“What I learn about myself is that it’s all about pushing forward, or just having fun. I play the music that I would want to listen to myself, and a lot of that is influenced by the great ones. The old blues players are always present in anything I approach.”

Davis Coen: Twangy Blues, Rootsy Rock

Live at Proud Larry’s is roots & blues singer-guitarist Davis Coen’s 11th full album (Release Date: March 2025 in USA / April 25 in Europe), and first recorded in front of a live audience. Taken from multiple shows at the historical music venue in downtown Oxford, Mississippi, Coen is backed by Memphis, TN band Just Groovin’ Experience on the first four tracks, featuring the soulful keyboard and vocals of John Gage. Father Charles Gage, who recently earned the Memphis Blues Society Lifetime Achievement Award plays drums, alongside workhorse Robb Roaten on bass guitar. For the rest of the record, Coen is accompanied by seasoned North Mississippi musicians Kinney Kimbrough (son of Junior Kimbrough) on drums, and Justin Showah on bass. Both are longtime Coen collaborators and appear on Magnolia Land (2009), Jukebox Classic (2010), and his upcoming studio album Hurricane Man. Live at Proud Larry’s was produced by Blake Gardner, a much beloved sound engineer at the venue - which also happens to be just a few miles from Coen’s home.                                        (Photo: Davis Coen)

The album features a mix of original songs and decades-old American roots music, such as classics by Muddy Waters, Blind Lemon Jefferson, Charlie Poole, and Lefty Frizzell - whose country hit Long Black Veil gets a lively treatment. Among Coen’s originals are the sinister murder ballad Mile After Mile, the steady rolling Stranger in My Home, and the danceable slow groove Basement With the Blue Light - which asserts that “Just one taste gon’ change your mind.” Some other Coen accomplishments include regular play on SiriusXM satellite radio, and original music on the DVD version of Martin Scorsese's PBS special The Blues. Also, live performances on the film documentary about Hill Country blues matriarch Jesse Mae Hemphill, called Dare You To Do It Again.

Interview by Michael Limnios                          Archive: Davis Coen, 2015 Interview

Special Thanks: Betsie Brown (Blind Raccoon)

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

What I learn about myself is that it’s all about pushing forward, or just having fun. I play the music that I would want to listen to myself, and a lot of that is influenced by the great ones. The old blues players are always present in anything I approach.

How do you describe your sound, music philosophy and songbook? Where does your creative drive come from?

I describe my sound as rootsy rock or twangy blues. My songbook has a pretty wide variety. I have an acoustic album, a gospel album, and a few Americana records that are full of original songs.

I always wanted to make music that’s good enough for any kind of person to appreciate. When I was young I always looked for my father’s approval, since he was a musician. Now the drive comes from getting access to a studio - which I very seldom can afford.

If I have a studio session booked, I scramble around like crazy to piece together ideas I had been playing with for months. If I ever had full access to a studio or disposable income I’d probably have twice as many records out.

”What changed my music life most was getting my first album out, when I was 20. It really got folks to start paying attention to what I was doing, and also help get a few good festival gigs. The highlight of my life was having my daughter. The highlight of my career is probably playing some European festivals in the late 90s and early 2000s.” (Photo: Davis Coen)

Why do you think that the Acoustic Blues continues to generate such a devoted following?

I don’t particularly play acoustic blues, although I fingerpick on a hollow body electric (335 model) guitar, which a lot of people use that word to describe.

That being said, I think acoustic blues continues to generate a devoted following because it’s very stripped-down and naked, so the people that play it have to be very good at what they’re doing. The finger-pickers especially have to play it clean, and singers have less to hide behind.

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

I miss that live feeling from the blues of the past, as if you can picture the musicians all in the same room together.

I know many would disagree, but I think a lot of blues music today would have just been called rock 50 years ago, along with maybe Rick Derringer, or Bachman-Turner Overdrive. Living in Mississippi, it’s the issue I hear most from people who try to give new blues a chance, but struggle.

My hopes are that working blues musicians can get more grants or funding to help pursue the craft, and afford to travel and play shows in this harsh economic climate.

What moment changed your music life the most? What´s been the highlights in your life and career so far?

What changed my music life most was getting my first album out, when I was 20. It really got folks to start paying attention to what I was doing, and also help get a few good festival gigs.

The highlight of my life was having my daughter. The highlight of my career is probably playing some European festivals in the late 90s and early 2000s.

What's the balance in music between technique (skills) and soul/emotions? What is the role of music in today’s society? 

An even balance of technique and soul/emotions is probably best, but I personally go for soul/emotions.

I think pop music’s place in society is mostly being a voice for the young people. But roots music also helps unify folks with culture.

”I describe my sound as rootsy rock or twangy blues. My songbook has a pretty wide variety. I have an acoustic album, a gospel album, and a few Americana records that are full of original songs.”

(Photo: Davis Coen)

What are you doing to keep your music relevant today, to develop it and present it to the new generation? 

I think the best way to be relevant is to keep putting out new, original music. And if doing covers, doing them with a twist, and not exactly like the old version. If it’s from the heart, someone from the new generation should be able to connect.

Is there a message you are trying to convey with your music/songs?

Not particularly. I’m more interested in unburdening myself from the songs in my head, or putting words and melodies together in a way that might sound pleasing. But with the spiritual or gospel music I write, the message can carry much more weight.

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