A Conversation with Dan Vidmar of Shy Girls, MFNW 2013
Either music critics haven’t gotten laid for a while or they don’t know how to describe this R&B resurgence as of late as anything other than “baby makin’ music.” There’s definitely something in the water, and Shy Girls tastes like sweet, saxophone-laced, R&B bliss.
Dan Vidmar of Shy Girls saw a niche and decided to fill it. For what Portland lacked in “funky or smooth” music, Vidmar made up for in a less-is-more style and a knack for arrangement. His debut EP Sex in the City created some serious buzz and followed with a collaboration with Cyril Hahn. Also, his latest track “Still Not Falling” was released six days ago on SoundCloud and already has more than 21,000 plays.
Vidmar fuses together modern lyrics (“I’m not an athlete, I sit at home and make beats”) with doo-wop-wop’s, a dash of jazz and a simple yet soulful vocal tone. It’s R&B without the sentimental weight. What’s old is new again, and Shy Girls just seems to keep getting better and better.
His second EP Timeshare is due on October 29th. Try keeping your clothes on in the meantime.
What makes for the perfect R&B song? How should it make you feel?
Vulnerable, emotional, powerful, and intelligent.
A lot of people describe your music as baby makin’ music — which I think is kind of a cop out.
It’s definitely a cop out.
How would you describe it, then? It’s not necessarily bad or untrue, though.
Totally. I understand people saying, “it’s sexy music.” But I’m not actually sure I entirely agree with that. I think it’s just slow and that people confuse more slow, deliberate jams, with sexiness. I would describe my music as pure R&B… But really, it’s so hard to describe your own music.
What did you think going into it, then? Did you always want to make an R&B record?
I was listening to a lot of R&B when I made the first EP, and that’s pretty apparent. Honestly, the goal was to make something for my friends that I liked at the time and that was different from what was going on. There wasn’t anything – at least in Portland – that was funky or smooth. There was a lot of raw, indie rock and I wanted to do something different and that’s what came out.
Is there a reason you chose to come from more a revival standpoint versus a more contemporary sound?
That’s a good question. Honestly, I just grew up listening to that stuff so that’s what came through. A lot of the newer songs I’m working on are more modern, darker, in some ways. New Jack Swing was a big thing. It definitely comes through, mostly because a lot of the beats on that first EP are swung. People in modern R&B don’t really use a lot of swung beats. It’s relegated to the jazz world now.
You recorded the first EP by yourself, but now you play with a live band. Did you always see it being performed that way?
Yes. Totally.
Always?
When I first started out it wasn’t going to be a performance thing. It was just going to be an EP, a project. But as soon as somebody asked us to play then it was definitely going to be a live thing. I’ve tried before to play music without a band and it just falls on its face. If you’re playing with a laptop it doesn’t really convey anything to the audience. It just seems very contrived and digital and inorganic.
How did you find everyone you work with? I think some people are confused whether Shy Girls is a band or it’s just you.
I’m still confused about it too. (Laughs) I met Noah (sax) through our old drummer Dan. I met everyone through other people. It was just a series of friends. I met Akila (keys) through Noah, I think. And Ingmar (keys) has been one of my best friends since 5th grade.
I’ve read that you don’t take prejudice in your influences. What type of value do you find in say, the Backstreet Boys?
First of all, great production. Max Martin is the guy who produced all the Backstreet Boys, *NSYNC, Britney Spears…stuff like that. He’s kind of a genius. Also, song structure in general. And the arc of the song. The hooks are also just really catchy and in your face.
Do you have a favorite song?
No…. Do you?
“I Want It That Way”…duh.
