blues

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Houston mayor John Whitmire marks one year in office. How’s it going so far?

The U.S. Census Bureau reports that in 2024, Texas gained over half a million new residents, more than any other state.

Iconic Austin venue Antone’s celebrates 50 years of Texas blues. Co-owner Will Bridges and booker Zach Ernst reflect on its legacy and what’s next.

Sonny Gullage: “Go Be Free”

Blues is an almost stereotypical staple of the “old Austin” Sixth Street sound. But if you wanna break out of the city limits, let loose, feel unleashed and all that good stuff? Of all the notable places to split from the whole program and make the best of the blues, New Orleans always stands tall at the top of the shortlist. So it makes sense that rising NOLA blues rocker Sonny Gullage graced his recently-unfurled debut full-length with the title Go Be Free.

Gullage’s journey began way back as a precocious twelve-year-old writing heartfelt reflections on the BP oil spill. And that ability to translate a complex sense of understanding into readily accessible blues is alive and well a little over a dozen years later as Gullage finally hits streaming. Sure, Sonny leans on fellow twenty-five-year-old Clarksdale guitarist Christone “Kingfish” Ingram for one of the LP’s heavyweights “Worried About the Young”, but aside from that Go Be Free is a fervent, self-fueled endeavor.

The twelve-track (produced by Grammy nom Tom Hambridge) navigates a tightrope of consistency and eclecticism that makes for forty-plus minutes of exceptional blues rock. And like any good blues, Go Be Free also reckons universal suffering with everyday ebullience, as heard on the album’s eponym “Go Be Free”. It rocks. It riles. It’s as real as it gets. And we can’t wait to see what this keyboardist-singer has in store for us next.

Anna May: “The Show”

As much as we admire an intricate arrangement and a progressive song structure, not every tune needs to tout itself as a pocket symphony. I mean, we’ve already got one “Bohemian Rhapsody”, right? So while house and hip-hop may spring to mind when thinking about repetition, there’s an intrinsic simplicity to other styles of songwriting – chiefly in the acoustic corner of things – that makes “one note” compositions truly compelling.

With that in mind, turn your attention to Nashville’s Anna May. Hailing out of Connecticut, this rising singer-guitarist-songwriter specializes in what she calls “alternative tragic Americana”, an unyielding take on the classic Western sound through intimate intersections of jazz and folk. But despite Anna May’s immersion in the healing powers of meditation, so far she’s refrained from recording anything close to what you’d call a raga in terms of runtime.

That is, until today. This morning Anna May rolled out her lengthiest original to date, “The Show”. At almost eight minutes, the duration might be daunting to those who haven’t already pressed “play”. But rest assured, once you fire up “The Show”, you’ll be fully engaged in the jam. Because not only does it showcase Anna May’s endurance, innovation, and country-adjacent charm on both vocals and six-string, but also the poetic, stream-of-consciousness, and scene-setting lyrics that makes old school blues so timeless.

A bit “one note”? Of course. But intriguing front to back? Absolutely.

The Reverend Shawn Amos: “It’s All Gonna Change (For the Better)”

Search “reverend” on any streaming platform and you’ll see just how many clergy folk make the most out of their musical passion – and not just in the world of gospel. You’ve got Al Green, Gary Davis, hell we’ll even throw Horton Heat in there. Here in Austin? We don’t get on our knees and pray, because The Reverend Shawn Amos makes us want to get on the dance floor and slay.

Born in the Big Apple to a nightclub singer and a talent agent turned cookie mogul, Amos has been releasing records for nearly three decades – and as “The Reverend” for ten years now. Throughout, his sonic proselytizing through blues, soul, and roots has converted casual listeners into hardcore fans, made clear by Amos’ collective millions of streams. And following the release of last October’s “Revelation” and February’s “Back to the Beginning”, the good Reverend is getting settled into his next set of sermons.

That’s right, the anticipation for Soul Brother No. 1 (out May 3rd) has been building up for months now. The album stacks ten tracks – nine originals and a Sly Stone cover – which we only mention because the LP’s latest, “It’s All Gonna Change (For the Better)” boasts major Family Stone energy, wailing organ, wah guitar, brazen vocals, optimistic outlook and all. To best soak up this groove, we recommend checking out its succulent music video, one that captures that earthly essence of fluid transformation in a really fascinating and satisfying way.

