Some artists might wear the soul sound like something anachronistic and trendy found in a flea market secondhand. Los-Angeles-based singer-songwriter Dylan Chambers wears it like a hand-me-down that’s been in his family for generations.
Between a mother working in the industry and a grandmother who’d play him Elvis Presley records, he says of his youth that he was in music the way a fish is in water. It was only a natural career choice, and one he’s succeeded in.
That success is the topic of his latest single, “I’m Already There,” a celebration of his career so far. Celebrating without slowing himself down. “Maybe the lore of music and rock and roll is that there’s a place that you arrive to, and that’s the ‘making it’ of a life, a career,” Chambers says, “I realized pretty recently that I’ve had a musical career for a while now. I feel very grateful for that, but I’ve always moved the goalpost. I never looked at it like ‘I’m doing this,’ but my life is music. I haven’t had a job in a really long time, but I didn’t realize I was doing it. There’s no place I really need to get to. Acknowledging I can be proud of myself for how far I’ve come.”
Growing through gratitude instead of fear. Rejecting a comparative mindset. No small feat after fifteen years in the City of Angels.
On his recordings, the positivity is palpable, even if a song’s lyrics are sad, he wants people to dance to his pain. It’s something he admires about the artists he takes inspiration from. The ability to be a good spot in a bad day, be it in the music or outside it. Speaking on the day of Dolly Parton’s passing, “Bigger than her music or film or art, I admire her ability to uplift the human experience.” You just said it all, Dylan.
Speaking of those moving goalposts, Chambers is working toward making his life a permanent festival season. (Aren’t we all?) “I love the energy and the opportunity to be discovered from festivals. It just feels like such a great community vibe. I get to see some of my favorite bands too, it’s just the coolest thing. If I could live in a festival, I would.” On September 19th, he’ll set up camp at Whale Rock on California’s Central Coast.
Fresh off of a tour supporting fellow retro pop dealers Fitz and the Tantrums, he’s no stranger to winning over crowds. At a recent residency at Hong Kong’s Carlisle Café, he made jazz audiences dance for three sets a night, four nights a week. This November, he’ll set out for a West-Coast run with Canadian group Bombargo. Making people dance seems to be the through line.
With two singles before an EP worth of groove-heavy recordings coming down the pipeline, it figures to be a big year for the Texas-born musician. He’ll round it out an all-star cover of “Christmas (Baby Please Come Home),” produced by Chambers and featuring Dave Koz on saxophone, and a tour to support it. He also teased a collaboration with Philly soul legend John Oates, a recording of live staple “Bad Bad Girl” (co-written by Chambers and Gregory “Aldae” Hein) that was directly influenced by the man himself.
