“I love the blues and I've always sung the blues, so it’s a wonderful journey for me. I feel like we have a lot more female blues singers now than we used to. There is a new generation, a new breed of young blues artists coming in, and I feel that the legacy is still holding strong.”

Trudy Lynn: Lady Sings The Blues

There are artists who sing the blues, and then there are those who shape the very fabric of the genre. Houston, Texas native Trudy Lynn is undeniably the latter—a living legend whose career spans over six decades. Even now, her legacy continues to grow deeper and more impactful. This year, in celebration of Women's History Month, Trudy Lynn has begun documenting her extraordinary journey in her forthcoming autobiography, co-authored with noted blues journalist David Whiteis under a publishing agreement with the University of Illinois Press, the manuscript is scheduled for completion in early 2027. But that isn't the only way she is keeping the flame alive. Her newly reissued album, "Turning the Same Ole Corners", is now available via Jus' Blues Records, with proceeds directly benefiting the vital mission of the Jus' Blues Music Foundation.

(Trudy Lynn / Photo by Ron Fontenot)

Trudy Lynn says about her forthcoming autobiography: “I didn't just step onto the scene yesterday; I’ve been here a long time. Because of that, I knew many incredible artists who are no longer with us, and I worked on shows with them. I just have a lot to say. The way things are handled by musicians today is also very different. When I first started out and was much younger, I feel like we, as artists, respected each other much more than musicians do nowadays. We truly had respect for one another. For instance, when it comes to the blues, there is only a certain number of traditional songs, so naturally, many artists sing the same material. But back then, if I was performing a specific number in my show, another artist wouldn't do that same song out of mutual respect. We simply didn't disrespect each other.”

Interview by Michael Limnios

Special Thanks: Trudy Lynn & Sallie A. Bengtson (Nola Blue)

What do you miss most nowadays from the music of the past?

To me, the blues nowadays isn't as deep as it used to be back in the day. It has a lot of a rock feel to it now, so it’s different. It's definitely different, but everyone seems to be accepting it.

What is it like to be a female blues artist in the music industry?

I love the blues and I've always sung the blues, so it’s a wonderful journey for me. I feel like we have a lot more female blues singers now than we used to. There is a new generation, a new breed of young blues artists coming in, and I feel that the legacy is still holding strong.

How did the idea for your forthcoming autobiography, come about?

Well, for one thing, it's because I've been around for a very long time and I've been doing this for a while. I've been through a lot, I've met so many artists, and there is a lot of history in my journey.

I didn't just step onto the scene yesterday; I’ve been here a long time. Because of that, I knew many incredible artists who are no longer with us, and I worked on shows with them. I just have a lot to say.

The way things are handled by musicians today is also very different. When I first started out and was much younger, I feel like we, as artists, respected each other much more than musicians do nowadays. We truly had respect for one another. For instance, when it comes to the blues, there is only a certain number of traditional songs, so naturally, many artists sing the same material. But back then, if I was performing a specific number in my show, another artist wouldn't do that same song out of mutual respect. We simply didn't disrespect each other.

Miss Lynn, you are a very lovely musician, artist, and personality in Europe. Do you find a difference between European and American audiences?

Audiences are very supportive over there. In America, we don't have as many venues dedicated to the genre anymore. When you go to Europe, you find a lot of people who deeply support the blues. They truly stand by it.

We do have supportive fans here in the States, but just not as many. For example, here in Houston, Texas, where I’m from, we only have about three or four blues places. Houston is a very diverse city with so many different types of music and food, so the focus isn't strictly on the blues. We have some blues clubs, but not that many. I remember they used to host an International Blues Festival here in Houston every year, but they no longer do that. In Europe, the appreciation is different; they definitely support the music more.

What moment changed your life the most? What would you consider the highlights of your career?

The absolute highlights of my career are definitely connected to my travels. Traveling has allowed me to go all over the world singing the blues. It gave me the opportunity to see new places and meet so many different people.

After doing this for a long time, I've come to the conclusion that even though we belong to different races and come from different countries, we all go through the exact same things in life. We all share the same experiences; we just happen to live them out in different places.

