Kansas City artist Jared Bond has released a powerful new single called “Gross,” a track that demands immediate attention. Following his success with “Sugar Rush,” this release combines alternative rock, art rock, and grunge into something raw and unforgettable.
The song opens with hazy guitar work that creates a dark musical landscape. Bass grinding, driving drums, and Jared’s intense vocals create an intentionally unsettling sound that matches the song’s confrontational message.
Lyrically, “Gross” examines greed, corruption, and inequality in modern society. Rather than targeting specific individuals, the song addresses systemic issues involving leaders, institutions, and society broadly. Jared believes art should challenge rather than comfort, and this track fully embraces that philosophy.
His background adds crucial context. Originally the drummer for power-pop band Josephine Collective, which signed with Warner Brothers Records in 2006, Jared left music to raise a family and work as an ICU nurse. His healthcare experience directly influences the anger found in “Gross.”
The arrangement includes unexpected elements like chaotic guitar solos and haunting harpsichord. The lyrics confront uncomfortable truths without backing down, creating necessary discomfort that forces examination of difficult issues.
For alternative and grunge fans, “Gross” functions as both artistic expression and emotional release, representing one of Jared Bond’s most confident and daring works.
Listen to Gross below
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What inspired you to write and release your latest single, “Gross”?
I wrote Gross in the winter of 2024–2025, after the killing of Brian Thompson. I want to be clear—the song isn’t about him specifically, but about what his story revealed. The way violence was met with indifference, and often celebration, felt like a symptom of something much deeper: a society numbed by greed and inequality. Writing about it was tricky, because of all the ethical gray areas, but I kept coming back to the idea that this song wasn’t about one person—it was about all of us.
People sometimes assume it’s about Donald Trump, and although I would jump at any opportunity to say “fuck that guy”, I consider him too pathetic and small to deserve even these few sentences. It’s about greed, corruption, overconsumption—and how those things live in our leaders, in our systems, and even in ourselves. I do feel the best way to positively impact humanity is to search for the ugliest parts of it in yourself, and do something about it from within. So the lyrics could be about anybody refusing to do that work.
How would you describe the sound and mood of “Gross” to someone hearing it for the first time?
It’s unsettling on purpose. When I was writing it, I was laughing to myself because my wife hated it—I kept asking, “what’s the most disgusting chord I can play?” or “what’s the nastiest lyric I can come up with?” The more repulsed she was, the more I knew I was on the right track.
The mood is dissonant, abrasive, and sometimes even nauseating—at least that’s what I was going for. Some curators and bloggers have refused to circulate it calling it “unsettling” or “disorienting,” and I take that as a compliment. I just think they miss the point I’m trying to make, and that’s ok. Art isn’t supposed to be comfortable.
Does “Gross” reflect a specific personal experience or story?
Not directly, but I do feel close to it as an ICU nurse. I’ve seen how our healthcare system fails people, especially those without money or access. Your socioeconomic status can determine the care you receive—and that reality fuels a lot of my anger. The second verse, in particular, came straight from that frustration.
“You’re a virus, keeping everybody ill.
You hide the vile, so you can sell the pill
Your tongue is poison, swollen with lies
That’s a claim even you can’t deny”
That last line is a jab at health insurance companies seeking to deny claims to maximize their profits. That’s as gross as it gets. It makes me puke in my mouth.
What was the creative process like when making this track?
This one started with the title. I’d been experimenting with finding a word or phrase first, and then making every lyric serve that title. Once I had Gross, the song poured out—lyrics, chords, melodies all circling back to that one word.
I showed it to my longtime collaborator Jim Embry, who came up with the bass line. A week later we were in Element Studios tracking drums and bass live, which gave the whole thing a raw, organic feel. From there, Joel Nanos worked his magic on the engineering and mix, and Joe Hutchinson mastered it. It was a really fluid process from idea to finished track.
How does “Gross” differ from your previous music?
I think this song marks a shift in confidence for me, and it definitely rocks the hardest out of the ones I have released this year. I’ve been writing a lot lately—sort of a flurry of songs in a short time—and Gross feels like part of a bigger breakthrough. I’m finding my voice, both literally and lyrically, and leaning into the themes that feel most urgent to me.
What message or feeling do you want listeners to take away from the song?
I’m not trying to tell anyone what to think. I try not to hand people conclusions—more to provoke thought and emotion. Personally, when I perform Gross, I feel a release. It feels good to shout back at corruption and greed through a rock song. If listeners feel that same catharsis, or even just stop and think for a moment, then I’ve done my job.
Were there any unexpected challenges during the production of “Gross”?
The guitar solo was a fun challenge. I’m a drummer first, so soloing isn’t my natural lane. But this song demanded something wild and ugly, so I went for it. I worked it out at home between studio sessions and ended up with something chaotic but fitting. And not being a great guitarist actually served the “grossness” of the song. I couldn’t miss.
The bridge also surprised me—I played a harpsichord part that just clicked perfectly with those dissonant chords. It lit the song up in this creepy, unsettling way I hadn’t expected.
How involved were you in the songwriting and production of this single?
Very. I wrote it on my acoustic guitar at home, arranged it, and played everything except for bass (that was Jim Embry). Joel Nanos engineered and mixed it, and Joe Hutchinson mastered it. I love collaborating with great people, but I also enjoy being hands-on in every stage.
Can you share any interesting behind-the-scenes moments from making “Gross”?
Honestly, the best moments were when things got too weird. Between my wife’s disgusted reactions at home, and me trying out a harpsichord in the studio, it felt like the song had its own mischievous energy. Instead of resisting that, I leaned in—and the song became what it was supposed to be.
What can fans look forward to next after the release of this single?
More music is coming! My next single, Love and Reason, drops October 1st—it’s a bit of a departure, more from the heart than from my recent cynicism. I’ll also be playing a show October 9th at The Ship in Kansas City. I’ve put together a killer band for it: Kyle Devlin (Gametime) on guitar, Jim Embry (Root and Stem) on bass, and Dave Dalby (Atlas) on drums. We’ll be playing all six songs currently streaming plus two unreleased ones. It’s going to be a night to remember.
