Blues Night returns to Jazz à Vienne

Blues Night returned to Jazz à Vienne. After a one-year absence, one of the festival’s most iconic events finally made its comeback to the Ancient Theatre. An evening dedicated to Jean-Pierre Vignola, bringing together three very different visions of the blues, from Chicago Blues Summer to Samantha Fish, with Fantastic Negrito in between.

Live Report – Blues Night
📆 June 27, 2026
📌 Ancient Theatre of Vienne
🎸 Jazz à Vienne featuring Chicago Blues Summer, Fantastic Negrito and Samantha Fish
📷 Arthur Viguier, Pierre Gouineau, Simon Bianchetti

Even before the first notes were played, this Blues Night already carried special significance. Clearly moved to return to the stage of the Ancient Theatre, Jean-Paul Boutellier, the historic founder of Jazz à Vienne, joined artistic director Guillaume Anger to pay tribute to Jean-Pierre Vignola, one of the festival’s key architects, who passed away a few months ago. Every member of the festival team wore a T-shirt bearing his portrait, along with the words “Where is Jean-Pierre?” and a drawing on the back that perfectly captured his personality. His image and his name remained present throughout the evening.

Did You Know?
Blues Night is no ordinary event at Jazz à Vienne. In fact, it is where the festival itself began. On July 5, 1980, Jean-Paul Boutellier organized a huge Blues Night at the Ancient Theatre featuring artists including B.B. King, Muddy Waters and Fats Domino. The event was such a success that it gave birth to Jazz à Vienne the following year. Absent from the 2025 program, this emblematic evening finally returned in 2026.

Chicago Blues Summer: Carrying the Tradition Forward

The evening opened with Chicago Blues Summer. On paper, the project looks like a showcase of Chicago’s blues scene. On stage, it proved to be a generous collective performing the genre with remarkable ease. Chicago Blues Summer celebrates the history of the blues without ever making it feel like a history lesson.

Earlier that day, Sheryl Youngblood summed up the spirit of Chicago blues for us: Chicago remains an immense melting pot where the legacy of B.B. King, Muddy Waters, gospel, soul and rhythm and blues all come together. It was the perfect description of what the band would go on to deliver on stage.

The opening moments first highlighted young guitar prodigy Stephen Hull alongside the extraordinary Johnny Iguana. Guitar on one side, Hammond B3 on the other. The two musicians traded phrases, answered one another and exchanged knowing smiles. Behind them, bassist Cresenciano Cruz and drummer Brian Fahey provided a flawless rhythmic foundation. An instrumental version of You Never Can Tell offered a fresh take on the Chuck Berry classic.

Then Sheryl Youngblood took the stage. Stephen Hull naturally stepped aside while Giles Corey picked up the guitar. Within seconds, the entire balance of the performance shifted. With I Just Want to Make Love to You, the singer immediately established a commanding presence. Caldonia had the Ancient Theatre singing along, while a snippet of Think gave her the opportunity to deliver a message in support of women before launching into Who’s Making Love by Johnnie Taylor. Blues, soul, rhythm and blues… Chicago blues has always drawn strength from the music surrounding it.

One particularly moving moment came when Sheryl Youngblood performed an a cappella excerpt from A Change Is Gonna Come in tribute to Jean-Pierre Vignola, before softly saying, “Rest in peace, Jean-Pierre.” Just a few words, and the Ancient Theatre fell completely silent.

For the finale, Stephen Hull returned to the stage for Got My Mojo Working. It may not have been the most original way to close a Chicago blues performance, but it was impossible to resist. The audience enthusiastically sang along, Cresenciano Cruz enjoyed his solo moment, and the musicians left the stage smiling, taking a few moments to capture the venue on their phones. After all, you don’t get to perform in a setting like this every day.

In the audience, I overheard one spectator whisper, “That was too short. I wanted more.” A few decades ago, a lineup like this would probably have headlined the evening. Today, Chicago blues opens the show before handing the stage over to artists who continue to take the music in new directions without ever forgetting where it came from.

Fantastic Negrito: Blending Worlds

With Fantastic Negrito, the atmosphere changes completely. The Oakland musician, a three-time Grammy Award winner, arrived in Vienne with Alive!, his upcoming live album. On stage, he didn’t simply perform songs. He lived them.

Before the show, he had warned us: a Fantastic Negrito concert is therapy. “It’s like church, but without religion.” You never quite know what’s going to happen next. At the Ancient Theatre, he stayed true to his word.

He sings, dances, acts and tells stories with his entire body. It’s impossible to take your eyes off him. Every movement seems to extend the meaning of the lyrics. His performance is almost as captivating to watch as it is to hear. Like his music, his band brings together musicians from seemingly different backgrounds who somehow speak exactly the same language. Keyboardist Bryan Simmons and guitarist Vincent MacLauchlan both enjoyed several moments in the spotlight.