As for performing, I really love playing in theaters and working on those big shows. Interestingly, traveling overseas is actually how I get to meet many of the new blues artists of today. I rarely get the chance to cross paths with them here in the States because, as I said, I feel the blues is appreciated much more abroad.

“Back in the day, blues was just blues. There was no "root blues," "traditional blues," or all these different categories we have now. Gospel was just gospel, and soul music was just soul music. Today, you have terms like "retro blues" and all these different labels, which I find quite confusing.” ((Photo: Trudy Lynn, her legacy continues to grow deeper and more impactful)

In 1989, you released your first solo album with the famous Ichiban Records, working with Gary B.B. Coleman. Tell me a few things about your beginnings…

Yeah, B.B. Coleman! B.B. was a really good cat. I had a band here in Houston at the time. When he was passing through town, his own band didn't make it on time, so he needed a group and ended up using mine. My musicians were the ones who told him about me.

He called me up, and the funny thing is, he asked me to send him a cassette tape so he could hear me sing. He wanted me to send it to a little place here in Texas called Paris, and he told me to put it on a Greyhound bus! They actually went to the luggage department at the bus station and picked it up. That's how B.B. and I got together.

Through B.B., I got the chance to meet many blues artists I never thought I’d cross paths with, including the original Johnnie Taylor. He was just a wonderful cat and he opened the door for me with Ichiban Records. He was acting like a blues talent scout for that company, looking for new artists as he traveled. That’s how I got signed, and I stayed with Ichiban for about 10 or 12 years, releasing around 8 or 9 albums with them.

Why is it important to talk about the blues to the new generation?

I think it's important because, first of all, the music is still here. It’s a new generation now, and you can't stop the change because most of the older musicians are no longer with us. We have a new generation of artists coming in and a new audience supporting the blues. It’s a natural transition, and it reflects what they are feeling today.

Many young blues artists nowadays listen to the musicians from back in the day, record their tunes, and perform them. What I love about it is that they do it the way they feel it. They are not going to interpret the songs exactly like the older generations did, because they didn't live through the same experiences. It’s a brand-new era.

The same kind of shift is happening with technology and radio. For example, people who still have CD players keep them and cherish them because the industry doesn't really push CDs anymore. Vinyl is coming back, sure, but I really hate that they stopped focusing on CDs. I still have thousands of them and I will never get rid of them! Now, everything is about streaming. It’s just a new era, and if you want to be a part of it, you just have to adapt and keep moving forward.

You have met so many great musicians and personalities. Which meetings have been the most important experiences for you, and what was the best advice anyone ever gave you?

One particular meeting that stands out—and I never thought it would happen—was when I met Ruth Brown. Another incredible moment before she passed, which was a true highlight of my life, was meeting Dinah Washington, talking with her, and seeing her perform live. I also met Jackie Wilson. I was just a young girl when I met all these older artists, and those moments really stayed with me.

Later on, Etta James and I did a lot of shows together. I truly looked up to these people. That was the thing about me; when I was younger and first came onto the blues scene, I had immense respect for the artists who were already there. I didn’t come out with an attitude of trying to outdo anyone; I was just genuinely impressed by them.

I’ve always believed that respect carries you a long way. It opens doors for you. When you come out with an attitude of "I can do this better" or "I can do it my own way," you're going to lose. You'll end up at the back of the line. You have to respect your elders because they are the ones who opened the doors for you in the first place.

“I feel like everything will be alright. I just hope that people keep the blues going. Honestly, they will keep it going, because everybody has a blues song to sing—they just don't know it yet! Everyone gets the blues. There is simply no way around it in this world.“ (Trudy Lynn & Sallie A. Bengtson of Nola Blue | Trudy Lynn, a living legend whose career spans over six decades / Photo by Joseph A. Rosen)

Gospel, soul, blues, rhythm and blues... What are the lines that connect the legacy of Black American music?

All of these genres connect through one thing: the feeling.

