Neal Black in interview “Blues is a fascinating genre”

Texas guitarist Neal Black, who has long been established on the European scene, is one of those American musicians who keep the blues alive on the road, in direct contact with audiences. With Neal Black & The Healers, he has been developing for years a blues rooted in American traditions, rock electricity and a strong taste for songwriting. His new album Number 3 Monkey, due out on March 27, 2026, continues this path with ten original compositions and a few deliberate tributes to the great figures of the blues.

📀 Read also our album review 📀

Recorded between two European tour dates, the album reflects the energy of a tight-knit band where spontaneity and interaction between musicians remain essential. Neal Black looks back with Blues Actu on the genesis of this new record.

🎙️ Neal Black in interview with Cédric Vernet

Your new album Number 3 Monkey will be released on March 27, 2026. In what way does it mark a different step compared to your previous albums with The Healers?

Each album contains new musical ideas, but I also try to preserve the identity of Neal Black & The Healers and keep it consistent for fans who already know our music, while hopefully attracting a new audience.

The album title is intriguing. What does “Number 3 Monkey” mean?

The number 3 monkey is the one who could not get onto Noah’s Ark. Since Noah could only take two animals of each species, his life was more difficult than that of the first two monkeys. This monkey had the blues, and the song makes many references to that idea: being so close to happiness, yet missing the opportunity.

On this album, you wrote 10 of the 12 songs. Was the writing more instinctive than usual, or on the contrary more deliberate?

It’s always a bit of both. It’s rare that I write an entire song in one go. I constantly work on new songs and usually only finish them when we record them in the studio. I like that because the final result feels more spontaneous.

You pay tribute to Skip James and Robert Wilkins. What are you trying to convey by including them?

They are two important artists from the roots of blues and I have always included two or three songs by authentic blues musicians on my albums. I think it’s important to do that, perhaps to spark the interest of a new audience and encourage them to discover the history of blues origins.

In short, what does the blues represent for you today, in 2026?

It’s a fascinating genre with so many different styles and shades of blues, and so many artists, young and old, who still draw their inspiration from the blues… I think that’s great.

“I try to make music that the audience will enjoy”

On the album there is a nice balance between electric guitar and acoustic dobro slide. How do you create that complementarity in your arrangements?

When recording an album, I try to make music that the audience will enjoy, but it’s just as important that it’s an album I enjoy listening to myself. I try to put myself in the listener’s place, and when I listen to a full album by another artist, I like to hear a wide range of musical influences while keeping the artist’s identity intact.

You often say a song can become someone’s “best friend”. Do you write first for yourself, or thinking about those who will listen to your songs?

I write for myself and for the listener, trying to create something that becomes a friend, music that people can keep in their head and heart when they need it.

The album was recorded during breaks in your European tour, in France and Belgium. Does your way of writing change when you are far from home?

Not really. I’m not often at home anyway, so perhaps stepping away from the daily routine is beneficial for creativity.

Does working outside your usual studios, in short periods between concerts, change the way you play or sing?

Yes, it changes the way all the musicians interact, because we are ready to play as soon as we enter the studio. We know time is limited and we usually record each track only once or twice to prevent the emotion from becoming cold and overly calculated.

You collaborated with artists such as Nico Wayne Toussaint, Janet Martin and Flo Bauer. How were these collaborations decided?

I have worked with Nico for many years on different projects and he is my favorite harmonica player. He is an incredible musician capable of doing anything musically, whether in the studio or on stage. I’m honored to have him as a colleague and close friend for so many years. Flo Bauer is part of the new generation of blues artists I respect greatly. He is extremely talented as a guitarist, singer and songwriter, and he is a very important artist for the future of this musical genre. Janet Martin is a good friend and we have worked together many times on tours in Europe. She is an excellent slide guitarist and a great singer.

There is also Manu Lanvin, with whom you co-wrote a large part of the album Man on a Mission. How did that collaboration go?

I’ve worked with Manu on four or five of his albums and it’s always really cool to collaborate with him. We share many musical points in common and there is a natural chemistry of ideas that happens when we work together.

“Above all, it’s about putting your ego aside”

What changes for you when writing for others? Does it alter your personal writing process?

I love working with artists from all musical styles. Recently I collaborated in the studio with Joyce Tape (African singer and bassist), Laly Meignan (French actress), Enzo Cappadona (young French blues guitarist), Sand & Folks (roots music with Sandy Goube on guitar and vocals), and of course with Manu Lanvin, Fred Chapellier and many other musicians. It’s very enriching for me and allows me to explore other horizons and step outside my own mindset. Above all, it’s about putting your ego aside and serving the song and the music to achieve the best possible result for the artist.

With Abder Benachour, Mike Lattrell and Denis Palatin, The Healers form a very tight band. What role does the collective play in the identity of this new album?

Yes, Abder has been with me for more than 13 years and before that he played with Fred Chapellier for many years. Mike Lattrell (former pianist for Popa Chubby) has been working with me for at least 15 years and our musical relationship is very natural and comfortable. And of course we have excellent drummers working with us such as Denis Palatin and Guillaume Destarac. With all these musicians there is great chemistry on stage, but also camaraderie and mutual respect off stage. Considering the long hours we spend on tour, it makes it easy to keep working together.

On stage, how will Number 3 Monkey evolve compared to the studio versions, and what do you hope the audience will feel during this new tour?

We have played several songs from the new album during concerts over the past year and the audience reaction has been excellent. Of course, playing live has its limits because we don’t always have all the musicians who were present during the studio recording, but it’s an interesting challenge to rearrange the songs for concerts.