Evan Bliss
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Evan Bliss

Bethesda, Maryland, United States | SELF

Bethesda, Maryland, United States | SELF
Band Alternative Pop


This band has not uploaded any videos
This band has not uploaded any videos



"2011 2nd Place Winner at the Billboard Song Contest"

Evan Bliss's original composition won 2nd Place in the Pop/Rock Category of the 2011 Billboard Song Contest. - Billboard / Starmaker Worldwide

"The Low Life - Daisy Cutter"

Some music is meant strictly for the summer season. With breezy, reggae beats, a jam band mentality, and a bongo player, Maryland’s young the Low Life have created a rather exceptional summer album with Daisy Cutter. Note that exceptional refers to how well it goes with the season of summer, not the quality of the music itself, as the band’s second full-length suffers from some glaring flaws, some almost unforgivable.

In a way, the Low Life are a lot like a poppier, more college rock version of the legendary Sublime; the music is all about good beats and vibes (if you were thinking “drug music,” you wouldn’t be too far off), catchy melodies, and, most importantly, fun. Their debut, Thixotropic, was chock full of bouncy rhythms and tongue-in-cheek lyrics, and was ultimately much more accessible than this new sophomore release. The transition between albums is rather dramatic, heading in an almost completely different direction. Daisy Cutter relies more on relaxing, droning harmonies and smooth, minimalist dub, resulting in a much less accessible and more frustrating effort. Case in point: The album is just boring at times, something their debut release never had to worry about. Songs like “Dub” and the random jam instrumental “Turtle” (who throws a jam track in at track three?) disrupt the flow of Daisy Cutter, and are completely skippable.

The reason for the change in pace of the music can be attributed to the fact that a lot of the material on here is from the Low Life’s back catalog, songs they had worked on but not completed when they were still in high school, and ideas they had tinkered around with before they really found their musical niche, displayed on Thixotropic. These older tunes have been updated a bit and given new parts, vocals, and lyrics, but their age certainly shows. It’s a disappointment, for I know if the band had written completely new songs for this album, the results would have been completely different. Still, it’s a good idea with a rather aggravating outcome.

However, Daisy Cutter does have its stellar moments as well, where the band focuses more on melodies and being extremely infectious. “Castaway” wouldn’t be out of place on most college radio stations, with its excellent chorus and three-part “la la la” harmonies closing the song out. “Green Shirt” boasts a droning, almost lazy vocal delivery (the vocals, might I add, are top notch), but it’s pulled off with flying colors, and combined with the anthemic outro of “age, never gonna waste it -- time, never gonna chase it,” makes it my personal favorite song on the album. The middle of the album is the most fun, with “Doll House” and “Boogie Man” resembling the Low Life of old, and “Swan Dive” is by far the most aggressive the band has ever sounded, as it screams into a full-on punk rock song a quarter of the way through.

Still, with all of these pluses, Daisy Cutter just doesn’t flow, and the feeling of let-down is prevalent throughout the duration of the album. I would throw a rating of about 6.5 at it, but for the sake of rounding, it gets pushed down to a six, simply because the album has (or will have) no replayability in the seasons of Fall and Winter -- it’s strictly a good weather album. Not a horrible album by a longshot, but it is somewhat of a misstep. Here’s to hoping the Low Life’s next album continues in the right direction. - Punk News

"Featured Guest - Evan Bliss"

*listen to the radio interview with the listed URL* - Artists on Demand Radio

"Reaves column: An interview with Evan Bliss of The Welchers"

The Welchers are, left to right, Jason Mattis, Shareef Taher, Evan Bliss, Mike Newbold, and Eric Abalahin.

Jesse Reaves

For The Salisbury Post

The title for this column is a line modified from a favorite song of mine, "Cut Me Off,"" written by my interview subject, Evan Bliss.

Bliss, as some of you may know, is the former frontman of legendary DC college rockers The Low Life. After the two studio albums "Thixotropic" and "Daisy Cutter" and a couple live releases, the band called it quits back in 2005.

