Though there is a general sense of leisure in sitting back and listening to your favorite song, behind every track is a wave of attentive, adaptable, and knowledgeable musicians with an ear keen to make every note intentional.
Putting a modern, electric spin on a genre dating back to the 1860s Deep South, soul singer and blues pianist Kevin “Sonny” Gullage follows his 2022 career-accelerating appearances on American Idol with a record signing and an eclectic title track single “Go Be Free” – soon to be followed by the album on August 23, 2024.
Backed with an extensive musical background, Gullage grew up in the studio alongside his dad, Tony Gullage, before going on to be the 2017 selected pianist for the Thelonious Monk All-Star Sextet. Other accolades of the young artist include performing at the New Orleans Jazz and Heritage festival with Grammy-winning band Blues Traveler, being a resident artist at BB King’s Blues Club, a Hammond Organ-affiliated endorsement, and a recent signing with Blind Pig Records, as the label returns from an eight-year hiatus.
We got to chat with Gullage to learn more about this up and coming blues musician’s roots, his new single, upcoming album, and more.
How has growing up in New Orleans and in the studio influenced you to make the music you’re making now?
Growing up in New Orleans is like getting a preview of traveling the world. Everything from the architecture to its unique culture. There is a little bit of everything and everyone here. And it all creates the New Orleans scene. Even for people from other parts of the United States or other parts of the world. Whenever they move here they immediately are contributors to the culture of New Orleans: whether it’s music, food, fashion, or whatever. You immediately become a part of what is New Orleans.
Growing up in studios here in New Orleans was like entering a world of endless possibilities. As a student of the New Orleans Center of Creative Arts, it allowed me to get an early introduction to the world of recording. Having access to the NOCCA’s state of the art recording studio allowed me to get my hands on training with so much of the studio equipment that is used in most studios today. I recorded some of my first original compositions on the school’s campus.
After graduating NOCCA, I attended Loyola University’s Jazz Studies program. And once again, I had access to the university’s studio and learned even more about the world of studio recording. I actually recorded most of the first CD with my band The Blues Groovers at the University’s studio. Over the years of being in those two studios, I learned that one of the bands and I were at another private studio and everyone was shocked that I was showing the owner/engineer capabilities of his recording console that he didn’t know. But I feel like early exposure to New Orleans culture and recording studios has definitely been a benefit to me.
I also see where there’s a lineage of sorts to the legendary blues artist Lead Belly. Can you tell us about that relation and how it affected your musical pursuits?
Most of the story of my family lineage has been passed down through oral history. However, when my grandfather was retiring, one of my aunts initiated a genealogical search of our family name. It was discovered that our family name Gullage was a name that was taken by one of my Great, Great, Great Uncles to hide his identity as he was being sought after for hitting a caucasian overseer during the slavery era in northern Louisiana. According to oral history, the Gullage name was originally Ledbetter. Photos of Mr. Lead Belly and my grandfather definitely shows similarities. We are currently still researching the Gullage lineage.
How did your nickname “Sonny” come about?
The nickname Sonny came as the result of a question asked by Jeff Schroedl of Blind Pig Records. He asked if I had a nickname that I am known by. At that time I was sometimes referred to as “Kev” or “Cowboy Kevin” that was given to me by the late Carol Fran, and also “Bunny Man,” a name my mother would refer to me. But I was sure that wasn’t exactly what he had in mind. Finally, my father suggested “Sonny.” He stated that I was not just a son of him and my mother, but a son of New Orleans, and a son of the community as well, so many that see you as their son and a son of the Blues. So we went with it. I guess it was a good choice because seems like overnight everyone started referring to me as Sonny.
Congratulations on signing with Blind Pig Records! Can you tell us a little about how that came to be and why it was the right choice for you?
Thank you! I guess this opportunity came somewhat as a surprise. My father had informed me that Blind Pig Records had reached out to us with an offer to sign as an artist. We later discovered that Jeff Schroedl had received a strong recommendation from a gentleman in that saw me and my band at the 2023 Schoppingen Blues Festival in Germany.
As for the decision to sign, it seemed somewhat serendipitous. Some time ago we had contacted Blind Pig Records in hopes of submitting a demo. So I guess we can say as my grandmother would, that “delay isn’t necessarily a denial.”
Tell us about your modern spin on blues music. What’s your creative process like, and how do you maintain tradition while keeping things fresh and new?
In New Orleans there are many great cooks. If you ask them they will tell you that the secret of good cooking is the base which is known as the “Roux.”
For me, Blues is the Roux of my music. Therefore anytime you enjoy a good meal, you are tasting the results of a good Roux (base). So when you hear my music, it’s my desire that you hear the Blues.
What does your upcoming single, “Go Be Free,” mean to you? What’s the backstory and inspiration behind it?
The song “Go Be Free” is my story of growing up and growing into Blues. It’s about finding a freedom in where you’ve come from. I think a lot of people see the path they’re on forward, but they can often forget about what is behind them. “Go Be Free” is my way of acknowledging where I came from, while giving everyone a look into who I truly am.
And of course this is the title track of your upcoming album. What was your favorite/the most rewarding part of the process?
The most rewarding part of making the new album was definitely getting to work with such great writers. The feeling I felt inside as I presented original songs, and that they embraced me while teaching me ways to improve as a writer. Seeing the session musicians as they played and expressed their excitement of songs I wrote. Having the opportunity to work closely with Grammy-winning producer Tom Hambridge. Tom is very knowledgeable and inspiring. There’s always more to learn and more to understand in music, and being given so many examples of how to do what I do to a high level is truly rewarding.
I see Christone “Kingfish” Ingram is also featured on the record. How did you get teamed up with him, and what was it like working with him?
Yes! The song is entitled “Worried About The Young,” and after we recorded it, I asked if it would be a possibility to have Kingfish as a guest on the track. The producer Tom Hambridge (who also produced Kingfish’s record) made the connection, and Kingfish agreed. However, he had to record his segment via satellite due to his schedule. I’m looking to personally thank him one day, and return the favor.
If you could choose any venue for your debut performance in support of your album Go Be Free, where would you choose and why?
B.B. King’s Club in Memphis. The late Tommy Peters (the owner) was a great believer and supporter of me and my band. He hired us as a featured act at his New Orleans location. Before his untimely passing, he talked about bringing us to Memphis to play. We will forever be grateful!
What does success as a blues musician and songwriter mean to you?
I think success as a blues musician and songwriter is when I know what I’ve done feeds into whatever comes next. I like to think about my blues heroes like BB King and Bobby Blue Bland, and even more recent ones like Johnny Lang, who never set out to inspire specifically me. They didn’t get up and say, “One day Sonny Gullage is going to listen to me and just feel so inspired to play blues.” Little Milton didn’t sing “The Blues is Alright” just for me. But when I heard it, it felt like it was meant for me to hear it. That’s what I want to happen. Maybe one day a young person might hear my music and that might be what inspires them to play blues and write songs. That’ll be success enough for me.
