At Cabannes, the blues enters the arena

For its 21st edition, the Nuit du Blues de Cabannes stayed true to its reputation by bringing together a wide range of musical worlds in a warm, family-friendly atmosphere, always with the blues as the common thread. From Elliott Murphy to Carolyn Wonderland, via Blues Fiction and JoHarpo, the evening in the arena showed that the blues can naturally embrace americana, rock, French chanson and the deep roots of American music.

Live Report – 21st Nuit du Blues de Cabannes
📆 July 4, 2026
📌 Cabannes Arena, France
🎸 Featuring JoHarpo, Blues Fiction, Elliott Murphy and Carolyn Wonderland
📷 Cédric Vernet

One year after celebrating its 20th anniversary, the Nuit du Blues de Cabannes returned to the arena with another open-minded line-up. One evening, two stages and one clear ambition: to celebrate the blues without confining it to a narrow definition. Blues Actu was there.

JoHarpo, taking the blues on the road

Jonathan Callet takes the stage alone. Guitar in hand and harmonica around his neck, he lays down the first notes before gradually being joined by the rest of the band. While JoHarpo‘s music begins with the blues, it quickly branches out into other territories. Americana, country, folk and bluegrass all flow naturally through the set. His deep knowledge of American roots music is unmistakable, yet everything is filtered through a distinctly personal approach.

Original songs naturally form the backbone of the performance. Freight Train lands perfectly with its memorable chorus, while Don’t Worry brings a lighter, more carefree moment. The band also slips in a few carefully chosen covers, including Checkin’ Up My Baby by Sonny Boy Williamson II, allowing Jonathan Callet to return to the harmonica in an inspired dialogue with guitarist Seb Genty.

Behind Jonathan Callet, Seb Genty injects a welcome rock energy on guitar, Franck Mercier anchors the sound with solid bass playing, while Guillaume Cluzel drives the band with precise and energetic drumming.

Singer, guitarist, harmonica player, banjo player and songwriter, Jonathan Callet effortlessly switches from one instrument to another, sometimes playing guitar and harmonica simultaneously, yet never turning his versatility into a gimmick. Bassist Franck Mercier sums it up with a smile: “We’re backing our own one-man band. He’s our very own Rémy Bricka!” The audience, especially those old enough to remember the French entertainer, laughs along.

The set closes with Someone Is Falling on Me. Banjo in hand, Jonathan Callet transports the audience to the wide-open landscapes of the American West, while Seb Genty‘s soaring guitar lines electrify this country-folk finale. The crowd wants more, and the band happily returns for an encore, bringing the opening set to a fitting close.

Blues Fiction, on the B Stage

At Cabannes, stage changes are anything but downtime. Set up on the B Stage, Blues Fiction keeps the music flowing between the main performances. The duo leans more towards French singer-songwriter traditions than straight blues, performing original songs alongside a few carefully chosen covers, including Faut que j’me tire ailleurs by Bill Deraime and Le Blues du dentiste, the famous song by Henri Salvador, which brings plenty of smiles from the audience.

The duo also performs Avec ma guitare à la main, taken from Willie Blues, a show introducing young audiences to the history of the blues. The day before, Blues Fiction had performed for local schoolchildren.

Their presence reflects the festival’s commitment to passing the blues on to younger generations. To continue developing these educational projects, the Nuit du Blues de Cabannes has launched a crowdfunding campaign supporting its outreach activities throughout the year.

Elliott Murphy, the joy of coming home

More than ten years after his last appearance in Cabannes, Elliott Murphy returns to the arena to a warm welcome. Among the audience, one remark perfectly sums up the atmosphere: “It’s so good to see him back!” Many fans are proudly wearing T-shirts bearing his image.

Joined by Olivier Durand, his musical partner for nearly thirty years, Elliott Murphy opens with Last of the Rock Stars, from his landmark 1973 album Aquashow. As The Miracle Zone begins, the duo expands into a quartet with the arrival of violinist Melissa Cox and percussionist Alan Fatras on cajón and percussion. The pace picks up with Granny Takes a Trip, before shifting to the more introspective Not Enough Time, taken from his latest album, Infinity. During Green River, Murphy steps to the front of the stage to introduce his fellow musicians, paying tribute to his long-standing partnership with Olivier Durand while also highlighting the contribution of Melissa Cox and Alan Fatras.

The set constantly shifts in mood without ever losing its momentum. Making It Real sees Elliott Murphy pick up the harmonica once again, while Sunlight Keeps Falling on Me further showcases the musical chemistry he shares with Olivier Durand. Melissa Cox‘s violin and backing vocals add warmth and emotion, especially during You Never Know.

