Having recently released his singles Faithful Friend and Crossroads, Max Bartos is set to release his new album Waiting at the Crossroads on 16th September, which has been a year in the making. Currently, Max is touring America with his The Crossroads Tour, which has seen him perform at places such as Durham and Los Angeles, and in January this year, he co-produced the benefit concert Songs That Saved My Life with Izzy Imamura at 54 Below in aid of the non-profit mental health organisation Aevidum. As a stage actor, Max originated the role of Darren Mulvey in the world premiere production of Sing Street at New York Theatre Workshop in 2019, having previously been involved with the workshop, and he was due to reprise his role in 2020 at the Lyceum Theatre on Broadway for his Broadway debut, though unfortunately the COVID-19 pandemic stopped the show from opening. Max also has screen experience, playing Dwarf 1 in Uncut Gems with Adam Sandler, Pierogi in The Most Dangerous Man with Paul Logan and Young Shane Dawson in The Lottery with Missi Pyle. Speaking with Max, he told us about his new album Waiting at the Crossroads (set to release 16th September), touring America with his The Crossroads Tour, originating the role of Darren Mulvey in Sing Street on stage and his screen projects.

Your new album Waiting at the Crossroads is set for release on 16th September, what are you looking forward to for the release and what do you hope listeners will take from it?

I think what I’m most looking forward to is simply letting these songs go and seeing how they land with people. Waiting at the Crossroads was written in a time where I felt stuck between who I was and who I was becoming, and it captures a lot of late-night questions, quiet doubts, and the strange kind of hope you find when you’re not sure what’s next.

For the release, I hope listeners hear themselves in these songs, whether it’s in the moments of fear, nostalgia, or resilience, and feel a little less alone in whatever ‘crossroads’ they’re standing at in their own life. If it encourages someone to keep moving forward, or even just to pause and breathe and realise they’re not the only one carrying those feelings, then I’ll feel like the record did its job.

Can you tell us about the album and how long has it been in the making?

This album has really been a year in the making. I started writing most of these songs when I felt caught in-between, like I wasn’t the person I used to be anymore, but I wasn’t fully the person I was becoming either. Waiting at the Crossroads is about that space: the doubts, the ghosts you carry, and also the little flashes of light that keep you moving forward. Over the past year, I’ve been shaping those feelings into songs, working closely with my band and collaborators to bring them to life. It’s been a long journey, but one I think was worth every moment.

What was it like deciding on the tracklist and what has the album been like to write and record?

Deciding on the tracklist was a little like piecing together a journal – it wasn’t just about picking the best songs, it was about finding the order that told the story honestly. Each track represents a different moment I went through over the past year, so I wanted the album to feel like you were walking alongside me through all of it; the doubts, the moments of light, the in-between spaces.

Writing and recording it has been both challenging and really grounding. Some songs came pouring out in one sitting, while others I wrestled with for months. In the studio, it was about finding the right balance between keeping things raw and giving them the right texture with the band. There were late nights, plenty of trial and errors, but also these magical moments where everything clicked and you felt the song finally breathe. That mix of struggle and joy is part of what I think makes the record feel alive.

How was it seeing the response to your recent singles Faithful Friend and Crossroads and where did you get the inspiration for both songs?

Seeing the response to Faithful Friend and Crossroads has honestly been overwhelming in the best way. When you write these songs, they start as such personal reflections, you’re not sure if anyone else will connect to them. But hearing people share their own stories and finding pieces of themselves in the songs has been really moving. It’s a reminder of why I do this in the first place.

Faithful Friend came from a place of nostalgia, looking back at the people who have walked with me through different stages of life and wondering where that innocence went. It’s kind of a three-act story about life, death, and everything in between. Crossroads was born out of wrestling with my own inner demons. Both songs came from different corners of my life, but they both circle back to the same themes of presence, struggle, and holding on.

You are currently performing on your US Tour – The Crossroads Tour – how has the run been going so far?

The Crossroads Tour has been incredible so far. Every night has felt different, but there’s this common thread of connection – people showing up not just for the music, but for the sense of community that happens in the room. We’ve had some wild, high-energy nights, and we’ve had quieter, more intimate moments where it feels like we’re all around a campfire together.

For me, it’s been surreal to take these songs, many of which I wrote alone in my bedroom, and share them across the country with people who are finding their own meaning in them. It’s exhausting in the best way, and I think it’s given the songs new life.

How are you finding the experience touring America and have you had any favourite venues/locations to visit?

I absolutely loved Durham, NC! I played an awesome venue called Huron Stage and it was just a great night filled with great people, and great music! We also played the legendary Whisky a Go Go in LA, which was truly just a dream come true.

How would you describe your music style and who do you think your songs will appeal to?

I’d describe my music as folk at its core, but with a raw, modern edge. It’s acoustic-driven, with touches of mandolin, fiddle, and electric textures that give it both intimacy and energy. Lyrically, I lean into storytelling, pulling from personal experiences, doubts, and moments of light, and I try to write in a way that feels both specific and universal.

I think these songs will resonate with anyone who’s ever felt stuck in-between, between who they were and who they’re becoming, between fear and hope. Fans of artists like Noah Kahan, Glen Hansard, or Mumford & Sons might feel at home with it, but ultimately, it’s for anyone who’s looking for honesty, connection, and maybe a reminder that they’re not alone in what they’re feeling.

In 2019, you originated the role of Darren Mulvey in the world premiere production of Sing Street at New York Theatre Workshop, what did you enjoy about being part of the cast and what was Darren like to play?

Being part of the Sing Street cast at New York Theatre Workshop was honestly life-changing. It was my first big professional experience, and there was something really special about building a show from the ground up with such a passionate, tight-knit cast. We all felt like a band in real life as much as we did on stage, and that sense of family carried into every performance.

