Glorious, rootsy R&B, gospel, blues and country. Full of soul and surprises.
The Holmes Brothers deliver magnificent old time, gospel-style R&B, and raw electric blues with unparalleled artistry and authenticity. Sherman’s bottomless baritone, Wendell’s classic soul singer’s wail and Popsy’s otherworldly falsetto do more than complement one another; on stage or in the recording studio, the three become like a mystical fourth entity, inexplicable yet sublime, a gift to the world of music.
A breathtaking and heartfelt journey through gospel-drenched soul, blues, funk and country.
Timeless, deeply soulful and uplifting gospel-drenched blues, street corner doo-wop, ballads, R&B, country and funk.
Over the course of their 30-plus year career, The Holmes Brothers (bassist/vocalist Sherman Holmes, guitarist/pianist/vocalist Wendell Holmes, drummer/vocalist and brother-in-spirit Popsy Dixon) have been feeding the souls of their devoted and ever-growing fanbase with a joyous and moving blend of blues, gospel, soul, R&B, rock ‘n’ roll and country. Their amazing three-part harmony singing, mixing Wendell’s gruff and gravelly vocals with Popsy’s soaring falsetto and Sherman’s rich baritone brings the soul and spirit of gospel music into everything they perform. Equally gripping is the rhythmic foundation laid down by Sherman’s bass playing and Popsy’s drumming, perfectly complimenting Wendell’s blues-soaked guitar solos and church-inspired piano playing. The band easily blends Saturday night’s roadhouse rock with the gospel fervor and harmonies of Sunday morning’s church service.
From winning multiple Blues Music Awards to sharing stages and recordings with Bob Dylan, Van Morrison, Bruce Springsteen, Patti Smith, Willie Nelson, Lou Reed, Peter Gabriel, Merle Haggard, Keith Richards, Al Green, Ben Harper, Lucinda Williams, Steve Earle, Levon Helm, Rosanne Cash, Odetta, and The Jungle Brothers. The Holmes Brothers have seemingly done it all. Recently though, The Holmes Brothers confronted a stark reality when brother Wendell was diagnosed with cancer in 2008. Tight-knit on and off the stage, they found strength in their family, friendship and faith to overcome this setback. With Wendell’s victory over the disease, the group emerged fully energized and inspired, to create the deepest, most original, most satisfying album of their career. Feed My Soul, produced by their longtime friend and collaborator Joan Osborne, is an album born from this harrowing experience. The songs deal with friendship, loyalty, family, aging, illness, as well as politics and the current state of the world, while still maintaining the patented Holmes Brothers sense of humor. Mostly though, the album is about triumphing over adversity, overcoming obstacles and, ultimately it is a declaration of the power and faith of a strong and devoted family.
Feed My Soul features the band’s exhilarating, spine-tingling harmonies, boundless energy and telepathic musicianship over the course of nine originals (the most they’ve ever put on an album) and five fitting and perfectly executed covers, including a poignant reinvention of The Beatles’ I’ll Be Back and the mesmerizing Something Is Missing, a never-before recorded original by famed soul man John Ellison (writer of the classic Some Kind Of Wonderful). Opening with Sherman’s worldly wise vocals on Dark Cloud, moving through Wendell’s soulful singing on Fair Weather Friend and closing with Popsy’s soaring voice bringing an emotionally fitting end to the album on Take Me Away, Feed My Soul is a powerfully uplifting experience, and by far and wide the deepest cycle of songs and most thematically linked body of work The Holmes Brothers have ever produced.
Helping to shape Feed My Soul are the strength and deep roots of the Holmes family. Sherman and Wendell Holmes were raised in Christchurch, Virginia. Their schoolteacher parents fostered the boys’ early interest in music as they listened to traditional Baptist hymns, anthems and spirituals as well as blues music by Jimmy Reed, Junior Parker and B.B. King. Sherman studied composition and music theory at Virginia State University, but in 1959, he dropped