Swing Revival: Challenging the Status Quo with Steve Perry of the Cherry Poppin’ Daddies

Origins and Influences

Steve’s introduction to swing music was personal. “My mother was a big fan of old movies, and we would watch them on Sundays,” he shared. She also gifted him The Smithsonian Collection of Jazz, a pivotal moment that sparked his imagination. “In 1988, I wrote several songs (Dr. Bones and Cherry Poppin Daddy Strut) attempting to meld swing with punk and ska music for our first EP called 4 From On High.”

Steve’s path to swing wasn’t straightforward. Coming up in the punk rock scene, he didn’t feel accepted. “I didn’t want to be a goosestepping punk rocker,” he said. “Punk rock is DIY and important, but I wasn’t satisfied. Bands were just sounding like other bands, and that wasn’t enough for me.” He explored subcultures and became fascinated by their evolution. “I didn’t like the violence; I thought it was stupid. I quickly grew out of three chords and wanted to express myself with complexity.”

“I needed an art that would challenge me, not just some style and stance I could buy into and be accepted. I needed to prove myself to myself and attempt to blaze trails.”

The Swing Revival Era

The Swing revival—which Steve described as centered in cities like San Francisco with iconic clubs like Bimbo’s and Club Deluxe—was a melting pot of retro and rebellion. “At a show in the Inland Empire, I noticed the audience—particularly the women—blending ’40s retro with punkabilly fashion. It felt like the perfect blueprint for where the subculture could go,” he shared.

But things didn’t quite pan out that way. “Events took it away from that and made it more bourgeoisie,” Steve said. The Daddies intentionally kept their distance from the mainstream swing scene, opting to stay “dirty and punky” in their fashion and ethos.

When discussing fashion, Steve credited Vivienne Westwood as a major influence. “If Vivienne Westwood had gotten her hands on swing, it could have evolved into something edgier and more innovative,” he said. Instead of simply replicating ’30s and ’40s styles, he envisioned a fusion of eras and aesthetics that pushed boundaries.

“Remember the ‘Disco Sucks’ backlash in the ’70s? Only threatening movements get this kind of treatment and get summarily trashed to the dustbin of history. I think we all know, especially now, why that stuff happens again and again in history and which cultural movements have extremely long lifespans. The answer might be on your skin and between your legs.”

Challenges and Misconceptions

As the Swing revival gained momentum, it faced its share of criticism. Steve drew parallels between the “Disco Sucks” backlash of the ’70s and the dismissal of swing culture. “Only threatening movements get this kind of treatment,” he argued. “Disco came from Black and gay culture and threatened white male culture. Swing’s emphasis on politeness, fashion, and effort makes it similarly threatening.”

Steve didn’t hold back when critiquing the swing scene’s gatekeeping tendencies. “Too many people got enamored with orthodoxy, wanting to replicate the past instead of building something new,” he said. This obsession with “authenticity” stifled innovation and ultimately turned many away.

Subversion and Storytelling

One of the most fascinating parts of our conversation was Steve’s take on storytelling in music. Drawing on Henry Louis Gates’ concept of “Signifyin’,” he explained how subtle, subversive messaging can provoke thought. “Signifyin’ is an important lyrical methodology in popular jazz writing,” Steve said. “It’s born of segregation and inseparable from understanding and communicating in a jazz—or swing—manner.”

The album Zoot Suit Riot reflects this approach, addressing complex issues like child abuse and class hierarchy. When I asked if this subversion was intentional, Steve explained, “You have to be sneaky, delivering a message people don’t expect. In order to truly make someone empathize, you have to show the world in a different way. Don’t mimic it; think about it in a way that’s new and interesting.”

“I believe that the Swing revival is ongoing, albeit underground, subcultural and therefore taking place in the realm of the theoretical.”

The Future of Swing

When asked about the future of swing in the digital age, Steve was both hopeful and critical. “There’s so much potential for modern music to draw from 20th-century genres, but artists need to push the envelope,” he said.

He compared it to fusion cuisine: “You can make traditional Mexican food, but mixing it with Korean flavors creates something new and exciting. Swing needs to do the same.”

Reflection and Growth

As someone who lived through the Swing revival as a young adult, I couldn’t help but reflect on how transformative—and complicated—that time was. I mentioned to Steve that this isn’t new—songs like Dinah Washington’s Long John Blues from the 1940s used double entendre to address unwanted advances, showing that these dynamics of power and vulnerability have been embedded in the culture for decades. Steve followed up with this thought:

“In order to truly make someone empathize, you have to become an artist and show the world in a different way. Don’t mimic it, and we need to make people cross the line over to us and see it our way. We can’t yell or go with the same old cliches—that’s all worn out.”

Final Thoughts

Steve Perry’s insights go far beyond swing music. They challenge us to rethink art, culture, and how we engage with both. From his punk rock roots to his commitment to subversive storytelling, Steve has always pushed boundaries—and continues to do so.

When I asked Steve what he’s working on now, he shared:

“I still write new music and put it out. Lately, I have been trying to subtly communicate context from the 20th century to artistically shine the light on current events in an artistic manner. It’s something I have really attempted my whole career. I also tend to be a little more intent on getting people to understand Henry Louis Gates’ concept of ‘signifyin’.’ I believe this is an important lyrical methodology in popular jazz lyric writing born of segregation and employed during the 20th century that feels inseparable from understanding and therefore communicating in a jazz (i.e., swing) manner. What was called ‘Jive’ and the targeted use of words generally underlies a dialectic between liberation and exclusion that is important to the very construction of the music in order for it to be ‘authentic’; much more so than buying the correct time period clothes.”

Steve’s reflection emphasizes that swing music is more than a sound or a style—it’s a deeply rooted dialogue of history, subversion, and liberation.

The Swing revival wasn’t just a blip in musical history. It was a moment of innovation, rebellion, and, yes, some messy complexities. But as Steve reminded me, history is a river inside us. We can dip our toes in, reflect, and use those lessons to move forward. And honestly? That’s a tune I’ll always dance to.