”The Blues is the foundation for everything. If you really think about it, almost everything is Blues—95% of Western music is Blues! In fact, 95% of Western musical culture is built upon Black music. It’s the root that feeds every other branch.“

Igor Prado: Old, New, (Hot) Funky & Blue

Blues Music Award nominee Igor Prado is widely-regarded as one of the most exciting contemporary blues guitarists on the international scene today. The self-taught, left-handed Prado, who plays a right-handed guitar upside down, delivers scorching solos and vintage tones with an ability to move seamlessly between blues, soul, and funk. His 2015 album with Igor Prado Band, Way Down South, with the Delta Groove All Stars held the number one slot on the Living Blues Radio chart for two months and earned a BMA nomination for Best New Artist Debut. A riveting live performer, Prado has performed at many of the top international blues festivals, and recorded and performed with some of the biggest names in roots music, releasing a total of XX albums to date. His performances exhibit raw emotion, deep groove, and masterful technique that captivates audiences worldwide. In 2021, Prado gives us an album with Austrian Raphael Wressnig titled "Groove & Good Times". Old School meets New School! Their symbiosis makes you enjoy a perfect composition of authentic blues feeling with a good take on contemporary funkiness!

(Igor Prado / Photos by Eugénio Martins Jr.)

In 2026, Igor Prado released a new album, “Old, New, Funky & Blue”, in collaboration with Chicago blues artist Omar Coleman. The album, released on the NOLA Blue label, features 11 tracks blending blues, soul, and funk. Chicago Blues meets Brazilian Soul for an international groove summit, on this collection of fresh and funky tunes deeply rooted in blues yet boldly contemporary in sound. Veteran artists Omar Coleman (Chicago) and Blues Music Award nominee Igor Prado (São Paulo) have crafted six compelling originals and combined them with five soul treasures for a funky and blue project.

Interview by Michael Limnios                         Archive: Igor Prado, 2021 Interview

How do you think that you have grown as an artist since you first started making music? What has remained the same about your music-making process? 

I believe that over the years, I’ve evolved from being 'just' a guitarist into more of a music producer. My perception of music and my role within it has shifted significantly since I first started. To me, if the groove and the rhythm don't make you nod your head or tap your feet, something is fundamentally wrong—it doesn't matter if you have the best solo or the best singer on the track.

I feel that music with African roots, like Brazilian music, must have that beat, that groove, and that 'pocket' that grabs you right away. I often tell my guitar students that the way we play actually comes from the drum; it’s highly percussive and it has to swing. If you look at the pioneers like Son House, Bukka White, or Robert Johnson, the guitar was entirely rhythmic and visceral. For me, that 'drum'—that rhythm—is essential whether you’re singing or soloing. Everything originates from the drum.

What has remained the same since the beginning is perhaps my focus on simplicity, but always with 'swing' and 'molejo' (that Brazilian flair). It’s that same pocket that makes the simple not so simple after all [laughs]. I think Black music is really all about that.

“To me, music has to go straight to people's hearts. It can't just be about technique; it needs a lot of soul, a lot of feeling, and a lot of truth. That balance between skill and emotion isn't something you can overthink—it has to be felt. If you're thinking too much about the scales or the theory, you're missing the point. The soul has to lead the way.” (Igor Prado & Omar Coleman / Photo by Zé Carlos de Andrade)

Currently you’ve one release with Omar Coleman and Nola Blue Records. How did that relationship come about? Do you have any stories about the making of the new album “Old, New, Funky & Blue”?

Our partnership goes way back—I met Omar over 15 years ago. We’ve always shared the same musical tastes and a similar mindset. For instance, spending a lot of time with Black artists in the US, I noticed they don’t strictly separate genres the way white artists (in the Blues scene) often do, and that always intrigued me. To most Black artists, Blues, Soul, Funk, and Rock n’ Roll are deeply intertwined; they’re practically the same thing. And they know what they’re talking about—after all, they invented it all [laughs]! I say all that to say that, over the years, I've come to realize they're absolutely right. Omar and I have been on that same page since the beginning.

Regarding Nola Blue Records, we were introduced to Sallie Bengtson through another great friend of ours from Austin, Texas: Eddie Stout. We sent over the album once it was finished, and she loved the direction the music and our partnership were taking. We are incredibly happy and honored to be part of the Nola Blue team and to work alongside Sallie, who is a wonderful person.