After releasing a solo record titled "Pour Soi en Soi," Bliss put together a new backing band — The Welchers — and set out on a fresh path. Their self-titled debut album was released last year with a refreshingly original sound influenced by everything from acoustic rock to jam band rock. They have played up and down the East Coast, including a few shows at Charlotte's The Evening Muse in the NODA district. They will be appearing there again at 10 p.m. this Saturday, Nov. 8.

I recently asked Evan Bliss some questions about the group and his music.

JR: First off Evan, thanks for agreeing to do this interview with me. Let's take it back to the beginning: how did you get your start playing live?

EB: Made a couple phone calls, and did some dirty, dirty favors ... I'm not going into that.

JR: For people who haven't heard your band's music before, how would you describe your sound?

EB: Audibly sonic. We're the Bruce Lee of rock. Our style is that we have no style.

JR: Who would you say The Welchers' biggest influences are?

EB: All over the place. Anyone enjoying making music.

JR: What brings you guys back to Charlotte every few months?

EB: North Carolina women.

JR: After The Low Life broke up, how was it to start over from scratch on something new?

EB: A lot like graduating from high school and starting college. Sure, it's cool and you're better and smarter, but you're the guppy, no one knows you ...

JR: When can we expect the new album to come out?

EB: We're going into the studio as soon as we get about 18 songs we like. Then, based upon the tracks and the takes, we'll have a better picture. I'm guessing sometime early next year.

JR: Any new groups you're listening to that people should know about?

EB: I would be if you slipped me a disk but I'm still waiting. I listen to sports radio.

JR: Any favorite venues to play?

EB: It's the crowd, not the venue. I'd play in an outhouse if the crowd was awesome.

JR: How did you guys get into providing soundtracks for extreme sports videos? It seems to have gotten you guys a good bit of exposure.

EB: Pure luck. They contact us and of course we say "yes." That stuff is awesome!

JR: Anything else you want people to know about you guys?

EB: Spread the word, come see a show, thewelchers.com.


There you have it, straight from the man himself. But don't take our word for it, get down to The Muse and check these guys out.

If you need a preview of their tunes to get an idea of what you're in for, check out their myspace page at www.myspace. com/thewelchers or go to their Web site www.thewelchers.com. These guys never disappoint and are always good for an entertaining evening of music. - Salisbury Post

"Shooting for the Hip"

*text available online at listed URL* - Modern Luxury Magazine

"Palace of Rock Album Feature : Evan Bliss - ShhhPOW!"

Evan Bliss is one singer-songwriter to watch. His voice, combining the effortless soul of Maroon 5's Adam Levine with the smoky blues undertones of
Ray LaMontagne, makes his alt/rock/pop sound unmistakable.
Ubiquitous despite not yet being a household name, Evan's music has been featured in commercials for surf-inspired footwear maker Reef, and he has performed in
support of artists as diverse as O.A.R., Wyclef Jean, and the Flaming Lips.
Evan is building on the groundswell of popularity he enjoyed with his former band, well-respected East Coast reggae rockers 'The Low Life'. Needless to say, you will be hearing much more from him with the new release ShhhPOW!, out this Spring on the philanthropic indie label Holster Records.

The new album 'ShhhPOW!' seamlessly blends music genres, showcasing Evan's own distinct "international rock buffet" brand. Evan writes honest yet introspective lyrics that range from the personal to the abstract. Stand out tracks include "Fleiss", a contemporary power ballad that meditates on damaging relationships. In stark contrast, "Captain Collins Navigates from Star to Star" starts like an homage to 70s Bowie-esque space odysseys and finishes with a nod to the anthemic quality of early U2.
Uptempo rocker "The Last Ride" introduces itself to the audience with a honky tonk guitar flourish before segueing into Muse-style crescendos. The track "Awake",
which should be familiar to long-time fans, began life as a live instrumental end jam that Evan fleshed out into a full-length song using "The Voyage of Life" by renowned painter Thomas Cole as his lyrical muse. - PalaceOfRock.blogspot.com

"Live DC - Tom McBride and Evan Bliss at Iota"

The Art of Picking-up Guys at Iota: Like Shooting Fish in a Barrel

I had no expectations for the Tom McBride show on Friday night. My presence there stemmed from nothing more than a desire to see a show at Iota and an email I sent to Svetlana that went something like this:

haley and i have decided we have a huge crush on local singer/songwriter tom mcbride (he's very dreamy). do you think i can write a review on him?

