“Authenticity in blues music originates from sincerity, historical understanding, and lived experience. It is important to understand the lineage of the music, acknowledge the pioneers who established the foundation before us, and respect the culture from which the blues emerged.”

Harrell “Young Rell” Davenport:

Passing the Torch

Little Village will be released the full‑length debut titled  “Young Rell” (June 2026) from Harrell “Young Rell” Davenport, the 19‑year‑old Mississippi phenom whose rapid rise has electrified the blues world and reaffirmed that the tradition is not only alive — it’s evolving in real time. This debut album — recorded at Kid Andersen’s Greaseland Studios and produced by Chicago blues harmonica ace Matthew Skoller with co‑production and engineering by Kid Andersen — showcases a young artist already in full command of his voice. Surrounded by a powerhouse Bay Area rhythm section and supported by Larry Batiste’s horn arrangements and background vocals, Davenport delivers a set that honors the lineage while sounding unmistakably like himself. With his debut release, Harrell “Young Rell” Davenport steps confidently into the national spotlight — not as a novelty, not as a prodigy, but as a fully realized artist whose voice, vision, and virtuosity signal a new chapter in the story of the blues.

(Harrell “Young Rell” Davenport / Photo by Janet M. Takayama)

His knowledge of blues history is astonishing: legendary recordings, obscure B‑sides, forgotten innovators, regional variations, and the overlooked artists who shaped the music from the shadows. Young Rell’s songwriting is extremely impressive and his taste in covers is impeccable; he wrote all the songs on this album except two, and they aren’t the usual standards — they’re deep cuts, songs most musicians never touch, like his unique, fascinating and timely take on Bob Dylan’s “Masters of War” and Fenton Robinson’s should be classic “I Hear Some Blues Downstairs!”  

Interview by Michael Limnios              Archive: Harrell Davenport, 2025 Interview

Special Thanks: Young Rell, Matthew Skoller, Little Village & Kevin Johnson

What drew you into the blues scene? When did you realize that music was a passion you could make a living out of?

From an early age, I understood that music possessed the power not only to entertain, but also to educate, preserve history, and cultivate cultural awareness. The blues, in particular, captivated me because of its emotional honesty and its profound historical significance. I always recognized that it was something through which I could potentially make a living, but financial success was never my primary motivation and still isn’t. To me, music has always been about passion, expression, and genuine enjoyment. Of course, everyone has responsibilities and necessities in life, but for most of my childhood I actually envisioned myself becoming either a lawyer or a police officer. It was only within the last few years that I realized music was not simply something I loved, but something I was destined to devote my life to professionally.

You’ve your debut release under the label of Little Village. How did that relationship come about?

My relationship with Little Village began several years ago when Kid Andersen started following my work on Facebook after seeing videos of me performing. A few years later, he initially reached out about the possibility of recording together, but at the time the circumstances simply did not align in a practical way. Then, late last year, he contacted both myself and my manager once again. By that point, we had already spent well over a year in pre-production developing the material and conceptual direction for the album. Although we had the artistic vision firmly established, financing a complete full-length record independently presented certain challenges. Kid introducing us to Jim Pugh and the team at Little Village Foundation became a transformative opportunity that fundamentally changed the trajectory of the project. Since then, the relationship has continued to evolve organically and positively. They do great things at Little Village and I’m so grateful for them

Do you have any interesting stories about the making of the new album "YOUNG RELL"?

Ironically, one of the most interesting aspects of the recording process was how remarkably fluid and efficient it felt. There was a tremendous level of professionalism, chemistry, and mutual respect among everyone involved, which allowed the sessions to progress very naturally. Rather than chaos or excessive overthinking, the atmosphere was centered around authenticity, spontaneity, and capturing genuine feeling in the performances. I believe that sincerity ultimately translated into the final product.

“To me, music has always been about passion, expression, and genuine enjoyment. Of course, everyone has responsibilities and necessities in life, but for most of my childhood I actually envisioned myself becoming either a lawyer or a police officer. It was only within the last few years that I realized music was not simply something I loved, but something I was destined to devote my life to professionally.” (Harrell “Young Rell” Davenport / Photo by Paul Natkin)

How do you find opportunities for new artists in the music industry and the blues scene in particular?

In today’s musical landscape, opportunities can emerge from virtually anywhere. They may develop through live performances, social media platforms, networking, or even through mutual acquaintances. The industry has become significantly more interconnected and accessible than it once was. However, talent alone is not sufficient; initiative is equally important. Artists must be willing to pursue opportunities aggressively, maintain consistency, and capitalize on moments when they present themselves. Persistence, professionalism, and visibility are indispensable qualities for any emerging musician attempting to establish themselves within the blues community and other musical communities.

How can we bring the blues of the past into the future? What is the role of blues musician in today’s society?

I believe the future of the blues depends upon a balance between preservation and innovation. Originality, creativity, and fresh perspectives are essential if the music is to continue evolving while still honoring its roots. Nevertheless, the fundamental role of blues musicians remains largely unchanged from what it was decades ago: to provide emotional release, consolation, and human connection. Blues music has always functioned as a form of healing. It allows people, even if only temporarily, to forget their hardships and feel understood.

As Professor Sterling Plumpp once said, “Invention is the tradition.” I believe that statement encapsulates the essence of how we carry the blues forward.

When it comes to authenticity in blues, what do you believe makes the difference?

Authenticity in blues music originates from sincerity, historical understanding, and lived experience. It is important to understand the lineage of the music, acknowledge the pioneers who established the foundation before us, and respect the culture from which the blues emerged. Technical ability alone cannot create authenticity. Authenticity derives from emotional truthfulness, from genuinely feeling the music and communicating those emotions honestly. If an artist possesses reverence for the tradition, understands the history, and performs from the soul, then that authenticity naturally reveals itself in their artistry in my opinion.

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(Harrell “Young Rell” Davenport / Photo by Janet M. Takayama)