Issue 163 July 2026

BLUES

CERYS MATTHEWS CHRIS O’LEARY BYWATER CALL

MATTERS!

STEVE SUMMERS VAN WILKS LEEANN ATHERTON PARKER BARROW

JULY 2026 163

25+ YEARS STRONG

ALBERT CASTIGLIA

TALKS ABOUT HIS GRITS & GLORY

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4 ISSUE 163 : BLUESMATTERS.COM

ELCOME

Rob Blackham

LISTEN

TO THIS

INTERVIEW

HRIS

’LEARY


BLUE COLLAR

An interview with Chris O’Leary

Blues Matters caught up with Chris O’Leary while he was deep into a US tour,

calling in from New York after dates stretching from Virginia through Washington

D.C. He sounded upbeat, grounded, and slightly road-worn in the way only working

musicians can be. The tour was going well, but not without challenges.

Colin Campbell

Joey Wharton

“I got vocal nodes earlier this year,” he admitted. “So, I had

to take some time off, a whole bunch of vocal rest. So far,

so good.

For O’Leary, the recovery came at a crucial moment, with

a new record on the horizon and a return to heavy touring

ahead. But if there’s one thing his story makes clear,

it’s that Chris O’Leary doesn’t do anything the easy way.

A MUSICAL CHILDHOOD

WITHOUT BOUNDARIES

“My whole life’s a bit different; I grew up in a musical

household. My mom and dad played everything from

opera to Springsteen to polka to The Band to blues.” Irish

music was also a constant presence, The Wolf Tones,

The Chieftains, The Clancy Brothers. “Everybody played

something and everybody sang. That’s what was expected

of you. My sister couldn’t hold a tune in a wheelbarrow,

but that didn’t matter.” It was his father who planted

the seed that would define his life. “He introduced me to

blues. He got me a Muddy Waters record early on, Hard

Again. I heard James Cotton on that record and that was

it. That was the thing that moved me.” From that moment,

O’Leary was hooked on harmonica-driven Chicago blues

that would eventually become the foundation of his identity

as a musician.

WAR, MUSIC, AND A LIFE

REWRITTEN

O’Leary’s journey took a sharp turn when he joined the

Marine Corps and went to war, a chapter he doesn’t romanticise.

“I love the Marine Corps, but going to war is an

overrated experience.” After returning, he moved to New

York, went to college, and slowly found himself drawn

back into music. A local band formed, then expanded regionally,

and before long, fate intervened in the shape of

a legend. “We were doing a demo and Levon Helm came

out and played on it,” O’Leary recalled. Helm, already a

Rock and Roll Hall of Famer had recently finished cancer

treatment and wasn’t singing, but he was still playing “his

ISSUE 163 : BLUESMATTERS.COM 7

behind off. His road manager called us and said, ‘Boys, I

need you down at the barn tomorrow at one o’clock sharp,

things are about to get crazy.’ “They were invited to become

the house band at Helm’s club in New Orleans.

NEW ORLEANS: THE CITY

THAT CHANGED EVERYTHING

“I was very tunnel-visioned before that, if it wasn’t 1951

through 1962 Chicago blues, I didn’t listen to it.” New

Orleans shattered that limitation. “There were so many

players working within the tradition but doing different

approaches; instrumentation, arrangements, everything.

It changed me.” Life in the club became a nightly education.

The band played five nights a week, backed an

extraordinary list of artists, and absorbed lessons no

classroom could offer. “Hubert Sumlin, James Cotton,

Irma Thomas, Marcia Ball, the Dirty Dozen Brass Band,

every night was an education.” Then came the road with

Levon Helm; seven years of touring that O’Leary still describes

as formative. “You never think things are going to

end when you’re young, you think it just keeps going.” But

it didn’t, a vocal injury ended that chapter and with it, his

career at the time.

FROM STAGE LIGHTS

TO SIRENS

After losing the gig, O’Leary stepped away from music

entirely. “I became a police officer. Federal police officer.

That was the worst job I ever had for thirteen years. I had

a baby boy, Jackson. And I realised I didn’t want to raise

my son being a fake. I gave my two weeks’ notice. I was

done.”

ALLIGATOR RECORDS AND

THE PANDEMIC PIVOT

Around the same time, O’Leary connected with Alligator

Records’ Bruce Iglauer a relationship that would become

pivotal. Then the pandemic hit.

“The minute I decided to go full-time with music, the

world stopped. No touring. No gigs. No certainty. I was

home with my son, and I just wrote music. Finally, Bruce

said, ‘Enough. I get it. You can write songs. Give me eleven

I like.’” That became his Alligator debut, a moment O’Leary

still describes with disbelief. “All my heroes were on

that label; Muddy Waters, Junior Wells, William Clarke,

Hound Dog Taylor, it was a dream come true. I’ve got a big

Alligator Records poster in my garage next to my ‘34 Ford.

That’s home.”

THE SONG COMES FIRST

If there is a single philosophy that runs through O’Leary’s

career, it is discipline in service of the song. From Levon

Helm, he learned restraint.

“NO TOURING.

NO GIGS. NO

CERTAINTY”

“Whatever you’re doing on stage; rhythm, solo, vocals, if

you’re not serving the song, what are you doing? There’s

something he said about a guitarist once… ‘That’s a lot of




notes. Does he have to play all of them?’”

From Bruce Iglauer, he learned editing.

“Most artists I have to tell to do more. With

me, he has to tell me to pull it back. A song

doesn’t need two choruses, five verses and

two solos to be effective.”

ROAD-TESTING THE

NEW RECORD

O’Leary confirms that material from the new

album has already been tested live. “A few

of them were basically written on the road,

we’d shape them with the band.” Working

closely with producer Kid Andersen also

shaped the sound.

“He’s got ears, everything he touches, he

hears something you don’t. “The goal was a

live, organic feel. “I love live-to-tape recording

and that big room sound. Everyone playing

together.” For one track, accordion parts

didn’t click, until legendary player Wayne

Toups stepped in. “He nailed it first take. It

was right in his wheelhouse.”

SONGS FROM THE NEW

ALBUM, BLUE COLLAR

Much of O’Leary’s songwriting comes directly

from experience.

BAD DECISIONS: “I’ve been making them

since I was ten.”

AM I THE ONLY FOOL: “I write what I

know. If I’m in a better place, the music is in

a brighter place. It’s not as dark. A bit more

tongue-in-cheek. Still serious musically, but

not as heavy emotionally.”

AFTER 2 A.M. “That’s written about the

same woman that Am I the Only Fool? is

about, same woman, same problems. She

liked to go out, she’s a hard drinker, she was

hot and beautiful,” he says. “You take the

good with the bad for a long time, it’s that

hot crazy matrix. The hotter they are, the

crazier they are and that crazy’s fun for a

while, but sometimes it’s not so fun.”

ONE WAY STREET: “It’s about a person that

doesn’t give back. You give, you give, you

give, and you never get anything in return. I

try to be the giver. Being the taker is no fun;

it’s a one-way street. You want reciprocity.”

When describing, How’d I Ever Get Along?

“My wife now, my forever wife, isn’t really

the biggest blues fan, and frankly, the music

she listens to I detest. I’ll be listening to old

school country, rock and roll, blues, Zydeco.

She’ll be listening to Nashville stuff I can’t

stand. It’s formulaic, three writers, checklist

songwriting. Tailgate, dirt road, cold beer, it’s

a hit. This song is a test,” he says with a grin.

“We’ll see if she listens closely enough to

come ask if it’s about her.”

DADDY WAS A WOLFMAN: “My dad became

a psychologist after the army. Growing

up with a therapist? Awful. I felt like I was

constantly being psychoanalysed.” But his

grandfather was a different force entirely:

a touring musician in the 1920s, playing

tenor banjo in a ragtime and Dixieland band

up and down the U.S. East Coast. “He was a

big, hard-drinking Irishman. Never missed

a day of work but never missed a bar on the

way home either. My grandmother raised

eight kids while he brought strangers home

for dinner telling wild stories.” The song, he

explains, is written from her perspective.

“Trying to explain where the hell dad was to

eight kids. God bless her. She was a saint.”

Even in family history, O’Leary finds the

same blues structure: responsibility, escape,

humour, and survival.

“My mom was no-frills, no-nonsense. Marine

Corps, police work, that shaped me. I am

what I am.” The new release reflects that

philosophy. “It’s more traditional than the

last one. A straight blues record, mostly. And

I’m happy with that.”

BLUES TRADITION,

LIVING LANGUAGE

O’Leary’s musical worldview is rooted

deeply in tradition but never frozen in it. He

speaks passionately about the lineage from

Robert Johnson to Elmore James to Hound

Dog Taylor, JB Hutto, and Lil’ Ed Williams.

“It’s all connected. You can hear the progression,

but it’s still the tradition. Ed embodies

that raw, raucous energy blues. He killed it

every take was perfect.” He also pays homage

to Bob Margolin, describing his playing

as “as close to Muddy Waters as it gets.”

JAMES COTTON: THE

MOMENT EVERYTHING

CHANGED

Ask O’Leary why he chose harmonica, and

the answer comes instantly. “James Cotton.

Plain and simple. I’d never heard anybody

play with that kind of ferocity. Brutal. No

prisoners. Cotton is my guy.” He recalls

seeing Cotton perform during his youth.


“Somersaults down the middle of the club. Just unbelievable.”

Years later, he would meet him in New Orleans

through Levon Helm. “I was nervous. But he was gracious,

took me under his wing. Same with Levon. When your

heroes exceed your expectations, it’s miraculous. My dad,

a former Green Beret, threw Muddy Waters’ Hard Again

on my bed one day and said, ‘Put that on.’ I did and then

I heard James Cotton. That’s where it all started. So yes,

it’s my father’s fault.”

LIFE ON THE HIGHWAY

Touring life is defined as much by vehicles as venues.

“My first Chevy 3500 was named Chester. Half a million

miles. We were inseparable.” When Chester finally died,

O’Leary replaced it with an almost identical van. “I named

it Lester, less miles than Chester. It’s nickel-and-diming

me to death. If I still had Chester, I’d still be driving it.” The

relationship becomes metaphorical. “It’s like a bad marriage.

You love it when it gets you from A to B and want to

kill it when it breaks down in Wisconsin in October.”

MOTIVATION

Despite the hardships, motivation remains grounded in

people rather than ambition. “I love my band, not just as

musicians, but as people. I want to keep food on their tables.

Keep them doing what they love.” He compares it to

his Marine Corps mindset. “You take care of your people

first.” Even long breaks don’t diminish that drive. “We all

get chomping at the bit to get back out.”

down in your mouth. It’s about overcoming. Everybody’s

had bad relationships, bad jobs, loss, joy. The blues just

tells the truth about it.”

LOOKING AHEAD

Plans are already forming for future tours, including

Europe. “I had to cancel a tour due to diagnosis, but I’m

coming back.” That return carries a broader perspective

shaped by both military and musical travel. “When you

see the world through touring, it changes you, people are

more complex than you think.” In the end, that complexity

is what fuels the music. “It’s a bonus,” he adds. “Not

getting shot at this time.”

Chris O’Leary’s blues is built from lived contradictions:

discipline and chaos, tradition and modernity, humour,

and hardship. Whether writing about relationships,

family history, or life on the road, he returns to the same

truth, blues is not just a genre, but a way of processing

the world as it actually is.

For further information see website:

thechrisolearyband.net

WHAT THE BLUES

MEANS NOW

“It was my first love; it always has been. The blues speaks

to me in my heart.” He rejects the stereotype that blues is

purely sorrowful. “That’s the misconception, it’s not just

“I LOVE MY BAND, NOT

JUST AS MUSICIANS,

BUT AS PEOPLE”

EXPLORE



LISTEN

TO THIS

INTERVIEW

Jeff Murillo


I just love to sing

Leeann Atherton

For Austin-based singer-songwriter Leeann Atherton, music was

never a career choice as much as a lifelong companion. Growing up

surrounded by songs, she was drawn to singing long before she considered

performing professionally.

Colin Campbell

As Credited

Born into music

One childhood memory still makes her smile. “I

remember washing dishes as a teenager and my

mom said, ‘Leeann, I don’t know what makes you

think you can sing so good.’ I told her, ‘I don’t think

I can sing so good, I just love to sing.’” That simple

exchange captured the attitude that has carried her

through decades in music. “I was going to do this

whether I was good or not because I loved it.”

Her father played ukulele and sang folk songs while

her mother introduced her to classic country music.

Artists such as Porter Wagoner, Dolly Parton and

George Jones became early favourites. “Country

music is really the white man’s blues,” she says.

“Listen to George Jones. He had soul. It’s all connected.”

Long before she discovered blues clubs and

festivals, she was already absorbing the storytelling

and emotional honesty that would shape her own

music.

Finding her voice

Atherton’s first real break came unexpectedly. At

seventeen, while hitchhiking to the beach in South

Carolina, she was picked up by a local recording studio

owner. “He asked if I could sing. I said yes, and

he said, ‘Let’s go to the studio and find out.’” Before

long she was recording the jazz standard Since I Fell

For You and performing with local bands.

After earning her GED, she enrolled in college as

a music major, though not for academic reasons.

“I wanted to find band members and start a band.”

That decision led her to a house-band position at

Charleston’s Kangaroo Club, where she spent seven

years learning the realities of life as a working musician.

Playing alongside experienced performers

taught her everything from musicianship to stagecraft.

“One of the singers was an amazing showman.

He wasn’t showing off. He was completely inside

the song. The music came through his whole body.”

Developing that level of confidence took time. “I

was self-conscious for years, but eventually I got

comfortable in my own skin and found my own

voice.” It was a lesson that would serve her well as

her career continued to evolve.

Austin calling

Atherton’s move to Texas happened almost by

accident. During a road trip from Nashville, she

stopped in Austin and decided to visit Antone’s, the

legendary blues club. On stage that night was Albert

Collins. “It was packed and Albert Collins was

playing. I thought, ‘My God, I can hear blues music

every night here.’”

Six weeks later she had relocated permanently.

Austin in the late 1980s was a magical place for

musicians. The city was buzzing with live music,

Stevie Ray Vaughan was still performing regularly,

and there seemed to be opportunities everywhere.

“There was something happening every night. Stevie

Ray Vaughan was still alive. It was amazing.” She

even recalls hearing Vaughan playing from miles

away while standing in her own yard. “That’s how

magical Austin felt.”


“Without that

club I might

never have

written the song”

Although she never landed a residency at Antone’s, she

became a regular fixture throughout the city’s music

scene, including a long-running residency at the Saxon

Pub. “I just kept singing and playing anywhere I could.”

Building community

Today Atherton divides her time between Austin and

Southern California, but Texas remains firmly at the centre

of her musical life. One project especially close to her

heart is the Full Moon Barn Dance, a community event

held on her property.

Inspired by old Nashville picking parties, the gatherings

combine open-mic performers, emerging artists and established

musicians in an atmosphere that is intentionally

welcoming and informal. “It’s potluck, BYOB and donation-based.

I always try to feature musicians that people

haven’t heard yet. I know how hard it is when you’re new

in town.”

The aim is simple. Atherton wants people to relax, connect

and enjoy music together. “Dance, drink, eat food,

let your hair down. Feel free.” For her, helping younger

musicians is a natural extension of her own journey. “It’s

about giving back.”

The road to Good God

The inspiration for Atherton’s latest album arrived during

one of her regular Sunday music gatherings known as

“Hippie Church”. While listening to Aretha Franklin

recordings connected to the civil rights movement, she

suddenly found herself imagining an entire gospel-inspired

project.

“I thought, ‘I want to do this music.’ Not just one song but

the whole project.”

The idea developed quickly. Within minutes she had written

down a list of musicians she hoped might take part.


Then, in what she describes as a remarkable coincidence,

an opportunity appeared almost immediately. “Thirty

minutes later, Maria from the club knocked on my door

and offered me a Sunday residency. I had literally just

written it down.”

The project gained further momentum when she met

guitarist Johnny Vernazza, best known for his work with

Elvin Bishop. “The chemistry was immediate.” What

began as a simple idea soon grew into a full album built

around gospel songs, positive messages and a sense of

musical community.

Gospel with a groove

Although Good God draws heavily from gospel traditions,

Atherton never wanted it to feel confined by genre. “I

love these songs. They’re positive songs.” Instead, she set

out to create something that blended gospel, blues, soul

and rhythm and blues into a sound that felt both familiar

and fresh.

Her years as music director at a Unity Church played an

important role. She often searched for songs that audiences

already knew and could sing together, whether

they originated in gospel music or popular culture. “I’d

look for songs like Imagine or All You Need Is Love. Then

there was my love for Aretha Franklin and that gospel

sound.”

The result is a collection of songs filled with warmth and

energy. Tracks such as Saved capture the spirit perfectly.

“It’s infectiously fun,” she says. “Not all the musicians I

play with are believers, so there’s a bit of humour in it too.

But it rocks.”

Despite the spiritual themes, Atherton is careful not to

preach. “I’m not trying to push anything on anybody except

what Jesus said, love one another.” That message of

compassion and connection runs throughout the record.

Songs from real life

Alongside the gospel standards and reinterpretations,

Good God features original songs inspired by Atherton’s

own experiences. One of them, Joy, emerged through

Austin’s 11:59 Songwriters Club following the end of a

relationship.

“I’m a lazy writer,” she laughs. “Without that club I might

never have written the song.”

Yet the message it carries is both simple and powerful. “If

I want more love, I’ve got to give more love. If I want more

joy, I’ve got to give more joy.” Audiences seem to connect

with that sentiment. “When we do that song live, people

sing along. It can change your thinking.”

