16 January 2 - 8, 2025 dallasobserver.com DALLAS OBSERVER Classified | MusiC | dish | Culture | unfair Park | Contents Music Therapy Kelvin Thomas’ new work reflects on lessons learned through loss. BY SEAN STROUD A s messed up as it is, some of the world’s best art has been inspired by grief and tragedy. One of Deftones’ seminal al- bums, Diamond Eyes, was born in the aftermath of a fatal accident in- volving bassist Chi Cheng, and we might’ve never heard David Gilmour’s impassioned guitar solo on “Have A Cigar” if not for Pink Floyd’s harrowing experience with their original frontman, Syd Barrett. Pain produces progress — after all, the best thing to do in an ugly situation is to make something beautiful out of it. And that’s sort of what inspired Dallas musician Kelvin Thomas, one of Dallas’ coolest new artists. “It seems like life experience shapes your voice, the way that you write and the way that you play, and that’s kind of what’s hap- pened, man,” Thomas says. “It’s been a long couple of years.” The artist recently endured a great deal of loss and is doing his best to move forward despite the impact it’s had on his life. “Both of my parents passed within the last year and a half,” Thomas says. “It’s not something that I’d recommend for every- body. It’s just fast … I was a little bit of a mess for a while there, but it’s changed me as a person. It’s changed my music, the way that I father, the way that I speak to people. It’s a bittersweet lesson because of the way that it came, but it was a good lesson nonetheless.” He’s been channeling the pain into his upcoming project, which he plans to release next February. Thomas’ last EP came out six years ago, and he’s changed a lot since then. “It’s technically my sophomore EP, but it’s definitely the EP that will portray more of who I actually am as a musician and a singer,” Thomas says. “It’s more reflective of the musical maturity that I have now. I would say some of my earlier releases aren’t nearly as seasoned.” One of the songs on the EP is “Worth It,” a Nashville-style tune that fits right in the- matically with Thomas’ other songs about love. “It’s about how when you find someone that you love, there are things that you will give up,” he says. “There are just things that you thought were so valuable up until you put it up against the person that you love.” Another one of the tracks is “Ramblin’ Son,” which was inspired by The Allman Brothers’ “Ramblin’ Man” and “Papa Was a Rollin’ Stone” from The Temptations. “It’s about a guy who just can’t sit still,” Thomas says. “He’s got a pattern and he’s very predictable, even though he never stays around. The chorus is, ‘I’m a ramblin’ son, and when I’m done, I’ll be gone before you know.’” If his latest single, “Got You Baby,” is any indication of his next record’s quality, then we’re in luck. Off rip, the song exudes the same warm feeling as a classic 2000s country love song like Billy Currington’s “Must Be Doin’ Somethin’ Right” or “The Woman With You” from Kenny Chesney, but its keys and chords are coated with Thomas’ Motown in- fluence. With its bright, full composition, “Got You Baby” is a strong step forward from his last body of work, which is solid but has a lot less going on in comparison. Thomas has been playing music and im- proving his craft since he was a child. His mother and aunts sang in the church, but Thomas wasn’t content with being just an- other kid in the choir, so he picked up some sticks. “I started playing drums one day when I was in church,” he says. “This was around maybe 10 or 11. I’d been looking at the drum- set for weeks on end and it was just collect- ing dust. Every time I went into church, no one was playing it. So, one day, I took it upon myself to just do it. Honestly, it’s a real gift, because I didn’t go get lessons or anything, I sat on the seat and it just came out. I don’t play drums anymore, but musically it’s defi- nitely been my foundation.” This time in church gave Thomas some solid groundwork, but his musical journey really took off in high school thanks to one influential teacher. “I started out doing poetry, and then my English teacher at the time asked if I’d ever picked up a guitar,” Thomas says. “I’d only played drums in church and high school, but he put a guitar in my hand and told me that I was basically already writing songs, just without the instrumentation. He taught me a few chords then sent me on my way. “He showed me good music to listen to as well, which probably changed my life at the time, and I just didn’t know it,” Thomas con- tinues. “He put me onto Bon Iver, Explo- sions in the Sky, Sufjan Stevens, Ben Howard, Arcade Fire, indie stuff that I thought was ‘white people music,’ but it was just good music in general.” Thomas started playing gigs soon after, which led him to meet the people who would push him to begin recording his mu- sic. “I had a friend at the time that was doing gigs around town with a guy named Scotty Isaacs,” he says. “They took me on when I was 16 and they were both doing music. They took me under their wing and I toured around with them for a little bit, then I was finally able to sing for them for the first time and they told me I had a gift, and I should share it.” With the help of Ladrell James, Thomas released his first EP, Love Faith and Heart- break, which is as vulnerable as the title sug- gests. The record’s three tracks consist of only Thomas’ voice and a lightly strummed acoustic, but the emphasis on the two ele- ments only makes them more appealing — Thomas evokes more emotion with singing and strings than some musicians can with a full band and a bottomless budget. “Confession” is a love song with all feel- ing and no frills. Thomas stays soft and sin- cere as he affirms his affection: “Goosebumps, they rise / When I look in your eyes / Tell me why / When we are to- gether, nothing is better,” he sings. “Tell Me Something” features a more ac- tive riff with sharp plucked notes that con- trast nicely with Thomas’ low, smooth delivery. “Just Another Song About Heart- break” has the most range of the three, and is also probably the most depressing track on the EP. “Well, I won’t find you ‘cause I don’t need you at all,” he sings in between long instru- mental breaks that show off his skill on strings. Love Faith and Heartbreak is a solid 13-minute listen, especially for a debut, but Thomas is confident that his next record will reflect the progress he’s made as a musi- cian over the last six years. Until then, he’s focused on finding meaning in the little mo- ments and appreciating his surroundings. “To live a long and content life, it’s best you find your own silver lining,” Thomas says. “If you don’t, life will just handle you any way it wants to.” Ishmael Moody The Dallas singer-songwriter has a buttery voice and a captivating look. ▼ Music MAKE YOUR 2025 RESOLUTION COUNT: SUPPORT LOCAL JOURNALISM DALLASOBSERVER.COM/SUPPORT WE LIKE YOU, LIKE US BACK! /dallasobserver