Nakia: “Thrill-O-Matic”

If you’re already planning out your weekend and want to offset the Sunday scaries with some fresh visuals, consider checking out a three-act bill that coincides with a music video premiere.

The ringleader behind the affair is Nakia, the mononymous grifter of Austin’s vibrant blues scene. With only two records to his name at the time, Nakia started off the 2010s strong as a semi-finalist on The Voice‘s inaugural season. That’s absolutely an accolade worth bragging about, but nothing compares with new content, right? Well, keeping pace with his already-robust post-pandemic output, Nakia’s got some new optics he’s about to drop under the spotlight.

This Sunday Nakia commemorates the music video release for last October’s “Thrill-O-Matic”, a tune that was actually penned right after The Voice‘s finale, demo files long lost to the aether before a recent recovery made it a reality. Doors are at 7PM, Junerise kicks it off at 7:15, Nakia does his thing at 8:15 (your only opportunity to see “Thrill-O-Matic” before it hits the internet on Monday morning) and our June 2023 Artist of the Month Pelvis Wrestley wraps it up a quarter past 9. Until then, vanquish any Tuesday blues with the soul-rockin’, Abbey Road-mastered, Dolby Atmos-mixed mechanics of this Nathaniel Rateliff-esque original.

Scott H. Biram: “No Man’s Land”

Once you hit your third or fourth full-length, you’re established. By album seven or eight you’re a heavyweight. But when your discography reaches its teens, the list of contemporaries to compare to starts running thin…and that’s the position Scott H. Biram is about to enter.

With a catalogue reaching back to the turn of the millennium, this Austin singer-guitarist has officially been in the game for a quarter century, and two decades removed from a pivotal brush with death. Biram’s is the type of music that could really only stem from Texas, with a gratuitous amount of southern grit ingrained in his exploration of blues, punk rock, and beyond. And his streaming numbers are certainly nothing to scoff at.

Recently, rockin’ the Fu Manchu mustache, gold tooth, and all, Scott’s gotten caught up in recapturing the lo-fi charm of his earlier installations, a wager he’ll make good on with his thirteenth full-length The One & Only Scott H. Biram, out March 29th. Based on the record’s first three singles (including this morning’s “No Man’s Land“) we definitely feel greeted back to that grizzled territory like a musty junkyard mutt crawling back inside a rusty jalopy frame. The shitkickers will love it, but that doesn’t neglect the uncouth sophistication of these new, idiosyncratic compositions. Rock on, Scott. Rock on.

The Peterson Brothers: “Family”

We here at KUTX have kept a pulse on the local scene long and close enough to realize that we’re essentially tracking the progression of individual talents in real time. And though we’re admittedly quick to stick up for twenty-somethings who’ve bottled lightning for their debut releases, frankly there are very few youngsters that genuinely make us think “oh, they’re only gonna get better and better from here on out” each time we see them play live.

Think about The Peterson Brothers, who initially entertained us almost a full decade back when they made their first Studio 1A appearance as mere teens. Just as they did back then, Glenn, Jr. and Alex both continue to slay it on vocals, but their deft instrumentation on guitar and bass, respectively, always steals the show. Which totally tracks, considering up until 2020’s The Intro, The Peterson Brothers were primarily a live staple. So just when we began to fear that their mature emulsifications of blues, funk, soul, and jazz might’ve hit a limit, The Peterson Brothers have bested themselves yet again with their full-length Experience, out April 12th.

And since The Peterson Brothers have already shared a stage with The Roots, who better to help translate their live energy to the studio than Grammy-nominated Roots/Lauryn Hill/Mark Ronson producer Ray Angry? Mixed for ATMOS and mastered at Abbey Road Studios, the resulting Experience is exactly what it claims to be, an eight-track sonic excursion best enjoyed in surround sound. So while mid-January’s “Too Soon” teased that hyper-polished production value with echoes of The Brothers Johnson, yesterday’s “Family” sounds more like The Whispers rejuvenated their signature synth sound with organic sonics and some playful brass. It’s an embrace of everyone who’s supported them along the way, blood relations be damned, and holy moly does it make us feel like Experience will be TPB’s alma mater…at least until the next one.

