Minneapolis indie-rock trio Yam Haus (Lars Pruitt, Jake Felstow, Zach Beinlich) have carved their name on vulnerability and evolution, and their latest release doubles down on both. Out now via Big Loud Rock, the dual single “Arrest Myself / Dollar Store Mansion” finds the band in a reflective mode—dreamy, intimate, and brutally honest. With their October 10 headline show at Mercury Lounge in New York City just around the corner, Yam Haus are reminding us why they’ve become one of indie rock’s most quietly magnetic forces.

Two Sides of Intimacy

“Arrest Myself” is soaked in nostalgia—a smoky slow-burn inspired by Cigarettes After Sex’s nocturnal haze and the earnest storytelling of Bruce Springsteen. It captures the breathless, bittersweet moment of falling in love for the first time: that heart-bursting rush when you realize, “Shit, I’m actually in love.”

Its counterpart, “Dollar Store Mansion,” tells a different story. Here, Pruitt takes on the voice of a self-aware anti-hero—pushing love away under the weight of self-loathing and fear. “Stay away, I’m bad news,” he warns, in a track that feels both raw confession and reluctant act of care.

Together, the two singles feel like mirror images: one glowing with possibility, the other shadowed by doubt. Both are carried by Yam Haus’s signature balance of lush soundscapes and unflinching honesty.

A Band in Constant Motion

The new singles follow a steady run of releases in 2025—“One Bullet Left,” “Green Lights,” and “Misery Island / Spit In My Face”—that continue the evolution from their 2023 debut EP Stupid and Famous. Where that record leaned into guitar grit and restless angst, their new music feels more atmospheric, more cinematic, yet still anchored in emotional risk-taking.

It’s this willingness to shapeshift without losing heart that has fueled Yam Haus’s rise. With over 23 million global streams, and a live resume that includes opening slots for The Killers, Flaming Lips, Death Cab for Cutie, and more, the trio have proven they can move from the small stage to the big leagues without losing their intimacy.

The Road Ahead

Fans on the East Coast won’t have to wait long to experience the band’s new era live. Yam Haus headline Mercury Lounge in New York on October 10, followed by MilkBoy in Philadelphia (October 11) and DC9 in Washington, DC (October 12). For a band whose reputation thrives on the electricity of their live show, these dates mark a chance to witness songs like “Arrest Myself” and “Dollar Store Mansion” in their fullest, most vulnerable form.

For Yam Haus, the message is clear: vulnerability isn’t weakness—it’s strength, it’s connection, and it’s the very thing keeping indie rock alive.

Your new dual release, “Arrest Myself / Dollar Store Mansion,” feels like two sides ofthe same coin — one about the dizzying rush of love, the other about pushingsomeone away. How did you decide to pair these tracks together?

You’re totally right. I like it because it feels like it encapsulates the whole picture of what love tends to feel like. On one side it’s this euphoric head rush of romantic commitment (arrest myself), and as rubber hits the road you’re confronted with all the cracks in your own foundation. They are a more 360 degree look into what love feels like. We honestly had these two songs ready, and I think most of those connections were made after they were at the table as potential next releases. It was a serendipitous good fit to have them together, so we went with it.

“Arrest Myself” pulls influence from Cigarettes After Sex and Bruce Springsteen — two very different sonic worlds. How do you approach weaving such distinct inspirations into a cohesive sound?

It’s fun pulling from different places. In the studio, we love to give ourselves license to steal a bunch of different specific sounds and inspirations because when you’re done you’ve usually made something new. I think all creatives do some sort of parroting that leads to this new thing that ends up being their own voice. It’s really enjoyable, and natural I think. It all bleeds in together.

The imagery behind “Arrest Myself” — a smoky bar, the moment of realizing you’re actually in love — is cinematic. Do you often write songs as if they’re scenes from a film?

Not necessarily, which is why I’ve recently enjoyed getting into Cigarettes After Sex so much because it was such a refreshing sound for me. Every song of theirs feels like a scene from a movie. I come from more of a heart on your sleeve autobiographical or lofty sentiment topline world so to have these casual scene setting toplines hit my ears from that band, I was inspired to try the same thing. It happened pretty effortlessly, and I’m not sure I nailed it like they do, but it felt like a fresh Yam Haus song.

“Dollar Store Mansion” is brutally honest — almost a warning to stay away. Was writing it cathartic, or did it feel more like holding a mirror up to yourself?

It definitely felt more like holding a mirror up to myself. I’ve always found it easier to not only right from my perspective, but to also be my harshest critic. Dollar Store Mansion is a very self reflective look at what it would look like to give someone else a warning that they could be getting themselves into a sticky situation.

Your songs consistently explore vulnerability as strength. How has embracing honesty shaped not just your music, but your connection to fans?

I think embracing one’s vulnerability as strength is a crucial step in self realization. Knowing that being vulnerable can open yourself up to not only understanding yourself better, but it can also create a deeper connection with the people around you. I think that is evident in our song and our relationship with our fans. Our hope is that showing vulnerability in ourselves will help others do the same.

Looking back at your debut EP Stupid and Famous and now at this new release, what do you feel has shifted most in your creative process?

Our creative process shifts from project to project. The Stupid and Famous EP was done with our friend Tony Hoffer and he informed a lot of what we did in the studio during those sessions. We have the ability to kind of flow like water given the environment we are put in. The former was a lot more focused in getting the songs done in one time period and the most recent sessions were a lot less precious in that way. The songs came a lot slower and were methodically created in our new sonic identity.

You’ve shared stages with legends like The Killers and Death Cab for Cutie. What have you taken from those experiences into your own headline shows?

Watching these bands perform have truly been some of our favorite live shows we’ve been able to experience. The visceral energy that they brought to the stage, the genuine expression of songs that mean a great deal to the artists and so many fans, and the commanding stage presence was unforgettable. These are bands that we definitely take inspiration from in how we perform live.

You’re about to headline Mercury Lounge in NYC, one of the most iconic intimate venues in the U.S. How do you prepare differently for a room like that compared to festivals or support slots?

Anytime we get to play a show in NYC we feel a sense of awe. It’s one of our favorite cities and you can’t help feel an added amount of excitement and anticipation getting to perform there. We try to be 100% ourselves and bring our best to any show that we play, but there is something special about getting to play a show in the heart of a city like New York.

With over 23 million streams, Yam Haus has proven you can thrive in both digital and live spaces. Do you see yourselves more as a ‘live-first’ band or one that builds worlds in the studio?

I know deep down we would love to be able to say that we’re both. I think we’re waiting for the right time to be able to release long-form projects from the studio more frequently to have it be more balanced. I think there is something special about when we get to play live together.

If you could distill “Arrest Myself / Dollar Store Mansion” into one emotional message for listeners, what would you want them to walk away with?

Love hurts, but it’s the kind of pain that makes life worth living.