"The blues is more than music, it’s a document of survival, resistance, and resilience. It tells the story of people who were never supposed to make it, yet did, with soul intact. It carries history in every bend of the note. I want the music to remind people of their strength, their humanity, and their right to feel deeply."

Harrell “Young Rell” Davenport:

The Blues Is Alright and Well!

Young Rell is a dexterous guitarist, harmonica phenom, and commanding vocalist with heartfelt songwriting. He blends classic blues with modern innovation, performing with raw sincerity and veteran poise. Overcoming personal struggles, his music has earned acclaim from legends like Billy Branch and Kingfish Ingram at festivals such as King Biscuit Blues. On stage, his fire is unmatched. Harrell’s new single “Fatherless Child” (November 2025), produced by Matthew Skoller and written by Harrel Davenport is a raw, soul-stirring blues track that dives deep into the pain and resilience of growing up without a father (mostly in my later years). Through haunting vocals and heavy groove, “Young Rell” turns personal struggle into powerful storytelling, capturing the blues in its purest emotional. Rell says: “This song is one that comes from a deep and personal place. It speaks to carrying on, finding strength, learning to navigate the world without a father and holding on to the roots that shape who we are. I hope when you hear it, you can feel that same sense of spirit and purpose that guided my team and I in making it." In May 2025, “Young Rell” Davenport released his previous singles, "Beefsteak Blues" and "Hate the Bite" Harrell says: “Releasing my debut singles, "Beefsteak Blues" and "Hate the Bite", is a big achievement for me. It marks the beginning of my journey as a professional recording artist, sharing music that means something, that carries stories, truths, and emotions I’ve lived with and thought deeply about. "Beefsteak Blues" is a cover of the great James Son Thomas that I’ve dedicated to the late great Bill Sims Jr., both artists whose raw honesty and sound have inspired me for years. It felt right to begin with something rooted in tradition, while my original arrangement.”

(Harrell “Young Rell” Davenport / Photo by Paul Natkin)

And continues: "Hate the Bite" brings my own words into the mix, a reflection on conflict, forgiveness, and the choice to let go of hate without forgetting the hurt. These tracks are independently released through my own label, RellTone Records, and I’m incredibly grateful for the support, help and belief of my mother, as well as Sallie Bengtson at Nola Blue Records and MoMojo Records, as well as my manager, Matthew Skoller, whose guidance and encouragement have helped bring this all to life. This is just the beginning, but it’s one I’m proud to stand behind.”

Interview by Michael Limnios                        Archive: Young Rell, 2024 Interview

Special Thanks: Harrell Davenport, Agusta Davenport, Sallie Bengtson, Matthew Skoller

What has been the hardest obstacle for you to overcome as a person and as an artist, and has this helped you become a better blues musician?

One of the hardest things I’ve had to face is learning how to live with PTSD, anxiety, and depression. These aren’t just passing feelings, they’re heavy, daily realities that affect how I see the world, how I move through it, and how I relate to others. As a person, I’ve had to fight just to keep going some days. As an artist, I’ve had to find ways to express that pain without letting it consume me. The blues has been a lifeline in that way. It gives me a language for things I can’t always explain, and it reminds me I’m not alone. Every time I pick up a guitar or open my mouth to sing, I’m working through it. That struggle, as hard as it is, has made my music deeper, more honest, and I think people feel that.

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’ve grown by learning to trust my instincts more, and also by learning to listen better. Not just to music, but to people, to the world around me. I used to be more locked into one style, one lane, but over time I realized inspiration can come from anywhere. I listen to everything, not just blues, but soul, hip-hop, country, reggae, classical, gospel, jazz, you name it. I try to learn from all of it. I might be on the phone with someone and they’ll say a phrase that hits me just right, I’ll write it down and later, it might become the hook to a whole song. I’ve learned to be a student of sound and language. What’s stayed the same, though, is that it always starts with a feeling. Whether I’m picking up a guitar or scribbling a lyric on the back of a receipt, it’s gotta come from something real inside. That’s the constant.                (Harrell “Young Rell” Davenport / Photo by Paul Natkin)

“I’d love to see more doors open for independent blues artists, more access to resources, touring opportunities, and fair compensation. There’s so much talent that deserves to be heard, but the infrastructure can make it hard to sustain a career. If we invested more in artist development and education, the whole genre would grow stronger. The blues has always been about community, it just needs more of that spirit in the business side too.”

