Harrell “Young Rell” Davenport: Young Rell Review

Raised in Vicksburg, Mississippi, Harrell “Young Rell” Davenport began playing guitar and harmonica at age seven. He immersed himself in the rich history of the blues, studying everyone from Delta legends to Chicago blues icons on YouTube. At just 17, he made his Chicago debut, performing solo by singing and playing harmonica and guitar to a packed 500-seat theater at The University of Chicago’s Logan Center for the Arts. By the time he finished high school, he had written more than 150 original songs and built a global following through social media posts that showcased his musicianship and deep knowledge of blues history.

That passion shines throughout this 12-song debut, which feels less like the work of a promising newcomer and more like that of an artist with a well-established voice. Rather than simply mimicking the past, Davenport embraces tradition while seasoning it with personality and fresh songwriting to keep the album vibrant and authentic. Billy Branch, who has mentored Davenport since he was 15, puts it plainly: “In my 46 years of teaching Blues in Schools, never have I encountered anyone as young as Harrell Davenport with such a laser-focused drive and ability to play the Blues as it was played in the bygone golden era of the masters.”

Young Rell producer Matthew Skoller assembled a cohesive supporting cast. Kid Andersen handles co-production, engineering, mixing, mastering, and contributes guitar work, while keyboard legend Jim Pugh, bassists Daquantae “Q” Johnson and Endre Tarczy, drummer June Core, and horn arrangers Larry Batiste, Aaron Lington, and Niel Levonius create a rich musical atmosphere that perfectly complements the young frontman. Together, they give Davenport the space to showcase his impressive skills as a guitarist, harmonica player, vocalist, and songwriter.

The album opens with “Tomorrow,” a lighthearted, classic Chicago blues-style tale about dealing with the opposite sex as a young artist: “come back tomorrow when I’m grown.” It’s an infectious song that displays both polish and humor. The next track, “Fatherless Child,” serves as the emotional centerpiece, offering a personal exposé of loss and resilience with remarkable honesty. His vocals carry genuine weight without wallowing in drama and are framed by expressive guitar and keyboards that allow the song’s soul to unfold naturally.

“Spinning” shifts the mood entirely, blending soul-infused grooves with crisp horn arrangements that recall classic Southern soul. A personal favorite, “I Be Tryin'” is a catchy teen blues shuffle about keeping your “P’s & Q’s real close” and “stay inside the line.” “Giving Me The Blues” takes the opposite view, expressing frustration with unsolicited advice despite minding those “P’s & Q’s.” It features a prominent electric guitar lead and is currently featured on Joe Bonamassa’s Cutting Edge Blues playlist on Spotify. “Richland Swing” is a dance-worthy instrumental full of swinging electric blues. Another instrumental, “Nite Creepin’,” is a harmonica-infused boogie designed for the dance floor.

Throughout the record, Davenport’s harmonica playing consistently commands attention, often becoming another voice in the music. On “Hurt People, Hurt People,” his harp delivers aching phrases that complement the song’s poignant lyrics. Jim Pugh’s piano work adds another layer of sophistication, resulting in one of the album’s most compelling performances. The album also shines through its cover selections. Davenport’s version of Bob Dylan’s “Masters of War” applies classic blues to the timeless folk message. Meanwhile, his take on Fenton Robinson’s “I Hear Some Blues Downstairs” shows not only impeccable taste but also a deep respect for blues history. Davenport makes the song feel like a natural extension of his own musical identity.

Elsewhere, “I’ll Keep It Hot for You” showcases Davenport’s playful, sharp guitar work. Closing track “The World Don’t Deserve Your Smile” provides a fitting finale with a twangy lead, leaving listeners with one last reminder of the maturity that defines the album.

One of the most exciting aspects of today’s blues-rock landscape is the number of young artists gaining visibility. Taj Farrant, Grace Bowers, and Mathias Lattin have all impressed before their 21st birthdays. A champion of Harrell’s talents, Christone “Kingfish” Ingram was himself a teen phenom. When talent this young crosses our path, age unfairly becomes part of the conversation. At just 19 years old, Harrell “Young Rell” Davenport is one of those artists. The remarkable thing about his debut album, however, is how quickly you stop thinking about his age. Young Rell isn’t impressive because it was made by a teenager. It stands on its own as one of the strongest traditional blues releases of the year.

The Review: 9/10

Can’t Miss Tracks

– Fatherless Child
– Givin’ Me the Blues
– I Be Tryin’
– Hurt People, Hurt People
– Nite Creepin’
– I Hear Some Blues Downstairs

The Big Hit

– Fatherless Child