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The pop/funk/R&B/soul singer and guitarist that is Dylan Chambers has journeyed from Arlington, TX to Los Angeles, where the powerhouse vocalist has dug his heels in, coming a long way since the singer-songwriter tact of his debut EP, while expanding his oeuvre to meet the crest of a fuller, more robust sound rooted in soul. Spinning up a string of new singles with longtime producer, Stefan Litrownik (Boyz II Men, Andy Grammer), Chambers is raring to garner the charm of timeless classics, having no scruples about citing modern stalwarts such as Vulfpeck, Jacob Collier, Devon Gilfilian and all who are concerned with preserving the sanctity of soul. In the past, he’s collaborated with producer John Alagia (John Mayer, Herbie Hancock), critically acclaimed singer Haley Reinhart (American Idol, F is for Family), Mark Ballas (Dancing with the Stars) and Grammy Award-nominated, multi-platinum jazz artist Dave Koz. 

Chambers’ new single “Breakdown” – an infectious mantra that reflects the singer’s emotional fatigue during lockdown – was the catalyst for its counterpart, “Some Kind of Happy.” Both new singles harness a lifeforce that demonstrate Chambers’ resilience as a songwriter, and an uncanny ability to cast bright and bold melodies, enlivened by the singer’s impressive vocal range, grimy synth bass and electric guitar rhythms beholden to Prince. Creating a party atmosphere, even when the narrative is centered around having a nervous breakdown, is what Chambers is all about. “We’re always thinking about what’s next, constantly moving and not allowing ourselves to feel vulnerable, or just not making enough time for it. So lately, I’ve been focussed on the intention of feeling good and feeling happy, and so I’ve been checking in with myself and thinking, ‘look, life is passing you by,’ so what can we do to make ourselves feel better? Time is slipping,” says Chambers. 

Chambers  moved to Los Angeles in 2011 with his roommate, resident choreographer of RuPaul’s Drag Race and American Idol finalist, Todrick Hall. Hustling  quite a bit at first to keep up, he worked as a barista by day and performed open-mic nights at The Parlor on Melrose, while also taking up various residences around Hollywood. Pretty soon, he met and became fast friends with Mark Ballas of Dancing with the Stars, which led him to performing on the show and joining the national DWTS tour as a featured singer and guitarist in 2014, performing with that season’s winner Alfonso Ribeiro (Carlton on The Fresh Prince of Bel-Air) and many more. 

While his spiritual framework remains intact, with the acknowledgement that serendipity is a universal truth and a language in its own right, Chambers also realizes that he has to step out and make his own luck: “People aren’t gonna change your life. It’s not their job. They’re trying to change their life. You’ve gotta change yours. Do everything you can to do it. And if you have a life that you really wanna live, that’s full of adventure and wildness, or whatever… that’s up to you. You gotta create that atmosphere for yourself, ‘cause nobody else is gonna do it.” And that’s where one of Chambers’ last singles came from – “I Can Do it Myself” – exuding confidence and rivaling Bruno Mars.

“I’ve learned in spirituality that, whatever the goal is, you almost have to run in the complete opposite direction to get to it. And it makes sense to me, now. I think I’ve kind of been doing that for a long time. It just didn’t hit me until recently. You’re not going to get what you want, immediately, if it’s worth your time in the long run,” says Chambers.

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An American songwriter living in London, Emily Moment spent much of the 2010s championing Americana music in the UK — not only as a member of acclaimed bands like The Savannahs and Mahoney & The Moment, but also as one of the organizers behind the long-running concert series Chalk Farm Folk. Originally launched as a monthly residency for Emily and her longtime collaborator, Steve Mahoney, Chalk Farm Folk quickly turned into a monthly showcase for roots music of all stripes, bringing free multi-band shows to a legendary music venue in Camden. 

For Emily, Chalk Farm Folk wasn’t just about the music. It was about the communal circle of artists and fans who showed up every month. “It’s where we met most of our friends today,” she explains. “It became such a strong community.” A similar kind of supportive spirit fuels The Party’s Over, a collection of literate Americana ballads and gentle folk songs that mark Emily‘s first solo release in nearly a decade. Recorded with collaborators she met during Chalk Farm’s six-year run, it positions Emily not only as a rallying force, but as a force worth rallying around, too. 

Born in Marblehead, Massachusetts, Emily left her mark stateside before heading to England in 2012. She was a member of New York City’s anti-folk music community for years, cutting her teeth at iconic venues like Rockwood Music Hall and The Sidewalk Cafe between gigs as a working actress. By the time she left town, she’d built a network of personal champions that included songwriting legends like Elvis Costello, who featured the singer on the cover of his album Cruel Smile. 

Ten years separate Emily Moment‘s solo debut, Never Enough, from The Party’s Over. During the interim, she whittled her skills to a fine point, appearing on BBC One as a member of alt-country harmony group The Savannahs and releasing three collaborative LPs with Mahoney & The Moment. Her voice — lilting one minute and elegant the next, laced with a quick vibrato that recalled the Greenwich Village folk singers who filled New York’s coffeehouses decades before her — was always a show-stopping instrument. But it was her songwriting that truly made her different. 

The Party’s Over puts that songwriting on full display. Filled with references to literary masters like Murakami, Bukowski, and Joan Didion (all of whom are thanked in the album notes), it’s an album about hitting a wall — about coping with life’s physical and mental struggles when it seems as though things can’t possibly get any harder. Many of the songs were inspired by Emily‘s time working at a counseling center, while others find her mixing autobiography with unique character studies, tackling supplementary themes like the universal struggle to find a sense of home, happiness, and belonging. “Santa Maria” is a waltzing, western-inspired folksong about migrant caravans, delivered from the perspective of a mother who’s nearing the end of her journey. “Josephine” is a barn-burning blast of bar-band blues, laced with harmonica and thick harmonies. The sparse shuffle of “The Angel’s Share” finds Emily weighing the comfort of a stable relationship against the freedom of the single life, while “The Bottom” is, as she explains, “a happy song about depression.” Throughout it all, Emily pulls triple duty as the album’s producer, front-woman, and multi-instrumentalist. 

One of the final albums recorded at Urchin Studios — the London-area studio where Laura Marling tracked Short Movie several years earlier — The Party’s Over also features a cameo from Marling’s drummer, Matt Ingram, and mixing from Dan Cox (Laura Marling, Tom Odell, The Staves). On an album filled with heavyweights of London’s folk-rock community, though, it’s Emily Moment who confidently fills the spotlight. She’s an unsung hero of the genre, and The Party’s Over marks her overdue inauguration as a transatlantic troubadour.