What do you learn about yourself from the blues? Why do you think that Mississippi Blues continues to generate such a devoted following?

The blues keeps me grounded. It teaches me patience, humility, and honesty, not just in music, but in life. When I play, I’m reminded that emotions are meant to be felt, not hidden. The Blues connects because it’s real. It came from people who turned struggle into strength, and that kind of truth never gets old. Folks feel that energy, the raw humanity of it, and that’s part of what keeps them coming back generation after generation.

What keeps a young musician passionate in blues? What musicians have continued to inspire you and your music?

I stay passionate because the blues gives me space to grow. It’s not a closed book, it’s a living language. Every performance, every session, is a chance to learn something new about tone, timing, the people around you and storytelling.

The list of musicians who inspire me is long, but it starts with Robert Nighthawk, Little Walter, Billy Bizor, and Fenton Robinson. Then there are players I’ve had the honor of learning from or sharing stages with, people like Kenny Smith, Billy Flynn, E.G. McDaniel, Jimmy Burns, and Billy Branch. They remind me that mastery is a lifelong pursuit.

Your work is known for creatively reimagining blues tradition. How do you balance respect for the roots with experimentation?

I think the key is understanding why the music was played the way it was and the story behind it. Once you understand the spirit behind it, the struggle, the joy, the improvisation, then you can bring yourself into it without disrespecting the roots.

In the words of Professor Sterling Plumpp “Invention is the tradition.” I love pushing boundaries, but I never want to lose the feel. You can modernize the sound and still keep the truth, the groove & the swing. That’s how the blues stays alive, not by freezing it in time, but by keeping it breathing.

“I focus on authenticity. I’ve learned that when you’re genuine with your art, people connect with it. At the same time, I study the business. Owning my label and publishing gives me the freedom to make the music I want and release it how I choose. I think the best balance comes from knowing who you are as an artist, then finding smart ways to get your message out without watering it down.” (Harrell “Young Rell” Davenport / Photo by Paul Natkin)

If you could change one thing in the musical blues world and it would become a reality, what would that be?

I’d love to see more doors open for independent blues artists, more access to resources, touring opportunities, and fair compensation. There’s so much talent that deserves to be heard, but the infrastructure can make it hard to sustain a career. If we invested more in artist development and education, the whole genre would grow stronger. The blues has always been about community, it just needs more of that spirit in the business side too.

As an indie blues musician, how do you navigate the balance between creative freedom and commercial appeal?

I focus on authenticity. I’ve learned that when you’re genuine with your art, people connect with it. At the same time, I study the business. Owning my label and publishing gives me the freedom to make the music I want and release it how I choose. I think the best balance comes from knowing who you are as an artist, then finding smart ways to get your message out without watering it down.

Let’s take a trip with a time machine where and why would you really want to go for a whole day?

I’d go back to Chicago in the late 40s, early 1950s, when Tampa Red, John Lee “Sonny Boy” Williamson, Louis and Dave Myers, Muddy, Leroy Foster, Little Walter, Jimmy Rogers, and Otis Spann were building that electric sound. I’d want to sit in the corner of Chess Records or VEE JAY records and just watch the chemistry happen, how they communicated without words. That era defined modern music, and it would be something to feel that magic in real time.

“The blues keeps me grounded. It teaches me patience, humility, and honesty, not just in music, but in life. When I play, I’m reminded that emotions are meant to be felt, not hidden. The Blues connects because it’s real. It came from people who turned struggle into strength, and that kind of truth never gets old. Folks feel that energy, the raw humanity of it, and that’s part of what keeps them coming back generation after generation.” (Harrell “Young Rell” Davenport / Photo by Paul Natkin)

Recently you traveled in Europe for a tour. What are your conclusions from the European blues scene and audience? Are there any memories from those gigs which you’d like to share with us?

