Hamilton Loomis doesn’t play by the rules. The Texas-based singer/songwriter refuses to subscribe to the belief that the blues shouldn’t be messed with; to him, it’s not a genre that is preserved in amber. Rather, the vocabulary of the blues can be expanded upon. On his latest effort, Give It Back, Loomis injects old-school blues with elements of funk, soul, and classic rock. A real road warrior – he tours all year long – Loomis took a few minutes from his hectic gigging schedule to answer a few questions.
Q: Your music crosses boundaries stylistically. Have you encountered problems with being categorized or receive criticism from old-school blues devotees who are not so keen about the funk influence, for example?
A: Categorization is a funny thing. I hate being “labeled” because once you are categorized, you may alienate listeners who might potentially enjoy your music. If I’m labeled as only one category, I’ll only be reaching one narrow “slice of the pie.” Since my music has many flavors to it, I’ve noticed that many other music lovers besides just blues fans enjoy my style; it crosses generations, and I love that. Surprisingly, I haven’t had much criticism from old-school blues devotees, but I actually welcome it. Music has to evolve and change, and I think it’s more important to bring blues to the masses, especially the younger generation, to appreciate and respect it rather than keep it antiquated. Besides, I have to be true to myself as an artist; that’s why I write music the way I do, not just duplicating what the masters did. The irony to all this is that it doesn’t matter what genre you are if you’re on a major label, because they’ll just put you in the biggest section; that’s why Stevie Ray Vaughn was in the “rock” section and played on mainstream FM radio.
Q: Growing up, what kind of music did you listen to?
A: My parents had a fantastic vinyl collection of blues, soul, funk, and classic rock. But I also grew up with MTV, so pop music was definitely there, too. I think my favorite was the Stax soul of the ’60s; I think it influenced my arrangements and songwriting a great deal.
Q: What artists have had the most impact on you on a creative level?
A: It’s hard to say; when I was younger, I was a musical sponge; I absorbed everything I heard and assimilated it some way into my playing or writing. That’s why my style sounds kind of like everything I listened to growing up. I will say that Bo Diddley definitely inspired me in a profound way. I’m proud to have known him and spent time with him. Ironically, his advice was to not sound like him, or anybody else for that matter. He said, “Do your own thing…innovate, don’t imitate.”
Q: What inspired to become a musician?
A: My parents are musicians, so there were always instruments lying around the house. It was definitely a great environment for a little sponge like myself.
Q: Who taught you to play guitar?
A: My dad taught me a few chords, and I kinda took it from there. I took jazz in college, which opened me up to some great chords and melodies, but I kind of fall back into the “less is more” thing when it comes to playing guitar. I like to “reach” people, and if it’s too complex it goes over their heads. I did a lot of jazz gigs while in school, and I remember playing changes, more busy lines, and then I’d just do a bendy blues lick, and the audience would go, “Woooo”! That’s when I realized solos are like paragraphs and sentences – you can talk fast and say superfluous things, but as soon as you say something meaningful, precise, and with emotion, that’s when people hear you; that’s when they “get it.” Don’t just play it, say it.
Q: How would you describe your artistic evolution throughout all of your records?
A: I think it’s a constant journey. I think the main thing has been songwriting and trying to improve in that area. I listen to my older records, and I think the style is still similar, but I’ve really worked on writing better, more meaningful songs.
Q: How would you compare performing overseas to the U.S.?
A: It’s equally as rewarding, but just different in certain ways. To be fair, I think there is a deeper appreciation for American roots music abroad, especially in the U.K. and Europe. A funny thing I’ve noticed is that every country or region has its own way of showing appreciation for music. In the U.K., crowds are silent during your show, then are very loud between songs. In Germany, they are vocal throughout the show. In France, they are very reserved, even with their applause, but you’ll get a standing ovation and every single audience member says “congratulations” after the show. These are just a few examples…
Q: Roughly how many shows do you have in a year?
A: We do an average of 150–175 shows per year. It’s pretty well-paced, and we alternate driving and flying in order to make it happen.
Q: What are your goals as an artist?
A: My goal is simply to reach, and touch as many people as possible with my music…I’m excited about my new release, Give It Back, because it has a positive vibe, and it crosses the genre lines even further than I have before.
Q: Has music become a business for you as well? How do you unite the two worlds of creativity and commerce?
A: Of course it’s a business! It has been ever since I was a teenager. It’s a necessary evil, but you have to make good decisions and treat it as a business in order to be professional and to have longevity, while not losing the joy of music itself. Over the years, I have learned to separate the two, and no matter what’s going on in my life, or in the business, it all vanishes when I’m onstage.
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