Bull Durham Blues Festival
Friday, Sept. 5–Saturday, Sept. 6, 6 p.m.
Hayti Performance Hall & Durham Athletic Park

The history of the Bull Durham Blues Festival lives not in Durham, but in Cary, in the very crowded house of graphic artist Bruce Couch.

If you’ve been to the event during its three decades in Durham, you’ve already seen Couch’s work, his larger-than-life portraits of bluesmen and blueswomen draping the stage and gracing the festival’s banners. Today, those portraits and posters clutter the workbench of his home studio, shaping a time machine that burrows through three decades of blues and soul paraphernalia, back to the festival’s 1988 origins.

“I just got called in as a sign maker. That was my thing,” Couch remembers of his initial assignment. “But I always went and enjoyed it.”

Couch enjoyed it so much that he’s created and collected a kind of personal museum for the festival, a hallmark blues event for a city whose current blues activity is much weaker than its fabled legacy. He even has a T-shirt from the debut event in 1988, with the names of the headliners printed on the back. It was an auspicious beginning, with Dr. John and Otis Rush, Roy Buchanan and Etta Baker among those anchoring the first year.

“I thought about framing them at one time, but my wall space was just so jammed with other stuff,” Couch explains, motioning to already-hung portraits of blues players and professional wrestlers alike. “It was completely impossible.”

The collective lineups of the Bull Durham Blues Festivals shape a who’s-who of blues royalty, mixed with the occasional R&B and soul legend. Koko Taylor and Jerry Butler headlined in 2003, Buddy Guy in 1994 and 2007. The Fabulous Thunderbirds and Bobby “Blue” Bland played in 1995, while Bo Diddley arrived in 2006. Soul greats Solomon Burke, Isaac Hayes and Wilson Pickett all are Bull Durham alumni.

In recent years, though, the festival has slumped as it has struggled to maintainlet alone, boostattendance. In 2007, with Buddy Guy and Percy Sledge atop the bill, Bull Durham broke attendance records. But competition has increased. Durham now has The Art of Cool Festival for a mix of soul and jazz, and Hopscotch claims the same after-Labor Day weekend. And after being located in the Durham Athletic Park for decades, the festival has shifted nervously throughout Durham during the past half-decade, moving between the Hayti Heritage Center and the Durham Performing Arts Center. In 2013, the event retreated to two modest nights at the Hayti Heritage Center.

“When it had to move, not only to one new temporary location but to two or three, that was unsettling for folks who were accustomed to it being one place, being done one way,” explains Angela Lee.

Early in 2013, Lee replaced V. Dianne Pledger as the executive director of the St. Joseph’s Historic Foundation, the nonprofit that produces the festival. Lee aims to rebuild the Bull Durham brand after a string of difficult years and downsizing. She wants to do that four ways. The first has been to reenergize the talent by recruiting artists who had not performed in Durham, at least in the last five years.

“One thing I did notice was there are a lot of returning artists,” says Lee. “If somebody’s good, you don’t mind seeing them over and over. But there are so many fantastic blues artists or artists whose roots are in the blues that it’s important to make sure some of them were brought here.”

There are two returning artists this yearShemekia Copeland, who earned a female-artist-of-the-year nomination last year from the Blues Music Awards, and John Dee Holeman, a perennial favorite.

“Other than that, the artists have not performed at Bull Durham or not performed in Durham and some not in North Carolina,” Lee says.

This year’s festival includes one night in church and another in the ballpark, together catering to one of the most eclectic and international bills in Bull Durham Blues history. It’s a deliberate attempt to stretch the scope of the talent and the audience.

“Another objective was to continue to have a diverse lineup. Third is to expand the blues for our audience here by including international artists. We did it last year, and I’m intent on continuing it,” Lee says. “And the fourth prong: Make sure we include North Carolina or Durham artists.”

Indeed, Holeman’s inclusion this year signals a return to the festival’s early days, when older and more traditional local and regional performers shared stages with big-time headliners. Lightnin’ Wells remembers that model well, having played more than a half-dozen Bull Durham festivals before 2000. Wells even played the event before it was the Bull Durham Blues Festival. In 1987, before St. Joseph’s came onboard as a producer, the upstart event was called the Bull City Blues Festival.

“They did it at the athletic park, but they wouldn’t let anybody on the grass because they were gonna have a ball game,” Wells remembers. “They made ’em sit in the stands, and they had the stage out on second base, which made it weird.”

Wells produced the first commercial recordings of Big Boy Henry, Algia Mae Hinton and George Higgs; he traveled and performed with them, too, working as a shepherd of the Piedmont blues’ past toward the future. At Bull Durham, he’s often accompanied such aged performers.

