DAMON FOWLER

Devil Got His Way

Blind Pig

by Mike O’Cull

                Equally fluent in the dialects of guitar, lap steel and lead vocals, Damon Fowler is as Southern as a mint julep and, one would guess, he'd be equally as refreshing on a hot summer night. Fowler, a native of the great state of Florida, has been taking audiences to school since his teenage years with his roots/blues hybrid sound that blends elements of rock, blues, sacred steel, and even country into a heady mix that is pretty much instantly attractive. Fowler’s latest release, Devil Got His Way, continues on in this tradition, blending roots influences with skillful and memorable songwriting to create a set of songs that is a lot more than your typical blues album. Sometimes, straight blues CDs, in an effort to remain respectful to the greats of the past, stick a little too close to the playbook of the old masters and get a little generic. Fowler’s fearless use of all of the music in his head keeps him out of this trap and listeners get a real sense of his musical personality and not just his record collection.

                Fowler is obviously a skilled instrumentalist but it is his songwriting that truly stands tall on Devil Got His Way. The album takes Fowler fans on a journey through his musical world and doles out helpings of swampy rock, soul, gospel, ballads and blues that all go down smoothly.  Fowler, who is not even 30 years old, has been quoted as saying that he wants to make roots music for his own generation and that is really what all of this feels like. The elements are all familiar but they are filtered through a younger mans’ sensibilities and attitudes and, while obviously well-versed in the past, Fowler is clearly looking towards the future. There are really no clunkers on the disc, but a list of recommended songs would have to include “Don’t Call Me”, “We’ve Got A Good Thing”, “After The Rain”, and the title track.             

                Damon Fowler represents, to this reviewer anyway, a glimpse of the future of roots-based music. He knows all about tradition but is not confined by it. He is taking the best parts of 20th century American music and creating a new sound that exceeds the sum of its components. He does what Derek Trucks, another youthful roots visionary, does and that is to bring outside elements to bear on the blues, breathing new life into this genre that we all love. It’s an approach that should prove a lot more effective at keeping this sort of music alive, versus churning out another recreation of the glories of the past.

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