Forward-thinking European artists like Ana Popovic, Ghalia Volt & Erja Lyytinen are kicking the old school bluesman ethic to the curb.
Text: Vincent Abbate / Photos: Gernot Mangold, Marcella auf der Heide
Lately I’ve noticed something. At least a third of the live shows I attend are fronted by female artists. It got me to thinking: Have women ever had a stronger presence in the blues than they do today?
Roughly a century ago, when classic singers like Ma Rainey and Bessie Smith were among the first to record, women were a dominant force in the blues world. But no one reading this was around back then, right? During the past 50 years or so, for every Bonnie Raitt, Irma Thomas, Sue Foley or Marcia Ball, we’ve had to endure a dozen Stratocaster-playing dudes in sunglasses and hats. Most of them perpetually singing about some baby who done them wrong. (In that regard, women – those infamous evil women – have been there all along.)
We’re witnessing a changing of the guard right now. When we listen to the blues, it’s just as likely to be by a young lady from London, Kansas City or Zagreb as by some grizzled veteran from Chicago or Baton Rouge. And it’s not just origin, age or sex. The female performers who are leading the charge – people like Samantha Fish, Shemekia Copeland, Joanne Shaw Taylor and Georgia duo Larkin Poe, to name but a few – have a fresh take on the blues. No deep philosophical analysis here. Women are simply different from us beer-swilling, emotionally stunted, tragically unfashionable men.
