David Hobbes, a talented singer and songwriter, has recently unveiled his debut single, “Measure of Degree.” This heartfelt track, filled with rich vocals and profound songwriting, delivers a sonic experience that is bound to leave a lasting impression.
From the very first notes, it’s evident that David Hobbes possesses a voice unlike any other. His vocal performance on “Measure of Degree” is truly exceptional, setting the tone for a captivating musical journey. Hobbes’ voice is a compelling instrument in itself, one that conveys a depth of emotion that resonates with the listener.
What stands out in “Measure of Degree” is the impeccable production quality. The song is a testament to the professionalism that went into crafting it. Every instrument, every note, and every vocal inflection feels meticulously arranged and expertly mixed. This level of production not only enhances the overall listening experience but also showcases the meticulous attention to detail that Hobbes and his team have put into the song.
The heart of “Measure of Degree” lies in its lyrical narrative. The song tells a mesmerizing story of a couple who, despite their vast differences, share a profound connection through love. Hobbes’ lyrics are not just words; they are windows into the depths of human emotions and relationships. His songwriting is a testament to his ability to craft relatable and moving stories through his music.
Hobbes’ vocal delivery is where the song truly shines. With a passionate and convincing performance, he breathes life into the lyrics, making the listener feel every emotion and story element. His voice carries the weight of the narrative, drawing the audience in with its emotional depth and sincerity.
“Measure of Degree” is a genre-blending masterpiece. The fusion of rock and folk elements, supported by driving drums, creates a sonic explosion that propels the song to greater heights. This musical diversity adds a layer of complexity and intrigue to the track, demonstrating Hobbes’ versatility as an artist.
In this debut single, David Hobbes showcases his musical vision and lyrical craftsmanship. “Measure of Degree” is not just a song; it’s a glimpse into the talent and originality of an artist on the rise. It leaves the listener eagerly anticipating more from Hobbes in the future.
In conclusion, David Hobbes’ “Measure of Degree” is a stunning debut that encapsulates the essence of his artistry. It’s a heartfelt and skillfully crafted song that immerses the listener in a world of love, diversity, and deep emotions. With his remarkable vocals and the exceptional production, Hobbes has firmly established himself as an artist to watch in the music industry. We can’t wait to hear more from this promising talent.
ABOUT THE ARTIST:
“I aspire to being madly authentic,” singer-songwriter David Hobbes says. On his forthcoming debut album Searching for a Home, out November 17, his songwriting is by turns tender and clever, often within the same song. There’s diversity in the instrumentation and musical styles, but never for ornamentation’s sake alone.
The album’s origins are a last-minute decision to go to a music conference. Hobbes caught the end of the final songwriting session being led by producer Rachel Efron. Over time, they developed his songs until an album came into view. He shares co-writing credits with her because her input was vital.
At times, Hobbes resisted the idea of an album. “It doesn’t really make sense in an age of streaming services. Frankly, there’s times I’m not even sure a song makes sense. The 6 most ineffective words in the English language might be, ‘I wrote a song about that,” he quips dryly. As if by magic (well, Audible algorithms), Hobbes found himself listening to Jeff Tweedy’s How to Write One Song while driving through Idaho. As Tweedy’s infectious enthusiasm for the importance of song restored his own faith in songwriting, Hobbes began writing the title track, “Searching for a Home.”
A distinct acoustic guitar rhythm propels the song forward with the urgency of a long drive. Meanwhile, he observes the world around him with wit and specific imagery. “In an on-the-way café, a friendly man, a giant flag, and a crucifix / A girl collapses on the floor / I wonder if she also had the tuna fish,” he sings before circling back to his search for a place to belong.
“First and foremost, I see myself as a storyteller. Stories with a beginning, middle, and end. I put a lot of effort into this. I wish I could write impressionistically but it’s just not me.” Never mistake his linear song structures for monotony or easy narratives. “If I’m going to do anything provocative, it will be with the lyrics but not the music. I want the music to be satisfying and full of variety, and I think we have achieved this here. I don’t think you will be bored,” Hobbes surmises.
It’s true. In addition to the jangly guitar rhythms that populate his songs, electric guitar solos, pianos, horns, strings, backing vocals from Efron and AJ Hicks, and the occasional synths. Hobbes’ versatile voice—think Ben Folds—is produced just enough to capture its nuances.
The variety also comes from the different lyrical themes of the songs, hitting the sweet spot between the personal and the universal. He wrote “Lulu Left Town” for the familiar of a friend moving away. Initially feeling sad, he turned the song into a celebration of friendship’s ability to transcend geography. Horns reaffirm the lyrics’ optimism, in which he celebrates Lulu’s personality. “Lulu will take her whiskey neat/ Jim Beam’s just fine – she likes it cheap” fit perfectly alongside Lulu, who dyes her blond hair’s roots and gives away her lotto winnings.
Another upbeat song, “We Are Wild,” was borne of an upbeat mission: Hobbes wanted to motivate his girlfriend while she learned the mandolin. “It was a tongue-in-cheek song about us ditching a normal life and heading out on the road to play music. It failed in its purpose to be a mandolin teaching aid, as my girlfriend promptly gave that up,” he remembers. At Efron’s direction, the song underwent many rewrites for the next two years until it came together in that mysterious way that songs sometimes do.
Songs are also prone to fooling their writers. When Hobbes wrote “When You Need a Hand,” one New Year’s Day, he thought he was writing it for his new son. In the song’s bridge, he makes a promise. “I wanted the bridge to be the one promise I was going to make to him, even though I don’t believe in making promises and am highly skeptical of any made to me,” Hobbes says. By the time he finished the song, he realized the song wasn’t for his son so much as a reminder to himself how he wanted to be as a father.
Which circles back to being madly authentic. In the stories of his songs, you can hear David Hobbes’ own evolution as a songwriter and a human being. He doesn’t pretend he had the answers all along. Even when he dips into escapist fantasies like “We Are Wild,” the lyrics serve to further a real-world situation. In these ten songs, it’s apparent that Hobbes doesn’t just aspire to authenticity so much as he can’t escape it.