Before performing Kindness, Elliott Murphy pays heartfelt tribute to his longtime friend Lou Reed. Just a few words are enough to remind the audience of the close bond between the two New York songwriters.

With Baby Boomer’s Lament, from his latest album Infinity, Murphy’s sense of humour returns to the forefront. “There are three ages in life: young people, middle-aged people… and those who are told they look great for their age!” he jokes while looking for the baby boomers in the audience. Laughter fills the arena before the band launches into this affectionate and self-deprecating portrait of an entire generation.

The encore crowns an outstanding performance. Before Blind Willie McTell, Elliott Murphy quotes Bob Dylan: “This song tells the story of the blues… and we’re here tonight for the blues.” It is hard to imagine a finer ending. For nearly ninety minutes, the American songwriter effortlessly journeyed through more than fifty years of music, backed by a remarkable band and an enduring musical partnership with Olivier Durand.

Carolyn Wonderland, Texas blues with deep roots

After Elliott Murphy‘s outstanding performance, the atmosphere shifts dramatically. Carolyn Wonderland opens her set with Nobody’s Fault but Mine, before moving into Bob Dylan’s 78th Horizontal Dream, a clear nod to the legendary songwriter. References to the great figures of blues and American music run throughout the evening. Carolyn Wonderland knows exactly where she’s going without ever forgetting where she comes from. The band performs seated, in a more intimate setting that takes the audience a few minutes to adjust to.

The Texan quickly introduces her musicians: Josh Flowers on bass, Giovanni Carnuccio on drums and Shelley King, one of Austin’s best-known singer-songwriters. A respected guitarist, singer and songwriter, Shelley King has spent more than three decades moving effortlessly between blues, americana, country, folk and rock. Tonight, she is far more than a backing musician. Throughout the show, the two women naturally share the spotlight. Each has her own identity, yet both impress with the power and character of their voices.

On Truth Is, Shelley King takes the lead vocal while Carolyn Wonderland focuses on her guitar. Later, during Whistlin’ Past the Graveyard, the Texan surprises everyone by replacing a guitar solo with… a whistled solo. An unexpected and playful moment that earns warm applause from the audience.

She then switches to lap steel guitar. Before playing Fragile Peace and Certain War, Carolyn Wonderland tells the audience that Cindy Cashdollar is her favourite lap steel player. Sooner or Later, the opening track of her latest album, extends that blend of blues, country and americana.

With I’m Gonna Cross the River Jordan, a tribute to Blind Willie McTell, the concert returns to the deepest roots of the blues. The choice echoes Elliott Murphy‘s encore just minutes earlier, reminding everyone that, despite their different musical worlds, the artists on this year’s bill all share the same foundations.

Back on her Gibson, Carolyn Wonderland shifts into a more electric gear. The Things You Do, sung by Shelley King, raises the energy another notch. The chemistry between the two musicians is evident throughout, while Carolyn Wonderland‘s guitar work confirms why she is so highly regarded: every solo serves the song, never her ego.

The tributes continue with Don’t Waste My Time, dedicated to John Mayall, whose band she played in, followed by What Good Can Drinkin’ Do, a salute to Janis Joplin, driven by shifting rhythms and changing tempos. With Building a Fire, and then Kick Up Your Heels, written by Shelley King with a friend from New Orleans, the quartet once again demonstrates its cohesion and obvious enjoyment of playing together.

After the final song, Carolyn Wonderland thanks the audience before leaving the stage, supported by her bandmates. There is no encore. Festival organisers later confirm that she had suffered a medical incident earlier in the day, explaining both the seated opening of the concert and the adjustments made to the setlist. Despite that, she chose to perform the entire show, gradually regaining her full intensity as the evening went on. A remarkable display of professionalism.

Once again, the Nuit du Blues de Cabannes proved that there is more than one way to play the blues. With JoHarpo, it travelled through americana and country. With Elliott Murphy, it became storytelling and poetry. In the hands of Carolyn Wonderland, it drew strength from the rich traditions of Texas blues. Between the main acts, Blues Fiction reminded everyone that this music must also be passed on to younger generations. Supported by an outstanding team of volunteers – special thanks to Antonio and Luc – the Nuit du Blues de Cabannes once again confirmed its unique place on the European blues calendar: a festival on a human scale, deeply rooted in tradition while always looking ahead. See you next year for the 22nd edition.