Another original, Smack Dab In A Miracle, grew from a

difficult period in her life. Feeling overwhelmed by circumstances,

she reached an important realisation. “We’re

already living in a miracle.” That shift in perspective

became the foundation for the song.

Family also plays a central role on the album. Her son

Austin appears on Angel Band, a collaboration that reflects

both their musical connection and his own journey

into performing. “When I first heard him singing a cappella,

I thought, this is what you need to be doing.”

The blues as healing

While Good God leans towards gospel, Atherton’s relationship

with the blues remains fundamental. She sees

blues music not as sadness but as a form of emotional

honesty and release.

“The blues means allowing myself to feel my heart and

soul. It gets me out of my head and into my emotions.”

That understanding deepened through personal loss, including

the deaths of her father and brother. Rather than

avoiding grief, she believes music helps people process it.

“I want to feel my pain so I can move through it. I want to

share my sorrows and let it all come out.”

For Atherton, that emotional openness sits at the heart

of both blues and gospel. Different styles perhaps, but

ultimately drawing from the same source.

Keep doing what you love

After decades balancing music, motherhood, teaching

and performing, Atherton remains as passionate about

songwriting and performing as ever. She continues to

promote Good God while planning future appearances

across America and Europe, hoping to bring her blend of

gospel, blues, soul and R&B to new audiences.

When asked about the best advice she ever received, she

immediately recalls songwriter Billy Joe Shaver. “He said,

‘Just keep doing what you love and keep writing songs.’”

It is advice she has followed throughout her career and

one that still guides her today. “We do it because we love

it.” After all these years, that simple truth remains at the

centre of everything Leeann Atherton does. Whether

singing the blues, celebrating gospel traditions, helping

young musicians or writing new songs, the passion that

first appeared while singing along to records in her parents’

house has never left her. And judging by the warmth

and spirit of Good God, it is not going anywhere anytime

soon.

EXPLORE


LISTEN

TO THIS

INTERVIEW


An interview with Megan Kane and Dylan Turner

HOLD THE

MASH

For a band that spends most of its life hurtling down highways between gigs, catching

Megan Kane and Dylan Turner of Parker Barrow at home in Nashville is something of a

rarity. They chatted with Blues Matters to discuss their unlikely beginnings, musical influences,

and the philosophy that fuels one of the hardest-working bands on the circuit.

Colin Campbell

Joe Del Tufo & Phil Honley

Dylan opens, “We’re actually home today, which

is not something that happens very often, we’re

enjoying a beautiful Tuesday afternoon.”

Home may be a temporary stop, but the road is

where Parker Barrow has built its reputation.

Combining Southern rock swagger, blues-rock

grit, and an explosive live energy that has

rapidly earned them fans on both sides of the

Atlantic, the band has become one of the most

exciting names emerging from the modern

roots-rock scene.

A Chance Meeting That

Changed Everything

Nearly eight years ago, Megan and Dylan met

through a mutual connection at a show in Nashville.

At the time, Dylan had recently assembled

a band after moving to Music City, but disaster

struck when his vocalist suddenly quit.

“A few days after meeting Megan, I remembered

her and slid into her Instagram DMs,”

Dylan recalls with a grin. “I basically begged

her to come sing with my band because we’d already

sold tickets for a show.” Meghan agreed,

though she admits there was likely a discussion

with her mother before climbing into a van with

what was essentially a stranger for a long road

trip. Today Parker Barrow includes guitarist and

musical director Alex Bender, keyboardist Eric

Safka, guitarist Will Tipton, bassist Kyle Pribber,

and an extended road crew that the band

proudly describes as family.

“We’ve been blessed to live this life and play our

music all over the country and now in different

parts of the world,” Dylan says.

From Country Roots to Rock ‘n’ Roll Fire

Although Parker Barrow is firmly rooted in

Southern rock and blues-rock today, Megan’s

musical upbringing came from a very different

place. Growing up outside Birmingham, Alabama,

she was immersed in country music and

church culture. She began writing songs almost

as soon as she learned guitar and was performing

publicly within days of getting her first

instrument. “I loved powerful country singers,”

she explains. “Martina McBride, Carrie Underwood,

all those incredible female vocalists.”

Classic songwriters such as Johnny Cash and

Loretta Lynn also left a lasting impression, helping

shape her appreciation for storytelling.

“I never really felt like my voice fit the country

scene,” she says. “When Dylan introduced me

to bands like The Black Crowes, The Allman

Brothers and Led Zeppelin, everything clicked.

Rock music pushes me to do more every night;

you’re always trying to grow and find the next

level.”

Raised by Live Music

Dylan’s journey into music was equally organic.

His father owned a coffee shop that eventually

evolved into a live music venue, giving Dylan a

unique perspective from an early age. “I experienced

music live before I experienced it on

records,” he says.

Watching bands load in, soundcheck, perform

and pack up at the end of the night sparked a

fascination that never left him. The soundtrack

of his youth came courtesy of his father’s band,

who regularly performed classics from The

Allman Brothers, ZZ Top, Bob Seger, and countless

other Southern rock staples. Later, Dylan

immersed himself in the original recordings,

discovering artists including Free, Cream, Blind

Faith, Neil Young and Crosby, Stills & Nash.


“Anything from the late sixties and early seventies just felt real

to me, it was genuine music made from the heart.”

Ask the duo to describe the Parker Barrow sound and neither

reaches for neat genre labels. Instead, Dylan offers a vivid image.

“It’s like a freight train going downhill and the brakes don’t

work. There’s a sharp turn coming up and we’re either going to

make it or we’re not.” The comparison perfectly captures the

band’s live reputation. For Megan, being the voice at the centre

of that storm is both exhilarating and demanding. “Every night

presents a new challenge, no matter what’s happened during

the day, when people buy tickets to your show, they deserve

everything you’ve got. I don’t take a single second for granted,

we play every show like it could be our last.”

Winning Over Audiences

Worldwide

One of the most rewarding developments in recent years has

been Parker Barrow’s growing popularity in Europe and the

United Kingdom. Their first European tour left a lasting impression.

Starting in Spain, the band quickly discovered cultural

differences that fascinated them. One festival performance

saw them take the stage close to three o’clock in the morning in

front of approximately 3,000 enthusiastic fans.

“It was incredible,” Dylan recalls. The UK has proven particularly

welcoming. While American audiences often have countless

entertainment options competing for their attention, Dylan

believes British audiences possess a stronger appetite for

discovery.

“They’re willing to take a chance on a band they’ve never heard

before. There’s a real thirst for finding new music.”

Holding The Mash

The band’s forthcoming album carries one of the most memorable

titles of the year. Hold The Mash emerged during the

recording process after their producer described the songs as

“all bangers.” Fresh from a UK tour and inspired by Megan’s love

of cooking traditional British bangers and mash, the phrase immediately

sparked an idea. “If it’s all bangers,” Dylan jokes, “then

we don’t need the mash.” More importantly, it represents their

love of the album format itself. In an age dominated by streaming,

Parker Barrow still values physical releases, artwork, liner

notes and the tangible connection between artist and listener.

“We love opening a record and reading the credits and looking

through the photos,” Dylan says. “We wanted to create something

people could really experience.” Judging by the excitement

surrounding the release, fans are ready to do exactly that.

Capturing the Moment

The band’s debut album Jukebox Gypsies emerged from ideas

developed by Megan and Dylan, who would sketch out chord

progressions and song structures before bringing them into

the studio. “We’re not really riff writers,” they admitted. “We’d

come up with the basic idea of what we wanted the songs to be,

and then our producer would take those sketches and colour

them in.” The arrival of guitarist Alex Bender added a new

dimension to the songwriting process. His instinctive feel for

riffs and arrangements opened fresh possibilities and helped

shape much of the material on the new record. “Alex is a riff guy,


he almost sees the riffs before he hears them. There have

been times where Alex brings me a riff and I say, ‘Man, I

was just working on this thing.’ They were created separately,

but when you put them together it feels like they

were always meant to be part of the same song. We don’t

put a lot of emphasis on saying, ‘This is how we write

songs.’ We just try to listen and receive the inspiration

when it comes. There are probably a lot of great songs

that have slipped right out of somebody’s mind because

they weren’t ready to record the idea when it came. It’s

happened to us too. “Explains Dylan.

The Stories Behind the Songs

Among the standout tracks on the forthcoming release

is The Healer, a song born from one of Alex’s slide guitar

riffs.

“When I heard it, it felt uplifting. It made me feel uplifted

straight away. It was a reminder that there is a light in this

world,” they explained. “When you’re looking in the right

direction and focusing your energy on the right things,

you can be healed from a lot of stresses and struggles. We

are all broken people. Our strength comes from the Lord.

When you let God have control, He opens doors and

shows you things you never imagined were possible.”

Another track attracting attention is the hard-driving

Blinded, a song that predates the new album. “It’s about

not allowing the bright and shiny lights of the world to

distract you from your purpose,” they explained. “It’s

about storing your treasures in heaven rather than chasing

things that ultimately don’t last.”

A Song Born in Real Time

The newest single, Nothing Left To Save, arrived almost

at the last possible moment.

“We pretty much wrote it in real time,” they recalled. “It

gave Megan a lot of space to do her thing. It was really

cool watching her grow into something new during the

recording process.” Although the song pushed them

vocally, particularly in a live setting, it has already begun

finding its place in the band’s setlist. “It’s at the top of my

range in places, so I had to grow into it. But we’ve started

playing it live and people seem to really enjoy it. It has a

lot of energy. It just felt like the right song to finish the

record and make everything feel complete.”

When Songs Evolve

One of the most fascinating aspects of Parker Barrow’s

music is the way songs continue to evolve long after

they’ve been recorded. The band sees studio recordings

as snapshots in time rather than definitive versions. “It’s

called a record because it’s a record of where you were at

that moment,” they explained. “Where you were musically,

personally, and as a band.” A three-minute studio track

can transform into a sprawling improvisational journey

on stage, complete with extended jams and unexpected

detours. “We love to jam, sometimes we’ll take a threeand-a-half-minute

song and play it for thirty minutes.

We’ll hear something happen during a show and think,

‘That was cool.’ Then it becomes part of the song from

that point forward.” It’s an approach that keeps performances

fresh and ensures that no two nights are ever

exactly alike.

The Blues

“The blues is the foundation of music.” For Parker Barrow,

every style of modern music can trace its roots back

to the pioneers of blues music. Whether it’s the Delta

blues they grew up hearing in the American South or the

countless rock bands influenced by those traditions, the

connection is undeniable. The band even walks on stage

each night to Robert Johnson’s classic Come On In My

Kitchen. “For us, that’s where music starts.” They speak

enthusiastically about tracing songs back to their origins

and discovering how traditional blues ideas evolved

through later generations of artists. “You can hear how

everything connects. That’s what’s so fascinating about

the blues. It’s the soul of the music we love.”

Life on the Road

“We thrive on the road,” they said. It’s really all we know.

“As the band continues its current tour and prepares for

the album’s release, the focus remains simple: play great

shows, connect with audiences, and enjoy the journey.

“We’re always working on new things; there’s always

something in the pipeline. We’re just trying to enjoy the

tour, see the people who support us, and appreciate the

part of this life that means so much to us.” If their latest

songs are any indication, that chapter promises plenty

of groove, plenty of soul, and most importantly, plenty of

heart.

Parker Barrow’s new album “Hold the Mash” is released

July 17th. The band tour the UK from July 17 – 24th.

Album and tickets available from

https://www.weareparkerbarrow.com

EXPLORE


LOW

DOWN

AND

WOUND

UP

VAN

WILKS



Iain Patience

Supplied

When I catch up with Texan fretboard giant, Van Wilks, I’m in a hot, steamy France

with temperatures hitting the low 40s. Van laughs and shakes his head, joking about

the lack of Air con over here! But France has played a part in his own life:

“I have played so much in France that it’s one of my goals

in life, before life runs out, to live there. But the funny

thing is all my French friends say, ‘No, you don’t. We want

to live in Texas.’ And I say, ‘No, you’re out of your mind.’

The grass is always greener on the other side.”

You know France well because you’ve recorded over

here, haven’t you?

“Yes, a bit. Mostly in Texas, but also in Paris and a little

town outside Paris. I just love France. There’s something

about it. I was infatuated with all the art from the 1930s

and the writers, people like Henry Miller and Anaïs Nin.

“Billy Gibbons and I actually came to France in 1979. That

was my first time here. Then, once I got a record out, I

started touring. The way the music business has changed

now, I don’t have an agent, so it’s tough to get over there.

The same goes for England.

“But travelling is in my blood and I love doing it.”

You wrote with Billy Gibbons quite a bit. You co-wrote a

song with him, didn’t you?

“Oh yeah, Drive By Lover. We started that in the late

1970s at my house. It was before computers and I had a

little Sony cassette recorder with about ten little snippets

of us playing the song in my living room in Austin. There

were some ladies hanging around and on one of the tapes

you can hear one of them shouting, ‘Billy, get me a beer!’

“Just crazy stuff. When he did that album with Rick Rubin

for ZZ Top, he said, ‘Hey, do you remember that song

Drive By Lover?’ I said, ‘Yeah.’ I’d transferred all those old

ideas onto CD, so I sent him everything I had. About an

hour later he came back and said, ‘Okay.’ My version is a

lot different from the ZZ Top version.

“He later produced it for me in a studio on a ranch outside

Austin. We’re just pals. We have the same influences.

One time I told him I was tired of people saying I sounded

like him. He pulled down his glasses, looked over the top

of them and said, ‘What’s wrong with that?’ I thought, fair

enough.

“Our influences were people like Peter Green and all

those English players that every Texan guitarist learned

from.”

I was going to ask about that because, as a Texan, you also

had Johnny Winter on your doorstep.

“Yeah, I played with him. In fact, his bass player Tommy

Shannon, who later played with Stevie Ray Vaughan, got

fired by Johnny. I’d just started a band in Austin in 1974

and Tommy expressed an interest in joining.

“I was thinking, ‘My God, this guy has played all over the

world.’ I didn’t know him very well, but I remember my

drummer and I saying, ‘Do we really want a 30-year-old

guy in the band?’”

Wilks roars with laughter at the memory.

“Seriously. And now look at us. Tommy and I still have

lunch every couple of weeks. He’s doing great. We go way

back.

“We were one of the biggest bands in Austin in 1976

and selling out places like the Armadillo. We were just a

power trio. This was before disco and before punk, both

of which really changed the Austin scene.

“I like to say I’ve survived every fad Austin has ever

thrown at me. Back in 1972 there was the whole Cosmic

Cowboy thing. We used to call it the country music scare.

Then there was disco, then punk, and we just kept doing

the only thing we knew how to do.

“Not that we were setting the world on fire, but we stuck

to our guns. That’s a good rule of thumb. Just do what you

do.

“I’ve survived all the fads this town has thrown at me.

Whether that’s a good thing or not, I don’t know. I only

know how to do one thing.”

Austin has always had a strong musical identity.

“You know Antone’s? The nightclub and the record shop.

Clifford Antone was a huge supporter of Austin music.

It’s great that Antone’s has survived.

“The town is full of history and legacy. Sometimes that’s

a burden, but I think it’s helped me. When I play overseas

and people hear I’m from Austin, they immediately

understand something about where I’m coming from. If


I said I was from Nebraska, it probably wouldn’t

have the same cachet. No disrespect to Nebraska.

“Texas has such a deep musical history. You go

back to all those blues players from the 1930s.

People like Lightnin’ Hopkins. He changed whatever

he wanted to change.”

Exactly. He played entirely by his own rules.

“He really did. I know bass players who worked

with him and they all say he was almost impossible

to follow. Listen to his records. Instead of

four or eight bars, sometimes it’s nine. Instead of

twelve-bar blues, suddenly it’s thirteen. That’s

the beauty of it.”

Wilks shakes his head in admiration.

“It’s remarkable how he pulled it off. We’re still

trying to figure out Jimmy Reed. You think he’s

gone to the IV chord, but he’s still singing over the

I chord. It’s beautiful.

“When I was younger I thought those things

were mistakes. Now I think they’re some of the

most beautiful things I’ve ever heard. Eventually I

became mature enough to understand that music

isn’t always about mathematics. It’s about heart

and soul. That’s what really matters.

“I love that quote from B.B. King: ‘I never learned

enough music to hurt me.’ I read it in Guitar

Player magazine back in the 1970s and I’ve never

forgotten it.



“I’ve survived all the

fads Austin has ever

thrown at me”

“Take Crossroads. I had no idea who Robert Johnson

was. Looking back, it’s almost embarrassing to admit, but

there was simply no way for me to discover that music at

the time.

“Buddy Guy, B.B. King and all those blues legends owe

a debt of gratitude to the English rock musicians who

brought that music to a wider audience. What I don’t like

is when proper credit wasn’t given.

“I teach guitar from time to time, so I don’t necessarily tell

young students that straight away because they might

misunderstand it. But it’s a beautiful sentiment.”

“What it means is simply to play from your heart. Enjoy it.

Play what’s in there and enjoy what happens.”

“I’ve got arthritis in my hands now, which makes me

furious. Why couldn’t it be my knees, my ankle or somewhere

else? No, it had to be my fingers. I’ve adapted, but

I’ve had to make some changes. I’ve gone to lighter gauge

strings, down to a set of nines, which I never thought I’d

do. I also tune down a half step to E-flat. It just feels good.

Everything feels smoother.

“I try to avoid tuning issues, but age has made me rethink

a few things. You adapt and carry on.”

You have a lovely National Steel there, I notice as I glance

over his shoulder.