As such, this review will likely focus more on the people rather than the music.

Evan Bliss
Prior to this show, I would have surmised that Evan Bliss’ primary fan base would be the flighty, suburban-raised, northern Virginian screaming, fainting teen. Surprisingly though, Bliss (or perhaps the headliner Tom McBride) filled cozy Iota with an audience of mostly men in their mid to late 20s (more on one of those men in particular later). Bliss’ voice and style fall somewhere between that of James Blunt and Adam Levine of Maroon 5. Given the BYT audience, that last sentence likely seems like an insult - but it isn’t. I’m the type of person who believes that certain books meet certain people at a certain time in their life. For instance, I tried to read 1984 for the first time about five years ago and absolutely hated it. About ten months later, in an effort to cure my insomnia, I picked it up again. The second time around, I literally couldn’t put it down, I read over two hundred and fifty pages of it that same night until I finished it. Music, I think, is much the same. Sadly, Ginuwine’s “My Pony” isn’t appropriate for all occasions – long car rides with one’s dad for example – just the same, Evan Bliss’ music isn’t appropriate for every occasion either. Bliss’ upbeat, poppy lyrics profess summer love for one’s best friend and are likely enjoyed the most during the spring or summer, sipping Bud Light Lime on a roof top in Dupont Circle with one’s best girlfriends.

Toward the end of Bliss’ set Haley turned to me and said, “Nothing about this is complicated, nothing profound, but you still want to be friends with all of them [the band members].” No statement has ever been more apt. Bliss is charming and he speaks to the audience like one would speak to someone they’ve just met in a bar; amicably and with the best of intentions. Thus, Bliss seems like the type of guy you’d want to sit down and have a drink with.

Unexpectedly, and admittedly quite a treat for me, I had the pleasure of being introduced to one of Evan Bliss’ biggest fans. Haley had engaged herself in conversation with a rather tall man who had an affinity for snugly fitting t-shirts, and one of his best friends, Joe Scolero, had driven all the way from Buffalo, NY to see Evan Bliss play that night. I had noticed Scolero earlier that night, he’d been singing along to every single song one of Bliss’ songs (and knew Every. Single. Word.). Scolero was eager to discuss, with anyone, at length, how much he loved Bliss. “I just bought five of his CDs, a t-shirt and a whole bunch of stickers.” A whole bunch of stickers indeed. Of Tom McBride Scolero said the following, “I’ve listened to this guy’s music like five or six times, a shitty five or six times. It doesn’t even touch Evan Bliss’ music.” - BrightestYoungThings.com

"Evan Bliss - ShhhPOW!"

Just like the onomatopoeia implied by the title of his solo debut, Evan Bliss is likely to catch you off guard. You’d rightly expect that anyone who has ever fallen victim to even one Adam Levine comparison would not be likely to make jaws drop with awe. Consider Maroon 5’s biggest hit of the past decade: “This Love” may be incessantly catchy and instantly daneceable, but it’s not as if – nearly eight years after its initial release – people are still yammering on about how their minds were blown by the band’s uncompromising vision and challenging R&B grooves. On the contrary, everyone remembers that music video. Thankfully, the slick and stylish underpinnings of neo-soul music are just one of the many things at which Evan Bliss excels. Early press suggests that the Maryland native’s style is akin to an “international rock buffet.” Bliss doesn’t exactly channel Peter Gabriel or Paul Simon on this disc, but his comfort zone certainly covers a great expanse than you’d be led to believe.