“I was with older people,” he says, “kinda lookin’ out for them and hangin’ with them.”

But Wells has learned not to underestimate such veterans. In 1993, a sound engineer working for the festival told him that they were scrambling to find a piano bench to hold Etta James, then in her mid-50s. The piano bench, he heard, needed to support 300 pounds.

“I thought, ‘Oh, that’s pretty sad. She can’t get around well,’” he says. “‘She’s gonna have to sit down and sing.’”

When James arrived behind the stage by car, several helpers accompanied her. Her gait was labored, and Wells worried that the crowd would be greeted by a shadow of what James had once been. But then the stage lights came up.

“All you saw was this big butt facing the audience, shakin’,” he says. “She’s holding the piano stool, shakin’. She turns around and goes, ‘Wah!,’ just tearin’ it up, man. She didn’t need any help.”

James and her piano bench provide an apt, hopeful metaphor for the Bull Durham Blues Festival, now at a peculiar crossroads in an increasingly crowded market. Lee hopes to reconnect the festival to its past success while building new traditions. She wants to be reliable without being predictable. The festival, for instance, plans to stay put geographically, though Lee is searching for corporate sponsors in order to push ticket prices downboth ways, she says, more people can get the blues.

“That will help us maintain consistency,” Lee says. “We can reassure people, hey, go ahead, mark your calendar.”

This article appeared in print with the headline “Bull Durham Blues Festival”

Scale of the blues

The Campbell Brothers, Shemekia Copeland and Kermit Ruffins courtesy of the Bull Durham Blues Festival

The renewed charge of the Bull Durham Blues Festival is apparent just with a scan of the lineup. From jazz to gospel, from Israel to New Orleans, from legends to upstarts, this year’s lineup offers nearly a dozen distinct inlets to and interpretations of the blues.



The Campbell Brothers carry their gospel with them, making a church wherever they land. “We’re a long lost cousin of the blues,” explains bassist Phil Campbell of the Sacred Steel music that he and brothers Darick and Chuck create. They typically blend gospel and secular music; for this special engagement, The Campbell Brothers pay tribute to the 50th anniversary of John Coltrane’s A Love Supreme.


Phil Cook came to prominence with his psychedelic folk outfit Megafaun, a trio that’s been inactive of late. He’s been leading a new band, The Guitarheels, though solo, Cook fingerpicks back-porch blues and sings lonesome moans. Want bona fides? He served as the music director for the most recent Blind Boys of Alabama album and toured extensively with the group.


John Dee Holeman was attracted to music by a pretty chord he heard Blind Boy Fuller play. He grew his fingernails out so he could dispense with picks, and he’s now one of the finest Piedmont blues pickers in the business.


The Rousters charge the Chicago blues with hill-country twang, urban swagger and country bedlam. Luke Congleton’s slide-guitar playing channels Duane Allman, while Michael Patrick’s harmonica introduces a bit of Little Walter to the mix.



Kermit Ruffins co-founded the Rebirth Brass Band in 1983. He’s led the Barbecue Swingers since 1992. His distinctive trumpet helps define modern New Orleans brass and keeps jazz and second-line sounds alive in the city by taking it around the world.


Shemekia Copeland was going to be a psychiatrist, but her voice got in the way. When she started helping her father, Texas guitar legend Johnny Clyde, after he fell ill, she decided to switch careers. She sings the blues with a modern twist. “I have never picked cotton a day in my life, so I’m not singing about that,” she explains. “I’m singing about stuff that I know about.” That stuff earned her a BMA nomination for Best Contemporary Female Blues artist last year.


Inspired by Sonny Boy Williamson, harpist Grady Champion pushes rough-and-tumble blues rock against ’70s soul. Suggesting a raspy, rootsy version of Tyrone Davis, Champion packs a wallop inside these blues-assisted soul tunes.


The Ori Naftaly Band won the Israeli Blues Competition and made it to the International Blues Challenge Semi-Finals last year, becoming the first Israeli band to do so. They sold the most albums of any other act at the Memphis competition, too. Vocalist Eleanor Tsaig roars like Koko Taylor, with Naftaly delivering slashing Chicago-style licks on guitar behind her.


Although he launched his career at the age of 17 by playing guitar with the Blind Boys of Alabama, Kings Mountain native Calvin Edwards soon turned to jazz as his main inspiration. He plays in a style reminiscent of Grant Green and George Benson, who even recorded one of Edwards’ songs.


From Hickory, The Red Dirt Revelators add a jolt to the blues with Southern rock. It’s down and dirty, like Skynyrd with a harp player. That mix netted a win in the 2014 Triangle Blues Society Challenge.


A bandleader, too, Rick Tobey has now won the Triangle Blues Society’s Solo Blues Challenge twice.