Europe showed me that the blues truly speaks every language. The audiences there listen deeply, they appreciate the details, the tone, the emotion. What stood out most was how connected people felt even if they didn’t know every lyric. One of my favorite memories was playing a small club in Belgium (The Banana Peel) where the crowd started clapping along to a slow blues. You could feel this shared heartbeat in the room, no phones, no distractions, just music doing what it’s meant to do. That kind of moment stays with you.

What touched you from previous singles “Beefsteak Blues” of the great James Son Thomas? Is there a message you are trying to convey with your song “Hate the Bite”?

What moved me about Beefsteak Blues was the raw emotion, James Son Thomas sang it like he lived it, and that he definitely did. Every performance was different, full of feeling, and that honesty inspired me. I wanted to cover it as a tribute to him, Bill Sims Jr., and Pat Thomas, three artists who in some ways shaped my approach to the blues early on. Their influence runs deep in how I sing, play, and feel the music.

With Hate the Bite, I’m talking about forgiveness, grace, and not returning hate with hate. My golden rule is to treat people how you’d want to be treated, unless they show you they don’t deserve that.

"I stay rooted in the tradition somewhat, but I’m not afraid to let the sound evolve. I listen to the younger generation and collaborate across styles while keeping the blues at the center. I also speak plainly but poetically in my lyrics, about real-life struggles, joys, contradictions, so younger listeners, and the older listeners can see themselves in the music." (Harrell “Young Rell” Davenport's debut singles, "Beefsteak Blues" and "Hate the Bite" / Photos by Paul Natkin)

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

The moment that changed my music life the most was realizing that I didn’t need permission to do this, that my story was valid and my voice mattered. Once I took ownership of that, everything shifted. As for highlights, I played the Chicago Blues Festival and that was major, it was a true honor and meant so much to me, being on that stage with musicians I deeply respect, in front of a crowd that truly loves the blues, things like that always remind me of why I do this.

You’ve worked in many different settings, from clubs and studios to open-air festivals and juke joints. How do you navigate between these different worlds?

Each space has its own energy, and I try to meet it where it is. In a club, it’s about intimacy, watching how people move, listening to their silence between notes. At festivals, it’s about presence, commanding a bigger space while staying grounded. Studios are sacred to me, that’s where I slow down and experiment. The juke joint vibe brings out my roots, reminds me of the porch-singing and storytelling traditions. I carry the same core in all these settings, but I let the environment shape the delivery, and at the end of it all, I really treat each space the same because the people come out to have a good time, to see what you’re all about and to experience the blues.

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

The blues is more than music, it’s a document of survival, resistance, and resilience. It tells the story of people who were never supposed to make it, yet did, with soul intact. It carries history in every bend of the note. I want the music to remind people of their strength, their humanity, and their right to feel deeply. Whether it makes them cry, dance, reflect, or heal, I want it to move them and make them feel seen, but I also want them to remember where it comes from, and the history of it all, because in my opinion, if you don’t know the history you don’t know the blues.

"The blues has been a lifeline in that way. It gives me a language for things I can’t always explain, and it reminds me I’m not alone. Every time I pick up a guitar or open my mouth to sing, I’m working through it. That struggle, as hard as it is, has made my music deeper, more honest, and I think people feel that."

(Harrell “Young Rell” Davenport / Photo by Paul Natkin)

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

I stay rooted in the tradition somewhat, but I’m not afraid to let the sound evolve. I listen to the younger generation and collaborate across styles while keeping the blues at the center. I also speak plainly but poetically in my lyrics, about real-life struggles, joys, contradictions, so younger listeners, and the older listeners can see themselves in the music. I use the tools of today, social media, digital releases, visuals, but the message stays timeless. I want young people to hear the blues and realize it’s not just old music, it’s our music, and it’s still alive, while at the same time not forgetting where it all started.

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