Cult Blues Rock - 50 Shades of Blues Rock

#outstanding Eric Johanson is an American blues-rock artist, guitarist, and songwriter, born and raised in Alexandria, Louisiana. Music was a constant presence in his life from an early age: his grandparents owned a music store, and various family members played in local bands. Johanson received his first guitar at the age of five, and by his teens, he was already performing with regional blues groups. His musical development was shaped by both blues legends—such as Robert Johnson and Freddie King—and hard rock acts like Metallica and Soundgarden. This blend helped him forge a unique style that fuses blues, rock, and progressive Americana.

After moving to New Orleans for college, Johanson became a prominent figure in the city’s vibrant music scene. He performed alongside seasoned musicians, gradually refining a playing style that marries the emotional depth of the blues with the raw intensity of rock. His career was briefly interrupted by Hurricane Katrina, which forced him to relocate to New Zealand. However, he returned to New Orleans in 2010 and soon established himself as a sought-after session guitarist. Johanson’s solo career gained significant momentum when blues legend Tab Benoit signed him to the Whiskey Bayou Records label and produced his debut album, *Burn It Down* (2017). Subsequent records—including *Below Sea Level* (produced by Luther Dickinson)—consistently appeared on the *Billboard* Blues Albums chart. Through his high-energy live performances, Johanson has solidified his status as one of the most compelling figures in contemporary blues-rock. Johanson’s grandparents owned a music store in Alexandria, Louisiana, which fostered his early exposure to music. Following Hurricane Katrina, he lived in New Zealand for four years before returning to New Orleans. During the pandemic, his online acoustic concerts drew a large audience, leading to the release of two albums in his "Covered Tracks" series. Johanson’s albums have consistently reached the top 10 on the Billboard Blues Albums chart, with several hitting the number-one spot.

Eric Johanson has built his career on the philosophy that one’s roots serve as a foundation rather than a boundary. The New Orleans-based guitarist, singer, and songwriter draws inspiration from blues, rock, psychedelia, and the musical vernacular of his home state of Louisiana, distilling these influences into songs that are heavy, melodic, raw, and unmistakably his own. While his guitar work is often the first thing to catch the listener's ear, it always serves a larger purpose: the songwriting, his vocals, the groove, and the electric energy of a band playing in the moment.

Johanson’s 2023 album, *The Deep and the Dirty*, debuted at number 1 on the Billboard Blues Albums chart, expanding his reach with a sharper sound that blends dense guitar textures and swampy rhythms with increasingly focused songwriting. This was followed by the 2025 release *Live In Mississippi*—another top-10 Billboard entry—which captured the intensity and unpredictability of his live performances with his power trio.

This momentum carries over into *The Open Bayou*, Johanson’s latest studio album and the first to be released on his own label, Levee Ward Records. Recorded primarily live as a trio—featuring bassist Will Repholz and drummer Jake Gartenstein—over a three-day break from touring, the record delves even deeper into the collision of blues and heavy rock that increasingly defines his music. Fuzz, slide guitar, hypnotic rhythms, and off-kilter textures permeate the album, yet the songs themselves remain at the core.

Johanson mixed and mastered the record alongside Bill Skibbe, known for his work with Jack White, The Raconteurs, The Kills, and Jon Spencer. Rather than smoothing out the rough edges of the sessions, the goal was to preserve their raw spark and visceral impact—capturing the sound of three musicians reacting to one another in real time. The result is heavier and stranger than Johanson’s previous efforts, yet he never abandons his roots; instead, he explores just how far those roots can extend.

Johanson first gained traction when blues artist Tab Benoit signed him to Whiskey Bayou Records, releasing his solo debut, *Burn It Down*, in 2017. Benoit later spent two years behind the drum kit for Johanson’s opening sets on tour. For his second album, *Below Sea Level* (2020), Johanson teamed up with producer Luther Dickinson, taking a darker, heavier creative turn that further solidified his willingness to push beyond the boundaries of the genre.

Johanson has been named one of the "25 Best New Blues Guitarists" by *Guitar Player* magazine, and *Total Guitar* has included him among the "Greatest Blues Guitarists of All Time." But praise for his guitar playing tells only part of the story. On *The Open Bayou*, Johanson continues to create a space where songs, sound, and improvisation converge—with the blues at the core, yet entirely unconstrained by any boundaries.

Hard rock and heavy metal might seem like genres far removed from the blues, but in reality, they share deep roots. Legendary blues guitarists—such as Robert Johnson, Muddy Waters, and B.B. King—influenced rock and metal musicians through their pioneering techniques, including string bending, vibrato, and the use of a slide. Furthermore, the quintessential blues themes of overcoming emotional anguish and life’s hardships have found their way into the lyrics of rock and metal songs. It is, therefore, no surprise that bands like Black Sabbath, Judas Priest, and Deep Purple began their musical journeys as blues acts.

