Tom Hamilton’s American Babies: MASQUERADE BALL OF LIGHT AND DARK with Special Guest BOB WEIR

Tom Hamilton’s American Babies: MASQUERADE BALL OF LIGHT AND DARK with Special Guest BOB WEIR

Doobie Decibel System with Roger McNamee, Jason Crosby, & Dan "Lebo" Lebowitz

Friday, November 18, 2016

Doors: 8:00 pm / Show: 9:00 pm

SOLD OUT! THANK YOU!

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This event is all ages

American Babies
American Babies
As part of the upcoming Epic Tour From East to West we are throwing four Masquerade Balls of Light & Dark in Boulder, CO (10/22), Chicago, IL (10/29), New York, NY (11/5) and Mill Valley, CA (11/18). For these four performances we ask that attendees dress in black and white and wear Masquerade Masks of their choosing. “A group of our fans in Rhode Island organized a group of people to wear masks similar to the characters from the cover of our “Epic Battle” album cover to a show, and we just loved it,” says Tom. "It was super cool to play to an audience that was dressed up like that, and we wanted to expand on the concept.”

The band will also be putting on their musical masquerades for these performances and performing the music of Radiohead in Boulder, The Beatles in Chicago, David Bowie’s Blackstar album in New York, and The Dead (with a Very special guest) in Mill Valley for the 11/18 show (11/19’s show will be a two set American Babies performance). These themes “just felt right to pair with these cities and venues”, explains Tom, and “working on and rehearsing these songs has already been incredible, we can’t wait for the show.”

American Babies defies easy categorization. The Philadelphia-based band shapeshifts between Americana, psych-tinged indie rock and classic rock—leading them to spots opening for Bruce Hornsby, Greensky Bluegrass, the New Mastersounds and the Felice Brothers, as well as appearances at Gathering Of The Vibes, Electric Forest, Bonnaroo and the Allman Brothers-founded Peach Festival.

With such a chameleonic existence, it's unsurprising that American Babies founder/principal member Tom Hamilton's guiding creative principle is very simple: He doesn't like to repeat himself artistically. For the multi-instrumentalist, this mindset stems from a deep-seated need to always keep pushing himself as a musician—to delve into different lyrical themes and musical detours, and to explore potentially uncomfortable and unfamiliar emotional places.

"After you stop writing songs about standard things, then you're left with who you really are as an artist," he says. "Maybe you have to dig deeper into yourself, and talk about some shit that maybe you don't really feel comfortable talking about—or that you're not even ready to talk about. But that's what you're left with, if you keep challenging yourself.

"For me, that's where I am I my career. I'm trying to find the deeper things inside, and to start scratching those itches and opening up those doors that I didn't even really know were there."

Hamilton certainly dug deep when he and musical collaborator Peter Tramo started writing American Babies' fourth studio album, An Epic Battle Between Light And Dark. The record ended up evolving into an introspective collection that's a "meditation on mood," Hamilton says. "A meditation on dealing with having a hard time. Dealing with that constant struggle of confidence and doubt, that struggle of depression, anxiety and comfort."

The impetus for these themes was the sudden August 2014 death of Robin Williams, whose approach to comedy and acting—specifically, his penchant for improvisation and a dislike of repeating material—resonated strongly with Hamilton. "I consider myself a survivor of depression—I got through my late teens and twenties in spite of it, basically," he says. "When Robin Williams passed away, that was a heavy, heavy thing for myself. Topically, we started to explore dealing with depression and what a common thing it is these days. It was something that really hit home."

Hamilton admits the weightiness of this topic at first gave him pause—"Talking about mental illness and how we've experienced it or have dealt with it in others is a pretty fucking heavy thing. I wondered, 'Is that really a road I want to go down?'"—but once he and Tramo finished the album's first two songs, the War on Drugs-meets-Springsteen surge "Synth Driver," and the synthesizer-stacked, disco-tinged pop tune "Oh Darling," he knew they were on the right track.

"'Synth Driver' and 'Oh Darling' had two very unique grooves to them," Hamilton says. "That was the first marker of success for us. They have these really cool drum feels that affect you viscerally. These songs just opened the floodgates for the rest of the record, basically, and gave us direction as far as where we were going with it, sonically and lyrically."

Indeed, An Epic Battle Between Light And Dark is a dense record predicated on unexpected sonic detours. In addition to its '80s influences, "Oh Darling" boasts eerie, soulful harmonies and a keening guitar solo reminiscent of Pink Floyd; "What Does It Mean To Be" is an exquisite example of Bowie-esque glam-funk; and "Bring It In Close" possesses a languid, jazzy cabaret vibe. The record's arrangements, meanwhile, masterfully stitch together disparate influences: The brisk "Fever Dreams" starts and ends with horn-peppered twang-rock—but boasts a sparse, pedal steel-augmented bridge that's straight-up vintage country—while the instrumental "Not In A Million Years" segues from zoned-out psychedelic rhythms and grooves into a hard-charging coda with firecracker-reminiscent electronic effects.