“Yeah, it’s a 1929 National. It makes me sound very

authentic, even if I’m not. I play it on the new album. I

wanted to approach it from a white boy perspective and

recreate the feel of those old crackling records. It’s a

tribute, really.

“I can’t say I’m doing anything earth-shattering, but I love

taking the music we all learned from and putting a little

21st-century spin on it. What I learned from you guys

in Britain was through the holy trinity of Eric Clapton,

Jeff Beck and Jimmy Page. When I was a teenager, I’d

hear these songs and think they were incredible. I had no

idea they were written by people like Otis Rush or Willie

Dixon.

“Eventually I started asking questions. Who’s McKinley

Morganfield? Who’s Elias McDaniel? Then I discovered

Muddy Waters and Bo Diddley and suddenly realised

these musicians had been in my own country all along.

“Growing up as a white kid in Lubbock, Texas, I had no

exposure to that music. My introduction came through

English musicians taking those songs, plugging Les Pauls

into Marshall amps and making them accessible to kids

like me. It was life-changing.

“I remember hearing You Need Love by Muddy Waters,

written by Willie Dixon, and thinking, these are the

same lyrics as Whole Lotta Love. Thankfully Willie Dixon

eventually received the recognition he deserved. Later

pressings credit Dixon alongside Page and Plant, which is

how it should be. I just hope he benefited from it while he

was still alive.

“I admire artists who can take a song and make it their

own. Billy Gibbons did it. Led Zeppelin did it. That’s a genuine

talent. But the songwriter deserves credit because,

at the end of the day, songwriting is often the only real

income stream musicians have.”

Turning to Wilks’ latest vinyl release, Low Down, Wound

Up: Rockin’ Texas Blues, he is clearly delighted to have a

new project out in the world.

“I’m just proud to have a new record out. These days people

tell me they don’t even own a CD player anymore, but

a lot of them have got turntables again. My first album

back in 1980 came out on vinyl, cassette and 8-track

tape.

“I’ve still got an 8-track around here somewhere. Young

people see it and ask, ‘What’s that?’ Then I have to explain

what it is.

“I’ve even got a shoebox full of old tapes dating back to

the mid-1960s. Those really were glorious days. I absolutely

loved the music coming out of England.

“I don’t want to live in the past, although musically I

sometimes do. There was something special about that

era. Of course there’s great music today as well, but I’m

glad I got to experience all of that first-hand.

“This release is a compilation drawn from four different

albums, from my very first record right through to 21st

Century Blues, which came out nearly ten years ago.

“The guys at Zippo Records, Peter Flanagan and Jonathan

Crawford, approached me about putting together

a collection. I certainly wouldn’t call it a greatest hits

album because I haven’t exactly had any hits, whatever

that means, but they wanted a compilation of what they

considered my harder-hitting Texas blues-rock material.

“The common thread running through all of it is my guitar

playing. That’s what ties everything together. Apart from


else who really opened my mind was Joni Mitchell. Her

use of open tunings was extraordinary. Even today I don’t

completely understand some of what she was doing, but I

find it endlessly fascinating.

“David Crosby was another master of alternate tunings.

There are so many influences when you start thinking

about it.

a couple of slower songs, they wanted something that

really rocks.

“I let them take the reins. Compilations are difficult

because everyone has different favourites, and vinyl only

gives you around twenty minutes a side. A CD gives you

much more room. That made choosing the songs incredibly

difficult.

“In the end I just told them to go with whatever they

thought worked best.

“I’m hoping the record helps get me back over to Europe,

especially England. The irony is that I’ve played all over

the world, Russia, India, just about everywhere, but I’ve

never properly toured England.

“Touring is so expensive now, but I’m coming over in September

and spending some time in London. Hopefully we

can put something together.”

I notice a beautiful Les Paul sitting nearby.

“Yeah, my dad bought me that in 1969. Every mark on it is

mine. I absolutely love that guitar.

“It feels a lot heavier these days than it used to, though.

The same goes for my Marshall amps. I’ve still got the

100-watt Marshalls I bought in 1971 and I can’t imagine

how we hauled those things around from club to club. We

never thought twice about it.

“My Marshall cabinets are even signed by Jim Marshall

himself.

“One of my goals on this trip is to visit the Marshall factory

in Milton Keynes. That’s a dream of mine and I’m going

to do my best to make it happen.”

Asked about American influences, Wilks pauses for a

moment before mentioning Stevie Ray Vaughan.

“Stevie was a friend, but Albert King was the real influence

on me. Listen to Albert King, then listen to Stevie.

The connection is obvious. It’s fascinating.

“Mike Bloomfield was another huge influence. Somebody

“I still have my record collection from the 1960s. Sometimes

I’ll play a lick and think I’ve come up with something

original. Then I’ll put on an old record and realise it was

Dickey Betts all along.

“The music becomes so ingrained in your soul that you

absorb it without even realising. I’ve always said you steal

from the best. You take what your heroes did and try to

make it your own.

“We had to work a lot harder back then. We’d physically

move the needle back over a section of a record and

listen again and again until we figured it out. I discovered

that if you played certain records at 78rpm you could

hear the bass lines more clearly and learn them.

“I still listen to vinyl all the time, especially when I’ve got a

new record out.

“You know, as soon as we finish this interview I’ll remember

half a dozen guitar players I forgot to mention.

John Lee Hooker is another one. I actually got to drive

him home from a club in Austin one night at three in the

morning.

“It was just me and him in the car. He had no idea who

I was. He just needed a lift. I was sitting there shaking,

wanting to ask him a thousand questions. Things like,

‘When you were stomping your foot on that piece of plywood,

what kind of microphone were they using?’”

As our conversation draws to a close, it’s clear that age

has done little to diminish Wilks’ passion for music.

Whether he’s talking about the blues pioneers who

inspired him, the British guitar heroes who opened

the door to a wider world, or the joy of discovering old

records all over again, his enthusiasm remains infectious.

Low Down, Wound Up: Rockin’ Texas Blues may look

back across a long and distinguished career, but Wilks

shows no signs of slowing down. With new music, European

plans and a lifelong love of the road still driving him

forward, the next chapter is already underway.

EXPLORE


“I had no exposure to

that music. My introduction

came through

English musicians”


SUPPORT LIVE MUSIC NEAR YOU

KEEPING THE

BLUES ALIVE ON

BBC RADIO 2

CERYS

MATTHEWS


For someone who has spent decades immersed in music,

Cerys Matthews still speaks about the blues with the

enthusiasm of a lifelong fan discovering a new record for

the first time. That passion has become a defining part

of her hugely popular Monday night blues show on BBC

Radio 2, where she continues the tradition established by

the great Paul Jones while very much making the programme

her own.

Speaking with Blues Matters, Matthews reflected on

taking over the show, the music that shaped her life, and

why the blues continues to resonate across generations

and genres.

“Following on from somebody who left such a legacy and

had been at the heart of blues and Americana for so long,

you wouldn’t want to disrespect that or come flailing

in willy-nilly,” she explained. “You come in with respect.

That’s how I felt.”

Five years into presenting the programme, Matthews

says she enjoys it even more now than when she first

began. Radio, for her, is about far more than simply introducing

records. “The best thing about radio and sharing

music with fellow music lovers is that you do feel like a

closeness,” she said. “It’s more like a feeling of mutual

understanding and love for the music.”

That love affair with the blues stretches back to childhood.

Matthews credits Bob Dylan as one of her earliest

gateways into the genre, eventually leading her deeper

into the worlds of Robert Johnson, Blind Willie McTell,

and countless others.

“It was poetry and rhythm and groove and heartache and

immense heart all in one,” she said. “For some reason that

really moved me, but it made me want to hear more and

play more and sing more.”

Matthews later travelled extensively through the American

South in search of the roots of the music she loved,

visiting juke joints, clubs, and the places where many of

the blues greats lived and performed. “I moved to the US

when I was in my twenties to do exactly that,” she recalled.

“I wanted to get closer to the music that I’d loved

for so long.”

Her understanding of the blues goes far beyond the traditional

idea of a musical genre. Matthews views it as something

woven through the DNA of modern music itself.

“You can hear blues music in Greek music,” she explained.

“You hear blues notes and blues sounds and feelings in

classical music. It’s everywhere.”

That wider perspective also informs the way she programmes

her radio shows. Matthews personally selects

every song herself, carefully building the flow and mood

between tracks. “The craft of it, the art form, is the segues,”

she said enthusiastically. “How one track is followed

by another and how it hands over from one to another.”

One of the biggest joys of hosting the programme has

been connecting directly with artists she has admired

for years. She spoke warmly about interviewing figures

Courtesy of BBC Radio 2

such as Joe Bonamassa, Susan Tedeschi, Bobby Rush, and

Tom Paley, but what excites her most is helping listeners

discover how deeply the blues connects to artists they

may already know.

“What’s wonderful for me is unlocking that and sharing

that knowledge with people,” she explained. “Sometimes

people don’t realise something is blues, but it is.”

She is equally passionate about championing younger

artists. Matthews highlighted names such as Connor

Selby, Alice Armstrong, and Kathy Taunton as musicians

carrying the tradition forward while bringing fresh ideas

into the scene.

“It always has to start with new life,” she said. “Music has

to continue. It can’t become a museum piece.”

Throughout the conversation, Matthews repeatedly

returned to the idea of community. Whether discussing

venues, festivals, promoters, journalists, or audiences,

she sees the blues world as a close-knit family united by a

shared passion.

“We are all part of the family,” she said. “Otherwise it all

falls apart.”

Her own passion remains rooted in the original pioneers

of the music. Asked which artists she could listen to

forever, Matthews cited Mississippi John Hurt, J.J. Cale,

and Snooks Eaglin among her favourites, while describing

Robert Johnson as her all-time blues hero.

“There’s never been anybody like Robert Johnson,” she

said simply.

By the end of the conversation, one thing became abundantly

clear. Whether she is broadcasting to millions on

national radio, discussing obscure blues recordings, or

speaking passionately about discovering new artists, Cerys

Matthews remains exactly what she has always been: a

genuine music fan.

And perhaps that is why her connection with listeners

feels so natural. As she put it herself: “I’m just so happy

that I was born obsessed with music because it gives you

so much back.”

by Stephen Harrison

LISTEN TO THE BLUES SHOW

ON BBC RADIO 2 HERE


LISTEN

TO THIS

INTERVIEW


BROKEN SOUVENIRS

AND BOUNDLESS ROADS

BYWATER CALL

Meghan Parnell reflects on Bywater Call’s remarkable rise, the making of

their most ambitious album yet, and why the road never really ends.

Colin Campbell

Denis Carpentier& Paul May

For a band that began as an escape from the routine

of playing other people’s songs, Bywater Call have

carved out a remarkably distinctive sound of their

own. Led by the powerhouse vocals of Meghan

Parnell and the songwriting partnership she shares

with guitarist Dave Barnes, the Toronto-based

collective have become one of the most exciting

roots-rock and soul acts on the international circuit.

Following extensive touring across North America

and Europe, the band return with Broken Souvenirs,

an album that pushes their sound further than ever

before while remaining firmly rooted in the traditions

that inspired them. Speaking with Blues Matters,

Meghan Parnell discusses the band’s origins,

life on the road, the stories behind the new songs,

and why the blues remains the foundation beneath

everything they do.

A Singer From The Start

For Meghan Parnell, music was never a career

choice as much as it was an inseparable part of her

identity.

“I’ve always identified as a singer,” she says. “Even

before I was doing it professionally, it was always

something I did. I don’t really remember a time

when I wasn’t singing.”

Her earliest memories include performing impromptu

shows in the backyard and being proudly

paraded around by her grandmother to entertain

neighbours. Music filled the house too, with influences

arriving from all directions.

“It was all over the place,” she recalls. “Janis Joplin,

Bonnie Raitt, B.B. King, Bette Midler. Bette Midler

was one of my first idols as a performer. Then later

it evolved through musical theatre and eventually

artists like Otis Redding, Marvin Gaye, Amy Winehouse,

Alabama Shakes and Tedeschi Trucks Band.”

Those influences remain evident today. Listen closely

to Bywater Call and you’ll hear traces of classic

soul, Southern rock, blues, funk, Americana, and

modern roots music woven together into something

uniquely their own.

From Cover Bands To Original Music

The seeds of Bywater Call were planted towards

the end of 2016, when Parnell and guitarist Dave

Barnes found themselves at a crossroads. The pair

had spent years working together in a successful

cover and private-function band. While the work

was steady, the creative fulfilment was becoming

harder to find.

“We were getting to the point where we couldn’t

keep doing other people’s music in that setting,”

Parnell explains. “Otherwise, we were going to lose

our love for performing.”

The decision to take a leap of faith changed

everything. The cover band was successful enough

that Parnell was able to leave her day job and devote

more time to original music. Then she made a

commitment that effectively forced the issue.

“I booked us for a thirty-minute opening slot for a

friend, that meant we suddenly had to write thirty

minutes of music.”


Necessity proved to be the ultimate motivator. Those

first songs became the foundation of a band that would

soon begin attracting audiences far beyond Canada.

Learning The Art Of The Stage

Although Parnell has spent much of her life performing,

she estimates that her professional career began nearly

two decades ago through the cover-band circuit. Before

that came school productions, choirs, and community

performances. Stagecraft, therefore, was something

learned gradually rather than suddenly. Today, Bywater

Call’s live reputation is one of their greatest strengths.

Yet despite hundreds of performances, Parnell says there

is no formula for connecting with an audience. Set lists

are typically assembled shortly before showtime.

“Dave usually writes the set list maybe half an hour or

an hour before we go on,” she explains. “We look at the

environment. Is it a festival? A theatre? A standing venue?

A café? We want to give the audience a journey.”

That flexibility has become a hallmark of the band’s

performances. Every show evolves according to the room

and the energy in front of them. A recent European tour

featured an unexpected interruption when an overenthusiastic

audience member caused enough disruption that

Parnell stopped the performance entirely until the situation

was resolved. At the opposite end of the spectrum

sits one of her favourite memories from the Moulin Blues

Festival in the Netherlands. After assuming the show

was over, she headed to the merchandise table, only to

discover the audience demanding an encore. Unfortunately,

she found herself stranded on the wrong side of

the crowd.

“The band couldn’t see me, and I couldn’t find my way

back to the stage,” she laughs. “Eventually people in the

audience literally lifted me over the monitors so I could

get back on stage.”

The Magic Of Touring

Having built a loyal following throughout Europe, Bywater

Call now enjoy enthusiastic audiences across the

continent. While Parnell once thought audience differences

could be divided neatly between Europe and North

America, experience has taught her otherwise.

“I think now it’s different from venue to venue rather

than country to country,” she says. That said, European

audiences have often embraced the band more quickly.

“They seem more willing to take a chance on a band

they’ve never heard before.”

Each territory offers its own flavour. Spanish audiences

bring explosive energy, while some northern European

crowds may appear reserved but demonstrate their appreciation

in different ways. The UK remains particularly

special.

“Newcastle, Glasgow and London are always great. The

energy is incredible.”


album’s diverse track list.

Hold Me Down opens the album’s retro-soul thread,

drawing on the spirit of Alabama Shakes and Brittany

Howard while keeping Bywater Call’s own drive intact. Is

This Thing On? brings a more vulnerable tone, exploring

the exposure of releasing personal art, with strings adding

extra emotional weight. No One Else looks at division

in modern life, from social media to politics, while So

Far turns inward, reflecting on change and the distance

between past and present selves.

Home shows in Toronto carry their own emotional significance

too, especially since the band now spends so much

of the year travelling.

The Audience Connection

Despite the relentless touring schedule, Parnell remains

remarkably grounded about what drives her. Simply put,

she still loves doing it. “It’s really cool that we get to do

this for a living.”

A key part of maintaining that enthusiasm comes after

the music stops. Parnell makes a point of visiting the

merchandise table after performances to speak directly

with fans.

“That’s always inspirational. Knowing you’re really reaching

people and they’re genuinely enjoying what you’re

doing. We can’t do it without the audience. They’re the

people who come to shows and tell their friends. That’s

how bands grow.”

Building Broken Souvenirs

That audience connection helped shape the creation

of Broken Souvenirs, Bywater Call’s latest album and

perhaps their most ambitious recording to date. The record

marks the band’s second self-produced effort, with

Barnes taking a leading role in overseeing the creative

direction.

“We’re super proud of it,” Parnell says. “Dave really directed

how a lot of the album came together.” The album

represents both evolution and experimentation. The

band explored vintage soul influences more deeply than

ever before while simultaneously embracing modern

sounds and production techniques. A key contributor was

keyboard player Andrew Moljgun, whose expertise with

synthesisers opened new sonic possibilities.

“We wanted to incorporate some of those newer sounds,”

says Parnell. “Our tastes are always evolving, and we like

to bring those influences into what we’re doing. We’ve

really tried to progress as lyricists and storytellers from

album to album.”

Songs With Stories To Tell

That commitment is immediately apparent across the

Clutter remains a live favourite, evolving from its banjo-led

studio form into a horn-driven stage piece. Sally

offers the album’s communal lift, sitting somewhere

between With A Little Help From My Friends and The

Weight. How Long grew slowly before finding its shape,

helped by Tafari Anthony’s backing vocals. No Friend Of

Mine delivers a blues-rock burst built for the stage, while

Yard Sale closes the album with a poignant story of loss,

memory and moving on.

The Blues As Foundation

Although Bywater Call are often grouped under the blues

umbrella, Parnell is careful to acknowledge both the genre’s

influence and its deeper cultural significance.

