Biography
Guitarist, singer, and songwriter Sherman Robertson embodies the musical melting pot of his upbringing, blending zydeco, swamp blues, electric blues, and classic rhythm & blues into one distinctive sound. His approach to the instrument centers heavily on rhythm yet incorporates remarkable slide work, allowing him to deliver extended, memorable solos throughout his usual three-hour performances. Years spent touring in the 1980s alongside zydeco pioneer Clifton Chenier directly shaped that rhythmic foundation, while earlier stints with Rockin' Dopsie and Terrance Simien & the Mallet Playboys preceded his decision to launch a high-energy blues project under his own name. Executives at Atlantic/Code Blue soon took interest in the emerging artist.
For that label, which ceased operations in 1996, Robertson completed two albums: the striking debut I'm the Man in 1994 and the follow-up Here & Now in 1995. "I focus on the good time, upbeat blues," says Robertson, born in Breaux Bridge, LA but raised across the border in nearby Houston. "Playing with zydeco bands all that time, everybody was always dancing. The guys I learned from were all playing dance music. When zydeco blues comes to town, you can't sit still. Yet people have this concept of blues as depressing. I say,'Forget your problems, I play dance music.' ''
A televised appearance by country artist Hank Williams, composer of the bayou favorite "Jambalaya," first sparked Robertson's musical interest at age thirteen and redirected his path. After hearing blues inflections in the performance, he persuaded his father to purchase a used Stella guitar for twelve dollars; he then immersed himself in the material of Freddie King and Floyd London, frequently practicing until his fingers bled and often falling asleep with the instrument at his side. Residence in Houston placed him steps from Don Robey's Duke/Peacock Records studios, where he befriended many visiting luminaries; by seventeen he was sharpening his skills in a local blues group and performing regularly in Fifth Ward clubs.
Chenier discovered Robertson at the 1982 Crosstown Blues Festival and instructed his driver to "get that guitar player," initiating an extended collaboration. Robertson relocated to Louisiana, absorbing lessons from the accordionist on audience engagement. He later contributed to Paul Simon's Graceland sessions and shared stages with heroes including Albert Collins, B.B. King, and Lightnin' Hopkins. Following Chenier's death, he joined accordionist Terrance Simien from 1987 to 1988, gaining further experience on tours that reached Egypt and Africa. After two-and-a-half years with the Mallet Playboys, he formed his own band in the early 1990s, soon captivating blues festivals; reviewers began predicting he would fill the void left by Albert King and Albert Collins.
I'm the Man marked the inaugural release under Atlantic's Code Blue partnership, every cut immediately suitable for airplay. Here & Now featured Robertson's interpretation of the Tracy Nelson composition that supplied the album title, which he characterized as his blues opera. Throughout the remainder of the decade few peers matched his combination of strong material, fluid guitar lines, and commanding vocals. Label setbacks never deterred him, and he ultimately secured a new affiliation with a prominent independent outlet while sustaining the level of performance that had already defined his career.
For that label, which ceased operations in 1996, Robertson completed two albums: the striking debut I'm the Man in 1994 and the follow-up Here & Now in 1995. "I focus on the good time, upbeat blues," says Robertson, born in Breaux Bridge, LA but raised across the border in nearby Houston. "Playing with zydeco bands all that time, everybody was always dancing. The guys I learned from were all playing dance music. When zydeco blues comes to town, you can't sit still. Yet people have this concept of blues as depressing. I say,'Forget your problems, I play dance music.' ''
A televised appearance by country artist Hank Williams, composer of the bayou favorite "Jambalaya," first sparked Robertson's musical interest at age thirteen and redirected his path. After hearing blues inflections in the performance, he persuaded his father to purchase a used Stella guitar for twelve dollars; he then immersed himself in the material of Freddie King and Floyd London, frequently practicing until his fingers bled and often falling asleep with the instrument at his side. Residence in Houston placed him steps from Don Robey's Duke/Peacock Records studios, where he befriended many visiting luminaries; by seventeen he was sharpening his skills in a local blues group and performing regularly in Fifth Ward clubs.
Chenier discovered Robertson at the 1982 Crosstown Blues Festival and instructed his driver to "get that guitar player," initiating an extended collaboration. Robertson relocated to Louisiana, absorbing lessons from the accordionist on audience engagement. He later contributed to Paul Simon's Graceland sessions and shared stages with heroes including Albert Collins, B.B. King, and Lightnin' Hopkins. Following Chenier's death, he joined accordionist Terrance Simien from 1987 to 1988, gaining further experience on tours that reached Egypt and Africa. After two-and-a-half years with the Mallet Playboys, he formed his own band in the early 1990s, soon captivating blues festivals; reviewers began predicting he would fill the void left by Albert King and Albert Collins.
I'm the Man marked the inaugural release under Atlantic's Code Blue partnership, every cut immediately suitable for airplay. Here & Now featured Robertson's interpretation of the Tracy Nelson composition that supplied the album title, which he characterized as his blues opera. Throughout the remainder of the decade few peers matched his combination of strong material, fluid guitar lines, and commanding vocals. Label setbacks never deterred him, and he ultimately secured a new affiliation with a prominent independent outlet while sustaining the level of performance that had already defined his career.
Albums
