The Hip Abduction
Press play, close your eyes, and the trip starts…
Fueled by African rhythms, dub spirit and roots soul, The Hip Abduction pilot a sonic expedition past genre barriers and towards anthemic bliss on their fourth independent full-length album, To the Ends of the Earth. The St. Petersburg, FL six-piece—David New [Lead Vocals, Guitar], Chris Powers [Bass], Dave Johnson [Baritone, Tenor Saxophone], Cody Moore[Keyboards], Matt Poynter [Drums, Vocals], and Justino Walker [Guitar]—mine an expansive well of influences to sharpen their signature style like never before.
David describes the sound best as, “An ethereal journey to the ends of the earth.”
Since the release of the 2011 debut One Less Sound, the group carefully built a launchpad for this “journey.” Throughout the past decade, they unveiled a string of fan favorite albums, including The Hip Abduction  and Gold Under The Glow . The latter tallied 3 million cumulative streams and yielded “All I Need”—which clocked in excess of 1.1 million streams on Spotify alone where they also average over 77K monthly listeners. Along the way, the group performed seismic sets alongside everyone from Trey Anastasio, The Revivalists, Dirty Heads, Moon Taxi, Grace Potter, Ziggy Marley, Stick Figure, Rebelution, Umphrey’s McGee, Matisyahu, Thievery Corporation and 311, in addition to M3F Fest (AZ), Shaky Knees (GA), Jam Cruise (FL), Sweetwater 420 Fest (GA), Summercamp (IL), Electric Forest (MI), Cali Roots Fest (CA), FloydFest (VA), Deep Roots Mountain Revival (WV), Harvest Jazz and Blues Fest (CAN), Peach Fest (PA), multiple Red Rocks shows and beyond. In 2019, the group dove into making what would become To The Ends of the Earth.
They recorded the bulk of the material at The Lala Mansion in Tampa, FL before heading to New York in order to finish the album alongside producers Jackson Hoffman and Ryder Stuart.
“It was the best production experience of my career,” says David. “We come from totally different backgrounds, but it seemed as if we had been writing music for years. It was very organic and felt totally natural.”
The opener and first single “Float” illuminates this vibe. Island drums and a steady rhythm bop along with relaxed verses before dripping into a hummable hook, “Drift away, float with me.” Initially jammed out in a living room, it reflects an inimitable chemistry shared amongst the musicians.
“We’re all hardy travelers and have spent time in far away strange places, so the lyrical content was easy to agree on,” the frontman continues. “It isn’t about a person; it’s about that particular place where we can draw motivation from during tough times or situations. These places are all different for each party involved, but the feeling is the same. Knowing these beautiful spaces exist can get me through a bad day. Obviously, the environment is a big part of our message as a band.”
Reflective of that immaterial “happy place,” the ocean-sprayed follow-up single “Welcome to the Party” blends upbeat vocal delivery, fingersnaps, and ebullient production as it nods to a timeless spirit on the refrain, “Welcome to the party, smoking Bob Marley, on a magic carpet, banging on drums, and loving everyone.” Meanwhile, “Let’s Take A Ride” pairs sunny guitar, whistling, and cinematic storytelling on a windows-down road-tripping tune.
“This one’s about a young couple who go their separate ways after high school,” he goes on. “They find bigger and better things only to discover years later that the fast pace of big city life is crushing them. Maybe it was the small town where they grew up that was where they were meant to be. They each go down completely separate paths, but eventually come to the same conclusion. The ride is a way to come to terms with everything and change what’s next for the two of them.”
The journey has just begun for The Hip Abduction.
David leaves off, “We wanted the record to feel as timeless as possible, and I’d say we looked to the past a lot more while writing To the Ends of the Earth. It helped us come to terms with who we are as a band and defining our sound. We weren’t trying to sound like anything but ourselves.”