“We don’t play traditional blues. The blues was born out

of struggle and hardship. What it gave us is the foundation

for so much of the music we listen to today.” It’s a

thoughtful perspective that reflects the band’s broader

approach: respecting tradition while forging their own

path forward.

The Road Ahead

The future appears as busy as ever. Following a run of

Canadian and American dates, Bywater Call will return to

Europe in early 2026 for an extensive UK tour featuring

many of their favourite venues alongside new destinations.

“It never stops,” Parnell laughs. Yet there is no hint

of fatigue when she talks about what lies ahead. The

excitement remains palpable, fuelled by growing audiences,

creative ambition, and a genuine love for the craft.

As Broken Souvenirs prepares to reach listeners around

the world, Bywater Call find themselves in an enviable

position: confident in who they are, excited about where

they’re going, and determined to keep pushing forward.

For fans of modern roots music, soul and blues-infused

rock, the journey is one well worth following. Bywater

Call’s new album “Broken Souvenirs” is released July

29th. They tour the UK from January 27 – February 7,

2027. Album and tickets available from

https://www.bywatercall.com

EXPLORE




CHICAGO BLUES

FESTIVAL 2026

THE BLUES COMES HOME AGAIN: BY LAURA CARBONE

Come on, baby, don’t you want to go?

Back to the same old place, sweet home Chicago.

Ten and ten are twenty, twenty and six are twenty-six.

Come on, baby, that’s the Chicago Blues Festival, 2026!

The Chicago Blues Festival is more than a music event; it

is a celebration of the city that gave the blues it’s electric

voice and then introduced it to the world. This year the

festival saluted Chicago and celebrated both the city’s

rich blues history and its vibrant future.

The blues initially found its way to Chicago as Black

African Americans moved from the rural South to the

industrial North during the Great Migration. Chicago

blues was born when amplification was added to Delta

blues to compete with the bustling noise of the streets,

and the blues became electrified.

The festival’s roots go back to 1984, when the City of

Chicago launched the event as a tribute to the recently

departed Muddy Waters. Since then, it has grown into

a four-day international gathering that honors the legends,

celebrates today’s artists, and nurtures the next

generation of blues musicians. This is the festival where

in 1985,a young Stevie Ray Vaughan burst onto the

national scene, where an 18-year-old Christone “Kingfish”

Ingram made his first major impression on a large

audience, where Mike Ledbetter first performed alongside

Mike Welch, and where B.B. King and Buddy Guy

stood together on stage, embodying the very heart and

soul of the blues. The festival happens every June and

is considered the largest free blues festival in the world,

drawing in hundreds of thousands of blues fans. Almost

half hail from outside Chicago and bridge a beautifully

wide spectrum of ages and races.

The unofficial opening night started on Wednesday

at Buddy Guy’s club, Legends, where Big Llou held his

annual pre-festival kickoff and fundraiser for The Blues

Foundation and youth groups. This year, Kenny Neal

closed the night, and Buddy himself did a surprise walkon

performance for the appreciative crowd.

Thursday at the historic Ramova Theatre it officially

started off with a “20 Years of the Mississippi Blues

Trail” discussion. This led to the presentation of John

Primers Blues Trail Marker and the live music began

with John hosting an all-star Chicago band from the

historic days of Rosa’s Lounge.

The remaining three days unfolded under sunny skies


at Millennium Park, where the magnificent Chicago

skyline and the stainless-steel Jay Pritzker Pavilion

served as the festival’s centerpiece as well as backdrop.

The lineup had a strong Chicago focus mixed with the

hottest rising stars, award-winning traditional artists,

and strong female artists, and each day culminated in a

major celebration.

Standout performances included the excitement of

younger torchbearers Dylan Triplett and Marquise

Knox, the rooted pairing of Elvin Bishop and Charlie

Musselwhite, and the zydeco tradition of C.J. Chenier.

Canadian powerhouse Shakura S’Aida delivered a fiery

and soulful set that had the audience on its feet, while

this year’s Grammy-winning Ruthie Foster captivated

the crowd with her warm blend of blues, soul, gospel,

and folk, and her powerful rendition of Maya Angelou’s

poem, Phenomenal Woman. Guitar master Sue Foley

delivered a stellar set, and the festival closed with a

magnificent performance by one of the most beloved

figures in American roots music, Taj Mahal, backed by

the Phantom Blues Band.

On Friday night, 55 Years of Alligator Records was celebrated.

Founded by Bruce Iglauer in 1971, this Chicago

label has been one of the most important forces in presenting,

preserving, and promoting blues music. The allstar

Alligator showcase featured Ronnie Baker Brooks,

Lil’ Ed Williams, Toronzo Cannon, Nick Moss, and

Tinsley Ellis, each delivering memorable performances.

Chicago Mayor Brandon Johnson honored Bruce Iglauer

and Alligator Records with an official proclamation naming

June 5 the official Alligator Records Day in the City

of Chicago, recognizing the label’s enormous contribution

to Chicago’s musical heritage.

On Saturday, the evening culminated with a celebration

of 75 Years of Billy Branch. A three-time Grammy nominee,

Blues Hall of Famer, educator, and one of Chicago’s

greatest ambassadors of the blues, Branch was joined by

Ronnie Baker Brooks, Kenny Neal, and special guests for

a joyous birthday tribute. The finale featured Branch’s

song “Begging for Change,” with all the guest artists

and the West Chicago Youth Gospel Choir, as well as

thousands of festivalgoers, singing along and filling

Millennium Park with the song’s message of hope, unity,

and social justice.

Sunday’s finale celebrated both tradition and longevity.

The Women in Blues Tribute honored the legacies of

Mama Yancey and Big Mama Thornton, featuring performances

by Mary Lane, Deitra Farr, Nora Jean Wallace,

Melody Angel, Lynne Jordan, and others.

Yet one of the joys of the Chicago Blues Festival lies beyond

the headliners. The side stages are where discovery

happens.

Rosa’s Lounge Stage, named after the legendary Chicago

blues club, brought authentic Chicago blues to the

festival. Melody Angel delivered a dynamic set, while

Mike Wheeler and Demetria Taylor represented modern

Chicago blues at its finest. The Nick Moss Band with

Dennis Gruenling demonstrated why they remain one

of the premier touring blues bands, and Bob Stroger, accompanied

by Billy Flynn, showed that Chicago’s blues

tradition remains alive and well.

The Mississippi Crossroads Stage highlighted the music’s

deep Southern roots, featuring artists such as Cadillac

Dennis Jones, Eden Brent, the Cuz Band, Dexter

Allen, and Ra’Shad the Blues Kid. This was the stage that

had the crowd up, dancing and celebrating. The stage

is a reminder that the blues continues to evolve while

remaining firmly connected to the Mississippi Delta,

gospel, and its traditions.

Perhaps the festival’s most important stage was the

Next Generation of Blues Stage in Wrigley Square.

Here, high school ensembles, community youth music

programs, and Fernando Jones’ Blues Kids of America

performed throughout the weekend, demonstrating

that the future of the blues is bright and capable hands.

At nighttime, the music moved into the clubs around

Chicago, where once again all ages dug, grooved, and

danced to the Chicago beat.

For four days every June, the blues comes home to that

same old place, sweet home Chicago—a festival that

remains one of the crown jewels of American music and

a bucket-list experience for every blues fan.



Steve

Summers

rewires

the sound

of classic

blues rock

Stephen Harrison

R Summers

For guitarist and songwriter Steve Summers, music has never

really been about trends. Listening to the latest Steve Summers

Band release, Rewired, it quickly becomes clear that Summers

is proudly rooted in the golden era of British blues rock, drawing

heavily from the sounds that shaped him growing up in the late

1960s and 1970s.

Speaking with Blues Matters, Summers reflected on the long road

that led to the current line-up of the band, a journey that stretches

back well over a decade. The original Steve Summers Band was

formed in 2010 after Summers recruited drummer Scott Hunter,

formerly of Jethro Tull, during the Catfish Rising era. The group

toured across Europe extensively before eventually splitting up

for personal reasons.

Like many musicians, Summers found himself re-evaluating

everything during lockdown. Old musical friendships were rekindled,

including collaborations with producer and multi-instrumentalist

Derek White and vocalist Mike Savig. After several projects

came and went, Summers decided to relaunch the Steve Summers

Band in its current form roughly a year ago. “We recorded an EP

called Talk Is Cheap and then decided to put together an album

based around the live set,” Summers explained.

The resulting album, Rewired, combines newly recorded material

with remixed and remastered tracks from earlier releases, creating

what Summers describes as “a retrospective, but one that

reflects the live set we have today.”

A love letter to the seventies

Although Summers insists the band was not deliberately trying to

recreate a 1970s sound, he openly admits that era remains deeply

embedded in his musical DNA. “I’m kind of stuck in that era, to be

honest,” he laughed. “That’s my stuff. Hendrix, Clapton, Blackmore,

those are my guys.”

That influence runs strongly throughout Rewired. There are echoes

of power trio blues rock, progressive flourishes, and extended


happened in a richer environment. Raised in the same

broad South London area that produced legends like Eric

Clapton, Jeff Beck, Jimmy Page, and Peter Green, Summers

grew up surrounded by stories and venues associated

with Britain’s original blues boom.

If pushed to name his biggest influences, Summers struggles

to choose only one. Eventually, he settled on “Jeff

Beck, Jimi Hendrix, and Mike Bloomfield.”

guitar-driven arrangements that feel refreshingly organic

in an age where so much modern rock can sound overly

polished. Summers remains firmly committed to recording

music live in the studio whenever possible. “Two or

three takes for solos, no more than that,” he explained.

“No cutting in and out, no auto-tune.”

For Summers, authenticity matters more than perfection.

Tackling sacred ground

The album also includes ambitious reworkings of two

classic tracks: Third Degree and A New Day Yesterday.

Summers admitted both songs initially felt almost untouchable.

“I’ve always loved the Leslie West, Jack Bruce, and Corky

Laing version of Third Degree,” he said. “Derek White

suggested we do it, and I thought, ‘We can’t touch that.

That’s holy ground.’”

Eventually, the band decided to take the risk, reshaping

the song into their own arrangement rather than

attempting to mimic the original. “You’ve got to make it

authentic to yourself,” Summers explained. “There’s no

point trying to sing like Jack Bruce because nobody can.”

The same approach was applied to Jethro Tull’s A New

Day Yesterday. With Scott Hunter’s history in the band,

the choice carried extra significance. Instead of recreating

the original, Summers and the band leaned further

into the heavier progressive elements of the track, adding

atmospheric guitar textures and extended arrangements

inspired by bands such as Genesis and Focus.

Growing up in the

shadow of giants

Summers’ own musical upbringing could hardly have

His admiration for Mike Bloomfield in particular runs

deep. Summers recalled listening obsessively to Bloomfield’s

work with Electric Flag and studying his phrasing.

“There’s always the argument about who was the greatest

white blues guitarist of the sixties, Mike Bloomfield

or Peter Green,” Summers said. “For me, it was always

Bloomfield.”

At the same time, Summers believes Jeff Beck remained

perhaps the most consistently adventurous of all the British

guitar greats. “Most players peak in their twenties,” he

said. “Jeff Beck just kept getting better and better.”

Keeping the flame alive

Despite his obvious affection for classic blues rock,

Summers remains encouraged by the younger generation

currently emerging on the scene. He spoke warmly about

players such as Connor Selby and other young guitarists

helping carry the genre forward. “Thank goodness younger

players are coming through,” he said. “When we’re

gone, they’ll still be doing it.”

For now, though, Summers remains focused on pushing

the Steve Summers Band forward. A new studio is

currently being built at his new home in the Cotswolds,

with work already beginning on another album of entirely

original material.

“We’re going full steam ahead with this band now,” he

said. “No diversions. This is what we do.”

EXPLORE


LISTEN

TO THIS

INTERVIEW


GA-20 & CHARLIE

MUSSELWHITE… THAT

IS THE BLUES NOW!

Hot on the heels of Orphans, that came out late last year, GA-20 keeps us on our toes by teaming

up with legendary harp player Charlie Musselwhite to bring us another high energy, totally

authentic slab of Chicago Blues entitled Blues Now.

Steve Yourglivch

Fancey Pansen

It should come as no surprise that Charlie

would collaborate with GA-20 leader Matt

Stubbs as the pair toured together for over a

decade. The chemistry between them seeps

into this new recording. When I interviewed

Matt about the release of Orphans, he had

teased me that another record was recorded

and ready to go without giving anything else

away. So when news of this album was released,

I jumped at the chance to link up with

Charlie and Matt via zoom to find out more.

Charlie joined the meeting first and told me

he was back living in Clarksdale now, and I

mentioned his Delta Hardware album. He

told me, ‘The building on the cover is just

down the street from where I am. I used to

own that building. The old building I am in

and that one is with a partner, and he owned

half of this, so we just gave up each other’s

half. He’s got all that and I’ve got all this. I got

a great view of the sun coming up and I can

look all downtown Clarksdale. The Ground

Zero blues club is on the same street.’

‘When I was a kid, I remember this was a hustling,

bustling town. On Saturday you couldn’t

hardly get down the street. Everybody came

to town to shop. It was packed with people

and then over the years I saw it turn into

almost a ghost town. But it’s coming back

every year, more and more businesses. It’s

coming back but in a different way. It’s a great

little town. I run into people walking around,

taking pictures, I met a couple from Belgium

the other day.’

Charlie moved to Chicago when he was quite

young, at the time when it was the pulsating

heart of Blues music.

‘In the summertime I would drive around just

listening with the windows down. You’d hear

something, pull over, go into some little bar

and see a trio who had just come up from Arkansas

or somewhere. You never knew what

you might run into. All over the South Side

and parts of the West Side. I didn’t know how

good it was, but I knew it was great. As the

years go by, I look back and I’m, so thankful I

got to be there at that time. I got to hear Buddy

and Little Walker and Sonny Boy and Wolf;

plus, a lot of names nobody even knows. Live

in the little clubs, and the shows at those little

clubs was not the show you’d see at a festival

or something.’

At this point Matt joined the meeting too,

and after a few hi’s and hello’s we got down

to talking about the new album. I wanted to

know how Charlie and the band got to choose

the tracks.

Matt told me. ‘When we were talking about

doing this record, Charlie, me and the band,

we picked stuff we wanted to do. Charlie

picked songs from his past that he wanted to

re-do or songs he had never gotten around

to recording. I tried to find songs that from

my perspective, through the years of travelling

with Charlie, listening to all his stories

of Chicago, like you were just talking about,

and the different artists. The songs I picked

were songs I heard stories of Charlie hanging


‘He played real well. We were good friends; I was there

for his burial. We did a lot of hanging out. Chasing women

and drinking together. We had a lot of fun. He was pure

blues; he was the blues personified. Everything about

Spann, just the way he walked, the way he talked, the way

he dressed. His jokes and the way he played. He never

played a wrong note. So deep with feeling.’

I wondered if Charlie played with Buddy too as the album

opens with an obscure Guy track.

out with these cats or playing with them. We also picked

a couple of songs off Charlie’s first ever record, just to

touch on that. We recorded eighteen songs in that session

and we narrowed it down to ten for the record that

you hear.’

I’m certainly interested in the ones that didn’t make it,

maybe that’s an album for the future. The first two tracks

are Crazy Lover and I Can’t Hold Out, both high tempo,

vibrant Chicago blues. A great opening to the album.

Over to Matt again: ‘I picked Crazy Lover, the Buddy Guy

track, well, Willie Dixon wrote it, but I found it on a Buddy

Guy record. And then Charlie picked Can’t Hold Out,

which is interesting because I’ve heard a lot of people doing

it in the past year. We’ve been on some festivals, and

I’ve been hearing bands do it before Charlie brought it

in. I hadn’t heard many bands doing it live these days. It’s

interesting; seems like that song becoming popular again.’

As usual with GA-20 projects the band don’t play obvious

covers, Matt always tries to dig that bit deeper to uncover

some real gems.

‘Yeah, I try to pick ones that you don’t hear every day and

when you do hear them you feel something. Charlie did

a great job too, he brought a Tempa Red song, Big Stars

Falling. I wasn’t sure how we were going to throw that

out but it’s one of my favourites. It’s a duet with him and

Cody and the playing is very interactive, it sounds great.’

I confessed to not being familiar with the song or indeed

knowing very much about Tampa Red.

Charlie told us: ‘As far as I know Tampa Red wrote it. I

used to have it on an old 78. I went to see Tampa Red

once with Big Joe Walker. Red said to Joe, I didn’t like you

thirty years ago, and I still don’t like you. Get outta here.

We left! To be honest Joe could get ornery with people,

especially if he’d been drinking.’

Matt had mentioned including two tracks from Charlie’s

first album. They are both amazingly good tracks and

have stood the test of time. Strange Land paints such a

picture of this young ambitious musician entering the

vibrant Chicago Blues scene of the mid-60s. It fits hand in

glove with the Otis Spann track; The Blues Never Dies. I

was sure Charlie had an Otis Spann story to tell.

‘Sure, many times we’ve done shows together. When I

lived in Chicago, I sat in with him many times at Teresa’s

and other clubs. I’ve known Buddy for sixty years or so.

Junior Wells lived around the corner from me, I’d see him

and Buddy at Teresa’s together at night. I knew just about

all of them.’

Was there a lot of rivalry among different players like you

and Junior?

‘In a way but it was a friendly rivalry. We all really supported

each other too. A guy like Big Joe Walker would

come along and just wipe everybody out. On the West

Coast in later years, it was different, they would sabotage

your amp to make it sound bad and feedback. They never

would have done that in Chicago, we were all friends.’

