"New Orleans is unlike any other place. It’s always growing in some way, shape, or form. When music is in any new age, New Orleans stands the test. It’s a place where the music lives in the streets, in the buildings, on the rooftops, and anywhere you can find people. That has always been the case. Now, people know that if the whole world dried up of its musical well, New Orleans would be the one place guaranteed to fulfill that thirst. They’ll always know that, I’d like to think."

Kevin Gullage: Something Groove in NOLA

At 23-years old, fast-rising star Kevin Gullage leads his band of veteran players, The Blues Groovers, with the poise of a seasoned performer. His impressive blend of soulful singing and dazzling blues piano infused with the experience of his bandmates is leaving audiences in awe. The Blues Groovers consist of bassist Tony Gullage (Henry Butler, Dr. John), Hammond B3 Player Brandon Adams (Kenny Neal), Guitarist Carlton Ross (Glenn David Andrews), Saxophonist Roderick Jackson (Kenny Neal), and Drummer Mac Carter (Jon Cleary). Born into a musical family in New Orleans, LA, Kevin Gullage showed prodigious signs of musical talent and followed in his father’s footsteps, embracing his passion for music as an instrumentalist, singer, and writer. Growing up interacting with artists such as Henry Butler, Gary Brown, Carol Fran and others in the New Orleans music scene influenced the development of Kevin’s musicianship and style from a young age. Kevin began his career as a multi-instrumentalist, but eventually turned his musical focus to piano. His passion for piano would lead him to study music at the prestigious New Orleans Center for Creative Arts, The Louis Armstrong Jazz Camp (whose alumni include Jon Batiste, Troy “Trombone Shorty” Andrews, and “Big Sam” Williams) and later Loyola University New Orleans.               (Kevin & The Blues Groovers / Photo by Zach Tullier)

At age 18, Kevin was selected as the pianist for the 2017 Thelonious Monk All-Star Sextet performing alongside jazz legend, Bobby Watson. The same year, he was invited to perform with the multi-Grammy winning band Blues Traveler at the New Orleans Jazz and Heritage Festival. Kevin has appeared in several movies including The Last Laugh starring Chevy Chase and Burning Cane starring Wendell Pierce. His voice was also featured in the 2019 release of Disney’s Lady & The Tramp. In 2019, Kevin & the Blues Groovers became a resident artist at B.B. King’s Blues Club, New Orleans. With a resounding demand from their growing fan-base, Kevin recorded his first EP entitled Blues for the City. Kevin Gullage signed with the Grammy-winning record label Basin Street Records in early 2022. The New Orleans-based powerhouse label released Kevin & The Blues Groovers first full-length LP, Something Old, Something New, Something Borrowed Blues, in the Summer of 2022. With an all-star band behind him and bountiful talent of his own, Kevin Gullage is set to soar, as Kevin & The Blues Groovers look ahead to the many opportunities in the future.

Interview by Michael Limnios

How has New Orleans music and culture influenced your views of the world and the journeys you’ve taken?

New Orleans musicians are very much an honest bunch! They tell you what you need to hear instead of what you want to hear. I think it’s a big part of our New Orleans Culture. On my journey, so many people have told me all the things I want to hear, but they don’t mean as much as the things I needed to hear. Like when you’re young and you run with your shoes untied. What you need to be told is, “Tie your shoe, right now!” But, you want to be told, “Just keep playing!” That honesty shapes you into a better version of who you’ll become. The world is full of people who will tell you what you want to hear, but you need to check out the people who tell you what you need to hear on your journey.

How do you describe your music philosophy and songbook? What's the balance in music between technique and soul?

When it comes to music philosophy, I think I have an advantage being young. I know that there are things I don’t know. My grandfather and my father are 92 and 57 years old. To this very day, my father sits back and learns from the example my grandfather sets. The result is my father learning more than he would’ve known if he’d done it without my grandfather. When I go on stage, or learn songs, or just decide what the next move is, I follow the example that people before me have set. It’s not always the example of what works. Sometimes, it’s what doesn’t work, and I’m expected to learn just as much from that, if not more. You don’t just come out with soul or technique. You have to fine-tune technique and you have to shape soul. That’s what my mentors are there for.