The album’s sequencing will make all the difference in terms of whether you choose to ride out the nearly hour-long set or call it quits after track two. Opener “Love is a Dancefloor” seems like it’s bent on Top 40 rotation placement, blending strummy funk guitars and free flow lyrics that are occasional sung in a celebratory falsetto. The sophistication may seem contrived, but even on this early cut it’s hard to resist the sweet vocal harmonies between Bliss and guitarist Josh Grove. Follow-up tune “Fleiss” is content to follow a similar path, eschewing any curve balls or left turns for predictable midtempo balladry that examines destructive relationships. Sung with throaty conviction and backed by melancholy piano and strings, it’s easy to relate to risky admissions like, “So I dig down and hold on tight / but it slips through my fingers / didn’t get it quite right.”

Though instantly absorbing, it’s a welcome change to hear Bliss getting a little more adventurous with his ideas after the album’s introduction. The urgency of “The Last Ride” is made even more immediate by drummer Shareef Taher’s furious pounding and Bliss’s own caterwauling screams. With its astral imagery and delay-enhanced guitar lines, “Captain Collins Navigates from Star to Star” pays homage to both Bowie and U2. Propelled by an aggressive four to the floor thump and chiming piano tones, the song meets somewhere in that sweet spot between arena rock pomposity and sweaty club electronica. “Passerby” may ride the same drumbeat as Green Day’s “Holiday,” but it’s great to hear Bliss and his band reveling in some gritty blues guitar licks.

From here, Bliss expands his palette even further, taking on spaghetti western vibes (“Come Shine”), 90’s alt-rock (“Parachutes And Ladders”), and chamber pop a la Sigur Rós (“The Crazy Lady With Ten Cats”). It may be difficult to conceive of an album that bounces between so many disparaging subgenres, but Bliss and his backing band pull off the feat by steering clear of any pretension.

At the album’s core is “Awake,” a dark and ambient slowburner that really shows just how elastic this guy’s strengths are. Devoid of the early tracks’ wry and brash tone, the song is densely layered with melismatic vocals and echoing piano chords. The whole thing was apparently inspired by Thomas Cole’s The Voyage of Life, a setting of four paintings that use allegory to depict a man’s coming of age in the American wilderness of the 1840’s. The tune goes down surprisingly easy, despite its heady backstory.

Therein we find Bliss’s greatest asset: the uncanny knack for making sweeping gestures that can be absorbed with the ease of pop music. It’s the stuff that eventually lands indie bands that rare spot in the mainstream spotlight, and if Bliss can hold out a little longer – as the wisdom of “Big Decisions, Little Things” suggests (“Big decisions / brighter days / they won’t happen right away”) – the long wait should be well worth his trouble. - Adequacy.net

"Evan Bliss Goes Electric With ShhhPOW"

There’s a marked look of excitement that emanates from Evan’s face when discussing his newest project. The way he describes his year-long writing and recording efforts sounds equally exhilarating; he and his band are like “…Bruce Lee, before the Chinese tried to take him out for showing everyone how to beat some ass. That’s us with music now.”

But things haven’t always been roundhouse kicks and dragon fists. Reggae rock fans in the district might remember Evan Bliss from his earlier and much-loved band, “The Low Life” or more recently as the front man for “Evan Bliss and The Welchers“. Both efforts saw him primarily playing and writing with a mellow, acoustic sensibility but over a restless working vacation in Los Angeles, Evan laid the groundwork for “ShhhPOW”, an album that he says was “…written on the electric, for the electric, and by the electric, indivisible with distortion and crunch, forever and ever, Amen.”

Due out at the end of February (estimated release), “ShhhPOW” is inspired by Evan’s penchant for the Wild West and storytelling (among other things). I’ll let him describe it, as only he can:

“The new record is much more aggressive in sound and thought because of the electric guitars. I’m a huge fan of mythologies, and the best period of that in US history is the wild west where ‘The Last Ride’ takes place. So I borrowed an idea from current events, placed it back in time about a hundred and fifty years, the guys and I threw some stank on it and there it is.”