You asked about stories from the making of the album, and I have several—some quite curious! At least four songs were recorded starting with just a rhythmic guitar and vocals; we then built all the other instruments around them. I had never worked that way before. What’s truly incredible is that the vocals from those nearly acoustic takes were kept as the official tracks for the album. I’d never done anything that 'crazy' on an album before, and we’ve produced a lot! But since Omar and I have such a strong chemistry, the tracks we recorded as a duo already had such a high vibe that everything else just flowed around them. I don’t know if we could ever replicate that [laughs].

Another curiosity is that every single one of the original lyrics is inspired by things that happened in Omar’s life over the last ten years—about 90% of the themes cover heartbreak and trauma. We balanced that out with some covers that talk about positive things. For example, the album goes from track one, 'I’m Leaving My No Good Woman,' straight into track two, 'I Only Have Love' (our version of the Syl Johnson classic). It’s like going from hell to heaven, which mirrors exactly what was happening in his life. I believe the Blues is a reflection of our lives, so the whole album has a very deep and true meaning for us.

Because this album was conceived over nearly four years, we were able to infuse it with a very intimate and authentic personality.

“I believe that today we are living in an era where everything is so processed, filtered, and built by computers that I wouldn't be surprised if a large portion of the audience starts turning back to what is real and raw. There is a growing hunger for authenticity. That’s where the Blues has its strength—it’s honest. Because of this shift, I truly believe the Blues could step back into the spotlight and gain more prominence once again.” (Igor Prado & Omar Coleman / Photo by Zé Carlos de Andrade)

What do you learn about yourself from the blues and what does the blues mean to you? 

More and more, I see that what is real, authentic, and human is far more powerful and moving than what is perfect, polished, or filtered. The Blues is exactly that: it’s life without filters—and without AI [laughs].

But in all seriousness, it might sound obvious, but that same African drumbeat I mentioned earlier is imperfect too. It’s like the human heart; the beat sometimes speeds up, sometimes slows down, and that’s precisely what makes it so special. To me, the Blues and Black music are about that—they are a reflection of our lives.

Who are some of your very favorite artists or rather, what musicians have continued to inspire you and your music?

It’s 2026, and I’m still inspired by legends like Albert King, Albert Collins, and Bobby Bland—the list is endless. But the truth is, at this stage of my life, every time I see an independent artist on the road, touring and making a living through their music, I find it deeply inspiring. We belong to a generation that faces very different challenges than those before us. Seeing that resilience and dedication is what truly moves me today.

Why do you think that Brazilian Blues Scene continues to generate such a devoted following?

I believe what’s happening with the Brazilian Blues scene is part of a broader independent, underground movement. While it’s small compared to the mainstream, there’s a much deeper level of loyalty among the fans. Brazil is a land of groove and 'swing,' so there’s a natural identification with American Black music. That rhythmic DNA we share makes the bond between the audience and the music very powerful and authentic.

“I feel that music with African roots, like Brazilian music, must have that beat, that groove, and that 'pocket' that grabs you right away. I often tell my guitar students that the way we play actually comes from the drum; it’s highly percussive and it has to swing. If you look at the pioneers like Son House, Bukka White, or Robert Johnson, the guitar was entirely rhythmic and visceral.” (Igor Prado / Photo by Eugénio Martins Jr.)

What moment changed your music life the most? What keeps a musician passionate over the years?

It’s hard to pinpoint a single moment; rather, it’s a collection of moments that shapes and changes us throughout our lives. In my case, what keeps me passionate is the ongoing quest to create, produce, and perform this musical form. That constant search for the essence of the music is what keeps the fire burning over the years.

How did the blues shape Funky and Soul music? What's the balance in music between technique (skills) and soul/emotions?

The Blues is the foundation for everything. If you really think about it, almost everything is Blues—95% of Western music is Blues! In fact, 95% of Western musical culture is built upon Black music. It’s the root that feeds every other branch.

To me, music has to go straight to people's hearts. It can't just be about technique; it needs a lot of soul, a lot of feeling, and a lot of truth. That balance between skill and emotion isn't something you can overthink—it has to be felt. If you're thinking too much about the scales or the theory, you're missing the point. The soul has to lead the way.

How can a band/musician truly turn the blues into a commercial and popular genre of music for the today's audience?

I believe that today we are living in an era where everything is so processed, filtered, and built by computers that I wouldn't be surprised if a large portion of the audience starts turning back to what is real and raw. There is a growing hunger for authenticity. That’s where the Blues has its strength—it’s honest. Because of this shift, I truly believe the Blues could step back into the spotlight and gain more prominence once again.

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(Igor Prado / Photo by Eugénio Martins Jr.)