That 30/60

Situated on the one-and-a-half-inch raised stage, That 30/60 begins its second set of the night at a local fraternity house. After the mandatory mainstream cover of "Santeria," the band captures an unlikely fan base. The surrounding individuals suddenly are enraptured by the self-proclaimed tropical soul quartet.

It takes a lot of talent to ensnare oblivious students into the rectitude that music beholds, but the four-piece seems to default upon that quality.

With two songwriters that incorporate jazz with facets of rock and R&B with a tropical milieu, That 30/60 has adapted well to its homegrown environment.

"We have different styles and a meshed writing style. By utilizing that approach to writing the music that two different musicians must incorporate, that helps to succumb to the full band," said vocalist and guitarist Steven King.

By involving two separate personalities into the inventive lyrical process, the quartet finds the duo processing a more effective way to better depict its musical expressionism.

"Concerning our music-writing progression, we find it easier to connect with our lyrics through the band as an entity," said vocalist and guitarist Aaron Davie. "We are able to better express the feelings we are trying to emit while playing with the band."

With the cultivation and development of its own unique formula, That 30/60 breathes in influences from the surrounding music community.

"We are influenced by a number of Tallahassee talents," drummer JJ Dressler said. "A lot of our bearings come from the FSU and FAMU jazz programs; getting to hear them gives us a lot of different ideas."

By listening to the embryonic talent that surrounds the abundant musical area, the quartet takes what they hear into serious consideration, while in the process of evolving its own resonance.

"When we hear a particular band that we like, we use that stimulation to help step our own game up," said Davie.

Yet, with the contiguous bubble effect of Tallahassee, which can be self-explanatory especially concerning college towns, the quartet looks beyond the town into the inner depths of the shrinking audible arts.

"Aboveground music seems to lack a sense of soul and originality, something needs to be done and maybe that's our job," said King.

With the glass half-full, the four-piece plans to have a summer east coast tour as well as release its professional demo, The Four In One Sessions, shortly.

"We have a really good time playing together," said bassist David Kamataris. "We are just four guys getting in the studio, developing our music as well as four friendships."
- FSView