"I think there have been times in the past where music has made a real difference to society, and that will forever be inspiring. For me however, I hope that playing this style of music keeps the incredible history of the genre alive today. I also hope that my music brings joy to some people. Playing shows where you can see people smiling, tapping their feet, maybe even dancing? That’s what I do this for! If my songs can provoke something in even a handful of people, I’ll be happy."

Elsie Franklin: The (Pure) Blues is Alright

Carrying on the tradition of music in the Franklin family started in the 1920s by her great grandfather, Elsie Franklin is a great finger style blues, slide guitar player and singer. Elsie is a rising talent in the country blues community, playing old-time American folk music, incorporating everything from blues to jazz with a shiny resonator guitar and vocals. She is widely regarded as a unique and skilled guitarist as well as a powerful vocalist by many highly acclaimed musicians of the genre such as Steve James, Dave Kelly, and Frank Matheis, who describes her as "outright superb and exciting." Elsie Franklin offered a mix of Bluesy, Vintage-Sounding Originals and Classic Covers on sophomore album ‘Miss Rhythm’ (2022). Half the songs on Miss Rhythm are originals, though if you didn’t see the writing credits, you could easily be fooled into thinking that they were pulled off scratchy 78s from the ’20s or ’30s. Legendary British blues musician Dave Kelly says: "Elsie Franklin is the most natural blues singer I've heard in years, her guitar playing is pretty damn good too, uncluttered and tasteful, she really understands the genre - she's the whole package".                       (Elsie Franklin / Photo by James Tawn)

Her father is the revered English blues and jazz guitarist/mandolinist Adam Franklin, who has made a name for himself over the past two decades-plus around Europe and the U.S. performing a colourful mix of famous and obscure vintage tunes, solid originals that sound like vintage tunes, and putting out nine albums since 2005. So, daughter Elsie, still only in her mid-20s, caught the blues bug from dad, learned a ton from him and his record collection, and has been busking on the streets (she currently resides in York, England) and playing in clubs and elsewhere since her teens. Miss Rhythm is her second solo album—Borrowed Tunes Vol. 1 consisted of cover tunes by influences such as of Memphis Minnie, Sister Rosetta Tharpe, and Gillian Welch—and she also put out an album with her father called Franklin and Franklin Live! Like her father, Elsie specializes in fingerpicked and slide resonator guitar—on Miss Rhythm she exclusively plays a great-sounding 14-fret National NRP.

Interview by Michael Limnios

How has the blues influenced your views of the world? What do you learn about yourself from the blues?

The history of the blues is so interesting, particularly the individual characters behind these songs and styles. I learned most of what I know from my good friend and mentor Steve James. He was not only a legendary guitarist, but his knowledge and genuine love of country-blues and American folk music was and still is unmatched. I was inspired by how Steve could take all this historical and technical knowledge of blues and fingerstyle guitar and make such beautiful songs. I am also greatly influenced by the female icons of the genre; how powerful, talented and strong they were. It reminds me that I shouldn’t take any shit from anybody, because they wouldn’t have!

But I guess the main thing I learn about myself from the blues is… that I need to practice more!

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

At the core of it, I am striving to emulate the sound and style of all the musicians I love most, but put my own spin on it. I guess I want people to view my music as authentic country blues, but to be honest, if they enjoy it, they can view it however they want! I enjoy playing, and I hope people enjoy listening. And if it sparks any desire in them to dance, so much the better!

When thinking of the balance of blues and soul, I am again reminded of the late great Steve James. He taught me the importance of technique. Right up until he died, Steve was continuously learning new ways of playing and perfecting his technique. Similarly, Whit Smith (of the Hot Club of Cowtown), who I was lucky enough to have some online lessons with, is another of the most skilled guitarists of our time, and he too is still always working on his playing and making it better. I truly believe that as a guitarist, or any instrumentalist for that matter, you should always view yourself as a learner. There is always more to learn and more ways to perfect the style you can already do. The greatest guitarists I know are always learning new things and I think this is what makes them so brilliant. Even the players that move you with the simplest riff, have the technique to back it up. Yes, soul is important, but without any technique, your soul doesn’t come across.

