Selwyn Birchwood

Electric Swamp Funkin’ Blues

Alligator Records

Selwyn Birchwood, born in 1985 in Orlando to a father from Trinidad and Tobago and a mother from the United Kingdom, grew up in the Tampa area and discovered guitar at age thirteen. By seventeen he had immersed himself in the music of Jimi Hendrix, Albert King, Freddie King, and Albert Collins. A live performance by Buddy Guy proved life-changing, convincing Birchwood that blues would become his path. He later formed a close relationship with Sonny Rhodes, who became both mentor and touring companion, teaching him not only music but the practical side of surviving in the business.

Birchwood released his debut recording, “Florida Boy,” in 2011, followed by “Road Worn” in 2013. Representing the Suncoast Blues Society at the International Blues Challenge, he first placed ninth in 2012, then returned in 2013 to win first place and earn the Albert King Guitarist of the Year honor. Bruce Iglauer, judging that competition, soon signed Birchwood to Alligator Records, while Birchwood also secured representation with Intrepid Artists.

His first Alligator release, “Don’t Call No Ambulance” in 2014, immediately drew critical praise and earned him the 2015 Blues Music Award for Best New Artist Debut. He followed with “Pick Your Poison” in 2017, “Living in a Burning House” in 2021, “Exorcist” in 2023, the independently released “Old School” in 2024, and now the 2026 release “Electric Swamp Funkin’ Blues.”

On this new album, Birchwood handles guitar, vocals, and lap steel guitar, joined by Regi Oliver on baritone, tenor, alto, and bass saxophones plus flutes; Donald “Huff” Wright on bass; Henley Connor III on drums and percussion; John Hetherington on Hammond B-3 organ, keyboards, and piano; Eli Bishop on violin, viola, and cello; and Briana Lutzi and Taylor Opie on backing vocals.

“Electric Swamp Funkin’ Blues” features ten original songs, all written and arranged by Birchwood. The album was produced by Birchwood, recorded by Bob Frank at Baysound Studios, mixed by Zach Allen, and mastered by Richard Dodd.

The opening track, “The Eagle Has Landed,” begins as an instrumental introduction before flowing directly into “The Church of Electric Swamp Funkin’ Blues,” where Birchwood lays out the album’s philosophy. Singing, “This is the Church of Electric Swamp Funkin’ Blues,” he builds a musical manifesto that rejects dogma and embraces joy, liberation, and community. The song’s horn arrangements are especially striking, helping lead to Regi Oliver’s 2026 Blues Music Award nomination for Best Instrumentalist–Horn.

On “Damaged Goods,” Birchwood delivers one of the album’s most direct lyrical statements: “I might be damaged goods, but that don’t mean that I’m no good.” The song balances vulnerability with resilience, grounded in his thick guitar tone and steady groove.

“All Hail the Algorithm” takes aim at digital life and surveillance culture. Birchwood sings, “Have you ever had a conversation in the privacy of your home, only to find it advertised the next time you open your phone?” It is sharp, contemporary songwriting wrapped inside swampy blues-funk.

“Labour of Love” shifts toward family life, exploring parenting and commitment. Birchwood captures the strain and devotion of long-term relationships with a warmth that keeps the song grounded.

“Should’ve Never Gotten Out of Bed” leans into dark humor, stacking one disaster after another—IRS trouble, overdue rent, and romantic betrayal—into a blues complaint that feels both modern and timeless.

On “What I’ve Been Accused Of,” Birchwood plays against suspicion and jealousy, while John Hetherington’s piano work adds color and movement underneath the vocal.

“Talking Heads” pushes back against noise and manipulation, while “Soulmate” brings a lighter emotional touch, encouraging patience and hope.

The closing track, “The Struggle Is Real,” ends the record with a broader reflection on hardship and healing, Birchwood repeating the phrase like both warning and promise.

Selwyn Birchwood continues to stand apart as one of modern blues’ most original voices. On “Electric Swamp Funkin’ Blues,” he does not simply preserve tradition—he bends it, stretches it, and makes it speak directly to the present. His sound remains rooted in blues, but it refuses to stay still.

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Richard Ludmerer

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