Back in the day, blues was just blues. There was no "root blues," "traditional blues," or all these different categories we have now. Gospel was just gospel, and soul music was just soul music. Today, you have terms like "retro blues" and all these different labels, which I find quite confusing.

At the end of the day, all of these genres are about a natural, deep feeling—that is how they connect. Whether you are listening to gospel or traditional blues from artists back in the day, like Bessie Smith, it all shared the exact same feeling. It just carried different messages.

What do you prefer, the studio or being on stage? Do you feel better when you perform live?

Without a doubt, performing live. However, when I go into the studio to record my songs, lay down tracks, and do all the work leading up to the final run, I have a specific ritual. Whenever I'm in the booth getting ready to do my final vocal cuts, I always need a red light. I set the room up to feel just like I’m in a club or a theater, because when I perform live, I feed off the energy of the people.

Sometimes, I will look out at the audience before I even hit the stage because I want to feel where they are coming from. I can read the room just by looking at them, and that helps me decide which song to open with. My performance is entirely driven by the connection with the audience. When I sing, I want it to feel as if I'm sitting right next to you.

Which memory of Albert Collins makes you smile?

The memory of when I first met him, which actually happened through my mother—she knew him. I vividly remember him releasing his first hit record, "The Freeze". That was way back in the day. I also remember meeting him and his wife back then. Albert was truly a kind person, he really was, and he always had encouraging things to say to me. Johnny Copeland was another one who was just like that. Whenever we spoke, they were both always so positive and supportive.

What is the story behind your stage name, Trudy Lynn? How did Lee Audrey Nelms become Trudy Lynn?

Yes, Lee Audrey Nelms is my birth name. The truth is, right after I graduated from high school, I went to visit my mother's sister for the summer in a place here in Texas called Lufkin. While I was there, my cousin told me about a local club. This was during the era of segregation, and she mentioned that this particular venue welcomed Black artists. I was intrigued, so she introduced me to the band. They invited me to come out, and I ended up performing a few songs with them. Then I met the house band and sang with them too, and everyone really liked me. Mind you, I was fresh out of high school; I had sung in the school choir and often did the lead vocals, but this was different.

When they asked me, "What are you going to call yourself?", I was confused. They told me, "Well, Audrey just isn't a stage name." I replied, "It's not?" and they said, "No."

Back then, blues clubs often had cartoon characters painted on the walls—drawings of musicians singing or playing guitars. I looked up at the wall and saw a drawing of a lady with the name 'Trudy' written next to her. I thought, "I like that name." At that time, artists like Barbara Lynn and Loretta Lynn were huge, so all the 'Lynns' were making waves. I just put the two together and said, "Well, my name is Trudy Lynn." That was back in 1965. It’s been a long time, baby!

“The absolute highlights of my career are definitely connected to my travels. Traveling has allowed me to go all over the world singing the blues. It gave me the opportunity to see new places and meet so many different people. After doing this for a long time, I've come to the conclusion that even though we belong to different races and come from different countries, we all go through the exact same things in life. We all share the same experiences; we just happen to live them out in different places. (Trudy Lynn, Texas native Blues legend / Photo by Joseph A. Rosen)

At 78 years old, what does happiness mean to you?

Well, for one thing, I've seen a lot in my life, and I thank God because I'm still able to travel, sing, and perform. I don't have any major health issues holding me back. Sure, I get tired, and my body feels a bit more sore than it used to—I’m not quite as feisty as before—but the moment I hit the stage, I’m just me. I don't even think about age. I guess I haven't reached that point yet!

On a more personal note, how did your generation's Black music change people and the world? How important was your generation to the Civil Rights movement?

Many of the people who were there when I first started out, the original supporters of the blues, are no longer with us. Today, a much younger generation comes out to support the music. But I thank God because I connect beautifully with young people. Many of them come to my shows with their parents, and afterward, they come over to talk to me and say, "I really like you, you were truly getting down!"

In fact, my daughter once told me, "Mama, all my friends say you are fly." I asked her, "I'm fly? What does that mean?" and she replied, "It means you're cool, you're alright!" So, even the young kids think I’m fly! I love connecting with them. I talk to them, and when I perform, as I said before, I always read the room and feed off the people's energy.