The “guys” are Evan’s backing musicians, formerly known as The Welchers. They dropped this moniker only just recently and when asked asked about the decision, Evan offered, “It just got confusing. They’re all still there, but they’re not welchers anymore.”

Welshmen or not, the band is made up of some familiar faces to the DC music scene. Jason Mattis lends his skillful hand on bass; Baltimore-based drummer extraordinaire, Shareef Taher, stands out on percussion; and Eric Abalahin plays an expressive keyboard and the occasional flute. For a scintillating example of their individual talents, look no further than “Kings” (notably Eric’s ambitious solo), the stand-out single off the 2007 self-titled release which the band has taken to calling “The White Album”.

For fans awaiting the new album, Evan has made four tracks available and is in the midst of planning shows in DC, Baltimore, Charlotte and Philly as the first few stops of the release tour. Also of note is his appearance on the 2009, “Serve4: Artists Against Hunger & Poverty” release where his track “Love Is The Dance Floor” appears in a pre-production version alongside the likes of Elvis Costello, John Lennon and The Low Anthem.

Check out these tracks and visit EvanBliss.com for release dates and occasional downloads: - Ready Set DC

"Singing Praises of Good Causes"

Oscar- and Grammy-winning recording artist Melissa Etheridge will bring down the house

at the Hard Rock Cafe in Penn Quarter on Sept. 30 with a special concert performance, but the audience won’t be there solely to hear Miss Etheridge’s gift of song. They also will be celebrating her fighting spirit as a breast cancer survivor.

Miss Etheridge will be the guest of Hard Rock International, the Breast Cancer Research Foundation and Change-Makers: Live from D.C., a production of the Holster Project, a new locally based nonprofit. Created by 30-year-old financier and recording label owner Justin Fishkin, the Holster Project is designed to fuse his two passions: music and helping others.

In addition to the concert, attendees at the Hard Rock Cafe next week can participate in a Breast Cancer Research Foundation symposium called Breast Cancer and Creativity that will include breast cancer researchers, experts and survivors.

Mr. Fishkin, a D.C. native and former Goldman Sachs analyst in investment banking, says the objective of the Holster Project is to have similar events where artists committed to a cause, like Miss Etheridge, can perform for a group of interested Washingtonians and inspire them to act.

“The idea is not to sell out a stadium, but to bring people, primarily young people, who are directly involved in working toward solutions for each event’s focus issue,” Mr. Fishkin says. “The role of the artist is to mediate a constructive forum discussion and perform cause-relevant material that will support the cause in perpetuity, as well as empower young people to get more involved.”

Mr. Fishkin likes to describe his concert series as “MTV’s ‘Unplugged’ meets the United Nations’ General Assembly.”

Benj Gershman, bassist for the band O.A.R. and one of Mr. Fishkin’s partners, explains via e-mail, “It is a collaboration that aims to facilitate dialogue and positive change through creative action, specifically by aligning influential advocates and artists with a cause that needs constructive dialogue and real action.”

O.A.R. is scheduled to perform at the Hard Rock Cafe in November for the Holster Project/Hard Rock International event, “Imagine There’s No Hunger,” which will benefit World Hunger Year, an organization that fights childhood poverty. Yoko Ono has agreed to allow John Lennon’s likeness and words to be used for the event, and she has been invited to attend the performance.

Another of Mr. Fishkin’s high-profile advisers is Ronnie Cho, the 20-something field organizer on President Obama’s campaign. He is helping bring administration policymakers and public officials to Holster Project events to help artists get their message to the highest echelons in government.

“I got involved with the Holster Project because immediately after the presidential election I was eager to help keep up this momentum for change,” Mr. Cho says. “The election was only the beginning of what I hope is an enduring and collaborative movement to creatively impact lives in a positive way.”

On Sept. 10, the Holster Project hosted one of its first concerts at XM-Sirius Radio. The African Children’s Choir performed to draw attention to the AIDS epidemic sweeping Africa.

