January the band has developed the chemistry and comfort level that comes with playing together a ton and our friendship.

HG - The band is a really supportive and safe environment for us to push ourselves and each other, so I think we will continue to evolve, but I don’t think it’s going to be anything radically different.  I think new sounds and textures are always cool, and hearing things other people are doing and wanting to incorporate them into the band is something I could see.

You’ve now earned a JUNO nomination, which is a milestone many artists dream about. How has that recognition shifted your sense of momentum or responsibility as a band?”

JC - We have been working hard on moving forward and keeping momentum going. I feel this nomination will help push us toward our goals and I am excited for 2026!