“I’m certainly

interested in the

ones that didn’t

make it”

A special track that is also from Charlie’s debut is Cristo

Redentor, which has become something of a signature

tune for Charlie even though he didn’t write it. It’s great

to hear a new version and I have to say Matt and the band

have excelled on it. It draws you in almost hypnotically.

Charlie explains: ‘It was on my first album and people

liked it. I’ve been playing it a long time. I’ve tried to quit

playing it because I thought people will surely be getting

tired of it. When I did that people got upset with me and

said I waited all night to hear Cristo and you didn’t play it.

So I still play it almost every night. I’m just gonna say it’s

an interesting tune because all these years it never gets

stale. It always seems fresh, and every time I play it, it

seems still new somehow. It’s hard to explain, but it’s got

it’s own spirit to it. It really has it’s own thing and it seems

to live. It refuses to go away.’

Matt concurs: It’s a beautiful song. As Charlie said, we

play it every night. I’ve been with Charlie for 17 or 18


years and we always close with it. The spin we’ve tried to

put on it, which I think came out really well, is that Cody

plays lap steel and pedal steel. He doesn’t get to do a

lot of that with GA-20, so we were able to sneak that in

which I think really compliments it nicely’

I wanted to know from Matt how much of these tracks

might we expect to hear at GA-20 live shows?

‘We’ve just started doing shows as this package, Charlie

and GA-20. We just did a Jazz Fest in New Orleans and

Tampa Bay Blues Fest and some live shows. I think we do

about half of them right now and we’ll sneak a few more

in. Then Ga-20 tour Europe in July with some UK dates to

come too.’

Since this interview GA-20 have confirmed

dates for a UK tour:

Oct 20th Leeds, Brudenell Social Club.

Oct 21st Edinburgh, Cabaret Voltaire.

Oct 22nd Chester, St Marys Creative Space.

Oct 23rd London, Colours, Hoxton.

Oct 24th Faversham, The Old Brewery Stores.

Hopefully a few more to be added. Catch this band live if

you can.

EXPLORE



ALBERT

CASTIGLIA

AT

ABBEY

ROAD


BLUES, BRITISH ROCK,

AND THE ROAD THAT LED

TO STUDIO 3

Stephen Harrison

Rob Blackham

Some places in music need no introduction, but still stop

you in your tracks when you walk through the door. Abbey

Road Studios is one of them. Standing inside Studio

3 with Albert Castiglia, surrounded by the weight of

everything that has been recorded within those walls, it

was clear this was not just another recording session. For

Castiglia, this was a moment loaded with history, memory,

influence, and more than a little disbelief.

The idea began almost casually. “I recollect that Ollie

pitched me the idea of doing an album in the UK,” Castiglia

explains. “I said fine, and I think I facetiously said,

‘Well, let’s do it at Abbey Road while I’m here.’ Then

he said okay. I didn’t think he was serious about it, and

then he came back and said we were going to do it. I was

floored.” Those who know Ollie Overton will not be surprised.

“When Ollie puts his mind to something, it usually

comes into fruition,” Castiglia says. “He’s very proactive

and assertive in a good way. He sure made this happen.”

HENDRIX BEFORE ABBEY ROAD

Before Abbey Road came another moment of almost

unbearable musical weight. The day before the session,

Castiglia visited Jimi Hendrix’s London flat and played

three Hendrix songs there. It was an experience that

shook him far more than he expected. “That was the first

impactful moment of the trip,” he says. “I got to play three

of Jimi’s songs in his flat. I was in awe when I got there,

but I tried not to let the moment get too big.”

It did get too big, at least at first. Castiglia had been

playing Hey Joe since he was twelve years old, yet once

the recording started, the room itself seemed to overtake

him. “I nailed it in practice, and then when they hit record,

the moment got too big for me. I sang the third verse first.

Then I did another take and couldn’t get past the second

verse. I was visibly shaken by the whole thing.” Looking

around the walls, his thoughts drifted to Hendrix himself.

“I kept thinking, I wonder what he wrote here? Those

things are not supposed to be happening while you’re

singing a song.”

Eventually, Castiglia reset himself by changing the order.

He started with Red House, a straight blues he could do

in his sleep, then moved into Little Wing, which he captured

in one take. Only then did Hey Joe fall into place.

After everyone left the room, the moment finally landed.

“I felt his presence there, and my eyes started to well up.

I just said, ‘Thank you. Thank you for everything, Jimi,’

and walked out the door.” In some ways, that emotional

encounter prepared him for Abbey Road. By the time he

entered Studio 3, he understood what had to be done:

feel the history, then get to work.

INSIDE STUDIO 3

Even so, walking into Abbey Road was still overwhelming.

“The minute I looked at the front door, it blew my mind,”

he says. “When they asked me for my pass, that blew

my mind. When I walked down the hall, it blew my mind.

Then I got into the studio and had time to soak it all in

because they were still lining up mics.”

That time proved vital. Unlike the Hendrix flat, where

emotion almost derailed the performance, Abbey Road

gave Castiglia space to absorb the surroundings before

recording began. “I had time to entertain the thoughts I


LISTEN

TO THIS

INTERVIEW

“I STILL

CAN’T

BELIEVE

I’M HERE”

had at Jimi’s flat. Because of that, I was able to put it aside

when it came time to lay down tracks.” Still, the feeling

never quite went away. “Every time I walk back in from

the loo or something, I still can’t believe I’m here.”

The room carries particular meaning for him because so

many of his favourite records were made there. “I love

everything The Beatles did, but everything from Rubber

Soul on is my favourite. They matured and started experimenting.

They did Revolver here, they did the White Album,

which is my favourite album.” The connection goes

even deeper through family. “My nephew is severely on

the spectrum with autism. He’s barely verbal, but he loves

The Beatles and his favourite song is Yellow Submarine.

That was recorded here, so it means so much to me.”

THE RECORDS THAT OPENED THE DOOR

Castiglia’s road to the blues began, as it did for many,

through British rock. His first memory of rock and roll

was The Beatles’ Live at the Hollywood Bowl, played on

his father’s eight-track machine. “It wasn’t a sonic masterpiece.

It was crude, with a lot of screaming girls, but you

could feel the excitement. I felt like I was at the concert. I

think that was the record that planted the seed.”

The Stones followed, especially the Hot Rocks compilation,

then came Led Zeppelin. As a young teenager, Zeppelin’s

fourth album became part of his daily life. “I used

to listen to Misty Mountain Hop before I’d go out and

play basketball,” he recalls. “I wasn’t a very good athlete,

but I had one really good game where I scored fifteen

points, and I attributed it to Misty Mountain Hop.”

FINDING MUDDY WATERS

The real blues conversion came through Eric Clapton’s

Just One Night, recorded at Budokan. A third of that

album, Castiglia points out, was blues: Junior Wells’ Early

In The Morning, Maceo Merriweather’s Worried Life

Blues, Robert Johnson’s Ramblin’ On My Mind, Bobby

Bland’s Further On Up The Road, and Otis Rush’s Double

Trouble. “That was my introduction to the blues,” he says.

“After that, I bought the Beano album with John Mayall,

then started delving into the original artists.”

The decisive moment came with Muddy Waters’ Hard

Again, produced by Johnny Winter. “Kids at school said

if you’re into the blues, you need to listen to Muddy Waters.

I bought that cassette, played it, and the first thing

you hear is Muddy’s booming voice a cappella. It scared

me. It was so haunting and deep. Then the band busted in,

and that album changed my life.”

From that point, the path was set. His dreams of sport

faded, and music overtook everything else. “That was

when I knew what I wanted to do. Muddy’s way of telling

me where I needed to be.”

RAGGED GLORY

While Clapton was his first major guitar hero, Castiglia’s

current playing owes much to Jimmy Page. He speaks

about Page not in terms of perfection, but reach. “Jimmy

was always reaching,” he says. “When you reach, sometimes

you’re going to hit a note. People call it sloppiness. I

call it ragged glory.”

That same willingness to reach has shaped Castiglia’s

own approach. “I learned a few things on this record and

hit some unintentional notes that we wound up keeping.

I think that’s what Jimmy does.” Page even once attended

one of Castiglia’s shows in Florida, although Castiglia did

Music soon became more than entertainment. It became

a company. “I wasn’t a very popular kid. I was kind of a

loner and didn’t have a lot of friends. Music started becoming

my friend.” Derek and the Dominos, Clapton, Zeppelin,

and the Stones helped him through those uncertain

teenage years, even before he fully understood the emotional

weight behind the songs. “I didn’t know heartache

the way Clapton did, but I still felt a connection.”


not know until afterwards. “My wife came up and said,

‘You won’t believe who was here.’ It was Jimmy Page. He

watched the show for an hour, then some pain with a

camera started taking pictures, and he left. That’s as close

as I ever got.”

The British blues-rock lineage remains central to his identity.

Clapton, Page, Beck, Ritchie Blackmore, the Stones,

Zeppelin, The Who, and the Beatles are all woven into his

musical DNA. “The blues is my passion, but I would never

have got there without British musicians,” he says. “Without

Clapton, Page, Beck, and Blackmore, I don’t know if I

would have found my way.”

JUNIOR WELLS AND THE CHICAGO YEARS

Castiglia’s professional life changed forever on New

Year’s Eve 1996, when he sat in with Junior Wells at a

club in Delray Beach, Florida. At the time, he was working

as a caseworker in the Florida welfare system, a job he

found difficult and draining. A mutual friend encouraged

him to bring his guitar to the show, just in case.

When Junior’s road manager asked him to sit in, he

offered a warning. “He said, ‘You better be good, because

if you’re not, Junior’s going to embarrass you in front of

all these people.’ I said, ‘Man, I work at the welfare office.

I’ve had knives pulled on me, my life threatened, my tyres

slashed. A bad night with Junior Wells beats a good day at

the office.’”

He played several songs with the band, then three more

with Junior. “That was the greatest night of my life at the

time.” A month later, he was called for more dates. Soon

after that came the bigger call. Could he be in Chicago in

three days to play with Junior full-time? “It took me three

seconds to make that decision.”

Arriving in Chicago, he ended up in a rough $30-a-night

hotel near the train tracks. “It was a real shithole,” he

laughs. “But I dropped my bags, looked out the window,

and thought, this is the greatest day of my life. I’m a Chicago

bluesman.” From that moment, he made a promise

to himself. “I said, I am never going back to doing something

I hate. Life is too short to live your life for someone

else.”

After Junior Wells passed away, Castiglia continued

to work as a sideman, including several years with the

powerful blues singer Sandra Hall. Eventually, the need to

step forward became unavoidable. “I’d put in enough time

as a sideman. I had things I felt I needed to say on my own,

so I took a chance.”

BLESSED BY THE BLUES

Castiglia is open about self-doubt. “I’m predisposed to

having self-esteem issues. Most of us are,” he says. “I’m

wary of overly confident musicians because most of them

aren’t worth much. There are a handful who can back

it up, but I’ve always had that self-esteem thing.” Even

arriving at Abbey Road, the old feelings returned. “I felt

overwhelmed because I didn’t feel worthy.”

That feeling, however, sits alongside profound gratitude.

Music gave him a life, a career, his wife, and a relationship

with his daughter, whom he found eight years ago. They

bond over music, especially Led Zeppelin. One of the

greatest moments of his life was performing Since I’ve

Been Loving You with her on stage. “That’s my favourite

Jimmy Page solo, and it happened to be her favourite

song. We got to do it together a few times. That’s wonderful.”

He has no problem using the word blessed. “Somebody

said blessed is an overused word, but there’s no better

word to describe this life I have. It’s given me so much.”

A BLUES ALBUM WITH BRITISH BLOOD

So what kind of record is being made inside Abbey Road?

Castiglia describes it as blues, but with blues-rock running

through it. “I’m a blues musician to my soul, but I’m

also influenced by every piece of music that ever gave me

goosebumps.” The British influence is built into the sound.

He is using a Bluesbreaker amplifier similar to the one

Clapton used on the Beano album, letting that historic

tone feed directly into the sessions.

“There are elements of British rock, British blues, and

Chicago. My two loves,” he says. “There’s American music

in there, too. It’s a big mishmash of music.” Lyrically, the

material ranges from the absurd to observations of life in

the United States during strange times. “If I’m not living it,

I can’t give it. That’s the only way I can write.”

Asked to choose one desert island album, Castiglia pauses,

then returns to the record that changed everything.

“Probably Muddy Waters’ Hard Again. That’s the album

that made me want to play blues. That one said, “ Hey

man, this is where you should be.”

Standing in Abbey Road, after Hendrix’s flat, after Muddy

Waters, Clapton, Page, Junior Wells, Chicago, and

everything else, it feels like Albert Castiglia has followed

that voice all the way here. And somehow, in Studio 3, it

all makes perfect sense.

EXPLORE


“I’M ALSO INFLUENCED

BY EVERY PIECE OF

MUSIC THAT EVER GAVE

ME GOOSEBUMPS”


BIG BLUES

REVIEWS

ALBERT

CASTIGLIA

GRITS & GLORY

Gulf Coast Records

Grits & Glory is the fourth album that Albert Castiglia

has recorded for Gulf Coast Records, and

his fifteenth album release overall. That is not the

only significant thing; the album was recorded at

the world-famous Abbey Road Studios in London.

Not just at Abbey Road, but in Studio Three,

where Pink Floyd recorded, Wish You Were Here.

This is an album full of emotion, songs that pack

a punch, and lyrics that make you feel something.

Alongside Cliff Moore and Ray Hangen, Castiglia,

right from the get-go on In My America, that he

has things to say, and he expresses them in the

purest of forms, Blues and Blues/Rock. One of the

things that most appealed to me on this album

was the sheer rawness of the playing and writing.

All blues tunes from the dawn of time have tales

“ranks among Albert

Castiglia’s finest

recordings”

of woe and desperation, hurt and defeat.

Castiglia has taken that and brought

it into the modern world; that’s what

makes this such a good listen. Slumlord

Billionaire is a prime example of what

I’m describing; it tells the story of

greed and hate, and how man is

pitted against man for the embodiment

of others who are at the top

of the food chain. Don’t be fooled

into thinking that this is a political

statement; it isn’t, it’s the story of a

man with a conscience, expressing his

feelings through the Blues, which has

been the backbone of Blues music since

time immemorial. When The Coin Came

Calling is a wonderfully crafted, funky tune

that allows all the musicians involved to jam and gel

as if their very lives depended on it. Aptly, Yer Blues

is the final track. Originally done by The Beatles at

Abbey Road, Albert Castiglia gives it a new lease of

life. You’ve gotta have some balls to tackle this tune;

Castiglia nails it. Raw, honest and deeply human,

Grits & Glory ranks among Albert Castiglia’s finest

recordings

STEPHEN HARRISON

EXPLORE

Rob Blackham

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CHARLES WESLEY

GODWIN

CHRISTIAN NAME

Big Loud Records

Throughout his career, the West

Virginia singer songwriter has built

a reputation on unvarnished storytelling

and a clear eyed portrayal of

Appalachian life. His latest album

continues that tradition while

offering his most personal work

yet. Written in the aftermath of

profound loss, the record explores

grief, faith, and renewal with a quiet

intensity that feels both vulnerable

and assured. Rather than dwelling

in sorrow, the album traces a path

toward healing, grounded in the

blue collar sensibility that has long

defined his writing. The title functions

as a declaration of identity and

belief, setting the tone for a collection

shaped by spiritual reckoning.

After an opening sermon, Try Again

emerges as a thematic anchor,

capturing the search for purpose in

the wake of hardship. I Caught the

Sunrise, provides one of the album’s

most affecting moments, reflecting

on how memory keeps loved

ones close even after they’re gone.

Two collaborations add dimension

without disrupting the album’s

intimate core: Luke Combs appears

on Better That Way, while Wyatt

Flores joins Hey There, Son. Behind

the scenes, contributions from Stephen

Wilson Jr., Liz Rose, and Lori

McKenna help broaden the project’s

emotional and musical range.

Sonically, the album expands his

palette while remaining rooted in

heartland country and Americana.

Tracks like Hallelujah High and the

title cut confront doubt and mortality

with a sense of hard won clarity.

What ultimately distinguishes the

record is its emotional precision

and a refusal to overstate, relying

instead on sharply observed details

and grounded narratives. The result

is a deeply human work shaped by

loss, sustained by faith, and defined

by resilience.

COLIN CAMPBELL

68 BLUES MATTERS! ISSUE 163

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DAVID G SMITH

HERO STREET

Hey Dave Music

Rather a fine collection of stories and

emotions. David G Smith is a true

raconteur in the manner of John Prine,

Steve Earle, Townes Van Zandt or John

Cougar. This is Smith’s 12th album and

he has a tone of reflective melancholy

about many of the songs. Musically very

fine but all the focus is on Smith’s lyrics

and vocals. His poems and songs are

evocative of all manner of American life,

war, fear, relationships and living in the

modern world. Ably supported by Lex

Price on bass, Dan Mitchell on piano,

Mellotron, Hammond B-3 and horns,

Juan Solorzano on steel & electric

guitars and slide, Nelson Hubbard on

drums and Mia Winsinski on backing

vocals, there is a quiet power behind

Smith’s vocals, never overshadowing

but always providing a perfect support.

Hubbard’s production and mixing

probably has a great deal to do with the

smooth approach. A round dozen tracks

and everyone ears repeated listening.

His lyrics are sometimes difficult to

grasp immediately, but all bear fruit

eventually – in the meantime, the musicianship

and playing will satisfy while

waiting for his meaning to become clear.