Fantastic Negrito effortlessly moves from deep funk grooves to a heartfelt piano ballad, from dark, almost unsettling moods to choruses embraced by the entire audience. Even when the music becomes festive, a certain tension remains. This is far more than a groove machine. He is a storyteller.

Chocolate Samurai was undoubtedly one of the evening’s highlights. Heavy rhythm, an instantly memorable chorus and an audience singing at the top of its lungs. A few minutes later, he shared a very personal piece of advice with the French crowd: “Eat less sugar and have more sex!” The Ancient Theatre burst into laughter. That’s also part of what makes Fantastic Negrito so unique.

He also spoke about Alive!, his forthcoming live album. Good Feeling, one of its new tracks, found its place naturally in the setlist. The same was true for California Loner, which he introduced with a smile, recalling that he had recently performed it on the French television show Taratata. Then came In the Pines, a return to the roots. This traditional song, made famous by Lead Belly and later reintroduced to a wider audience by Nirvana, served as a reminder that the blues continues to transcend generations without losing its power. The song also gave Bryan Simmons on keyboards and Vincent MacLauchlan on guitar plenty of room to shine.

The set closed with Plastic Hamburgers, a hard-hitting rock critique of the excesses of American society, before an encore featuring Lost in a Crowd. One last time, Fantastic Negrito had the audience singing. One last time, the Ancient Theatre answered with enthusiasm.

Before taking the stage, he had told us how much he enjoys stepping outside his comfort zone. That’s probably where he is at his very best. When nobody knows exactly where he’s going, yet everyone is willing to follow.

Samantha Fish: Pure Energy

Last to take the stage, Samantha Fish was making her very first appearance at Jazz à Vienne. The Kansas City guitarist arrived with Paper Doll Live, the first official live album of her career. A timely release, considering her reputation as one of today’s finest live performers. Before the concert, she gave us the key to understanding her approach: energy, of course, but also dynamics. Songs that breathe. A setlist able to adapt to the venue. The Ancient Theatre quickly proved her right.

Samantha Fish took a few seconds to admire the audience seated in the ancient stone tiers. “It’s the oldest place I’ve ever played in my life,” she smiled. The venue had clearly made an impression on her. It’s easy to understand why.

Tracks from Paper Doll naturally occupied an important place in the set, including Paper Doll and Rusty Razor. The album was conceived with the stage in mind, and it shows. The sound is immediate, always driven by the guitar. Or rather, by guitars, since instrument changes were frequent throughout the evening. Each one brought its own distinct tone and character.

On Gone for Good, the bottleneck slide reminded everyone that the blues remains at the heart of her musical language. Fans of the film Crossroads, which will be featured in the next episode of Ciné Blues, could hardly avoid thinking of the famous advice given by Willie Brown: “If you want to play the blues, you’ve got to have a bottleneck.“

The cigar box guitar also made a strong impression during Bulletproof. The tone became rawer, closer to the bone. Even when Samantha Fish leans toward rock, she always keeps one foot firmly planted in the blues.

Fans of Death Wish Blues were also treated to No Apology. Recorded with Jesse Dayton, the album pushed Samantha Fish into even rockier territory. On stage, the song gained even more intensity. Fortune Teller provided one of the concert’s finest contrasts. It began almost quietly before the tension steadily built, eventually exploding into a breathtaking acceleration. Samantha Fish stepped on the gas, the band followed, and the Ancient Theatre was swept along for the ride.

Dream Girl revealed another side of the artist. Softer and more restrained, it reminded everyone that Samantha Fish is far more than an exceptional guitarist. Her voice is equally impressive: powerful, expressive and never forced. In contrast, it left the Ancient Theatre completely speechless.

Behind Samantha Fish, drummer Jamie Douglass brought a distinctly rock-oriented edge. Having previously worked with Jesse Dayton, Shooter Jennings and even Marilyn Manson, he constantly drove the band forward with his forceful cymbal work. More discreet, keyboardist Mickey Finn nevertheless played an essential role. His textures, backing vocals and tasteful interventions added warmth and depth to the performance. On bass, Ron Johnson kept everything firmly locked in, allowing the guitar complete freedom.

Ultimately, this Blues Night was about far more than three concerts. It told the story of a music that continues to reinvent itself without ever denying its roots. Having attended many editions of Blues Night over the years, what I will remember most is this feeling of continuity. The Chicago blues of Muddy Waters and Howlin’ Wolf has not disappeared. It has evolved. It resonates differently through Fantastic Negrito. It can be heard in the riffs of Samantha Fish. And perhaps that is the most fitting way to celebrate the return of Blues Night: to remember that music stays alive as long as artists continue to make it their own.

Above all, I hope this long-awaited return will never again disappear from the festival’s program. Beyond the quality of the artists invited, Blues Night occupies a unique place in the history of Jazz à Vienne. This is where it all began. It would be a shame if the festival were ever to forget, even for a single year, the evening that gave it life.