“I was fortunate enough to be asked by the Holster Project to collaborate on a song with the African Children’s Choir,” says Evan Bliss, a local musician and Holster Project partner. “The choral director and I decided to perform a song that I originally wrote as a tribute to my brother about his time in the Peace Corps in South Africa working with HIV/AIDS-infected persons. The African Children’s Choir happens to have a school in that same location.

“Our performance lasted about three and a half minutes, but the experience will be with me for the rest of my life.”

Mr. Fishkin says the song performed by Mr. Bliss, “Pula Aena,” which means “Rain, Let It” will be a part of the Holster Project’s “altruistic media content.” He says most artists are donating the recording of live, cause-relevant work from each event. Each song will support the cause for which it was created or performed each time the song is purchased via the Internet or licensed for commercial use.

Building on the success of this experience, the Holster Project is collaborating with other groups to plan a performance by the Cross Border Irish Children’s Orchestra in late October. The orchestra travels the globe to promote peace between Protestants and Catholics in Ireland and throughout the world.

Mr. Fishkin explains that events like this are at the heart of his new group’s mission: “We want to bring disparate perspectives together to communicate beyond differences through the power of music.” - The Washington Times

"Four Play - Local artists that should be on your radar, calendar and iPod"

Evan Bliss’ newest album, “ShhhPOW!” is instantly infectious. Bliss, the former frontman for the rock and reggae group, The Low Life, has definitely hit all the right notes with this band, and that includes their latest release, “ShhhPOW!” perfect for any musical palette. Touching on several musical genres, Bliss includes influences of roots rock, soul, jazz and funk in this 10-track album. Their first song, “Love is a Dance Floor” really sets the tone for the entire CD, starting off with an old-school sound, slow and sweet, then turns on a dime into a head bopping masterpiece. The rest of the album follows suit with each musical influence perfectly mastered into one piece of musical genius. Bliss’ voice, similar to that of Maroon 5’s Adam Levine, is supported by his band (Josh Grove, Eric Abalahin, Jason Mattis and Shareef Taher) so that you really get a strong instrumental sound that compliments his voice. Nothing is drowned out here, you’re getting a 50-50 split of musicianship and vocals. Other hit tracks include “Fleiss” and “Passerby” but you’re pretty much going to dig everything about this album. — Ashley Estill - On Tap Magazine

"Pure Bliss – Evan Bliss that is – at the Hard Rock Cafe DC"

There was really never much of a chance that I wasn’t going to love Evan Bliss. I didn’t know that, of course, when I made my way into his release party Thursday at the Hard Rock Café, but I should have.
First, I have been in intense admiration of guitarists as of late. I had taken a classical guitar class way back in college and understood it was difficult, but it wasn’t until recently that I really understood how coordinated (and talented) you have to be to play, especially play well. That is, until this guy I’m dating introduced me to Guitar Hero. Now, I know I’m behind the curve here, and that Guitar Hero is, in fact, a video game, but that game is HARD. And seeing people that are really masters at it has given me a whole new appreciation for guitarists in general. Bliss, a singer-songwriter, whose cd ShhhPOW! has found a heavy rotation in my car since Thursday night’s gig, is a master guitarist. I bet he’s really great at Guitar Hero. And so as soon as I heard him start to strum, I was impressed.
Second, his name is just cool. And Bliss happens to be my favorite Phish song. And the middle name of my first-yet-to-be-conceived daughter. (Yes, woman name our children in advance. It has nothing to do with you.) So I was partial going in. But bliss also describes the aura of music that Bliss performed for nearly two hours. His lyrics are deep, sometimes abstract, sometimes comical, but they all ended up putting a happy step in my feet. Listening to live music always does that, but Bliss seemed to have the majority of the more than 100 people at the show dancing with the joy of seeing good music. Put quite simply, his music, while introspective and with depth, is just fun.

And finally, he won me over with the one cover he played during the set, Iko Iko. As a New Orleans native, how am I not supposed to love him after that?