The slow and contemplative Walking

Each Other Back Home is haunting

and emotionally affecting, just piano

and acoustic behind his vocals. Equally

strong is Angelina, also spare and with

a hole around Smith’s vocals. In complete

contrast is Days Of Babel - much

more powerful in its presentation and

a shimmering electric guitar counterpointing

his singing. My favourite track

is definitely Hymn To Humanity – something

about the track, the album closer

and the chorus “Dive In”, takes your soul

on a ride.

ANDY SNIPPER

BYWATER CALL

BROKEN SOUVENIRS

Independent

Bywater Call deliver their most assured and

emotionally resonant album to date. Fronted by the formidable

Meghan Parnell and powered by Dave Barnes’ tasteful guitar work, the

seven-piece continues to blur the lines between blues, soul, rock and Americana

with a record that feels both deeply personal and universally relatable.

Drawing on themes of loss, resilience, self-discovery and redemption, the

songs are rooted in genuine experience rather than genre clichés. Parnell’s

voice remains the band’s greatest strength, shifting effortlessly from quiet

vulnerability to commanding power. The album opens with the retro soul

swagger of Hold Me Down, before Is This Thing On? explores creative selfdoubt

through acoustic guitar and sweeping strings. No One Else combines

infectious soul-rock with a pointed rejection of manipulation, while Only

and Way To Go celebrate classic soul influences and personal independence.

one of the strongest

roots releases of the year

So Far brings a cinematic feel, Clutter delivers a moving heartbreak ballad,

and Sally encourages openness and connection. How Long blends classic

soul with contemporary R&B, Ain’t No Friend of Mine digs into gritty bluesrock,

and closing track Yardsale strips everything back to acoustic guitar

and raw emotion, reflecting on love lost and lingering memories. Richly arranged,

passionately performed and emotionally honest, Broken Souvenirs

is a significant achievement for Bywater Call and one of the strongest roots

releases of the year.

COLIN CAMPBELL

DEKE MCGEE A

ND HIS BAND

COME ON HOME

Independent

Scottish saxophonist extraordinaire,

singer songwriter, band leader, Deke

McGee is back with a wonderful new

release. Thirteen tracks pf differing

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CHRIS O’LEARY

BLUE COLLAR

Alligator Records

a record that feels

authentic in every note

styles of blues here, ranging from jump,

rhythm and blues, jazzy swagger, these

are tunes to get the listener tap their

toes at least and go out and catch this

band on tour. Alongside Deke is Duncan

Kennedy on guitar, Kirk Lothian

on piano, Al Gare on double bass, Gary

Woodside on drums and Jimmy Steele

on baritone saxophone. Together they

are a formidable unit of accomplished

musicians who just gel so well together.

This sounds like a live recording, so

good is the production. Gravy Train,

the opening tune is a stomper and sets

the tone, for the rest of the release.

Here Comes Trouble is peppered with

mellow sax notes and a driving beat,

it is about the lyrics here, a feelgood

tune. Coming Back To You keeps a

mellow tone, a slow bluesy tune full of

melody and the sax solo is sublime. Lay

Your Head Down Beside Me, is uplifting,

another feelgood tune, bound to

be a crowd pleaser. Goodbye So Long

I’m Gone, takes the listener to New

Orleans, very danceable and infectious

Chris O’Leary’s newest release is exactly

what its title suggests: tough, honest, and built from

hard-earned experience. The veteran bluesman has never lacked authenticity,

but on this latest collection he turns a lifetime of stories into a vivid,

deeply personal statement that feels both timeless and urgently alive.

From the opening punch of Bad Decisions, O’Leary establishes the album’s

tone with self-deprecating humour, driving harmonica, and a voice weathered

by experience rather than studio polish. His singing carries the grit of

Chicago blues while the arrangements draw freely from Memphis soul and

New Orleans funk, creating a sound that is broad without ever losing focus.

The result is an album that moves effortlessly between roadhouse swagger

and late-night reflection. Tracks like After 2 A.M. and Justice Must Be Blind,

showcase O’Leary’s gift for storytelling, finding drama in everyday choices

and consequences. Meanwhile, Nothing But A Memory, slows the pace

for a soulful meditation on loss, allowing both the lyrics and musicianship

room to breathe, full on harmonica tones here. Elsewhere, Live Baby Gators

injects a dose of swampy fun, proving that O’Leary understands the blues

is as much about resilience and laughter as hardship. What elevates this album

above many contemporary blues releases is its sense of lived reality.

O’Leary doesn’t romanticise struggle; he documents it with sharp observation,

warmth, and humanity. Backed by a tight, energetic band and buoyed

by commanding harmonica work throughout, he delivers a record that feels

authentic in every note. Blue Collar, is modern blues at its most convincing;

earthy, soulful, and impossible to fake.

COLIN CAMPBELL

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tones abound, this highlights each band

member a pure joy. Preservation Blues

has an ethereal quality very atmospheric.

Jump blues tones pepper the

wonderful, House Rent Party. Sunshine

Blue Skies slows the pace, a blues ballad

with full emotion and full band feel. The

title song has a swagger of its own with

the narrator pleading with his partner, a

great composition. Last tune is Somebody

Have Mercy, an all-encompassing

song about the human condition and

social problems. Something here for any

music lover, this is quality musicianship,

this evokes the adage that the genre’s

real power lies in feel, space and songs

that sound like they have been around

forever. A wonderful release highly

recommended.

COLIN CAMPBELL

DOUG MORTER

MAMA’S BOY STORIES

FROM AN EAST END KID

For Fun

When this album arrived on my doorstep

I wondered why as the only times I

had come across Doug was as a member

of The Albion Band, Magna Carta

and as what could roughly be called a

go to sessioner within the world of Folk

music. Bizarrely I had even had met

him in my local bar when he stopped

by to play a very low key gig with Alan

Thomson and Elliot Randall. I was not

expecting to be getting my ears around

this new, Blues influenced, outing. Be

aware though that this is not a loud foot

stomping collection. Instead these are

quiet reflections on life spread over

some eleven tracks with two covers

including Donovan’s song Colours and

Chris Simpson’s Two Old Friends. As

you might expect given his back-story

there are some amazing players

adding their talents to these cuts

including Jerry Donahue, Paul

Burgess and the aforementioned

Alan Thomson. Now some of

these songs stem from the past,

dusted off and given a fine polish

and, in the case of False Hands Across

The Table written in Beirut in 1981,

sadly all too relevant today. Song For

Bonnie, a tribute to Ms Raitt a singer

and player whom I defy anyone not to

fall in love with. Way back in 1970 Doug

was first tempted into the world of

song-writing with Snow and we have it

here. Doug’s guitar playing is sensitive

LEEANN ATHERTON

GOOD GOD

Rainstorm Records

Leeann Atherton’s Good God is an album that

arrives with conviction, heart, and an unmistakable sense

of purpose. The Austin-based singer-songwriter has spent years exploring

the crossroads of blues, country, rock, soul, and Americana, but on this latest

release she turns her attention fully toward gospel music and the result feels

both natural and deeply personal. From the opening notes, Atherton’s voice

takes centre stage. Rich, expressive, and filled with lived experience, she approaches

these songs not as museum pieces but as living, breathing testimonies.

Whether interpreting beloved standards such as, I’ll Fly Away, Put A

Little Love In Your Heart, and Call On The Lord, or delivering more reflective

moments like I’m Looking For A Miracle, she brings warmth and authenticity

to every performance. What makes this album particularly engaging is its

balance between reverence and accessibility. Atherton avoids over-singing

or excessive embellishment, instead allowing the emotional weight of the

material to shine through. Her seasoned backing musicians provide sympathetic

arrangements that blend traditional gospel roots with touches of

blues and soul, creating a sound that feels timeless rather than nostalgic.

Atherton sings with the conviction of someone who believes every word,

and that honesty is infectious. Even listeners who do not typically gravitate

toward gospel music will find themselves drawn into the album’s uplifting

spirit and sense of community. In a musical landscape often dominated by

style over substance, this release stands as a reminder of the enduring power

of faith, hope, and heartfelt performance. It is a soulful, inspiring collection

that showcases Leeann Atherton at her most focused and compelling.

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focused and compelling

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CARL CARLTON &

MELANIE WIEGMAN

MILES OF TIME

Time Zone Records

Three years after their debut, guitarist and producer Carl Carlton, known

for his work with Carl Carlton & The Songdogs and actress-turned-vocalist

Melanie Wiegmann return with a second collaborative set that once again

leans into understated charm rather than grand reinvention. Now firmly

rooted on the Mediterranean island of Gozo near Malta, the duo continues

to draw subtle inspiration from their surroundings; the sun-warmed pace

of island life seems to seep into every arrangement, shaping an album that

favours warmth, space, and unhurried musical conversation. Carl Carlton

supplies an elegant framework of guitars and textured instrumentation that

resists overstatement in favour of tasteful detail. On Miles of Time, the pair

a cohesive, sun-drenched

collection

once again turn to reinterpretations, curating a set of lesser-sung gems from

across blues, country, and classic rock. Rather than obvious warhorses, they

opt for songs with personal resonance, reworking material by artists such

as John Sebastian, Stories We Could Tell, Jerry Jeff Walkers, Little Bird, The

Searchers Love Potion No. 9, and Jimmy Reed on, Big Boss Man. The interpretations

feel affectionate rather than radical, gently reframing familiar

material through a shared aesthetic lens. A highlight arrives early with Just

Like You, featuring a guest appearance from blues heavyweight Keb’ Mo’,

who originally co-wrote and recorded the song in the 1990s. His presence

adds quiet authority to an already assured opening statement. Ultimately,

Miles of Time doesn’t aim to reinvent its source material so much as inhabit

it. The result is a cohesive, sun-drenched collection defined by ease, balance,

an understated sense of musical companionship.

COLIN CAMPBELL

and not overblown perfectly matched

to his ageing voice. I mean total respect,

as I am a firm believer that there comes

a point where vocals sound better

when almost spoken. Think Rick Rubin’s

brilliant work with Johnny Cash. A fine

album deserving a place in any music

collection.

ERIC STREET BAND

HOME TERRITORY

Independent

GRAEME SCOTT

For nearly two decades, the Eric Street

Band has quietly carved out a respected

place on the British blues scene,

building an impressive catalogue of

releases while remaining firmly rooted

in Berkshire soil. Frontman Dennis

Siggery, already a seasoned performer

long before the band’s formation, first

conceived the project during studio

sessions in his hometown of Wokingham.

What began as an informal

collaboration soon evolved into the Eric

Street Band, with Siggery remaining the

driving force through various line-up

changes over the years. Today, he is

joined by guitarist Gordon Vaughan,

bassist Henry Smithson, and drummer

Julian Brown. On this newest release,

Siggery and Vaughan share songwriting

and production duties, crafting ten

tracks drawn from a larger pool of material.

The album’s artwork, depicting

an old image of Reading, pays tribute

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to the area the musicians proudly call

home. Yet musically, this is far from a

nostalgic retread. In a bold departure

from the band’s familiar electric bluesrock

sound, Home Territory embraces

an acoustic approach while stretching

comfortably into folk, roots, and Americana

territory. The gamble pays off

handsomely. Enhanced by contributions

from harmonica player Dave Raphael,

violinist Andy “Drew” Taylor, and backing

vocalist Gillian Tunley, the album

brims with warmth and variety. Highlights

include the fingerpicked opener, I

Hear You Knocking, the graceful ballad,

The River Of Sight, the richly textured

Coltrane, and the haunting Bad Man.

Siggery hints in the liner notes that this

may be his final album. If so, this is a

remarkably dignified closing chapter. A

highly recommended album.

GRAINNE DUFFY

WHAT AM I

SUPPOSED TO DO?

Independent

COLIN CAMPBELL

Gráinne Duffy’s newest release arrives

with the quiet confidence of a record

that has nothing to prove. Rooted in

the blues yet dusted with soul, Americana

and classic rock, it feels less like a

stylistic exercise and more like a lived-in

conversation; one that privileges feeling

PARKER BARROW

HOLD THE MASH

Independent

Parker Barrow’s new release lands with a confident swagger,

steeped in the grit of Southern rock and blues yet delivered with a modern,

road-worn sheen. Named after the infamous outlaw duo Bonnie Parker

and Clyde Barrow, the Nashville outfit leans into that mythic sense of rebellion,

threading it through a record that feels equally suited to a dust-choked

highway drive or a late-night festival set under floodlights. At the centre of

the storm is vocalist Megan Kane, whose commanding, soul-drenched delivery

gives the album its emotional voltage. She can cut through a full-throttle

rock arrangement with sheer force one moment, then pull everything back

into a blues-soaked confession the next, always carrying a sense of lived-in

conviction.The album blends material from last year’s Hold The Mash EP, including

standouts like Make It, Novocaine, The Healer, and Glass Eyes with

four new tracks that broaden the band’s scope. Among them is Blinded, written

by Dylan Turner alongside guitarist and musical director Alex Bender,

a clear statement of intent

from a band hitting its stride

which underscores the collaborative core driving the project forward. What

gives the record its momentum is its range. High-octane rock numbers sit

comfortably alongside groove-heavy blues cuts, creating a push-and-pull

dynamic that never feels forced or disjointed. There’s a palpable live-wire

energy throughout, as if the band is playing just slightly ahead of the tape,

feeding off each other in real time rather than assembling parts in isolation.

Rather than chasing contemporary trends, Parker Barrow double down on

the foundational language of blues, rock, and Americana, filtering it through

their own high-energy lens. The result isn’t retro pastiche, but something

more vital, an album that feels grounded in tradition while still pushing forward.

It’s a clear statement of intent from a band hitting its stride and sounding

increasingly sure of where it’s headed.

COLIN CAMPBELL

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over fashion at every turn. Recorded at

64 Sound Studio in Los Angeles, the album

benefits from the seasoned touch

of co-producers Justin Stanley and

Marc Ford, whose influence is audible

in its warm, analogue-rich textures. The

ensemble assembled around Duffy is

formidable: drummer Kenny Aronoff,

bassist Jørgen Carlsson, keyboardist

Peter Levin, Ford himself, and long-time

collaborator Paul Sherry all contribute

to a sound that breathes with live-room

energy and understated precision.

From the opening bars of Early In The

Morning, Duffy sets her stall with grit

and intent, her voice cutting through

a groove that nods to both smoky

blues clubs and sun-faded rock radio.

Across the record, she moves with

ease between stripped-back emotional

balladry and more muscular, full-band

arrangements. The title track forms the

emotional core, balancing fragility and

resolve in equal measure, while Streets

of Love. leans into widescreen romance

and Tearing Me Apart builds towards

cathartic intensity. Elsewhere, Hurts

Just the Same and Taking My Heart

Away distil heartbreak into something

direct and unvarnished, and Got To

Give It Up, pushes forward with defiant

momentum. Her reinterpretation of

Peter Green’s Need Your Love So Bad.

stands as a highlight, respectful without

being reverential, reshaped through restraint

and emotional clarity. What ultimately

defines the album is its refusal

to over-polish. In its imperfections and

raw edges, is where this release finds its

strength. Highly recommended.

COLIN CAMPBELL

HARRELL DAVENPORT

YOUNG RELL

Little Village

At an age when most musicians are still

finding their footing, Harrell “Young

Rell” Davenport arrives with a debut

that sounds remarkably assured. Young

Rell, released on the Little Village

imprint, is more than an introduction;

it is a declaration that one of the blues’

most promising young torchbearers

has officially arrived. Raised in Vicksburg,

Mississippi, Davenport possesses

a deep reverence for blues tradition,

but what makes this album compelling

is how naturally he inhabits it. Across

twelve tracks, the 19-year-old singer,

guitarist, harmonica player, and songwriter

demonstrates a maturity that

belies his years. Whether delivering the

swaggering Chicago shuffle of Tomorrow,

the soulful groove of Spinning,

or the autobiographical slow burner

Fatherless Child, Davenport performs

with conviction, restraint, and emotional

honesty. His harmonica work is

consistently outstanding, drawing inspiration

from classic masters while maintaining

a distinctive voice of its own. As

a guitarist, he understands an often-forgotten

lesson: every note matters. His

solos are tasteful, melodic, and perfectly

suited to the song. Vocally, there is

still a youthful edge to his delivery, but

that freshness only adds authenticity to

material rooted in personal experience.

The album’s supporting cast, including

Kid Andersen, Jim Pugh, June Core, and

a stellar horn section, provides a rich

LISTEN TO THE BLUES MATTERS

PODCAST

Listen to some amazing interviews with

the artists we’ve been lucky enough to speak

to for the magazine. NOW ON YOUTUBE!

Paul JULY

PHILIP SAYCE

Blues Matters speaks to Philip Sayce about his musical roots, live

performance, and the release of Scorched Earth Vol 2.

JUDITH OWEN

Blues Matters speaks to Judith Owen about her outstanding new

album Suit Yourself, the deep musical pull of New Orleans, and the

joy at the heart of jazz, blues, gospel and soul.

MARC BROUSSARD

Marc Broussard joins Blues Matters to discuss his powerful new

album Chance Worth Taking.


2026

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REVIEWS JULY2026 REVIEWS JULY2026 REVIEWS JULY2026 REVIEWS JULY2026 REVIEWS REVIEWS JULY2026 REVIEWS JULY2

GA-20 & CHARLIE

MUSSELWHITE

BLUES NOW

New West Records

This collaboration between GA-20 and blues legend Charlie Musselwhite

comes hard on the heels of their Orphans release. The album consists of ten

expertly selected covers that flow together brilliantly to recreate the feel of

a mid-1960s South Side Chicago blues club. Charlie lived and breathed those

days, and two tracks come from his 1967 debut Stand Back! album: Strange

Land and the hypnotic Cristo Redentor. Very different, but equally outstanding.

