Kyle Rowland

Not Holding Back!

Little Village Foundation

Georgia-born and Sacramento-based Kyle Rowland is one of the most dynamic young artists in modern blues. His roots may trace back to rural Georgia, but his sound is steeped in the California blues tradition. His new album, Not Holding Back!, released on Jim Pugh’s Little Village Foundation, was co-produced by Rick Estrin and Christopher “Kid” Andersen. Estrin also penned the liner notes and recalls that when Rowland was only ten years old, his father brought him to Estrin’s house for a harmonica lesson.

Rowland released his first and only previous album, High Rollin’, in 2011. Over twenty years and countless gigs later, the raw abandon of his youth remains intact—but now it’s refined by experience, maturity, and a mastery of his craft. His influences include James Cotton, Lazy Lester, Hubert Sumlin, Billy Boy Arnold, Matt “Guitar” Murphy, Henry Gray, Charlie Musselwhite, and many more.

In August 2022, Rowland signed an endorsement deal with Hohner Harmonica. Since then, he’s taught harmonica workshops for hundreds of children across the United States, Mexico, and Cuba. In 2024, he was inducted as the youngest member of the Sacramento Blues Hall of Fame and placed as a semifinalist at the International Blues Challenge in both 2024 and 2025. Recording for this new album began in May 2025.

Rowland plays harmonica and sings on every track, and also contributes guitar and piano. He’s joined by an impressive cast: guitarists Johnny Burgin, Kid Andersen, Bob Welsh, Anson Funderburgh, Justin MacCarthy, Kenny Marchese, and Steve Gurr; Andersen also plays bass and Hammond B-3 organ; Jim Pugh handles piano, Wurlitzer, Hammond B-3, and Clavinet; bassists include Ronnie James Weber and Randy Bermudes; drummers include June Core, Myles Silveira, and Paul Revelli; Rick “Coastin’ Hank” Estrin adds Basket Woven Couch Percussion; and backing vocals come from Dennis Dove, Lisa Andersen, and Marcel Smith. The album was engineered by Andersen at Greaseland Studios in San Jose, California. Eight of the fifteen tracks are Rowland originals, while the rest are carefully chosen covers.

The album kicks off with the gritty “Convict No. 1,” as Rowland growls, “Love is a prison, baby, and I’m your convict No. 1. You’ve got me in your shackles… you got me locked up and better days have come and gone.” Johnny Burgin’s guitar and Bob Welsh’s piano drive this tight, mid-tempo groove.

On “Wishing You the Best,” Rowland sighs, “It breaks my heart to see you smile, ’cause your smile is not for me… wishing you the best, you break my heart.” Andersen contributes both guitar and Hammond B-3, giving the song its warm, soulful glow.

The first cover, “I’ll Take You Back,” written by Estrin and Donnie Woodruff, was first recorded in 1987 by Little Charlie & The Nightcats on All The Way Crazy. Rowland makes it his own, singing, “You told me, babe, you don’t want me around… but now you said you’d do better if I’d take you back. Well, I’ll take you back.” With Andersen on guitar and Pugh on piano, it’s a swinging, retro treat.

“We’re Still Friends,” written by Mike Schermer and Felice Garcia and recorded by Lara Price and Mike Zito on Half & Half (2024), finds Rowland delivering one of his most heartfelt vocals: “We’ve known each other for a long time, you’ll always be a friend of mine… wherever you go, I want you to know we’re still friends.”

On the 1957 Billy Boy Arnold and Syl Johnson tune “Kissing at Midnight,” Rowland bursts with energy: “Kissing you at midnight, I hate to leave, better stay all night… talk to you every night, every day.” His harmonica burns through the mix, echoing the Chicago blues heyday.

“You Got the Nerve of a Brass Monkey,” written by Curtis Williams (aka Clarence Sims), is pure fun. Rowland belts, “All you want to do is argue me down, you got the nerve of a big brass monkey,” with Anson Funderburgh laying down tasteful, understated guitar licks and Rowland himself playing piano.

On the original “Gamblin’ Blues,” Rowland laments, “Just can’t keep gamblin’, lost my money last night. I’m beggin’ you, baby, loan me one more dime.” He plays guitar with the same intensity as his harp, capturing that “one more roll” desperation perfectly.

“E.G.O.” (Everyone’s Got One) brings a funky edge as Rowland groans, “You just can’t let it go… E.G.O., it’s a natural thing.” Burgin’s biting guitar lines pair beautifully with Andersen’s Hammond B-3 swells.

“Complete This Order,” written by St. Louis Jimmy Oden and recorded in 1964, showcases Rowland’s deep blues phrasing and control. He sings, “There’s just a few things I want you to do… bring me these things,” in a delivery equal parts pleading and confident.

On the playful “Coffee Man,” Rowland quips, “I’ll be your coffee man, cream and sugar when I can… just don’t ask for no decaf.” He accompanies himself on guitar, serving up an irresistibly swinging groove.

The instrumental “Stockton Boulevard” is pure fire, featuring Rowland’s harmonica front and center, Justin MacCarthy on guitar, and Andersen adding a soulful B-3 backdrop.

The Junior Parker classic “Backtracking” (1955) lets Rowland show his command of traditional phrasing as he wails, “It’s been a long time, baby, since your daddy held you tight.”

Rowland’s original “Must’ve Been a Dream” finds him reflecting, “It must’ve been a dream, Lord, I had last night. I know I was dreaming, ’cause my old lady was treatin’ me right.” Burgin’s guitar adds the perfect amount of bite and humor.

“The County Pen” is another standout original, with Rowland crooning, “In a county pen, I did some time, I met my best friend… I hope I see you again when I’m out.” His delivery carries both grit and grace.

The album closes with a rousing gospel finale, “This Train,” first documented by Alan Lomax in 1922. Rowland sings, “This train is bound for glory, this train… all who ride it must be holy,” with guitars from MacCarthy and Andersen lifting the song heavenward.

With Not Holding Back!, Kyle Rowland delivers a masterclass in contemporary blues that honors tradition while carving his own voice into the genre’s future. His harmonica tone is massive, his vocals rich and soulful, and his musicianship overflowing with fire and feeling. Whether he’s crooning, wailing, or swinging, Rowland is truly not holding back.

Richard Ludmerer
Contributing Editor / Making A Scene

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