Although I really, really enjoyed his show, I find myself having a hard time describing his sound. One song started off with me recalling Steely Dan. I could see Maroon 5 in there. His voice is unique, but reminds you of someone else, someone you just can’t put your finger on. A fellow concert goer, Cori Howard, tried to figure it out all night, with no luck. She did have this to say about the show: “I didn’t even know they had bands at the Hard Rock Café anymore. I thought it had morphed into just another TGIF (restaurant), but I was surprised. These guys could play instruments and they were good.”

Bliss is not just a solo act. He performs with two other guitarists, bassist, drummer and keyboardist, who I believe pulled out a flute at some point. The result is electric, and as a not-so-unbiased new fan, I highly recommend checking him out. - Pamela's Punch

"Evan Bliss Q&A, CD Release and MMS-exclusive MP3"

Evan Bliss is a singer-songwriter who's a native of Bethesda, Maryland, a holder of several single-season and career lacrosse records at Kenyon College, and the former frontman of DC reggae rockers The Low Life. Evan celebrates the release of his new solo record, ShhhPOW, at the Hard Rock Cafe this Thursday, March 18, at 8:30 pm ($10 cover). A portion of the proceeds from the sale of the album will be donated to benefit the Holster Project, a philanthropic initiative of Evan's label Holster Records.

In addition to readying his new album, Evan's been busy in the world of extreme sports. His music has been featured in ads for Reef, a leading maker of surf-inspired footwear, and he and his band were recognized as a local band to watch on the Baltimore stop of the Mountain Dew Action Sports Tour, a nationwide extreme sports summer tour.

I interviewed Evan for the blog, and he was gracious enough to provide MetroMusicScene readers with an exclusive first look at a track from ShhhPOW.

MP3: Big Decisions, Little Things - Evan Bliss

Evan, why don’t you tell us where you came up with the name of your new album, ShhhPOW? What is the central theme or message of the album?

Initially I was searching for something profound, a title that could end hunger or make rockets explode with jellybeans, but I had nothing. So I named it ShhhPOW, because the album is part Shhh and part POW, and it's fun to say out loud or to yourself.

I know it’s probably a bit like asking a father to pick his favorite child, but what’s your favorite track from ShhhPOW? Why?

It'd be easier to pick a favorite child. Sonically I love them all for different reasons depending on mood or present company. The bonus track, Pula Aena, stands out for me because it was a live performance at Sirius/XM Studios with The African Children's Choir. Not only were they unbelievable singers and amazing kids, but they learned a song I wrote for my brother in only a couple days while touring the east coast. Emotionally overwhelming in the best way imaginable.

What are the similarities you see in your music now and the music you performed with The Low Life? What do you see as being different from that music?

Both sounds are heavily reliant on vocal harmony and percussive rhythms, but The Low Life was a rock reggae band with external influences, whereas ShhhPOW's sound is more a rock band with external influences, one of them being reggae, if that makes any sense.

Frank Sinatra was known as an “athletic” singer, doing breath-holding exercises underwater to improve his breathing ability while singing. You were a college lacrosse player at Kenyon. Tell me about how your athletic experience informs your music.

Didn't know that about Sinatra, I just heard he used to pay a guy to wake him up from his cat naps so he could stay out partying all night. I heard the wrong story I guess. Music is much more physical than people realize and having an athletic background taught me focus when the stamina starts to fade. If you lose focus because you're tired in the studio you miss changes or timing and ruin takes, and on stage you risk sounding and looking like an idiot. The central union between band and sport is team. Everyone is performing different tasks to attain a shared goal. Plus there's lots of yelling and butt slapping, and I couldn't give that up.

While we’re on the subject of sports, you’re gaining quite a name in the extreme sports world. How did that come about?

Honestly that's been an pleasant surprise. We've been lucky enough to get contacted by athletes, companies, video biographers, webcasts, etc, and that's something we'll always say yes to. I feel a strong connection to those guys. They're out there everyday doing what keeps their heart pumping out hot blood and go above and beyond for their fans. If our music can keep providing a piece of their personal soundtrack we'll never say no.

Your lyrics are occasionally deeply personal. Are they mostly autobiographical, or is your approach to songwriting a bit like writing fiction?