"I have my dad to thank for introducing me to the incredibly inspirational female musicians I grew up listening to and I am lucky enough to know Del Rey (one of the greatest guitarists of our time) personally. I rarely find it a problem being a woman in music, but even Del and so many other female musicians I know struggle occasionally just as I do to be taken seriously in this field. But it is their strength of character that inspires me to not let it hold me back." (Photo: Elsie Franklin with Adam Franklin)

What touched you from the sound of resophonic and fingerpicking guitar? What are the secrets of metal body guitar?

I was initially drawn to resonator guitars- particularly nationals- as my biggest guitar influences Del Rey, Steve James and my dad (Adam Franklin, also a well renowned blues guitarist) all use them. Steve used hundreds of guitars in his time and always swore by nationals. I really do think they have such a clear tone and incredible volume. My trusty steel-body served me well back when I was regularly busking in York; I never needed to mic it up for those stone streets! Even at live shows, I aim to keep the sound as authentically acoustic as I can (i.e. not using a pick-up and just using a good-old condenser mic for both vocal and guitar) as the natural sound of these models is just so perfect for the style of playing. I am really not one for having hundreds of guitars for different uses; I’d much rather own just one that is a good all-rounder, and I’ve found that in my steel-body national. Dad is the same- like father, like daughter!

The intricacies of Steve and Del’s style of playing in particular definitely inspired me to lean towards fingerpicking rather than strumming. But the song that made me want to fingerpick initially was Richard Thompson’s Vincent Black Lightning 1952. When I was a kid, we had a tape of his to listen to in the car. Not only was the song a favourite of mine (and still is) it completely blew my mind (and still does) that that sound was created by just two hands on one guitar. It started my obsession with finger picking, and maybe one day I will be able to play it!

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

Whenever I am asked this question, it is so easy to just think of the funny stories, which are often quite negative! We all have a story about that rubbish gig we did by the toilets that we never got paid for (for me, the unpaid gig when I was about 14, for which the organiser never showed up and I played to an audience comprising of my mum, dad and grandmother…), or the time somebody heckled something hilarious (for me, “Don’t quit your day job, honey!”) But, as entertaining as these stories are, I am trying to focus more on the positive experiences I have had in this career so far, of which there are many! I have played in some wonderful venues to some wonderful audiences over the years, but I enjoy nothing more than meeting people who share my passion for this music. Some of the best experiences I have had of this is attending guitar camps, particularly Richard Thompson’s Frets and Refrains in New York and Blues Week last year. My Dad teaches at Blues Week along with other incredible musicians. There is something really life affirming about spending time with a group of people with such a range of ability but who share an incredible passion and enjoyment for music. To play and enjoy music all week with these groups is an absolute joy. Also, my time with Steve James is incredibly special to me, and I feel privileged to have learned so much first-hand from my hero.

"The history of the blues is so interesting, particularly the individual characters behind these songs and styles. I learned most of what I know from my good friend and mentor Steve James. He was not only a legendary guitarist, but his knowledge and genuine love of country-blues and American folk music was and still is unmatched." (Elsie Franklin, a rising talent in the country blues scene / Photo by James Tawn)

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

I guess I wish that there was still a buzz and excitement around the blues scene. It’s no secret that it is not the most popular of the genres today and it seems to have an unfair stereotype (particularly among younger generations) of being a bit dull and repetitive, which is such a shame as it can be so exciting, soulful, innovative and certainly something to make you get up and dance! I wish I was around for the days where the blues players were selling out the coolest venues, and my fear for the future of the blues is that this may not become the reality again. However, that doesn’t mean I’m letting the dream go without a fight!

What does it mean to be a female artist in a man’s world? What is the status of women in music?

This type of question is always interesting to me, because I was never brought up to think that playing guitar was a predominantly male pursuit, and after researching the history of the blues, it seems even more baffling to me that this stereotype was ever constructed! I have my dad to thank for introducing me to the incredibly inspirational female musicians I grew up listening to and I am lucky enough to know Del Rey (one of the greatest guitarists of our time) personally. I rarely find it a problem being a woman in music, but even Del and so many other female musicians I know struggle occasionally just as I do to be taken seriously in this field. But it is their strength of character that inspires me to not let it hold me back.

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

I think there have been times in the past where music has made a real difference to society, and that will forever be inspiring. For me however, I hope that playing this style of music keeps the incredible history of the genre alive today. I also hope that my music brings joy to some people. Playing shows where you can see people smiling, tapping their feet, maybe even dancing? That’s what I do this for! If my songs can provoke something in even a handful of people, I’ll be happy.

Elsie Franklin - Home

(Photo: Elsie Franklin)