Some contemporary popular blues artists even dabbled in hard rock and metal before finding their way to the blues—and Eric Johanson is no exception.

"My grandparents ran a piano and organ shop called 'Kelly Ward’s.' Our house was full of instruments, and they played, too. One of my uncles played bass, another played guitar. My aunt played bass and piano, and my mom sang a bit and played piano—though none of them were professional musicians. As for learning: I’d hang out with older friends who could play and pick up things from them; I also had self-instruction books on scales, which helped me understand how they’re structured and how they fit together. But I never took formal lessons from a teacher. I learned by listening to records and trying to play along with every track." Yet, it was the heavier sound that truly hooked me and inspired me to pursue music. "For a while, my favorite band was Metallica, then White Zombie. Later, I got into instrumental guitar music—Joe Satriani, Steve Vai. And the more I immersed myself in playing the guitar, the more I noticed that the musicians I admired kept referencing the blues—suggesting that everything they did had its roots in that genre."

"So, I began to study the blues more deeply, started performing, tried writing my own music, and sought to find my own voice. Then, I gravitated back toward rock; it felt like a better fit for my vocals and what I was going through at the time—so, for a while, I was in a rock band. But later, I began playing with other musicians, such as Cyril Neville, and eventually came to realize that my own approach could exist within the framework of the blues—I didn’t have to try to sound like people I could never truly emulate. You might listen to Freddie King and think, 'If only I could sound like that—then I’d be playing the blues.' But in the end, I learned to feel comfortable within that blues space without boxing myself into rigid constraints."

One of the qualities of the blues that fans consistently value is its authenticity and the raw, powerful emotion infused into the songs. It was precisely this factor that played a major role in Eric’s return to the blues during his musical journey. "One of the reasons I kept being drawn back to the blues is the unique feeling and deep emotional connection inherent in the genre; it’s truly remarkable. You never play the same thing twice—every single night, you’re expressing something new." "I want to create music that reflects my current thoughts; I have no interest in relying on traditional themes, using archaic language, or trying to imitate the past. In music, it’s essential to establish an authentic connection with the listener—that is exactly what I strive for: to preserve that 'bluesy' feeling in my work while exploring new musical horizons, without boxing myself into any rigid framework."

After Hurricane Katrina struck New Orleans, Eric left Louisiana and lived for a time in New Zealand—a place that, for someone in the music industry, can feel like a form of isolation.

"Essentially, it was just a desire to explore life and change my surroundings. I didn't give any thought to how it might fit into my musical career. I spent my time recording—creating music that wasn't originally intended for live performance—until I realized that I missed the improvisational nature of concerts. I missed playing soulful music live, in front of an audience that truly understood its essence. In New Orleans, this is so deeply rooted in the culture that you start to take it for granted—things like having a shared musical language. It’s only when you’re somewhere else that you realize what a miracle it is: people can compose music on the fly, and it sounds beautiful. I missed that collaborative way of making music, so I returned and dove straight back into it. Ultimately, it was the music itself that brought me back to New Orleans."

Eric was particularly drawn to the music of Tab Benoit. After they met, Tab recognized Eric’s talent and began inviting him onto the stage quite often. Before long, Eric was invited to join Tab’s label, The Whiskey Bayou Label, and later began serving as the opening act for Tab’s concerts. (Those who know Tab well are aware that he loves any chance to play the drums, so he would frequently join Eric during his set, taking his place behind the drum kit.) Later, Tab also brought Eric on as his tour manager—a role that provided Eric with an income, as well as a spot on the tour bus and hotel accommodations while on the road. "I truly admired what Tab was doing. I wouldn’t say my style was the same as his, but I really resonated with his uncompromising approach, his power-trio format, and his total commitment—giving one hundred percent every single night. Watching him play was a huge source of inspiration for me. I’d go to his shows all the time, and a couple of times I even got to jam with him—I played the drums. Eventually, he started inviting me to take part in his performances, and then he suggested, 'Why don’t you come by and record some material?' I went over, we played a bit, just hung out, and agreed that we’d record a record the following year. After we released the album *Burn It Down* in 2017, the idea came up for me to act as his opening act. We did that for about two years, with Tab sitting in on drums during my set." "At first, there were doubts—after all, opening for oneself seemed like a strange idea—but, surprisingly, it worked."

"He brought his own touch to every track—especially 'Graveyard Queen.' He reworked the groove so brilliantly that it’s now impossible to imagine the song any other way. When I arrived at the studio, I expected us to hash out the song ideas in detail, but Tab was ready to hit 'record' immediately and see what happened. It was fantastic; this approach kept me from overthinking whether the material was truly 'ready.' My logic was: 'If we’re recording it, then it’s ready.' There were no attempts to do ten or twenty takes, as can sometimes happen with other artists. Ever since then, I’ve stuck to this method—recording live. Otherwise, you start overanalyzing, and it’s crucial to preserve that initial spark of inspiration." In 2019, the label Nola Blue Records released a collaborative album by Eric and his cousin, Tiffany Pollack, titled *Blues in My Blood*. The following year, just as Eric released his album *Below Sea Level* (produced by Luther Dickinson), the COVID-19 pandemic hit, bringing his number of live performances to near zero. Like many other musicians, Eric began hosting online livestreams of his performances, which eventually led to the release of a collection of covers titled *Covered Tracks*.