Playing Darren was a joy because he’s got this mix of humour, heart, and vulnerability. He’s supportive but also a little bit of a dreamer in his own right, and it was fun to step into his shoes and bring that balance to life. What I loved most was being able to find the layers in him – not just the comic relief, but the real warmth and loyalty that make him so memorable.

How was it workshopping the stage adaptation before taking the show to New York Theatre Workshop (off-Broadway) and what do you feel you learnt from working on a major world premiere?

Workshopping Sing Street before bringing it to New York Theatre Workshop was such an exciting and eye-opening process. We were constantly experimenting; trying new scenes, songs, and directions, and as a young actor, it taught me how collaborative theatre really is. You’re not just handed a finished script; you’re part of shaping it, which is both challenging and really rewarding.

Being part of a major world premiere taught me patience, adaptability, and the importance of trusting the process. Things change overnight, and you learn to let go of perfection and lean into discovery. It also showed me the power of building something as a team, every department, from music to design to direction, came together to create something bigger than any one of us. That sense of collaboration and resilience has stuck with me ever since.

It had been announced that you were due to reprise your role on Broadway at the Lyceum Theatre in 2020 before theatres closed due to the coronavirus pandemic; what were you looking forward to for making your Broadway debut and is there anything you miss most about performing as Darren?

Making my Broadway debut in Sing Street was something I’d dreamed about for as long as I can remember, so when it was announced for the Lyceum Theatre, I was beyond excited. I was looking forward to the energy of stepping onto a Broadway stage every night, sharing the story with bigger audiences, and getting to live in that world with the cast again on such a grand scale.

What I miss most about playing Darren is the sense of fun and heart he carried into every scene. He was always the guy rooting for everyone else, with this mix of humour and loyalty that made him such a joy to play. More than anything, I miss the family we built around the show, the cast truly felt like a band, and that’s a rare and special thing to experience.

As a screen actor, your roles have included Dwarf 1 in Uncut Gems with Adam Sandler, Pierogi in The Most Dangerous Man with Paul Logan and Young Shane Dawson in The Lottery with Missi Pyle, can you tell us about some of your screen projects?

I’ve been really lucky to be part of some unique screen projects over the years. Uncut Gems was surreal, I mean, sharing a set with Adam Sandler and seeing the Safdie Brothers’ directing style up close was unforgettable, even in a smaller role.

The Most Dangerous Man was a completely different experience, more of an action project, where I got to play a little Russian kid named Pierogi alongside Paul Logan, which was a lot of fun and definitely outside my comfort zone.

And The Lottery gave me the chance to work with Missi Pyle and dive into a character-driven story, which is always rewarding as an actor.

What I’ve taken from all of these is how different each set feels, the pace, the style, the tone, and how much you grow from adapting to each one. Every project has taught me something new about storytelling and collaboration.

Where does your love of music and acting come from and how did you get into both?

My love of music and acting really grew out of storytelling, but it deepened after a turning point when I was 11. I had a bike accident that sidelined me from most things kids my age were doing, I couldn’t play sports or keep up in the same way anymore. The one place I could still fully express myself was through art and music, and that became my outlet.

From there, acting gave me the tools to step into different lives and understand people in new ways, while music became the space where I could process my own feelings and tell my own story. In a way, the accident forced me to slow down and discover what I loved most, and I don’t think I’d be here without that. Both music and acting are about connection and honesty, and that’s what’s kept me chasing them ever since.

What are some of your favourite films, TV and theatre shows to watch and music artists to listen to?

For TV, one of my absolute favourites is It’s Always Sunny in Philadelphia, it’s absurd and hilarious!

In theatre, shows like American Idiot, Spring Awakening, and Whisper House have been huge for me. They’re emotional, and musically-driven, which is the kind of theatre that’s always inspired me most.

As for music, I listen to a pretty wide range, but I’m especially drawn to artists who lean into storytelling and emotion, whether it’s folk, punk, or something in between. That mix of vulnerability and energy is what I connect to most, and it definitely shapes the kind of art I make.

How do you like to spend your free time?

In my free time, I like to stay active, it helps balance out all the hours of sitting with a guitar. I’ve gotten really into working out and boxing, which is a great way to clear my head (and get some of that nervous energy out). I also love walking through Central Park.

We understand you co-produced the benefit concert Songs That Saved My Life at 54 Below alongside Izzy Imamura in January, raising money for the non-profit mental health organisation Aevidum, can you tell us about this?

Yeah! Songs That Saved My Life was such a meaningful project for me. Izzy and I co-produced it this past January at 54 Below, and it was both a celebration of music and a fundraiser for Aevidum, a non-profit mental health organisation. The idea was to bring together performers to sing songs that had personally impacted them, tracks that helped them through dark or difficult moments.

It was powerful, not just because of the music, but because of the honesty behind it. Everyone on stage was sharing a part of themselves, and the audience could feel that. Knowing that we were also raising money and awareness for mental health made it even more special. Mental health is something that touches everyone in some way, and creating a night where people could feel seen and supported was incredibly rewarding.

Do you have any further career plans coming up that you can share and what are you hoping the next few months bring?

Right now, the big focus is on finishing The Crossroads Tour and leading up to the release of my album Waiting at the Crossroads on September 16th. I’m already deep into writing and recording the next record, about eight songs in so far, so I’m excited to keep building on the momentum. Beyond that, I’m always balancing both music and acting, so I’m looking forward to exploring more opportunities on stage and screen as they come.

In the next few months, I’m really hoping for connection, meeting more people on the road, sharing these songs in new places, and continuing to grow this community around the music. If the past year has taught me anything, it’s that showing up and creating spaces where people feel less alone is what matters most to me.

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