Kirk Fletcher & Erika Baier

Don’t Look No More

Vizztone Label Group

Kirk Fletcher’s family, originally from Pine Bluff, Arkansas, moved to the LA suburb of Lakewood, California. His dad was a pastor and eventually sold the house in Lakewood to move to Compton, in south LA, where he would build his church. At the age of eight, in his father’s church, Fletcher first picked up a guitar. One day Kirk and his older brother Walter J. visited Music Works, a small LA guitar shop, and befriended Jeff Rivera, Robben Ford’s guitar tech. “We started hanging out and I would help load gear, change strings, and just be a fly on the wall to some of the most amazing music I’ve ever heard.”

Fletcher started seeking out other musicians and befriended Al Blake, harmonica player and vocalist from the Hollywood Fats Band. Fletcher was invited to dinner on Sunday nights at Blake’s house, where he was exposed to early traditional blues. Through Blake he was introduced to guitarist Junior Watson and pianist Lynwood Slim. In 1999, Fletcher recorded his debut album, I’m Here and I’m Gone, on the JSP imprint with guest vocalist Jackie Payne; the album was produced by Jimmy Morello.

Fletcher is one of the most complete guitarists on the scene today, as he knows how to play rhythm behind a harpist or vocalist and make them sound better. In 2004, Fletcher released his second album, Shades of Blue, on Delta Groove Records. Around this time, Blake introduced Fletcher to Kim Wilson of the Fabulous Thunderbirds. One night at Antone’s, Fletcher met and played with his heroes Pinetop Perkins, James Cotton, and Hubert Sumlin. Fletcher wound up playing on Wilson’s Grammy-nominated live album Smokin’ Joint. He went on the road for three years with the Thunderbirds and can be heard on their 2005 album Painted On. Fletcher has been nominated four times for Best Instrumentalist – Guitar at the Blues Music Awards, twice for Contemporary Blues Album, and once for the Gibson Guitar Award. Follow-up albums include 2010’s My Turn, 2014’s Burning Blues: Live at the Baked Potato, 2018’s Hold On, 2020’s My Blues Pathway, and 2025’s Keep On Pushing.

Erika Baier is a multifaceted musician with a career spanning several genres, including blues, soul, pop, and roots. Her music is characterized by strong melodies and meaningful lyrics, and she is known for her dynamic performances that create an electrifying atmosphere. Baier’s debut single, “For Granted,” was released in 2016, followed by her first full-length album, How ‘Bout That, in 2018. She has continued to release music, including the latest, “Cold Cold Feeling” and “Oh Baby,” in 2026, in collaboration with blues guitar virtuoso Kirk Fletcher. Her discography showcases her evolution as an artist and her dedication to producing music that resonates with her audience.

Seven of the songs on Don’t Look No More are written by Baier, two by Fletcher, and two are carefully selected covers. Guitarist Fletcher, who sings on one track, is joined by lead vocalist Baier, keyboardist Simon Oslender, bassist Randy Bermudes, and drummer Jimi Bott.

The album opens with the title track, “Don’t Look No More,” as Baier sings, “Baby, Baby, what your looking for, you don’t have to look no more…I’m the one your looking for,” as Baier’s voice soars.

On “I Gotta Rock and Roll,” Baier chimes, “Give it to me baby, I gotta rock and roll, give it to me honey, ’cause I gotta save my soul. Baby, I gotta rock and roll, hey baby, I got to rock and roll, give it to me honey ’cause, I got to save my soul.”

“Sweet Lovin’ Daddy” features Baier as she chants, “Loving you baby, your my sweet honey man and I need you to hold my hand…when your by my side I change my song, your sweet lovin daddy, now I no where I belong.”

“As Long As I’m Moving” was written by Charles Calhoun and first sung by Ruth Brown in 1955, as Baier belts out, “You’re crazy ‘bout lovin’, I’m crazy ‘bout love myself, Well you’re crazy ‘bout lovin’, I’m crazy ‘bout love myself, When I’m with you baby, can’t think about nothin’ else. I’ve seen so many men, it’s like looking through a fine tooth comb, I’ve seen so many men, it’s like looking through a fine tooth comb, but these young cats ‘ll make a good girl lose her home. I wanna go north, east, south, west. Every which way, as long as I’m movin’ (Long as I’m movin’) long as I’m movin’ (Long as I’m movin’) long as I’m movin’ baby, I don’t care. You got big broad shoulders, build like a trailer truck, You got big broad shoulders, build like a trailer truck, Let me run with you daddy and maybe I’ll change my luck, I gotta watch myself, these boys are gettin’ out of hand Ah I gotta watch myself, these boys are gettin’ out of hand. They get twelve years old, start acting like a natural man.”

“Loving Man,” written by Baier, features some great guitar from Fletcher, as she bursts, “I know that you would lose me, Lord. I know how you came to me, Lord, ain’t no fool, but your in control, I need a steady heart for me.”

“Oh Baby,” written by Baier, with some great piano, includes the lyrics, as she wails, “Just the way that you love me, just the way you need me, I never felt this way before, and if you ever want to leave me me heart won’t be the same no more.”

“Blues for James Gadson” is an instrumental written by Fletcher.

“Mother-in-Law Blues,” written in 1961, is credited to Don Robey, a.k.a. Deadric Malone, who took control of the Duke label in 1952, as Fletcher groans, “Early one morning I heard a rooster by day…oh honey, please won’t you come back home. Well you heard me callin, won’t you come back home.”

Baier reprises “I Gotta Rock and Roll,” as she cries out, “I gotta rock ’n’ roll, give it to me honey, I gotta save my soul.”

On “We Play the Blues,” written by Fletcher, he growls, “We play the blues we have soul, blues came down and rescued me…we play the blues, we have soul. In our life no one seems to care, we play the blues, we have soul.”

On the closer, “Cold Cold Feeling,” written by Baier, she croons, “I got a cold cold feeling, it’s been here since you’ve been gone, you left me with a heartache…I got a cold cold feeling, it’s been here since you’ve been gone.”

Soul-stirring Swedish vocalist-songwriter Erika Baier got together with acclaimed blues guitarist Kirk Fletcher, keyboardist Simon Oslender, bassist Randy Bermudes, and drummer Jimi Bott to make Don’t Look No More an album for the ages. This is a slow-burning blues experience that cuts straight to the heart.

Richard Ludmerer

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