Nicholas Alexander is unique, unique in that he is steadfast in his determination to be the person he is–on stage and in life. Taking into consideration the challenges he’s faced in his life, this is surely no small task. While some may believe that he was born to play the blues due to his lineage, his relationship with music and the blues was something cultivated over time. Not unlike many of us who find our calling, you can find his journey marked by a series of moments that led him to his place in music. Even with those moments, Nicholas’ perseverance and his ability to be “fluid” is what truly made him the entertainer he is today. After spending 3 hours with Nicholas, I know that unequivocally, Chicago and the world of music have a wonderful and rare artist that we should be incredibly grateful for.
AP: It drives me a little crazy when people or interviewers say or ask specific things that are lazy. It’s like they have a script and just follow it no matter what. For instance, there are some who describe you as “up-and-coming.” While I know that’s technically true, you are not new to the blues community.
NA: I would say it’s more “up and coming,” as perhaps having a full show together. I don’t know what their version of it is, but I’ve been playing at Legends since I was 16 and I’ve been doing openers here since about the same time. I will say that sometimes I feel like I don’t get the credit maybe that– not deserved, but for me– I mean, who am I to say I deserve anything? I know who I am, and if you know what you are, it doesn’t really affect me because I’m on stage doing my thing. Truly, people can say whatever they want as long as the paper is out. (We laugh)
AP: I am curious what the criteria for someone not being an “up-and-comer” is; who or what decides that? Is it age? An album? A tour? It feels really vague and I think that’s what bothers me about it. You’re an artist just the same as anyone else coming through here. I’m not down for people undercutting the hard work and time that someone has put into their craft, regardless of age or whatever arbitrary notion.
NA: Yeah, I’m sure they don’t mean it in a degrading way, and like I said, I’ve been doing this for a while so I don’t worry about what people label me. I know who I am when I’m up there.
AP: Has your sexuality or gender identity influenced the way you approach your music?
NA: I’m not a fan of being put in boxes. It’s not about hiding anything; it’s just simpler sometimes to say I’m gay than to delve into the whole discussion about being bi. I’m comfortable with who I am, whether it’s sporting a sew-in and fake nails or anything else that reflects me. It’s also a way to show that diversity is real. But at the end of the day, people accept me for me. Whether I’m out at a club or just being myself, I don’t fit neatly into any stereotype. Then, when I’m on stage doing my thing with a guitar, it’s about breaking stereotypes and getting people to see beyond labels. Kindness, respect, and keeping calm are important to me, even when faced with challenges. I stand up for what’s right but try to do it gracefully. It’s about understanding that we all have our struggles. We’re often so focused on ourselves. Like at a recent funeral, most people stopped out of respect, except for one who didn’t seem to care. It’s a reminder that we’re all human, dealing with our own journeys. I prefer not to judge because everyone has their story. Let’s keep things positive, show kindness, and embrace our differences without needing to label everything.
AP: So it’s better to just default to “grace.” Makes sense to me: if you hadn’t shown someone grace who was unkind to you, it may not have given them a chance to reevaluate how they had behaved once they knew a little more about you. In that, have you experienced any difficulty in the community, artists or otherwise?
NA: There have been times when artists, who haven’t personally met me but have heard of me, developed certain misconceptions about my character, perceiving me as naive and uninformed. It’s important to me to clarify that I am both intelligent and intuitive. When faced with something I don’t know, I make it a point to seek knowledgeable individuals or reliable sources to fill the gap. For example, I was once advised to promote my album within a specific timeframe, which puzzled me. I believe in the timeless potential of music, as history shows that songs can become hits long after their release. This journey has taught me that the skepticism I encounter might stem from others’ constraints, not my abilities. I strive to approach these challenges with understanding and to demonstrate that with dedication, what seems unattainable to some is indeed achievable. Some might hesitate or be too scared to take the leap, but I’m determined to go for it. The way I see it, I’d rather try and have no regrets. After all, if you don’t take the chance, the only person you can blame is yourself.
AP: So you’d rather be yourself and play the way you want to play and risk losing a gig over fighting into a preconceived notion of what you’re supposed to be? I think there’s no shortage of people/artists who would be happy to placate talent buyers.
NA: I think, “Why? What’s the point?” It doesn’t help me at all. We’re all headed to the same end, and nobody really knows what comes after. I’m not in a hurry to find out, especially if it’s too late by then. We’ve only got this one life, and who knows what could happen, or if everything might just fall apart. I wouldn’t say I’ve faced a lot of pushback, but there’s always someone who won’t be a fan. I’m not looking to create bad blood with anyone, and that’s why I act with grace.
