“The impact of blues and jazz on racial and sociocultural implications to me, by simple observation, traditionally comes from people of color. Throughout history we have many people with different shades of skin coming out with the blues, like myself.”

Mysti Mayhem:

Global Hippie from the Hood

North Carolinian Mysti Mayhem (aka Misty Dawn Naholnik) is an American singer, songwriter, and multi-instrumentalist based in Durham, North Carolina. Self-described as the "global hippie from the hood," she possesses a powerful voice backed by more than 24 years of continuous artistic presence and live performances. Her music is a soulful, high-energy blend of blues, folk rock, country, and acoustic rock. Pennsylvania-born Mysti began performing on stages during her school years and was a member of the duo Spellbox from 2004 to 2009, with whom she released 4 albums. A major milestone in her career was the mentorship and guidance she received from the legendary Bo Diddley.

(Mysti Mayhem / Photo by BBAIT Music Studios)

In 2008, she became the 13th artist on the Sellaband platform to successfully crowd-fund her debut solo album, titled Diversity, raising $50,000 entirely from the support of 532 fans. Navigating through personal losses and chronic pain management, Mayhem has shaped a deeply emotional and therapeutic sound, transforming every live performance into a unique experience for her audience. Her artistic merit was officially recognized at the Josie Music Awards, where she won the award for Best Female in Jazz/Blues

Interview by Michael Limnios

You often describe yourself as 'the global hippie from the hood.' How do these two seemingly opposite elements coexist in the way you write lyrics and connect with your audience?

These two seemingly opposite elements coexist within my lyrics and music because I am literally the hippie from the hood and always have been. The hood is affordable, and law enforcement is less likely to be called because I am playing music and writing late at night. The hood is where I also met my mentor, BO DIDDLEY, when I was renting a house full of 30 other university of Florida college students, having just moved away from Pennsylvania, and lost my family trying to make my dreams come true. The hood is where I feel comfortable, and in every hood, you will find the blues.

You were fortunate enough to have a true rock 'n' roll legend as a mentor. What is the most valuable lesson or advice you kept from him that still influences your guitar playing today?

Bo Diddley gave me a lot of advice, but the piece that sticks out to me the most would be to play for one person like I would play for 1 million people. After my performance with him in the park before it was renamed Bo Diddley Plaza, there were two people asleep who appeared to be homeless. After the performance, I asked him if he was upset and how he should be upset that there were only two people out there. He looked me dead in my eyes, squared his feet up and his shoulders to mine and pointed his finger at me and said, “How dare you! Those two people out there deserve the music as much as everyone else. Imagine you went to church, and the person at the pulpit didn’t give you the best sermon possible because it was just you in the room, and he rolled his eyes, said a few words and walked off stage as though you didn’t matter. If you can’t play for one person, you don’t deserve 10, 100, 1000 and you damn sure don’t deserve 1 million.”

“The blues listens to those who have been unheard. And it even, perhaps, gives fire… back to those whose inner flame has been quenched. The blues is more than Music. It heals us. And that’s how I would like the music to affect people. Bo Diddley believed one could get people sick if they got up on stage, messing around, not delivering what these people came here for. And they came to hear the blues.” (Mysti Mayhem / Photo by BBAIT Music Studios)

Your voice has an incredible, raw power. How do you manage to maintain that level of intensity and emotion in every live performance while protecting your vocal cords?

To maintain the level in intensity and emotion in every performance while protecting vocal cords is very tricky. A lot of it is pacing. Pacing throughout the night and pacing throughout the week. I also have to understand when I need to cancel performances. Singing while unwell can damage the vocal cords permanently, and it is better to upset people who were planning on seeing me, than to permanently damage my body, because this is how I make a living. Without a nuclear family anymore, which I lost at the age of 19, it is very important I take care of my body. Drinking water in between every song is important, Keeping my throat hydrated. No more alcohol, and no more cigarettes in my life. These have helped tremendously.

In your live shows, you frequently use a looper and slide guitar, creating a massive, "full-band" sound all by yourself on stage. What fascinates you most about this solo format compared to playing with a full band?