Laced within all the lyrics I write is truth and fiction. Sometimes one more than the other, sometimes I think one and it's really the other. Life is lived and watched. Too much of one is unhealthy and revealing, so I'm always trying to attain some sort of equilibrium.

While we’re on the subject, what are your literary and artistic inspirations?

They're constantly in flux as they're so much great stuff out there. In 1000 years humans are going to be insane with all the great ideas this world has churned out, or we'll be a crispy ball of ash because of all the bad ideas this world has churned out. Either way, its pretty intense. I like Camus because of such probable dilemmas.

Your label, Holster Records, has a strong philanthropic component to its mission. Can you tell me a bit about the Holster Project, and what motivated you to seek out a label like this?

Growing up in the DMV is the only answer. DC's an amazingly strange city overflowing with hope and cynicism, comprised of young people fighting to express their voice, and those struggling to find it. Holster's goal is to awaken youth to philanthropy through art and music. The smaller the world gets due to the rapidity of information flying at you the scarier it becomes. Some people desire direction, I'd like to be a person that opens up a direction that benefits all of us, and being able to use my passions and talents to do so makes that an easy decision. Holster also has the softest t-shirts that have ever touched my skin.

Are there any artists and producers with whom you’d like to work?

I'll work with anyone, as long as they're open to ideas and willing to try all of them, and I expect the same from me. Obviously the perks would be that they are wholly invested in the project from artistic to professional to personal. If I could figure out what causes people to gel and make magic I'd zero in, but until then trial and error with the best looking girls getting first dibs. Presently, playing with Jason, Eric, Shareef and Josh makes it difficult to dispute silly ideas like fate and Calvinism.

Where is the favorite concert venue you’ve played, either here or elsewhere in the US? Where is the place you dream about playing?

That's tough. As much as I loved the 9:30 Club I hated playing there because I got so nervous. It’s the only show I have ever got nervous for because growing up it was the end all be all for me. So I'd either not drink and choke, or drink too much and suck. But that place is the epitome of class covered in tattoos. The Recher in Baltimore never failed to shock and awe. Touring Europe's been a dream, along with USO shows. Maybe the Grammy's or MTV Awards, but any sweaty packed house with people singing along and dancing their big hearts out is a close second. - metromusicscene


ShhhPOW - 2010 - Evan Bliss
The Holster Project Presents Evan Bliss & Vasi (EP) 2008
Evan Bliss & The Welchers - 2007 - Evan Bliss & The Welchers
Live in Vienna - 2006 - Evan Bliss
Pour-Soi, En-Soi - 2006 - Evan Bliss
Live at the Recher Theater - 2006 - The Low Life
Live at St. Mary's - 2006 - The Low Life
Daisy Cutter - 2005 - The Low Life
Repossess - 2004 - The Low Life
Thixotropic - 2003 - The Low Life
You've Gotta Die Somewhere (EP) - 2002 - The Low Life



New York, NY (Top40 Charts/ Imagine PR) - Evan Bliss is one singer-songwriter to watch. His voice, combining the effortless soul of Maroon 5's Adam Levine with the smoky blues undertones of Ray LaMontagne, makes his alt/rock/pop sound unmistakable. Ubiquitous despite not yet being a household name, Evan's music has been featured in commercials for surf-inspired footwear maker Reef, and he has performed in support of artists as diverse as O.A.R., Wyclef Jean, and the Flaming Lips. Evan is building on the groundswell of popularity he enjoyed with his former band, well-respected East Coast reggae rockers 'The Low Life'.

Evan Bliss' song "Love is a Dancefloor" recently won 2nd place in the 2011 Billboard Songwriting Contest; Evan was the featured performing artist at the Gigaton Awards hosted by Sir Richard Branson and Ted Turner at the 2010 World Climate Summit in Cancun, Mexico.

Evan is a partner of Holster Records, an independent label run alongside two friends. Holster's goal is to provide music as a catalyst for philanthropy. Evan is currently writing and recording new material in Managua, Nicaragua.