Despite its diverse sounds, An Epic Battle Between Light And Dark is a remarkably cohesive record. Hamilton attributes this to the fact that most of the record was created in one place, Philadelphia's Lorelei Studios—a space that he and Tramo had spent well over a year updating with new gear and a customized layout—and to the album's underlying swagger. "Most of the tunes on the record, the grooves all feel pretty good, and they're all different. They all share a familiarity of making your body want to move a little bit. For me personally, that's a sign of a record I want to listen to."

Hamilton comes by his love of the groove honestly: For starters, he's been drumming since he was five years old. But since 2013, he's also played in the Grateful Dead tribute band Joe Russo's Almost Dead, while in 2014, he was invited to join Grateful Dead drummer Bill Kreutzmann’s new band, Billy & The Kids. For good measure, Hamilton has also played with the Dead's Phil Lesh, Bob Weir and Mickey Hart "in various combinations" in recent times, and he was a founding member of beloved jamtronica pioneers Brothers Past.

Being immersed in the Dead universe and songbook in particular had a profound impact on An Epic Battle Between Light And Dark—namely, Hamilton was adamant that the album didn't reflect his extracurricular musical activities. "I didn't want to come out and make a record that sounded like I'd been playing the Grateful Dead's music for the last two years," he says. "If you want to honor somebody that you really look up to or love, or somebody that influenced you, don't imitate them. That's the most insulting thing you could do.

"I don't want to sit there and try to sound like Jerry Garcia, for example—I want to try to forge my own path and to innovate in my own way."

Indeed, Hamilton initially formed American Babies in 2007 as a reaction to prevailing music trends—specifically, the live electronic music boom. He tapped his drummer pal, Joe Russo, to collaborate on American Babies' self-titled 2008 debut, an acoustic-leaning affair indebted to folky singer-songwriters.

In the meantime, Brothers Past had broken up. As a result, he decided to take American Babies more seriously as a creative outlet, releasing two albums, 2011's Flawed Logic and 2013's Knives And Teeth, recorded with an ever-evolving cast of musicians.

"The thing with American Babies I set up from the get-go, is that it would be a rotating cast of people," Hamilton explains. "It's not about who's playing—not even myself. It's about the tunes and the end result, and the record from front to back. I wanted that freedom to be there to change sounds and to evolve, so you don't get stuck where people are like, 'Well, I thought you were this kind of band, so you should play this kind of music or wear these kinds of clothes.'

"The word 'should' is something I've been trying to avoid for the last seven-to-ten years," he adds. "That's a cancer to creativity. I don't want to 'should' do anything."

Hamilton is especially effusive about his current collaborators, which include guitarist/vocalist Justin Mazer, acoustic guitarist/vocalist Raina Mullen and drummer Al Smith. "This current incarnation is wonderful—it's very open-minded people that are always into saying, 'Yes, let's try it,' as opposed to saying no right off the bat," he enthuses. "That's very important to me. I want to be in positive environments creatively, where the mantra is, 'Fuck it, let's try it.'"

By having an ever-changing lineup and adventurous sonic approach, American Babies is a remarkably fluid band which floats comfortably between scenes and genres. That's just how Hamilton likes it.

"Bruce Lee invented his own form of martial arts, called Jeet Kune Do," he says. "The point of it is there's no form to it. There's no set ways of standing; there's no set ways of attacking or defending. It takes the shape of whatever the moment is. And that's what I want the American Babies to be, and that's the way the American Babies are. Wherever the creative itch is at the moment, that's what we are. That's what we do. And that's what we sound like."
Doobie Decibel System with Roger McNamee, Jason Crosby, & Dan "Lebo" Lebowitz
Doobie Decibel System with Roger McNamee, Jason Crosby, & Dan "Lebo" Lebowitz
Doobie Decibel System: Dan "Lebo" Lebowitz, Jason Crosby on guitar/fiddle and Roger McNamee on guitar. Original and classic psychedelic. Acoustics with tight harmony.

Over the last decade, Jason Crosby has been a member of Robert Randolph and the Family Band and the Susan Tedeschi Band, among others. In recent years, Crosby has played with Bob Weir, Phil Lesh, Carlos Santana, Pete Seeger, Eric Clapton, Bruce Springsteen and Dave Matthews in various configurations. His discography is equally as impressive with appearances on Anastasia’s multi-platinum hit “Freak of Nature” as well as Tedeschi’s Grammy Nominated “Wait for Me”; and more recent releases from Phillip Phillips, Pretty Lights, Robert Randolph, Teddy Thompson and many more.

Roger McNamee performs more than 100 shows a year in the band Moonalice, where he is the lead vocalist and plays bass and guitar. In Moonalice Roger pioneered the use of social media in music, inventing such applications as Twittercast concerts, Moonalice radio on Twitter, live MoonTunes TM (streaming video) concerts, and the Moonalice Couch Tour TM. The band’s website (Moonalice.com) enables fans to listen to any song or show and to watch every concert on a smartphone without an app. Moonalice is renowned for the quality of poster art associated with the band. Moonalice’s single, “It’s 4:20 Somewhere” has been downloaded more than 5 million times.
Venue Information:
Sweetwater Music Hall
19 Corte Madera Ave.
Mill Valley, CA, 94941
http://www.sweetwatermusichall.com/