Recent Articles

Recent Articles by Mark Keresman

  • Josh Hoge

    With Ernie Halter. Monday, June 9, at the Beachland Tavern.

  • Silver Jews

    Lookout Mountain, Lookout Sea (Drag City)

  • Jamie Lidell

    Jim (Warp)

  • Dave Cousins

    Friday, March 14, at the Winchester, Lakewood, and Saturday, March 15, at the Kent Stage, Kent.

  • She & Him

    Volume One (Merge)

National Features >

  • Broward-Palm Beach New Times

    Sexual Healing

    For Florida's sole remaining sex surrogate, love is a many splintered thing.

    By Michael J. Mooney

  • City Pages

    Your Friendly Neighborhood War Profiteer

    It's not just giant companies cashing in on America's defense industry.

    By Jeff Severns Guntzel

  • The Pitch

    Supersizing Sonic

    How a throwaway idea at the Barkley ad agency became the "Sonic Guys."

    By Justin Kendall

  • Houston Press

    Temples of Tex-Mex

    A diner's guide to Texas's oldest Mexican restaurants.

    By Robb Walsh

Deborah Coleman

Saturday, November 19, at Wilbert's.

By Mark Keresman

Published on November 16, 2005

Vainglorious mythology tells us that in order to play the blues, one must live the blues. Blues players originate from oppressive American environs, like the segregated South or the urban, industrial Midwest. There are, of course, other clichés, but Deborah Coleman negates most of them. Born 1956 in Portsmouth, Virginia, Coleman was moved to play music because of the TV show The Monkees and got into the blues by way of the U.K.'s Cream and Led Zeppelin.

After years of balancing the demands of day jobs, marriage, and motherhood, Coleman got her first big break in 1993 at a South Carolina blues festival, which eventually led to a five-year association with iconic blues label Blind Pig. There, Coleman honed to a fine point her rock- and R&B-tinged style. On her latest, What About Love (Telarc), Coleman ups the old-school soul/R&B content a bit and dusts her originals with undertones of Little Feat and fabled New Orleans. But she never cuts back on her expressive singing, diamond-sharp guitar-playing, and sleek, no-frills production. Coleman knows the blues, and she sings with such natural assurance that she's never had to resort to posturing as a Big Ballsy Mama to get her point across.