AP: When did you feel like you were ready for the stage?
NA: My dad ran the Kingston Mines Jam for about 10 years. I was there a lot, and the first time I played on stage was during that period. I’m not sure if I was ready back then, but he fell ill around when I was 15 or 16. Despite frequently being in and out of the hospital, he kept working. Those Sunday gigs were long, and he would be exhausted. Eventually, I realized I needed to sing to lighten his load, and I did. I think I still have a video of that time. He’s not one to ask for help, so when he was too tired, I’d tell him to rest in the car until he felt better to return. And he always did return. He made sure to complete his shows, even on tough days. On good days, he’d take charge with a strong spirit, saying, “Alright, sit down, I’m going to do my thing.” It wasn’t so much for me as it was for supporting him.
AP: It wasn’t about feeling comfortable, it was about doing what needed to be done.
NA: Yeah, and that evolves into him getting me into Buddy Guy’s, getting me into these little things and that slowly turned into me playing for myself. For a long time he was out there playing and I was out there.
AP: At what point do you think you found your actual voice as an artist?
NA: Maybe, 20 or 22, when I did (Chicago) Blues Fest for the first time. I always knew what I had, but after that performance, I thought, you can actually do this.
AP: Your album: what was the idea that got it started?
NA: I was sort of on a James Brown kick and there was just something about what he was doing that reminded me of my dad on Sunday, because he would have horns and would have like a very small time version of that.
AP: Was your dad a fan of James Brown?
NA: I assume so, I mean he listened to everyone. He knew so much music it was insane. He knew every song, he could play every song and people could call my dad the worst guitar player in the world but…
AP: (Surprised) Do they?
NA: I mean, technically, he’s not the best, but when you listen to Linsey, he’s got style. You can play Linsey’s music anytime, and it sounds good because of his style. So when people say, “My students can play as well as him,” I think, “Yeah, but your students couldn’t entertain a crowd, talk shit and get away with it, drive a Cadillac, wear a fur coat and still own it.” It’s all about the whole show. What I loved about James Brown was that it was perfect. I’m a perfectionist, so that really hit home for me. It was more than music; it was a show. So, for my release party on April 27th, it wasn’t just any show. We rehearsed, we prepared; it was an incredible show. When I can bring everything I do together for a night-that night-it was golden.
(We take a short video break, as he shows me the aforementioned Blues Fest performance. He looks very different but you can see how this performance was a catalyst).
NA: I ate this performance up.
AP: Is this when you started feeling good as a band leader too?
NA: No, I felt comfortable as a band leader well before that. Again, this is when I realized that this is what I should be doing, not working a day job. Truly since I was about 17 I’ve felt good about it. Once I got into doing more, helping my dad with his sets, it’s easy. You learn a lot along the way, but as far as feeling comfortable and knowing what to do and the basics fundamentals, as you can see, I had them all together.
AP: Any significance to the tattoos you would share?
NA: Oh yeah, this is my mom’s signature. She passed away when I was 18 so I got a rose, and her favorite color is purple, some people think it looks black but up close you can tell. Then there’s “live or live”–we’re living and we’re always live. My mom said she always wanted to be a bird so I got a peacock, I’m a pisces so I got a betta fish. This is my dad’s, it’s his signature. It’s not really a good one, I had a bad copy of it. I was already there and was getting on my hand, I told them let’s do some cadillac-esque font. He always drove cadillacs.
AP: Was his bike a cadillac?
NA: No, he had a Honda golden wing and he turned it into a trike.
AP: Oh yeah! I remember that.
NA: (Laughing) There are times I look at him and think, you are so irritating, but I love him though. What can you say, it’s Linsey.
AP: It was cool to see him pull up during Blues Fest here at the club. NA: That’s how—people don’t get it, you don’t make money, even when you’re not working, you’ve got to be out. I try to make sure I go out and do the same thing he did, go out to every club every night, I text these people every night for a gig, they don’t give it to me, “Hi, I’m here!” You can’t forget about me because I’m here. You’ve got to be there, they won’t remember you otherwise. You’ve got to show your face.
AP: You have quite a few videos posted from Johnny BlitzI think it’s called, is there any significance to that joint?