From Blind Lemon Jefferson to Lightnin' Hopkins, Albert Collins, and later, the younger Texas generation... why has Texas always been one of the blues capitals?

It's because we've had so many incredible artists come out of here. But beyond that, I truly believe every region has its own distinct sound. Having worked with all kinds of musicians over the years, I can easily tell the difference; when it comes to the blues, not everyone sounds the same.

If I perform with a band from Texas, I know the exact groove and feel they are going to bring. If I go to Chicago, I know they will bring a completely different feel to the music. As an artist, you have to learn to adjust to that because everyone plays differently. You might tell a band, "Give me a shuffle in this key,"but when a Chicago band starts playing, they will deliver that shuffle with their own regional feel. Here in Texas, we have our own signature sound. I always tell young musicians that if they want to travel and move around in this business, they have to learn how to adapt to the different flavors and feels of the blues.

Do you have any fears? What are your hopes for the future of the blues?

I feel like everything will be alright. I just hope that people keep the blues going. Honestly, they will keep it going, because everybody has a blues song to sing—they just don't know it yet! Everyone gets the blues. There is simply no way around it in this world.

Some people say the blues is when you hang your head low and think about sad things, and everyone goes through that because that is just life. As I've said, through my travels I've learned that we all face the same struggles and share the same feelings. I even wrote a song about it: "Everybody Got a Blues Song to Sing."And it's true! Even a baby has a blues song to sing—you know it's formula time when you see that little mouth wide open! That’s the absolute truth; everyone has a blues song to sing.

“Sometimes, I will look out at the audience before I even hit the stage because I want to feel where they are coming from. I can read the room just by looking at them, and that helps me decide which song to open with. My performance is entirely driven by the connection with the audience. When I sing, I want it to feel as if I'm sitting right next to you.“ (Photos: Trudy Lynn)

Do you remember any specific advice that someone gave you, which you always keep in mind?

I’ve received advice from a lot of people over the years. When I first started out here in Texas, I was heavily influenced by a gentleman named Classie Green. He truly molded me and taught me about stage etiquette and how to always carry myself like a lady. He reminded me that since I’m at the front of the stage, every single eye is on me. You have to govern yourself accordingly, step out as a true artist, and just stay cool without overdoing it.

I also remember some great advice about navigating the scene and meeting so many different people in local venues. Johnny Copeland used to always tell me: "Meet the people, laugh, and talk with them whenever you can, but don't take them home with you." He meant that you shouldn't just hand out your number to everyone; you enjoy the moment and leave the interaction right there at the venue. My mother used to have a saying for that too: "If you play with a puppy, it'll end up licking you in the face."So, you have to maintain those professional boundaries and keep the fans exactly where they are supposed to be.

What is your favorite part of your forthcoming autobiography, and what was the most difficult part to write about?

I guess the most difficult part is realizing something that we all eventually have to face. When you do what you love, you wish you could do it forever. But deep down in your heart, you know you can't, because we are all just passing through—we aren't going to be here forever. I try not to dwell on that, though. I just appreciate what I have right now and give everything I've got straight from my heart.

And what about your favorite part? What is the funniest moment in your book?

Oh, let me see! You know, here in Texas, there are a lot of country music fans. Early on in my career, I went to perform in a city called Corpus Christi. Back then, there was a massive country star named Loretta Lynn, and she was at the absolute top of the charts.

When I arrived for the show in Corpus Christi, which was a big country music spot, the audience actually thought I was Loretta Lynn! It was so funny to me. The people at the door had to explain to them that I wasn't her. The fans had just seen the last name 'Lynn' on the bill and didn't even bother to look at the first name; they just assumed it was Loretta. The show was completely sold out! Even after they realized the mix-up, a good amount of them still came in and thoroughly enjoyed the performance.

Trudy Lynn - Home

(Trudy Lynn & Bunny Turner / Photo by Joseph A. Rosen)