Then, in 2023, the album *The Deep and the Dirty*—produced by Jesse Dayton—was released via Ruf Records and immediately reached the number one spot on the Billboard Blues Chart. It was likely this very album that earned Eric a spot on *Guitar Player* magazine’s list of the 25 best new blues guitarists, as well as a place in *Total Guitar* magazine’s ranking of the 100 greatest blues guitarists of all time. His most recent work, *Live in Mississippi* (2025), garnered him a nomination for a *Blues Blast Award* in the "Best Live Album" category.

"When you perform via online livestreams for a long time, you end up playing the same songs—plus, you get requests from the audience. Some fans who watched the streams asked me to release recordings of those intimate, acoustic versions of the songs I’d been performing; that’s how the album *Covered Tracks* came to be. Later, I released *Live at DBA*. I wanted to capture the band 'catching fire' and show what we sound like live. Afterward, I put out *The Deep and the Dirty*, which featured new songs that weren't on *Live at DBA*, so we decided to capture those in a live setting—that’s how we recorded *Live in Mississippi* at the Ground Zero club in Biloxi. The album has been very well received; we’ve had a lot of positive feedback, and it sells great at our shows. I think live recordings are especially appealing to people who come out to see you perform in person."

Like many musicians, Eric once struggled with substance abuse, but he has now been living a sober life for quite some time. His music sounds better than ever, and it seems he is finally receiving the recognition his work truly deserves.

"It has been six and a half years since I stopped drinking; it helped me find a sense of purpose and motivation. Without that, none of this would have been possible. Performing has become even more engaging now—the act of playing music itself has turned into a form of emotional release, whereas before, I used to seek that release either before or after a show. Now, the performance itself is the ultimate reward for all the effort put in. I remember that shortly after I gave up alcohol, I noticed I was selling far more merchandise and CDs than ever before. The audience’s reaction shifted—I felt I was much better at connecting with people. That said, I believe in letting everyone choose what works best for them. It doesn’t bother me at all to be around people who are drinking and having a good time. I enjoy creating a festive atmosphere for those around me, and it always makes me happy to see people having a great time. I want everyone around me to feel comfortable—if someone wants to have a drink, it doesn’t faze me in the slightest."

Eric doesn’t have one single song that is requested more often than others, but he is always pleased when listeners know his repertoire and ask for his original compositions. One of his most profound and emotionally significant pieces is the song "Familiar Sound." The lyrics include these lines: "I cross the ocean, trying to leave my troubles in the depths of the sea, but they follow me right into the city. And suddenly, a voice emerges from the shadows—an old, painfully familiar sound." Another track that holds special meaning for him is "She is the Song." Today, Eric is confident that his unique blend of blues and rock resonates deeply with his audience. "The track 'Familiar Sound' is about how often we try to change our circumstances or our environment, when in reality, the change needs to happen within us. I think this song captures something that was a major struggle for me personally: the realization that the negative thoughts we replay in our minds aren't the absolute truth—they’re just a kind of 'sound' that arises within our consciousness. As for 'She is the Song,' it’s an attempt to express how difficult it can be to capture something in music that, by its very nature, is always grander than the song itself. I’ve grown more comfortable in my own style—a form of 'American roots music' that weaves together rock 'n' roll, blues, and funk. I have more faith in my listeners now; I trust that they’ll understand my approach rather than criticizing it by saying, 'That’s not blues,' or 'That’s not New Orleans music.' I’ve come to realize that even when I’m not playing traditional blues, the emotional core of my songs will still connect with the audience—without any need to force the music into the narrow confines of a single genre."

Eric tours extensively, both in the United States and across Europe. He recently performed in Poland, and his upcoming schedule includes festival appearances in Romania and Belgium, along with shows at various other European venues. When asked if he still has any unfulfilled musical goals—items on a sort of "bucket list"—he replied:

"I would love to play with Warren Haynes." I’ve been a fan of his for a long time, and he’s also a wonderful person. We’ve crossed paths a few times over the years, but we haven’t had the chance to play together yet. I’d also love to jam with Derek Trucks, and I’d like to play with Luther Dickinson more often. There are many such musicians, but these names are definitely at the top of my list.”

2019 Blues in My Blood (Tiffany Pollack)

2020 Below Sea Level

2021 Covered Tracks, Vol. 1

2021 Covered Tracks, Vol. 2

2022 Live at DBA: New Orleans Bootleg

2023 The Deep and the Dirty

2026 The Open Bayou

2025 Live from Mississippi

2026 The Open Bayou