Wilson Marks: “Isolation Town”

When we last spoke of Wilson Marks, it was just before Mother’s Day, and in fact for his newly-released song “Mother’s Day”. And wouldn’t you know it, when Wilson Marks sparks our interests yet again…it’s the day after Valentine’s. So while we won’t beleaguer you with delusional theories on causation versus correlation concerning Wilson’s releases and U.S. holidays, we will give you the rundown on what Wilson’s been working on since we last caught up.Just as planned, Wilson Marks did share another release late last year, but it ended up being the stripped-down EP they previously alluded to, Won’t Fit In a Song, instead of the trio’s next full-length as anticipated. Rest assured though, Wilson et al are still working on that LP and are looking at a drop date some time this spring. In the meantime, Marks has been making the most of a Monday night four-band residency at Sagebrush, continuing on the 19th – 8PM to midnight with opener Aaron Huff alongside closers Alex Riegelman & Friends and Virginia Creeper.Marks is definitely gonna be in good company for the remainder of that in-city, four-performance residency, and yet today he painted a very different picture with the upcoming album’s second single, “Isolation Town”. Between its bluesy trot, (breezy drum brushes and all), a real horse gallop of a woodblock pattern, some cozy chorus effects on the guitar, warm bass, wistful whistling and an oddly daunting second-person lyrical perspective and vocal character that both remind us of Roger Waters, “Isolation Town” channels that brilliantly wonky kind of early Pink Floyd-era psychedelia that almost borders on exotica.

As Texas leads the nation in ‘family annihilation’ cases, what can be done?

Ken Paxton, the impeached attorney general, is headed for a Houston courtroom today on his 2015 securities fraud charges.

An update on wildfires across the state as firefighters brace for another tough day of heat and wind. We’ll hear where the fire threat is greatest and what to do to prepare.

Since 2020, Texas has emerged as the epicenter of “family annihilation” cases, in which someone kills at least two kinds of family members.

A new documentary traces the careers of two of Texas’ most famous musical siblings: Jimmie and Stevie Ray Vaughan.

And commentator WF Strong on what “Lonesome Dove “got right and wrong.

Sidney Scott: “Maybe You Were Right”

Historically, a native Austinite status set you on an accessible, auspicious trajectory towards making music. But of course, as tech culture eclipses the “weird” Live Music Capital character that Austin’s clung on to since the ’70s, it just doesn’t happen as much any more. So while simply being born within the city limits isn’t enough to guarantee the songwriter’s lifestyle, having musical parents sure as heck helps. See: Sidney Scott. Raised by a professional singer and a professional woodwind player, Sidney’s childhood in the Scott household was always chock full of good tunes. So when Sidney started discovering her own pipes, her folks weren’t necessarily looking to maintain a family legacy in music…but they certainly weren’t hypocrites either; they encouraged Sidney to follow her own passion, and we’re awfully glad they did. In 2021 Sidney Scott shared a pair of standalone studio singles, showing off her proclivity for soul, jazz, folk, and blues, not to mention an incredible grasp on vocal performance. Today, as part of her patient plans to drop her debut EP tentatively in 2024, Sidney Scott gives us a sneak peek at her unique hybridizing process. What began as an iPhone voice memo attempting to capture the best of both Brandi Carlile and Lake Street Dive was fully fleshed out by seasoned Austin producer Ray Prim and a form-fitting four-piece backing band. This latest original is a sensuous piece of gospel-soul that from its first organ-vocal unison through its sparkling firecracker choruses, billowed arrangement nuances, and Shirley Bassey-meets-Amy Winehouse final falsetto vibrato, years from now, when looking back at those of us who recognized Scott’s promising potential, might just make you say “Maybe You Were Right”

Walker Lukens: “The One Who Loves You”

If you weren’t already well aware, we here at KUTX love Walker Lukens; we shined our Artist of the Month spotlight on this perfectionist performer back in January 2015, right when Walker Lukens and (his backing band) The Side Arms released their Jim Eno-produced single “Every Night”, a tune that now totes more than two million streams on Spotify. Since then Walker’s sort of mimicked the mysterious monolith from 2001: A Space Odyssey, touching down to intrigue the masses and revolutionize listener experiences, but only when the moment is just right.