NA: My dad started playing there, and that’s how he met Connor. He was working at Johnny Blaze as a sound engineer and booking, and that’s how I met Connor. So I’ve known Connor since I was about 17 and a half or 18. So, Connor would always book me over there, they love me over there. I don’t play there as much now-it’s been about 2 years-but I played there on the 30th of March. Truthfully, one of the reasons I’m playing there is for the money, but it’ll be nice to go back and play there after so long too.
AP: Making money is great, though to be honest, sometimes I feel like the idea of saving money for a day that I’ll retire or some day that I finally don’t “need” to work anymore seems like a fantasy or like a joke. That day may never come for one reason or another. Instead I decided that I would focus on things like, making sure I’m there for my family, having dinner, going on walks together, calling my friends to check in. I made that decision 5 years ago and with the exception of a few unfortunate events here and there, I’ve never been happier.
NA: I try not to have anxiety about that (we chuckle uncomfortably). It’s about living. I honestly, I have put up with so much. I’ve went through a lot of, I don’t want to say hard times or hard years, but a lot of turmoil, and I’m not doing that no more. I want to go outside, I want to enjoy myself, I’ve made it this far, I’ll be okay. Sometimes I see people working so hard and stressing themselves out so bad, and I wonder, “Where’s your joy?”
AP: Your new album–it released at the end of April. When did you first conceptualize the album?
NA: Well, like I mentioned, I was really into James Brown, thinking we need to tap into this somehow. James Brown is like the foundation—not for everything, but he’s a huge part of today’s music. He’s the most sampled artist, able to sing in any genre. He practically invented rap, just listen to his flow in some tracks; that’s rapping right there. He has thousands of songs, and though we haven’t heard them all, they’re out there. He’s made it through every music era, the ‘80s, the ‘90s, even disco, adapting his sound to fit the times, whether it’s disco-esque or ‘80s rock or ‘90s rap vibes. For me, it’s also about how he conducted his business—everything was precise, down to the last detail. That’s how I want to run my show; serious, no messing around. I picked songs like “Soul Power” and “Make It Funky” and got hooked on his live performances, like “Popcorn” at Woodstock ‘99 or “Make It Funky” in London ‘04. I explored various versions, working with the band until we nailed it. This was all about capturing that “Old Brown” essence. But I also had to find where my dad fits into this. I initially had more songs planned, but ended up focusing on what felt right, narrowing it down to three James Brown tracks, a Ray Charles song, and the rest from my dad’s repertoire. It’s a blend of what I was feeling and listening to at the time, influenced by greats like Buddy Guy, James Brown, and my dad. I’m all about the performance, drawn to great performers across genres, from Selena to Jenni Rivera. That’s what sparked this whole project.
AP: Social media has become part of our everyday lives; has social media affected or changed the way you approach or present your music to an audience?
NA: Now that I’m taking music more seriously, I’ve become more mindful about my public persona, especially since what’s shared online stays there forever. I’m cautious about not sharing inappropriate moments, like getting too drunk, on platforms like Instagram. Personally, I’m not keen on becoming a content creator, but given the current digital landscape, I find myself nudged towards it. However, I believe in the principle that less is more with social media. Oversharing can lead to unnecessary criticism and interactions that I prefer to avoid, especially from those who critique without understanding the craft themselves. Additionally, I feel a bit like an old-timer with technology. I recently got a new computer and find myself struggling with it, often calling Fil Kinetic for help, wondering why things are not where they used to be. I do scroll through social media, but often find the content trivial. Despite this, I recognize the importance and utility of social media in today’s world.
AP: To make it a job is…
NA: Not something I want to do. And people will tell me. “You can get someone to do it for you,” but then I have to pay someone else to do that job, which means I now need two jobs. I don’t need that, I don’t want to become a TikToker, I don’t want to do that.
AP: Do you have any hobbies or special talents outside of music?
NA: I don’t know really, what do we consider hobbies and talents here? Honestly when I have the time, I feel like I’m busy a lot. I also really just like to be at home. I’m not there enough, I mean, I’m at home but I’m only usually there a couple of hours and a lot of times it’s into bed. I wish…spending time with my dad is the biggest thing right now, being at home, helping out at the house is the biggest thing right now. I’ll call off just to be at home. It costs me, but (shrugs).
AP: Mental health has become an important topic in the last decade, how do you decompress after a show or hard day? Do you struggle at all to find time for yourself while building name recognition?