"I think what I miss most about music from the past is just how much singers cared about the story they were telling. Whether it was Otis Redding, or Sam Cooke, or BB King, they told their story with such conviction that nobody heard the story and didn’t understand what they meant." (Photo: The Blues Groovers - Kevin Gullage, Tony Gullage, Brandon Adams, Carlton Ross, Roderick Jackson, Mac Carter)

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

New Orleans is unlike any other place. It’s always growing in some way, shape, or form. When music is in any new age, New Orleans stands the test. It’s a place where the music lives in the streets, in the buildings, on the rooftops, and anywhere you can find people. That has always been the case. Now, people know that if the whole world dried up of its musical well, New Orleans would be the one place guaranteed to fulfill that thirst. They’ll always know that, I’d like to think.

Are there any memories from gigs, jams, open acts and studio sessions which you’d like to share with us?

My first time at the New Orleans Jazz and Heritage Festival, I remember I got to see two of my favorite artists. It was raining and there was water around my feet, but my father and I made our way to the Acura stage. Fur Elise’ legendary trill rang through the speakers, followed by a blues riff that could only be categorized as New Orleans. The piano cut through the silently waiting audience like a knife. Jon Batiste and Stay Human fell into a dirge of the classical song that was known by so many. I watched the entire set in the drizzling rain, mesmerized by how effortless he seemed. Afterwards, my father and I, shoes in hand at this point, made our way to the jazz tent. The seats were full. I remember sitting right in front of Germaine Bazzle. He graced the stage. Gregory Porter had always had such an elegance about him, but it was almost magical in person. “Sittin’ on top of the roof,” he started his set, filling the tent with so much energy that even the other professionals were astonished. Two songs later, he said in a sad tone, “They want me to tell you that you need to head home.” We all sighed in disbelief and disapproval. “No,” he said, “I need you to go home, because I’d rather know you were home safe and nothing happens, than you being stuck here and in danger. I’ll see you next time.” His words were reassuring, comforting even. He was amazing. I loved that day.

What do you miss most nowadays from the music of the past? What are your hopes and fears for the future of?                                        (Photo: Kevin Gullage)

I think what I miss most about music from the past is just how much singers cared about the story they were telling. Whether it was Otis Redding, or Sam Cooke, or BB King, they told their story with such conviction that nobody heard the story and didn’t understand what they meant. Nowadays, good music and great stories are covered up by so much flair that we miss the point and get caught up in the “vibe” of the song. I often worry that things will stay that way, but when I listen to people like Kingfish and Marcus King, it gives me hope that things will go back to how they were. Even listening to BB King now, I get hopeful that one day I’ll bring that type of music back.

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

When people hear a song about change, and about love, and peace, they can’t fight it. Bob Marley singing, “Every little thing is gonna be alright,” is a song that made the world sway from side to side with a grin. Little Milton saying, “The blues is alright” made the world move around and put their hands together. I want my music to do these things. I want the music to make people laugh and smile and hold each other. It’s almost nostalgic to think about. The downside is, in 20 years, what will children find nostalgic?

What are some of the most important lessons you have learned from your experience in the music paths?

The most important lesson I’ve learned so far is that you never know as much as you thought before. Today I learned more than I knew yesterday. Every stage I walk onto will show me a different way of doing what I do. Every time I meet an artist who has been around music longer than I have, I’ll learn something new. Every time I have a conversation with my father, be it compliment or critique, I’ll learn something new. I think where I held myself back as a musician is when I was young, I’d think I knew something and it was the only way to know it. Now I know how much more I could’ve learned, and it really stings to think about at times. But moving forward, I try not to box myself in that way.

John Coltrane said "My music is the spiritual expression of what I am...". How do you understand the spirit, music, and the meaning of life?

My spirit isn't quite yet made . It is set, meaning that it has its anchor and foundation, but it is not yet defined. The music is a part of my spirit, if not the purest way to express my spirit, but it isn’t alone. It has company that I trust. It has aspects of my father and grandfather and mother and grandmothers. Those things comfort me. The spirit is like a river. It has its shape. It has a set structure, such as faith. However, the things that reside inside are its inhabitants. There are plants that feed the other things and control how they progress. My family and other influences are like the plants. The music, the love, the trust, the cautiousness, the bravery, the boldness. Those are the things that feed from those plants. I believe that keeping your river as pure and healthy as possible is the entire meaning of life.

Kevin & The Blues Groovers @ Basin Street Records

(Kevin & The Blues Groovers / Photo by Zach Tullier)