Kat Riggins

Everyday Is Saturday

House of Berry Productions

While growing up in Miami, Katriva Tabitha Riggins was instilled with a love for music. Her parents’ record collection included R&B, soul, gospel, hip-hop, country, and rock ‘n’ roll. Her primary influences soon became Nina Simone, Tina Turner, Etta James, and Koko Taylor. Riggins landed a gig singing jazz and blues standards at a lounge in Sunny Isles, Florida, and in 2011 toured Asia and the Middle East with a top-40 cover band. She recorded her debut album, Lily Rose, in 2014. Riggins opened the 2016 Fort Lauderdale Riverwalk Blues Festival and later that year released her highly anticipated sophomore effort, Blues Revival, on Bluzpik Records. She followed up with 2018’s In the Boys Club, also on Bluzpik, and dedicated the album to the early blues women who first busted down the clubhouse door. Follow-up recordings include 2020’s Cry Out, 2022’s Progeny, and 2024’s Revival. This is Riggins’ seventh album overall.

Lead vocalist Riggins is accompanied by lead guitarist Erik Guess; multi-instrumentalist Tim Mulberry; backing vocalists Shaelyn Mulberry and Tim Mulberry; and on one track, Timya and Tamia Mulberry. The album was produced by Tim Mulberry at the House of Berry Productions in White Springs, Florida. On all songs, the lyrics are by Riggins while the music is by Tim Mulberry. Riggins’ punctuation carries each tune.

The album opens with “Heads Are Gonna Roll,” as Riggins sings, “Heads are gonna roll, If I get the news that somebody gave my baby the blues. (Yup) Heads are gonna roll if that ole grapevine say somebody started my baby to crying. First of all keeo your hands to yourself. Matter fact, keep back those eyes and ears and everything else, if anybody mess with my baby, heads are gonna roll…see my baby, she got sugar in her soul, that’s why if anybody mess with my baby, heads are gonna roll,” with some great guitar from Erik Guess.

On “Do My Thang,” Riggins chimes, “I can’t stop my feet, and my hips ain’t far behind, when they start to acting up, don’t pay me no mind. Cuz, I’m in my groove, I can’t help but move, excuse me while I do my thang. Toes get to tapping and I know what time it is…next thing I know I’ve been shaking my tail all night, ain’t nothing I can do, I gotta let myself cut loose.” Mulberry is on drums, laying down the strong foundation.

“I Say So” features Riggins as she chants, “As the world keeps churning and it stirs up doubt, as I live I’m learning I can block it all out. It’s been a longtime coming but I finally see, can nobody tell me, who I am but me. I’m a bad mutha-mmmm, you can’t shut my mouth, I’m gonna say it loud and proud, nobody like me, ain’t nobody else. I’m a God made bonafide one of a kind, if I do say so myself.”

On “Ain’t Goin’ Down,” Riggins moans, “I have to fight him once in awhile. He comes back to taunt me. Gotta cast him out. I’m only flesh and bone, but I won’t be shook. Cuz, I know worrying don’t do me no good. It’ll be a knock down, drag out fight til the end. I won’t let them devils do me in. I ain’t goin’ down easy. In fact I ain’t goin’ down at all.”

“Tears Like Gasoline” features Riggins as she cries, “You’re still squeezing the trigger, smoke’s still coming out of that gun. You’re looking around like ‘Who did it?’ You can’t see that you were the one. Your fingerprints on the bullets. Gun powder all on your clothes. What if you chose not to pull it? My goodness God only knows. But your standing at the end of a burning bridge with a torch in your hand and tears like gasoline, heaven help me, crying heaven help me.”

On “Holy Water,” Riggins declares, “Holy water wash me clean. God knows what my eyes have seen. Cleanse my spirit, wash my soul. Make me fearless, make me bold. Holy water make me over, holy water. Yeah, yeah, yeah, I lay my worries at your shore, drag them to the ocean floor, make me strong and free like you, holy water, keep me true…holy water, make me over, holy water.”

“Fear Slayer” features Riggins as she groans, “My dreams are bigger than my fears. They scream so lod that I can’t hear all of the doubt inside my head, it tries to shout, but I won’t let…let it. I’ve been flung into a mountainside and I fell down on my knees. I’ve been rocked by a raging river, but I still found air to breathe, I ain’t done, I ain’t giving up no time soon, I got time…I’ve got dreams, I can make come true.”

On “Till the Lights Come On,” Riggins wails, “Let me see you put the boogie in the woogie, now put the hip in the shake, put the rock in the roll and don’tchu hesitate. Put the cut in the rug, and put the swing in the low until it’s closing time. We’ll be dancing to every song, til the lights come on. Dancing til the lights come on.”

“Hunger Games” features Riggins as she howls, “It’s feeling like a dog eat dog world. Like the wild, wild west. Like one of those movies ’bout the end of days, where all hope is dead. Each man for himself, unless he needs your help. It’s the hunger games. It’s like hunger games, waste not want not. If you don’t waste it, you won’t need it. Hunger games. One man hungers for love, The other man craves some peace. Another man just wants cash to satisfy his greed. Every man ready to fight, to assauge his appetite…we’re living in the hunger games. Hunger Games.”

On the closer, “Live in Peace,” Riggins croons, “How powerful is a word? Can it lift you up? How mighty is a prayer when it’s prayed with love? Tell me how strong is a song? Can it set your heart at ease? Well, I’m speaking and praying and singing that you live in peace. Oh my brother, my sister, til you get to your rest, I want you to live in peace…until you can rest in peace, why not live in it.”

Everyday Is Saturday is a reminder that joy, freedom, and real connection don’t have to wait for the weekend. It’s a soundtrack to the kind of house party where old friends gather, strangers become family, and everyone is welcome exactly as they are. Whether there is a passionate debate, a budding romance, or somebody dancing, the music keeps the energy alive and the possibilities endless. Rooted in the spirit of old-school “rent check” parties, these songs celebrate the full range of human experience. They invite you to laugh, dance, sing, or cry your eyes out without judgment or apology, because that’s what great blues has always done.

Richard Ludmerer

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