That’s not to say that Walker hasn’t kept busy since 2019’s ADULT, his final pre-pandemic piece of output. On top of dropping two more full-lengths and an EP, Lukens has been helping to interpolate flirty little secrets as one of the two masterminds behind The Song Confessional podcast. Walker’s also been graciously offering up his production prowess and fine-tuned formulas as a noble service for his fellow Texas creatives.

But as seductive as Walker’s sonic sorcery is in-studio, if you’ve seen him play live, you know how whetting it is to witness the carefully-crafted studio magic replicated almost identically onstage, expertly-cut a capella loops and all. So imagine our excitement this morning when Lukens announced his fourth studio full-length Accessible Beauty for release in August alongside plans for a promotional tour.

That welcome news arrived alongside Accessible Beauty‘s lead single, “The One Who Loves You”, a re-introduction to Walker’s retro-pop tastes. Between invigorating reverse guitar, sexy synth squelches, and processed vocals that soar through a torrid chorus, “The One Who Loves You” boasts an enormous sense of space that easily towers over most of Tame Impala’s less-intense installations. Wish you could express your feelings as fiery as Walker does? Just forward this one to whomever you carry a torch for and get ready for romance.

Texas Standard: November 21, 2022

‘Tis the season for bill filing; a quick look at what filing season in the Texas legislature tells us about lawmaker priorities for the coming session. Other stories we’re watching: an earthquake recorded in west Texas last week, the third biggest ever recorded in the state, what it could mean for the oil and gas industry. And a nuclear reactor taking shape on the campus of Abilene Christian University, we’ll hear why. Also how military families are trying to deal with the search for suitable housing. These stories and more today on the Texas Standard:

The Watters: “Life As A Dream”

We’ve all experienced impostor syndrome in one way or another. For musicians, it typically comes in the form of filling a bill considered “out of their league” or trying their hand at a style that’s not as rehearsed as the rest of their repertoire. But you’ll never know unless you try, right? Because that’s exactly what happened with Austin Americana-blues-soul-rock outfit The Watters. Daniel and Jenna Watters live within walking distance of The Far Out Lounge, whose doors opened at the top of the pandemic. When Far Out put out an open call for a “Sunday Jazz Brunch”, it stirred something in The Watters; as unapologetic lovers of New Orleans Dixieland and stride jazz standards like “Ain’t Misbehavin'”, they certainly seemed in touch with those sought-after sensibilities. And since having a horn section is half the battle for most jazz bands, why the hell not? Needless to say, those Sunday Jazz Brunches went off without a hitch. As such, the Watters’ tides have turned towards the incorporation of jazz, a shift that heavily influenced their latest EP Mellow. With their idiosyncratic blues-soul still front and center, jazz masterfully interjects itself within these four rousing originals. But you’ll also hear flourishes from the swingin’ ’60s sound on Mellow‘s sophomore offering “Life As A Dream”. Either way, as is usual with The Watters, it’s best experienced live. So catch The Watters 10:30pm tomorrow night at The Continental Club along with Wrongbird for the Mellow EP release show and get lucid with the sensuous psychedelia of “Life As A Dream”.

Jac With No K: “Morocco”

It’s always satisfying to hear artists incorporate local flavors once they relocate to a new musical hub. For Pittsburgh-born, Philly-braised songwriter Jac Carson, a move to Austin meant patting down his cut of blues-alt-rock with spices of cosmic country and neo-soul into a style he’s dubbed “New Texas Groove”. Even in light of the setbacks that came with COVID, Carson and his backing band Jac With No K have enjoyed a bevy of shows in the Live Music Capital since they arrived in 2020, not to mention plenty of national performances on the road. Speaking of which, right now Jac With No K is on a Northwest/Eastern-Midwest tour in promotion of their 5th EP (and first written in Texas), Imaginary Lovers. Far from a mere figment, these four tracks pack a wallop compared to what you’d expect from a handful of “love songs”. Imaginary Lovers dropped last Friday and Jac With No K returns in a couple weeks with several free live shows. Thursday, July 21st at El Mercado South, Saturday, July 23rd at The Lucky Duck, Saturday, July 30th at The Drafting Room, and noon to 2pm every Monday and Thursday at Friends Bar. So celebrate the band’s latest set of travels in person or with a one-way ticket to the Mediterranean courtesy of Imaginary Lovers‘ penultimate crowd-pleaser, “Morocco”.