NA: Carving out time for myself is tough, but I’m willing to sacrifice it, even if it means risking my job, because becoming a musician is my ultimate goal. Right now, I’m doing what I need to do, yet I’m also a caregiver, working full-time and, at 23, still figuring out my path. Remember being 23? It’s often said that your twenties are the best years, but for me, it feels like a continuous existential crisis, constantly questioning my next steps but reminding myself not to rush life. Strong support is crucial. It’s really about having friends who genuinely care—quality over quantity. Like Fil Kinetic, my sound engineer friend I mentioned earlier, who’s always just a call away. That kind of support means everything. No matter today’s troubles, tomorrow offers a new chance to do better. It’s okay to seek help and open up. My empathy might be dulled from losing my mom early, leading me to sympathize more than empathize. But I can often sense when someone’s down and try to be there for them, offering a shoulder or a hug, giving them space to breathe.
AP: What is your go-to song when you’re down?
NA: It’s typically not one song, it’s whatever song is going to bring me out of it, and that’s usually a song that is about the situation or close to it.
AP: What about a song when you’re feeling really good? Or that you play the most?
NA: Oooooo, that one, it kinda changes too. I would say "Don’t Let The Devil Ride" by Lurrie Bell. I like when he sings that song.
AP: I miss seeing Lurrie.
NA: Oh and probably "Poppa Don’t Take No Mess." Honestly, I listen to my song "Popcorn" a lot too. (we laugh)
“This journey has taught me that the skepticism I encounter might stem from others’ constraints, not my abilities. I strive to approach these challenges with understanding and to demonstrate that with dedication...”
AP: Are you working on any original material? I ask because there are some artists of a more recent generation that want to write songs about the world today and frankly, they do not hit the same.
NA: Not yet. I can’t say if or when I plan to. How many times are we going to rewrite something. We have plenty of music that hasn’t been seen. It’s been seen but it hasn’t won a Grammy. That means to me the world hasn’t seen it, so why not redo it, Lurrie Bell's "Don’t Let The Devil Ride", even though three thousand people have performed it. I’m basing it off of his one version, and when people ask me about it, I can say, it’s his. I think that, how many times are we going to “rewrite” the songs it gets redundant. As far as “updating” the blues, to me it’s like, it’s corny and not doing anyone any favors. I do not like to be corny. That’s one thing I like about my dad, thank fucking god, not corny. A little bit, he’s an old man, but he’s not corny.
AP: The photos I’ve seen, the promotional materials for the album…
NA: It’s good. They were taken by Ben Saquist.
AP: It is! I’m gonna need you to stop making the rest of us look like trash heaps. (we laugh) But seriously, what inspires the way you groom/dress?
NA: I’ve always had a fashion thing, I’ve always loved to be groomed and well manicured, and to look clean.
AP: It feels nice!
NA: There are some people at Legends who have seen me roll out of bed in my pajamas, hair not done and in a Buddy Guy’s Legends sweatshirt. The way I dress, I just kinda like to be high fashion. I also love to exude…
Sometimes I see people working so hard and stressing themselves out so bad, and I wonder, “Where’s your joy”
AP: Is that your coat in the promotional material?
NA: My dad bought that coat for my stepmom, she never wore it. It was too heavy for her, she’s pretty short, so it was long on her, heavy as fuck, and you don’t want to be dragging that around, and she was like, I’m not going to use it, have at it. I would also say dressing the way I do, I want to look the part, I want to exude the way I feel.
AP: As part of the younger generation of blues musicians, what do you hope to instill in your peers around you?
NA: Just do it your way. Do it your way and stand behind it. Seriously, don’t let anyone tell you no. For every no you get you’ll get a yes.
AP: Has there been a venue you’ve played that was or had an unexpected treat that brought you joy?
NA: That blues festival. It has such good energy, easy, plug in an amp and go. It was thirty minutes but it felt like an hour in a good way.
AP: Is there anyone you want to give a shout out to that worked on the album with you?
NA: I want to express my heartfelt thanks to everyone at Buddy Guy’s Legends, the Legends family, and the Chicago Department of Cultural Affairs and Special Events (DCASE) for their incredible support. A special shoutout to Fil Kinetik and Connor Korte at BluesBird, my record label and management team. Immense gratitude goes to my step-mom, Judith, whose unwavering support has been pivotal in my life, especially during my dad’s challenging times. Her dedication over the past 18 years has been extraordinary. Lastly, to the entire Chicago music scene and everyone who has encouraged and supported me, allowing me to follow my musical dreams—you are all amazing.
Check out Popcorn
Check out Nicholas on his facebook
or at Bluesbird Talent
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