Artist Gallery Photo

Shemekia Copeland

Tue, Oct 25 -
Wed, Oct 26, 2022




$36.50 ($8.00 Handling Fee Included) All purchases are nonrefundable/nonexchangeable.

Tickets may be purchased on-line or by phone.
Night of show seating typically available.



KNKX and Dimitiriou's Jazz Alley welcome 4X Grammy-nominated blues/roots singer and national treasure, Shemekia Copeland for two nights, on tour in support of her brand new release Done Come Too Far. Band members are Shemekia Copeland (vocals), Arthur Neilson (lead guitar), Willie Scandlyn (rhythm guitar), Kevin Jenkins (bass) and Robin Gould III (drums). Show times Tuesday and Wedneday at 7:30pm. Doors open at 6:00pm each night.

artist info

Award-winning blues, soul and Americana singer Shemekia Copeland possesses one of the most instantly recognizable and deeply soulful roots music voices of our time. She is beloved worldwide for the fearlessness, honesty and humor of her revelatory music, as well as for delivering each song she performs with unmatched passion. Copeland — winner of the 2021 Blues Music Award for B.B. King Entertainer Of The Year— connects with her audience on an intensely personal level, taking them with her on what The Wall Street Journalcalls “a consequential ride” of “bold and timely blues.” NPR Music says Shemekia sings with “punchy defiance and potent conviction.” The Houston Chronicle describes her songs as “resilient pleas for a kinder tomorrow.”

On her new Alligator album, ,i>Done Come Too Far, Copeland continues the story she began telling on 2018’s groundbreaking America’s Child and 2020’s Grammy-nominated Uncivil War, reflecting her vision of America’s past, present and future. On Done Come Too Far, she delivers her hard-hitting musical truths through her eyes, those of a young American Black woman, a mother, and a wife. But she likes to have a good time too, and her music reflects that, at times putting her sly sense of humor front and center. “This album was made by all sides of me — happy, sad, silly, irate — they’re all a part who I am and who we all are. I’m not political. I’m just talking about what’s happening in this country.”

Copeland is used to the spotlight. Born and raised in Harlem, New York in 1979, she first stepped on stage with her famous father at New York’s Cotton Club when she was eight. As soon as Copeland released her Alligator Records debut Turn The Heat Up in 1998 at age 18, she instantly became a blues and R&B force to be reckoned with. The New York Times and CNN, among many others, praised her talent, larger-than-life personality, dynamic, authoritative voice and true star power. With each subsequent release, Copeland’s music continued to evolve. From her debut through 2005’s The Soul Truth, Shemekia earned eight Blues Music Awards and a host of Living Blues Awards. 2000’s Wicked received the first of her four Grammy nominations. After two successful releases on Telarc (including 2012’s Grammy-nominated 33 1/3), Copeland returned to Alligator Records in 2015 with the Grammy-nominated, Blues Music Award-winning Outskirts Of Love, melding blues with more rootsy, Americana sounds. With 2018’s America’s Child, Copeland, now the mother of a baby boy, sang about the blessings and curses of the world around her. MOJO magazine named America’s Child the #1 blues release of 2018. It won both the Blues Music Award and the Living Blues Award.

In addition to earning a Grammy Award nomination (her fourth), Copeland’s groundbreaking 2020 release Uncivil War was named the 2020 Blues Album Of The Year by DownBeat, MOJO and Living Blues magazines. The album, like its predecessor, looked at the hardships and happiness people encounter, seeking common ground, demanding change and still finding ways to have a good time. “Shemekia Copeland is a powerhouse,” said Rolling Stone. “She can do no wrong.”

Copeland has performed thousands of gigs at clubs, festivals and concert halls all over the world, and has appeared in films, on national television, NPR, and has been the subject of major feature stories in hundreds of magazines, newspapers and internet publications. She’s sung with Bonnie Raitt, Keith Richards, Carlos Santana, Dr. John, James Cotton and many others, and has shared a bill with The Rolling Stones. She entertained U.S. troops in Iraq and Kuwait in 2008, a trip she says, “that opened my eyes to the larger world around me and my place in it.” In 2012, she performed with B.B. King, Mick Jagger, Buddy Guy, Trombone Shorty, Gary Clark, Jr. and others at the White House for President and Mrs. Obama. She has showcased on PBS’s Austin City Limits and was the subject of a six-minute feature on the PBS News Hour.

Copeland was the subject of a recent Washington Post Sunday magazine story and appeared on both NPR’s Weekend Edition and Here And Now. And NPR’s Jazz Night In America recently aired an hour-long program featuring Copeland. In April 2022, she performed at the United Nations General Assembly Hall to a worldwide audience of millions as part of International Jazz Day celebrations. Copeland continues to host her own popular daily blues radio show on SiriusXM’s Bluesville.

But it’s not just press and radio singing Copeland’s praises. She is beloved by her fellow musicians across genres and demographics. Jeff Beck called her “amazing.” Carlos Santana said, “She’s incandescent…a diamond.” Bonnie Raitt told BBC radio, “Shemekia always knocks me out.” The late John Prine said, “She doesn’t sound like anybody else.” Mary Gauthier declared, “Shemekia is one of the great singers of our time. Her voice is nothing short of magic.”

With Done Come Too Far, Copeland hits harder than ever with musically and lyrically adventurous songs and jaw-dropping performances that are at once timely and timeless. The Chicago Tribune’s famed jazz critic Howard Reich said, “Shemekia Copeland is the greatest female blues vocalist working today. She pushes the genre forward, confronting racism, hate, xenophobia and other perils of our time. Regardless of subject matter, though, there’s no mistaking the majesty of Copeland’s instrument, nor the ferocity of her delivery. Copeland reaffirms the relevance of the blues.”

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