Playing solo opposed to playing with a full band is, quite candidly, just easier. I don’t have worry about everybody being on the same page, Battle conflicting schedules or other priorities. Also, for my voice, it’s really important I have a band that doesn’t get too loud and that’s extraordinarily difficult. The more a performer feels their instrument the louder they are naturally inclined to perform. And as the night continues, the louder everyone performs, which makes me sing, louder and tires, my ears, and larynx out. And financially speaking, it is easier for me to pay my bills solo than it is for me to pay a band.

Your renditions of classic tracks like "I'd Rather Go Blind" truly stand out. What is the secret to taking such an iconic song and making it sound entirely your own?

The secret to taking on iconic songs and making them my own lies within the truth of the song. The song has to live inside of me. I have to feel and understand the message of the song so I can convey it to you properly. It’s all about the song. If I cannot do this with the song, I can’t do it justice and therefore you are better off hearing the original. It’s also important that the song comes out of me naturally, rather than me becoming a mimic or trying to do the song exactly the way it was written. You are better off hearing the original in that case. No one can beat the original.

“Staying inspired the midst of exhaustion and travel while constantly touring is tricky. I have recently found my Niche, which is writing what I know about. So I honestly have to have the experience in order to write about it. And I tend to want to write about the sad, and quite often, uncomfortable aspects of life.” (Mysti Mayhem / Photo by BBAIT Music Studios)

North Carolina has a very rich and distinct musical heritage. How has the local community and culture of Durham influenced your sound and growth over the recent years?

The community and culture of Durham North Carolina has influenced me greatly. Within the area, I have grown to love Appalachian music, folk music, singer/songwriter and blues/jazz. This area is the United States’ Best kept secret in regards to musical diversity. And the music is a reflection of the lives of who created it.

You spend a tremendous amount o f time on the road performing live. How do you manage to stay creative and find inspiration for new songs amidst the exhaustion of traveling and constant shows?

Staying inspired the midst of exhaustion and travel while constantly touring is tricky. I have recently found my Niche, which is writing what I know about. So I honestly have to have the experience in order to write about it. And I tend to want to write about the sad, and quite often, uncomfortable aspects of life. Being on the road offers this. There’s plenty of experiences on the road if one is willing to have them. And that is how my songs come about. I like to listen to people‘s truth. I like to observe them as they are and that in of itself will inspire me. Every person is a song, waiting to be written.

Blues and rock guitar have traditionally been male-dominated fields. Did you face any bias when you were starting out, and how do you see things changing for female musicians today?

I did face much bias Starting out. And I still do today. I was shocked at how many grown men had no problem saying to my face some of the most horrific things at the clubs I was performing at when I was 21 years old. And I realized it was their own insecurities that was creating anger, and I tried my best not to feed that or listen to them. Everyone has an opinion. It doesn’t make it valid. And quite honestly, listening to that helped me shape who I am today. I thought because I was a female, I had to make myself sexualized in order to be heard. Perhaps that’s true for a certain group of people, but it attracted a group of people that quite honestly I have no interest in attracting anymore. So I wanted to become the kind of woman I felt safe around as a child. I always loved watching Mary Poppins. So in my older age, I try to be more like her. Ha ha ha. In regards to how women will be facing this today and in the future, I believe this will always happen. People will feel insecure and they will pick us apart. I say, play on, and keep making it about the music.

“The community and culture of Durham North Carolina has influenced me greatly. Within the area, I have grown to love Appalachian music, folk music, singer/songwriter and blues/jazz. This area is the United States’ Best kept secret in regards to musical diversity. And the music is a reflection of the lives of who created it.”

(Mysti Mayhem / Photo by BBAIT Music Studios)

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

The impact of blues and jazz on racial and sociocultural implications to me, by simple observation, traditionally comes from people of color. Throughout history we have many people with different shades of skin coming out with the blues, like myself. The blues knows no color, but it absolutely understands the soul. The blues gives a voice for those who feel like they don’t have one… offers a spotlight … for those who feel unseen. The blues listens to those who have been unheard. And it even, perhaps, gives fire… back to those whose inner flame has been quenched. The blues is more than Music. It heals us. And that’s how I would like the music to affect people. Bo Diddley believed one could get people sick if they got up on stage, messing around, not delivering what these people came here for. And they came to hear the blues.

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