“I hope in the very least it can inspire people to look deeper into the history of the music and the people who created it. For example, everyone should know that the Blues is foundational music.”

Todd Albright: Deep Roots of Pure Blues 

Todd Albright is a country blues, twelve-string guitar player and vocalist based in Detroit, Michigan. Grounded in the pre-war era of the blues tradition (1880-1939), Todd is a mindful purveyor of blues history. His repertoire upholds musical pillars such as Blind Willie McTell, George Carter, Blind Lemon Jefferson and Leadbelly. His life’s work continues the distinguished tradition of the very roots of American music as told by the African American musicians who created it. Todd Albright joined Jack White’s Third Man Records in 2016. Todd’s vigorous, gritty and soulful performances are accompanied by stories of the masters and a deep intuitive sense of respect for craft, providing audiences with a meaningful experience while creating a transcendent moment. One of the top blues guitarists in the world, Todd is the only contemporary twelve string player in his genre. Todd began playing the blues while still a teenager, some twenty-five years ago. Initially, he was drawn to the sound of the finger-picked style and has since immersed himself in the foundational music and narratives of American culture. Over the years, Todd has shared the stage with renowned artists such as Cedric Burnside, The Wood Brothers, Corey Harris, Charlie Parr, Roy Book Binder, and Paul Geremia.

(Todd Albright / Photo by Agnes Fischer)

The 12-string country blues cognoscente returns with his long-awaited follow-up to Detroit Twelve String: Blues & Rags (Third Man Records, 2017). Produced by Charlie Parr (Smithsonian Folkways) and recorded in mono, “Blues For Dexter Linwood” (out in April 17th, 2026 on Misfortune Records), pays direct homage to the great bluesmen of the country blues tradition, performed in Albright’s masterful 12-string style. Harmonica and slide accompaniments by Dave Hundrieser and Charlie Parr fill out the sound on tracks like Blind Boy Fuller’s Step it Up and Go and Lead Belly’s Fort Worth & Dallas Blues.

Interview by Michael Limnios                       Special Thanks: Nick Loss-Eaton Media

How has the music influenced your views of the world? What does the blues mean to you?

I would say that it has given me a mechanism to cope with the world. 

How do you describe your sound and songbook? What keeps a musician passionate over the years in fingerpicking folk/blues style?

I play traditional Blues on a 12-string guitar, encompassing the musicians who have had the greatest impact on me, like Blind Willie McTell, Leadbelly, and Blind Lemon Jefferson. I have personally never experienced a lack of passion for the music. I don't think it's possible for a true musician/artist to ever lose interest in music or any other art form.  

Why do you think that the acoustic roots music continues to generate such a devoted following?

This is not music for tourists. It's not bubble gum. There is a very small segment of the world population that cares deeply about this Black American art form. Something interesting about the blues is that it brings all sorts of people together, it has an intersectional nature in that it attracts people who love different aspects of the music. It brings together those who love the Blues, and also those interested in Black history, American history, music history, and people who just love the guitar, the fingerstyle sound, and everything in between. 

Which meetings have been the most important experiences for you? What was the best advice anyone ever gave you? 

Meeting Dave Van Ronk when I was a kid was like shaking hands with God. Becoming friends with my heroes, Paul Geremia and Roy Book Binder ... those two showed me the way in this music and business. I'm sure someone must've given me advice over the years, but I couldn't possibly have been listening.

“Something interesting about the blues is that it brings all sorts of people together, it has an intersectional nature in that it attracts people who love different aspects of the music.” (Todd Albright / Photo by Agnes Fischer) 

What do you miss most nowadays from the blues of the past? What are your hopes and fears for the future of?

The difference between today and 100 years ago is the level of musicianship that existed. It was just much greater than it is now. We have too many distractions today in the world. Back then, if people wanted to hear music, they had to play it. 

I fear the march of capitalism will stomp the arts out entirely and we'll be nothing more than a little pile of algorithms lying in a heap somewhere.  

What is the impact of the Blues on the socio-cultural implications? How do you want the music to affect people?

I hope in the very least it can inspire people to look deeper into the history of the music and the people who created it. For example, everyone should know that the Blues is foundational music. Many people like to reference the fact that the Blues influenced rock and roll, but they don't necessarily know by who or how that occured. The history, which is a Black American history, is the important part that needs to be known because that is how the music truly stays alive. 

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

I have no interest in turning the Country Blues into a commercial and popular music. The music itself is special, from a bygone era and representing an important history that is not widely known or appreciated in some cases. By its very nature, it is not commercial or meant for mass appeal, nor does it need to be. 

How does your hometown (Detroit) that affect your music? What's the balance in music between technique (skills) and soul/emotions?

Detroit gives me the Blues regularly. Skill keeps the musician entertained. Emotion/soul keeps the audience entertained. 

Todd Albright - Home

(Todd Albright / Photo by Agnes Fischer)