The rare Buddy Guy track Crazy Love, written by Willie Dixon, gets the

album off to a rousing start before the band tears into Elmore James’ I Can’t

Hold Out, a relentless, harp-fuelled ball of energy. Jimmy Reed’s I’ll Change

My Style eases the pace before Tampa Red’s Big Stars Falling delivers a smoky

introducing a new audience to

one of music’s greatest genres

late-night club vibe. Guitarist Cody Nilsen and Charlie swap licks on Universal

Rock, originally performed by Earl Hooker and Junior Wells. Otis Spann’s

The Blues Never Dies is full of Delta soul and emotion, while Stroll Out West

adds a darker edge. Nilsen shares vocal duties with Charlie throughout and is

a key part of the album’s success, contributing excellent guitar and lap steel

work. There’s also a real Chicago feel to Short Dressed Woman, best known

through Muddy Waters. The album closes with the superb Cristo Redentor,

leaving you wanting more. I’m told eight more tracks were recorded during

these sessions and hopefully they’ll see the light of day. Matt Stubbs and GA-

20 continue to rejuvenate authentic blues while introducing a new audience

to one of music’s greatest genres. Get on board.

STEVE YOURGLIVCH

backdrop, yet Davenport remains firmly

at the centre. Even his bold reinterpretation

of Bob Dylan’s Masters of War,

feels fresh and relevant. What makes

Young Rell so impressive is not merely

the technical ability on display, but the

sincerity behind it. Davenport clearly

understands where the blues came

from and, more importantly, where it

can go next. This is a debut filled with

heart, skill, and promise. The future of

the blues is in very capable hands.

COLIN CAMPBELL

JANIVA MAGNESS

TRUTH IN THE ROOM –

THE CLEARMOUNTAIN

SESSIONS

Blue Elan

Ok first the negatives. This CD arrived

looking like it was a very cheap rip-off

copy. It had no packaging, zero cover, no

track listing or players just a blank CD

in a plastic cracked case. I held out no

positive expectations at all as I was personally

aware only vaguely of this lady’s

name. Not a great start at all. However

once it began to play I was pinned to the

back wall as this wall of sound fronted

by a powerhouse vocal performance

came roaring at me. Wow! Talk about

being taken aback. This lady sure can

sing and the anonymous, sorry guys,

band are top notch. After searching the

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THE BIG BLUES CHART

THE TOP 50 BLUES ALBUMS

026 REVIEWS JULY2026 REVIEWS JULY2026 REVIEWS

POS ARTIST ALBUM LABEL

#1 TAJ MAHAL & PHANTOM BLUES BAND TIME 2026 RESONATIN’ RECORDS

#2 SELWYN BIRCHWOOD ELECTRIC SWAMP FUNKIN’ BLUES ALLIGATOR RECORDS

#3 CURTIS SALGADO LEGACY REWIND: LIVE IN ‘25 NOLA BLUE

#4 BOB CORRITORE ERNESTINE BLUES SWMAF / VIZZTONE LABEL GROUP

#5 LIL’ ED & THE BLUES IMPERIALS SLIDEWAYS ALLIGATOR RECORDS

#6 ALTERED FIVE BLUES BAND HAMMER & CHISEL BLIND PIG RECORDS

#7 CARMEN RATTI BAND COME TO ME MOMOJO RECORDS

#8 MIKE FINNIGAN MIKE FINNIGAN FORTY BELOW RECORDS

#9 MIKE ZITO OUTSIDE OR THE EAST SIDE GULF COAST RECORDS

#10 SETH JAMES MOTORMOUTH QUALIFIED RECORDS

#11 DUKE ROBILLARD BLAST OFF! NOLA BLUE RECORDS

#12 AMANI BURNHAM ROOTS & WINGS BLIND PIG RECORDS

#13 JENNIFER LYN & THE GROOVE REVIVAL ELECTRIC EDEN J&R COLLECTIVE

#14 THE CD WOODBURY TRIO BULLDOG LIGHTNING IN A BOTTLE RECORDS

#15 RICK VITO SLIDEMASTER MOMOJO RECORDS

#16 LAURA CHAVEZ MY VOICE RUF RECORDS

#17 MIKE GULDIN WHILE I CAN BLUE SKY TUNES

#18 BILLY PRICE RANDOM MADNESS GET HIP RECORDINGS

#19 COREY HARRIS, ALVIN YOUNG... FIGHT ON! YELLOW DOG RECORDS

#20 KENNY WAYNE SHEPHERD LEDBETTER HEIGHTS (30TH ANNIV...) RAM RECORDSTHIRTY TIGERS

#21 STACY MITCHHART NO RHYME NO REASON DR SAM

#22 GHALIA VOLT BURN THE HOUSE DOWN RUF RECORDS

#23 JP SOARS & ANN HARRIS GYPSY BLUE REVUE FORTY BELOW REC

#24 TERESA JAMES & THE RHYTHM TRAMPS BAD AT BEING GOOD MOMOJO RECORDS

#25 GABE STILLMAN WHAT HAPPENS NEXT GULF COAST RECORDS

#26 TEDESCHI TRUCKS BAND FUTURE SOUL FANTASY

#27 OMAR COLEMAN & IGOR PRADO OLD NEW FUNKY & BLUE NOLA BLUE RECORDS

#28 JOE BONAMASSA B.B. KING’S BLUES SUMMIT 100 KTBA

#29 ZAC HARMON & THE DRIVE ZAC HARMON & THE DRIVE LIVE SELF

#30 BUDDY GUY AIN’T DONE WITH THE BLUES SILVERTONE RCA RECORDS

#31 REVEREND FREAKCHILD BLUES & SPIRITUALS HYMN HUSTLER

#32 SEAN MCDONALD HAVE MERCY! LITTLE VILLAGE

#33 HARRELL “YOUNG RELL” DAVENPORT YOUNG RELL LITTLE VILLAGE RECORDS

#34 JOE KROWN TRIO QUALIFIED SLEDGEHAMMER BLUES

#35 D.K. HARRELL TALKIN’ HEAVY ALLIGATOR RECORDS

#36 KIM WILSON SLOW BURN M.C. PRODUCTIONS

#37 GA-20 WITH CHARLIE MUSSELWHITE BLUES NOW NEW WEST RECORDS

#38 SAUCE BOSS WITH EXTRA SAUCE SR

#39 SAMANTHA MARTIN AND DELTA SUGAR A BEAUTIFUL BUZZ GYPSY SOUL

#40 PETER KARP JERSEY TOWN ROSE COTTAGE MUSIC

#41 MICK KOLASSA BLUE TO THE BONE ENDLESS BLUES

#42 TINSLEY ELLIS LABOR OF LOVE ALLIGATOR RECORDS

#43 BILLY THOMPSON THIS WORLD MOMOJO RECORDS

#44 CHARLIE BARATH ISSAQUENA GETAWAY SR

#45 TOMMY CASTRO & THE PAINKILLERS CLOSER TO THE BONE ALLIGATOR RECORDS

#46 ELIZA NEALS THUNDER IN THE HOUSE E-H RECORDS LLC

#47 PETER VETESKA & BLUES TRAIN KEY OF V SELF RELEASE

#48 STEFAN HILLESHEIM BAND LIVE AT THE CHICAGO BLUES FESTIVAL STELLA BLUE

#49 RUSS GREEN STONE COLD OVERTON MUSIC

#50 GARRET T. WILLIE BILL’S CAFE GULF COAST RECORDS


REVIEWS JULY2026 REVIEWS JULY2026 REVIEWS JULY2026 REVIEWS JULY2026 REVIEWS DECEMBE

JULY2026 REVIEWS JULY2026 REVIE

VAN WILKS

LOW DOWN, WOUND UP,

ROCKIN’ TEXAS BLUES

Zippo Records

If ever an album did what it says on the tin, this must surely be it, or IT – cause

capitals are needed. Van Wilks is a Texan, a guitarist and writer from a state

with a deep history and legacy of rocking the musical tree – the late Johnny

Winter, the shape-shifting character of Lightnin’ Hopkins are just two of the

seminal figures that immediately come to mind…and the list goes on. Wilks,

however, started out very much out of that loop in Lubbeck – a town forever

linked to one of rock’s greats, Buddy Holly. As a result, he didn’t truly discover

blues till later in his formative musical years. And maybe that was no bad

thing cause he sure as Hell has made up for it since. His fretwork is more explosive

than punchy, and his mastery of tone and emotion simply leap from

the tracks in this excellent career compilation release.

It’s hard to select one track, but anyone with a love of old-school steel guitar

shimmer, will love ‘There’s A Sin,’ where it kicks-off with an old scratchy

sound like we used to hear regularly on old blues releases before technology

became king. It then slips into a thoughtful tribute to the old blues and race

records masters with delicious slide and vintage National Steel guitar picking.

A striking alternative must surely be his own take on ‘Drive By Lover,’ a

song he originally wrote with and for ZZ Top’s Billy Gibbons – an old pal of

Wilks – in the 1970s. Ranging across a career is always a tricky thing to pull

off, the material selection must be key. With this album, the guys at Zippo

Records were basically given a free hand by Wilks and they certainly repaid

the favour in spades to deliver an album that truly surprises, shimmers and

rattles the musical cage with undiminished vigour.

WATCH

truly surprises, shimmers and

rattles the musical cage

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Internet, thank goodness for technology,

turns out this album will be available

come August and is produced by Bob

Clearmountain. So now you will gather

that we are certainly in quality Blues

territory. The album is a live collection

and is powerful reminder for those

lucky enough to have been in the smallish

recording studio room owned and

run by Bob. Ok so there are ten powerful

Blues cuts on here including Bad

Luck Soul, Slipped Tripped And Fell In

Love. I suspect that she is behind some

of the writing including The Things Left

Undone and You Were Never Mine but

I can’t be sure. For certain the track

Closer is a cover by the brilliant and

underrated Annie Mack is a personal

highlight. In the end I was left frustrated

by the presentation of this, what I truly

hope is a promo copy, CD and trust

that come release date there will be

properly prepared graphics and detail

to support what, musically, is a excellent

sounding CD.

GRAEME SCOTT

JOHN PRIMER & FRIENDS

TRIBUTE TO

THERESA’S LOUNGE

Blues House Productions

Few venues in blues history carry the

mythic weight of Theresa’s Lounge.

Tucked away on Chicago’s South Side,

the basement club served as a proving

ground for giants including Muddy Waters,

Howlin’ Wolf, Willie Dixon, Junior

Wells, Buddy Guy, Magic Slim, and Little

Walter. It was also where Blues Hall of

Famer and three-time Grammy nominee

John Primer absorbed the lessons

that would shape a lifetime in the blues.

On this album, Primer reunites many

of the surviving musicians who once

graced that legendary stage. The result

is less a nostalgia trip than a living

document of Chicago blues history.

The album opens appropriately with

Junior Wells’ longtime show starter, Up

In Heah, immediately establishing the

raw, street-level energy that defined

the club. Primer contributes four originals,

including the autobiographical 7

Nights for 7 Years, the Muddy Waters

inspired, The Blues Is King, and We All

Need Help, a heartfelt salute to Theresa

Needham, the club’s beloved owner and

the woman many still call the Godmother

of Chicago Blues. Elsewhere,



Primer steps back from the microphone,

allowing fellow blues elders to

shine. Billy Branch, Willie Buck, Carlos

Johnson, Mary Lane, and John Watkins

each deliver performances steeped in

authenticity and tradition. Throughout,

Primer’s guitar work, whether stinging

slide or soulful rhythm, provides the

connective thread. Produced by Lisa

B. Primer, the album remains fiercely

committed to traditional Chicago blues.

More than a tribute, it is a preservation

of a culture, a sound, and a community

that helped define the blues itself.

KEB MO’

THE BREAKDOWN

Concord Records

COLIN CAMPBELL

The Breakdown is the 17th studio album

to be released by five-time Grammy

Winner, Kevin Roosevelt Moore.

Now, as a Blues enthusiast, the thought

of an album of songs with Keb playing

an acoustic guitar and singing is literally

my idea of musical heaven. But this is

not just a Blues album; it incorporates

Blues, Country, Americana, and Gospel.

The very cornerstone of American

culture is set to music. Ten tracks that

highlight everything positive about a

musician who has become somewhat

of a living legend. The album opens

with, Fussing And Fighting, a seemingly

everyday tale of what we all go through

at times, but when we look back on

things, it’s usually something that has

wasted our time needlessly, when we

have far more important things to put

our energies into. Listening to these

tunes feels like a warm sunny day,

out in the countryside, slight breeze

blowing with not a care in the worls,

this is how music should make you feel,

warm and alive, taking the time to hear

everyword, each note of the guitar, and

the sentiments within the lyrics. The

Breakdown takes me back to Brezoi,

Romania, 2025. I’d interviewed Keb

and Taj Mahal just before this about

their album, Room On The Porch. I

fouind myself sitting in the dressing

room area watching Keb playing his

National Guitar for about 20 minutes

before his set. He took to the stage, sat

on his stool, and played what for me

was the greatest performance of the

entire festival. I stood at the side of the

stage watching in awe one man and his

guitar playing the best of the Blues and

Country Blues. This album immediately

took me back to Brezoi simple, but oh

so effective. Fast approaching his 75th

birthday, Keb Mo’ has once again given

us a collection of music that deserves

to adorn every Blues fan’s library. A

masterpiece, buyt then again, so is very

other Keb Mo’ album

STEPHEN HARRISON

KYLE LALONE

MAKE MY OWN WAY

Independent

Kyle LaLone’s new album is a heartfelt

and determined collection that

finds the singer-songwriter embracing

themes of resilience, independence, and

personal growth. Rooted in authenticity

rather than trends, the album highlights

LaLone’s ability to craft songs that feel

both deeply personal and universally

relatable. Drawing inspiration from the

storytelling traditions of Hank Williams

and the rock-and-roll spirit of Tom Petty,

LaLone leans more confidently into

his rock influences here while maintaining

a strong Americana foundation.

Self-produced at Station House Studio

in Echo Park, Los Angeles, the record

captures honest performances and organic

musicianship, resulting in a sound

that is warm, unpolished, and refreshingly

genuine. Songs such as Grateful

and Slow Down reflect LaLone’s sobriety

journey and hard-earned personal

insights, while tracks like Won’t Take

This Lying Down and A Change Is

Coming, broaden the focus, addressing

the frustrations, uncertainties, and

hopes that resonate in today’s world.

Throughout the album, his lyrics remain

direct and sincere, balancing vulnerability

with quiet determination. Musically,

acoustic guitars provide the backbone,

complemented by tasteful electric

textures and understated rhythms that

allow the songs to breathe. LaLone’s

guitar work serves the narrative rather

than overshadowing it, adding depth

and emotion where needed. Contributions

from an accomplished cast of

musicians and collaborators, including

Brian Whelan, Adam Arcos, Matt Lesser,

Richie Kotzen, and Grammy-winning

engineer Mark Rains, further enrich the

record’s sound. Rather than relying on

instant hooks or grand gestures, these

nine tracks succeed through strong

songwriting, authenticity, and a clear

artistic vision.

COLIN CAMPBELL

NAMEDROPPERS

LET’S LIVE TOGETHER

Blind Raccoon

The Namedroppers are a group of

American veteran musicians from New

England, who are now on their sixth

album release having formed way back

in 1980. They play a mix of Rocking

Blues with some Soul and Gospel

influences. The core of the band are;

Rafe Klein-Guitar Vocals, Scott Spray-

Bass, Ron Rifkin-Keyboards and Bobby

T Torello on Drums, supplemented by

some guest musicians who notably

include backing vocalist Simone Brown

and saxophonist Crispin Cioe. There

are a couple of covers included within

the ten tracks, but the original songs

stand up very well particularly Let’s

Live Together which creates a rocking

vibe with a touch of funk. A perfect title

track as it represents the band at its

best. There is one live recording which

showcases Simone Brown taking on

the lead vocals, it is a cover of Chain

of Fools, which is a tremendous version

and highlights the benefits that

Simone’s deep soulful vocals bring to

the band’s sound. As an accomplished

band they don’t need to turn up the

amps or go for prolonged soloing, they

just get into their groove and deliver

some smooth Blues that creates a great

listening experience. I had originally

noted that they seemed to lack energy

but after several plays, I now know this

thought is unfounded. The band veer

into good old Rock ‘n’ Roll territory with

Don’t Cry Over Me which is a ballad

written by Frank Durazzo and is another

song that lingers in the memory until

you cannot resist to push the repeat

button. This song also highlights the

bands all round versatility. The Namedroppers

have pooled their individual

members talent and experience to

create a cracking Blues album here that

deserves to receive a wider audience.

ADRIAN BLACKLEE



PATRIK JANSSON BAND

DIFFERENT SHADES OF

BLUE

Sneaky Foot Records

Over the eight tracks that are featured

on Different Shades of Blue, the talented

singer and guitarist Patrik Jansson

leads his ensemble through wah-wah

infused blues instrumentals, slower

songs, jump jive romps and an ambient,

slow blues piece that closes the album.

With Jansson on lead vocals and lead

guitar, Robin Hillgren on organ, keyboards

and backing vocals, bass player

Thomas Andersson and Daniel Sahlberg

on Drums, they have a full, multi layered

sound that is accompanied by a lively

brass section and harmonica on some of

the songs. They start in good spirit with

What’s Up? with a stylistic nod of the

head to Stevie Ray Vaughan and a tellingly

lyrical wah-wah guitar solo, and

some good interjections on the brass

and keyboards, this is a good start.

Gold Digger is a slow funk piece with

some good Hammond Organ and Keep

Me Satisfied dips its toes into swing

jazz, with a clean guitar part, and jump

jive drums. Nowhere to Go is a slow,

storytelling song, with plenty of downhome

guitar, and Love is A Gamble is

another slow blues piece, with aching

minor chordal arpeggios throughout.

Jolene is a brass heavy piece, with a

swinging twelve bar structure. Love and

War is a slow blues, with plenty of bite

in the guitar solo. The closing Lullaby

for Deci ends the album in a sigh. This is

an album of two different styles, and it

would have been good to have at least

one more upbeat piece on the album.

It is well played by a passionate and

talented band, aiming to breathe new

life and ideas into the blues genre.

BEN MACNAIR

REVEREND FREAKCHILD

BLUES AND SPIRITUALS

HYMN HUSTLER

Treated and Released Records

Reverend Freakchild grew up in Hawaii,

USA and holds a degree in philosophy

and religion from Northeastern University

in Boston, USA, and is now based

in Colorado, USA. He continues to

perform and preach proclaiming “Music

is my religion. Through song I seek transcendence!”

This double CD release includes

re-mastered versions of his first

two albums ‘Blues & Spirituals’ released

in 2001 and ‘Hymn Hustler’ released

in 2003. This double release combines

to display the two sides of Rev. Freakchild’s

early music persona. The result

he says, “will soothe your sorrows, and

his country blues and soul-funk grooves

will heal your hurting”. These days Rev.

Freakchild performs solo acoustic, but

has recorded with such blues luminaries

as Melvin Seals, Mark Karan, Chris

Parker, Jay Collins and Rev. Shawn

Amos. The Rev. has been a member and

featured soloist of the Metro Mass Gospel

Choir performing in venues such

as the Carnegie Hall and Avery Fischer

Hall. The first CD contains ‘Blues &

Spirituals’ which is an acoustic album

with just guitar and harmonica and the

Rev. Freakchild’s enigmatic vocals. The

songs are a mix of traditional numbers

and his own compositions with the

traditional versions of Jesus on the

Mainline with great guitar picking on

this blues-gospel song and Pure Religion

with its very gospel feel, passionate

vocals and great slide guitar. Mo’

Betta Blues includes eerie harmonica

playing with laid back bluesy vocals

with great guitar picking, and Rollin’

On is full of folk overtones and is an

upbeat song with Bob Dylan influenced

vocals, plaintive harmonica and supportive

guitar playing. Cheeba-Cheeba

is a more soulful high tempo song with

strident bluesy vocals and matching

guitar. The Hymn Hustler CD contains

songs with help from his friends, Jon

“Bones Ritchie” Robinson on upright

bass and “Dr” Patrick Carmichael on

drums. In the Time of My Dying has this

fuller sound with the backing of other

musicians with its passionate vocals,

great harmonica and brilliant guitar.

Strange Magic has an eerie start which

drops into a great bluesy song with

funky tempo and voodoo vibes. Search

My Heart is a great country blues song

with great guitar picking and passionate

& evocative vocals. A Day Late and a $

Short is a funky bluesy song with spectacular

guitar breaks and sumptuous

vocals. This is a very interesting double

album showcasing Rev. Freakchild’s

early work and is worth a listen.

CHRIS ROBERTS, WIDER VIEW MEDIA

ROBIN BECK

LIVING PROOF

Frontiers Label Group

Robin Beck proves she still has plenty

to say on her newest release. This is

melodic rock done with confidence,

class, and a refreshing sense of purpose.

Rather than chasing trends or

relying on nostalgia, Beck delivers a

collection of songs that feel modern

while remaining firmly rooted in the

AOR sound that made her a household

name. The title track immediately grabs

attention, combining a resilient lyrical

message with an infectious rock-funk

groove. Beck’s unmistakable voice

brings warmth and sincerity, reminding

listeners why she remains one of the

genre’s most distinctive performers.

The polished and hook-laden Love and

Money, follows, pairing contemporary

production with a chorus built to linger

long after the song ends. Among the

album’s highlights, Trouble or Nothing

injects a welcome shot of energy, its

driving rhythm and sharp melodies

giving the record one of its hardest-hitting

moments. Karma is equally

impressive, delivering a huge chorus

and undeniable commercial appeal.

Meanwhile, What A Night slows the

pace and allows Beck to showcase the

emotional depth and vocal maturity

that have become hallmarks of her

work. Elsewhere, the playful Na Na Na

adds a touch of light-hearted fun, while

Voodoo broadens the album’s horizons

with a subtle groove. Closing track

Let It Rain provides a powerful finale,

highlighting the soulful bluesy strength

and expressive range that continue to

define Beck’s artistry. These ten tracks

remind us how good the genre can

sound when performed by an artist

operating at the top of her game.

SAM MORROW

TEXAS BOOGIE

Copaco/Blue Élan Records

COLIN CAMPBELL

Fresh from supporting Robert

Jon and The Wreck on their recent

UK tour, Sam Morrow has released

his latest album “Southern Boogie”.

Recorded mostly live in Austin, Tex-



as, with producer Jonathan Tyler, this

is a no-frills, analogue recording – two

guitars, bass, keys and drums using tube

amps and no safety net – just the raw,

gritty sound of a band laying it down

as it is to deliver nine tracks of driving,

straight-ahead, Southern Rock with

plenty of Texas swagger, spit and heart.

Over the years Morrow has built a reputation

as a boundary-pushing musician

and formidable live entertainer, receiving

plaudits from the likes of Rolling

Stone and American Songwriter for his

previous albums. “Southern Boogie”

marks a new chapter for Morrow. Relocating

from California to Nashville, and

reconnecting with, and marrying his

childhood sweetheart has given Morrow

a fresh perspective on life , bringing

new optimism, self-assurance, and

honesty to his playing and that is clearly

reflected in this latest release. “South

Texas Woman” is Morrow’s love letter

to his sweetheart and “Wedding Ring”

is a riff-heavy celebration of finding the

right person. Latest single, “Lucretia”

is about breaking free from the places

and people that hold you back, its thick,

distorted, riffs and swinging rhythm

capture those first steps as you dig

JEFF SAXON

HAPPY TRAVELLING

Relevant Records

Jeff Saxon is an award-winning singer-songwriter

from New Jersey, USA who has written this album

with upbeat contemporary blues songs providing much needed ‘musical

medicine’ in these difficult times. Happy Travelling is Jeff Saxon’s sixth album,

which is not downbeat but an uplifting release, with hooky tunes and

powerful and emotive vocals throughout. It opens with Get It While You Got

It a playful up-tempo shuffle opener with its piano led honky tonk style and

evocative vocals. It definitely sets the tone for the 13-track album. It’s likely

that Mose Allison and Ray Charles are amongst influences, as the clever titling,

wily wordplay and hip-shooting predominate. But it’s Randy Newman

and Lyle Lovett who come to mind on the wry social media cautionary story,

The Oops I Wrote the Wrong Blues with its sax led style on a slow blues number,

and sardonic send-off to empty promises, Mr. Yeah, Yeah, Yeah, with its

slide guitar led, honky tonk deep south vibes. Six of the 13 numbers feature

Jeff’s tasteful ukulele playing; most notably shown on the bare-bones uke

and evocative blues song Someone or Somethin’ with its powerful vocals.

Another unexpected highlight is Saxon’s whistling solo on Satisfied with

its southern bluesy sound and great slide guitar. Other tracks of note are

A Little Feel-Good Latin Blues with its organ led funky feel with great bass

backing and emotive vocals, as well as another organ led song with Worry

No Mo’ with it’s off-beat tempo and lovely vocals. A jazz influenced song is

Habit Worth Having with its effective keys & piano with Saxon’s laid-back

vocals. The title track Happy Travelling is effective with its accordion playing

and uplifting vocals for someone getting ready for a road trip. A more mellow

song is Nothing with its emotive vocals as is I Don’t Fall Easy a laid-back

blues song with great acoustic guitar. Another more boogie woogie song is

Your Speaking My Language which is a keys led song with great beat. Saxon

guitar work is impassioned, and he deftly traverses several blues sub-genres,

including New Orleans-styles blues, blues-jazz, Americana blues, blues rock

and neo–Delta Blues. The variety of uplifting songs makes this album engaging

and entertaining throughout and well worth a listen.

CHRIS ROBERTS

WATCH

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yourself out of the dirt and start moving

in a new direction. “Hard Lessons”, “In

The Bag” and “Saturday Night” all deal

with different aspects of the darker side

of life, but with a positive and optimistic

stance. “Southern Boogie” represents

a new direction, a new optimism, for

Sam Morrow, wrapped up in a healthy

dose of Texas grit and swagger with raw

energy and honesty at its core.

PAUL DUBBELMAN

STEVE CROPPER

& THE MIDNIGHT HOUR

WATCHING THE TIDE

Provogue

This album was completed prior to

Steve Cropper’s sad passing in December

2025. At the age of eightyfour

and as such it is now classified

as a posthumous release albeit a very

fitting one that highlights Steve still had

plenty of “spark” in his guitar playing

and was a great band leader. Steve’s

professional musical career started in

the early 1960’s being a member of the

Stax House band which soon morphed

into the superb Booker T & the MG’s

who performed for several decades. It

is also worth noting that he co-wrote

and produced Otis Redding’s (Sitting

on) the Dock of the Bay. This album is

packed full of guest guitarists including;

Eric Clapton, Brian May, Billy Gibbons

and Ronnie Wood, who plays some fine

slide guitar on Until Now which is one

of the best tracks on the album. It is full

of crunching sparing guitars from Steve

and Ronnie. The style across the album

is predominately Blues Rock with a

touch of soul, and this can be heard on

the song My Angels Are Calling which

has a sensitive vocal from Brian May

alongside Billy Gibbons thundering

guitar. The lyrical content allows for

reference to Dock of The Bay in the

chorus. There are several other key

performers contributing on the album,

these are vocalist/ songwriters Roger C

Reale and Jon Tiven although Steve is

ultimately the centre of attention here.

He must have been really chuffed that

this album was such a strong one. He is

even allowed some nostalgia with Tandoori

Chicken the opening/closing song,

which is an instrumental and very close

in style to the original Booker T sound.

Cracking album full of quality songs and

superb musicianship.

ADRIAN BLACKLEE

THE REEDCUTTERS

NEVER WALK OUT ON

A FRIEND WHO IS TOO

DRUNK TO FOLLOW

Palatine Music

The latest, and possibly the last, release

from the Reedcutters is an honest, unpretentious

mix of Rhythm-and-Blues

and rootsy folk rock that takes the listener

on a very enjoyable journey. The

10-track album had a hard inception

– started some ten years ago and then

delayed by covid and by the passing of

drummer Ross ’Razor’ Crichton before

being finished by band leader Jon Poole

with the help of engineer Leigh Eaton.

That wait however was well worth

it. “Never Walk Out On A Friend…” is

one of those albums that has so much

depth and variety in its 10 tracks that

it is likely to make repeated and welcome

returns to the CD player. Some

of the tracks, hook you in immediately,

like “The Light of Other Days” with its

insistent riffing and growling bass lines

or “So In Love With You” an out and

out R&B gem with blistering harmonica

and hints of Dave Edmunds style

riffs. Others, “The Reality” for example

seep into your brain and suddenly you

find yourself waking up in the morning

with the lyrics running through your

head. Whether it’s a catchy number or

a slow-burner, there is no filler on this

album. Instead, you get sharp lyrics,

strong tunes and complex rhythms.

There are shades of Punk Rock, 90s

grunge and even Pink Floyd in there

to reward the careful listener. “Never

Walk Out On A Friend Who’s Too

Drunk To Follow” is a rare gem of an

album. One of those that comes by all

too rarely – filled with joyful moments

that will make you smile and remind you

that music is there for your enjoyment.

PAUL DUBBELMAN

THE WESTERN FRONT

EUREKA

Music Theories Recordings

Some albums arrive precisely when

they’re meant to. Others take the long

road to discovery. For The Western

Front, Eureka falls firmly into the latter

category. More than forty years after it

was recorded, this long-shelved debut

finally emerges in 2026 sounding remarkably

fresh, as though it had merely

been waiting for the right moment

to step into the spotlight. Recorded

between 1983 and 1984, Eureka is a

time capsule from the golden era of

melodic rock, yet its appeal extends far

beyond nostalgia. Anchored by guitarist

Marty Walsh, keyboard wizard Derek

Bergmann, vocalist Richard “Moon”

Calhoun, and Thin Lizzy guitarist

Scott Gorham, the album showcases

the kind of polished musicianship and

songwriting that defined AOR’s finest

years. The album wastes little time

making its intentions clear. The opener

The Law Of The Jungle bursts from the

speakers with confidence, while Set Me

Free reinforces the chemistry between

Walsh and Gorham, whose intertwining

guitar work drives much of the record.

Bergmann’s fingerprints are all over the

shimmering 1000 Nights, a synthesiser

led highlight, while the infectious Just

Go, demonstrates the band’s gift for

balancing melodic finesse with radio-ready

hooks. Elsewhere, Bergmann

contributes on the soaring chorus of,

If I’m The One and the hard-charging

tune, Rain. Gorham’s signature riffing

fuels Chain Of Light, perfectly complemented

by Calhoun’s commanding

vocal performance. Danger, disguises

sharp lyrical edges beneath an effortless

groove, while Heartland, closes this

stretch of the album on a more reflective

note, blending dystopian imagery

with pitch-bending synthesizers that

underline its themes of isolation and

longing. Eureka, may have arrived late,

but it sounds exactly on time.

COLIN CAMPBELL




IBBA TOP 40

bluesbroadcasters.co.uk

INDEPENDENT BLUES

BROADCASTERS ASSOCIATION

Most Played Album Top 40 – May 2026

Collated from the playlists of the Independent Blues Broadcasters Association members

Position Artist Album

1 BURNING ROPE DISSOLUTION

2 SAMANTHA MARTIN & DELTA SUGAR A BEAUTIFUL BUZZ (LIVE)

3 DEKE MCGEE COME ON HOME

4 JENNIFER LYN & THE GROOVE REVIVAL ELECTRIC EDEN

5 REVEREND FREAKCHILD BLUES & SPIRITUALS/HYMN HUSTLER

6 DAVE THOMAS BRIDGE STREET BLUES

7 DANI WILDE THE VIZZTONE SESSIONS

8 VICTORIA'S BIG EASY WHAT THE TIDE TOOK BACK

9 THE STEVE SUMMERS BAND REWIRED

10 LENA & THE SLIDE BROTHERS LIGHTHOUSE BLUES

11 SEAN WEBSTER LIGHT OF DAY

12 GARY DRANOW PLAYS THE BLUES

13 GINA COLEMAN UNCROWNED: A TRIBUTE TO IDA COX

14 SELWYN BIRCHWOOD ELECTRIC SWAMP FUNKIN' BLUES

15 THE MILK MEN THE MILKY WAY

16 MARC BROUSSARD CHANCE WORTH TAKING

17 LONESOME PETE THE DEVIL'S DEAL

18 ANDY LINDQUIST BLACK & BLUER THAN EVER

19 BOB CORRITORE & FRIENDS ERNESTINE BLUES

20 TEDESCHI TRUCKS BAND FUTURE SOUL

21 JOE BONAMASSA B.B. KING'S BLUES SUMMIT 100

22 THE BLACK KEYS PEACHES!

23 THOMAS HEPPELL ROLLIN' & TUMBLIN' EP

24 STEVE LOUW TRACES OF THE FLOOD

25 CHRIS CHALMERS & THE SOUVENIRS WAY BACK HOME

26 BUDDY GUY AIN'T DONE WITH THE BLUES

27 NICKY T & THE SNAKE CHARMERS AIN'T WASTING TIME

28 GHALIA VOLT BURN THE HOUSE DOWN

29 BYWATER CALL NO ONE ELSE EP

30 RUSS GREEN STONE COLD

31 SWAMP POETS DUO DELTA FLOOD

32 CHRIS BERGSON EAST RIVER BLUES

33 MIKE FINNIGAN MIKE FINNIGAN

34 RARE BREED RARE BREED

35 SELINA & THE HOWLIN DOGS THIRD TIME LUCKY

36 JOHN CAMPBELL 2 METER SESSIONS

37 HILLBILLY VEGAS A LA MODE

38 TOM DAVIES & THE BLUEBIRDS ANGEL ON THE MISSISSIPPI

39 WILL WILDE BLUES IS STILL ALIVE

40 SLEEPY JOHN ESTES BROWNSVILLE BLUES

The Illustrated Blues Of Brian Kramer

T-BONE SHUFFLE

“Let your hair down baby, let’s have a natural ball

Let your hair down baby, let’s have a natural ball

‘Cause when you’re not happy, it ain’t no fun at all.

You can’t take it with you, that’s one thing for sure

You can’t take it with you, that’s one thing for sure

There’s nothing wrong with you baby,

that a good T-Bone Shuffle can’t cure

Have fun while you can, fate’s an awful thing

Have fun while you can, fate’s an awful thing

You can’t tell what might happen, that’s why I love to

sing”

In appreciation of the great T-Bone Walker, who laid

out for us all the “Stormy Monday’s”

of the Blues inherent in life, also sharing with us the

cure; a good ol’ T-Bone Shuffle!

It’s a reminder in the best of a Blues and Blues artist to

live in the moment,

find joy while we can, and SING!

This very recent Illustration is a favorite, capturing his

seamless flow, elegant composure,

and his levitating, magical arch-top Gibson guitar.

“Have fun while you can!”

Jackie Dorsey

ISSUE 163 BLUES MATTERS!

85

Issue 163 July 2026

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