January 10, 2017

A short story from the 2016 Southern Music Issue.

Tonight, my cousin Looney celebrated his twenty-first birthday and invited everybody he knew via mass text to come celebrate with him.

“Kick it wit ya boy,” the text read.

January 06, 2017

I couldn’t quite figure out why Japanese listeners had come to appreciate and savor the blues in the way that they seemed to—lavishly, devotedly. Blues is still an outlier genre in Japan, but it’s revered, topical, present.

January 04, 2017

Black Keys frontman Dan Auerbach on Junior Kimbrough’s influence.

“It’s proven most of the time to be true: some of the music that I love the most, that I want to live with forever, are records I didn’t quite get at first, and that was definitely true for Junior. I didn’t understand it at first. It took a few listens. I had to come back to it a couple of times before I got it. And once I got it nothing was ever the same.”

December 22, 2016

I was halfway through college in South Florida when somebody burned me a copy of Luck of the Draw, Bonnie Raitt's album released in 1991, by then a decade old. Trying not to disturb my roommates, I lay in bed listening through headphones, taken with how appealing this artist made adulthood sound like she was sure on her feet, felt comfortable in her skin, and actually found it freeing, even fun, to act her age.

December 13, 2016

I’ve spent a lot of time recently listening to Bob Dylan’s second album. Not Freewheelin’, the LP with him and Suze Rotolo on the cover and “Blowin’ in the Wind” in the grooves. That’s the one we know, because a couple of songs off it were picked up by the Chad Mitchell Trio and Peter, Paul and Mary—and then by everyone from Bobby Darin to Marlene Dietrich—and Dylan was hailed as a poet and the voice of a generation. But before that happened, he’d spent a year working on a follow-up to his first LP that displayed very different skills and inclinations.

December 08, 2016

Daddy’s truck was one of those places—like a grandmother’s house, a real and actual soul food restaurant, or a barbershop owned by an older black man who guards the radio by silent threat of the revolver in his drawer next to the good clippers—where one could reliably expect to hear either (and only) 1070 WDIA or 1340 WLOK. It was the other side of sound, the other side of Southern blackness, a steady if muffled undercurrent that persisted and quietly buoyed new generations.

December 02, 2016

Algia Mae Hinton, the great blues guitarist and banjo picker, lives in Johnston County, North Carolina. It’s a short drive from Raleigh and Durham but feels rather far from those cities, with their food trucks and breweries and warehouses refitted as condos—the latest iteration of the New South, one might say, except one finds the same pattern in Brooklyn or the Bay Area. In Johnston County you drift back to an earlier era.

November 16, 2016

Highlights from the Oxford American’s 18th Music Issue: “Visions of the Blues.”

Across the 160-page magazine and 23-song CD compilation, we’re celebrating one of the South’s greatest cultural exports: blues music.