Texas Standard: April 5, 2022

Could what critics call Florida’s “don’t say gay” law be coming to Texas? The Texas Lt. Governor says it’s a top priority. Also, the end on an historic union lockout dubbed the “Battle of Beaumont”; what it says about organized labor in Texas. And, a collection of artifacts sheds new light on one of Texas’ most celebrated musicians. Those stories and much more today on the Texas Standard:

White Denim: “Crystal Bullets”

Along with Spoon and Shakey Graves, White Denim is arguably one of Austin’s most recognizable offspring. The locally-dyed four-piece has continued to spin their refreshingly unique cuts of rock since their 2008 debut Workout Holiday, taking the finest yarns of blues, jazz, prog, punk, and dub and weaving them into extremely catchy, non-traditional songs. We named White Denim our March 2016 Artist of the Month, right around the same time they released their seventh LP Stiff, and the subsequent use of their single “Ha Ha Ha Ha Yeah” in Nintendo Switch’s reveal trailer invited these Studio 1A veterans into the international zeitgeist.

Last year’s World as a Waiting Room marked album number ten in White Denim‘s discography, and yet, the group had never issued a 12-inch…until now. This Friday White Denim drops Crystal Bullets/King Tears, issued on limited edition red & blue vinyl, something that complements the delightful polarity of White Denim’s genre influences, best heard on the record’s psych-rock-meets-rhythm-and-blues A-side, “Crystal Bullets”!

Armadillo Bonus: Blues, Jazz, and Funk

Join KUTX as we celebrate the 50th anniversary of the historic Armadillo World Headquarters, the music venue that helped put Austin on the musical map. In this bonus episode, hear first-hand stories about the blues, jazz, and funk greats that made the Armadillo such a live music destination: the supernatural abilities of Freddie King and B.B. King, the Pointer Sisters in their funk heyday, and the raucous welcome given to jazz icon Count Basie.

This Song: Jackie Venson (Rerun)

In this rerun of an episode originally recorded last February, Jackie Venson explains how seeing “Don’t Cry For Me Argentina,” from the movie “Evita,” changed the way she listened to music and the way she saw herself. Then she describes her journey from classical pianist to blues guitarist. It’s a tale of soul expanding love, self crushing doubt, and musical perseverance.

Listen to this episode of This Song

Venson will be co-hosting the Austin Music Awards on March 11th at ACLive at Moody Theater. Get your tickets here.

📸 Tristan Ipock

Listen to Songs from this episode of This Song

Texas Standard: October 7, 2019

Election day draws near, perhaps nearer than most Texans think. We’ll take a closer look at what Texas voters are being asked to decide this November. Also, it’s a Texas border more dangerous than the one that gets the lion’s share of attention. How a boom in the Permian has made for perilous times along the line with New Mexico. And missing notes rediscovered: a long forgotten manuscript recounting the story of how the blues came to Texas, revived after decades in limbo. Also the effort to clamp down on the dangerous storage of firearms. All that and then some today on the Texas Standard:

Texas Standard: August 13, 2019

Bracing for a blue wave, Senator John Cornyn concedes reelection in 2020 will be tough. How much of a challenge do the challengers pose? We’ll have the latest on what’s expected to be the hottest electoral battle in Texas as more Democrats enter the race for U.S. senate. Plus, a massive raid at a Mississippi food plant. Will employers face charges? Not if recent past is prologue. We’ll explore why. And what’s being described as a comprehensive oral history of a Texas music legend. Why it’s taken so long to tell the full story of Stevie Ray Vaughan. That and a whole lot more today on the Texas Standard: