Shemekia Copeland | Blame It On Eve Review

by Tom Faddis

Shemekia Copeland is a living testimony to the enduring and ever-evolving spirit of the blues. With her latest release, Blame It On Eve, Copeland offers an unapologetically bold exploration of modern-day blues, weaving threads of history, social commentary, and personal struggle into a fabric as challenging as it is tender. This album doesn’t just pay homage to the past; it propels the blues into new territory, affirming Copeland’s position as a leading voice in the genre today.

Opening with the title track, “Blame It On Eve,” Copeland lays down the gauntlet. This fiery anthem of female empowerment confronts the historical burden placed on women, with lyrics like “while a man is tough, a woman’s a bitch. Who needs a trial? Burn that witch! Blame it on Eve.” Copeland’s delivery, filled with righteous anger and undeniable strength, strikes deep, especially as she proclaims, “when God made woman from that rib, it was the smartest thing she ever did.” The song’s pounding drums and searing guitar, courtesy of long-time collaborator Will Kimbrough, add fuel to the fire. Here, we see a prime example of how Copeland refuses to shy away from tough subjects, transforming them into blues that speak directly to the modern condition.

On “Tee Tot Payne”, Copeland provides a poignant history lesson wrapped in a country-blues groove, shining a light on the often-overlooked contributions of Black musicians like Rufus “Tee Tot” Payne, who mentored Hank Williams. This song stands out for its storytelling and musical fusion, bringing the blues and country traditions together to highlight their shared roots. It’s a reminder of how deeply intertwined these genres are, and Copeland does justice to both, offering a heartfelt homage to Payne’s legacy.

As we dive into “Broken High Heels,” we find a classic blues narrative of resilience. The warmly distorted guitar and rock-tinged rhythm set the stage for Copeland’s powerful vocals, which bring to life the theme of perseverance in the face of adversity. The imagery of “dancing in a graveyard in broken high heels” is vivid and poignant, a perfect metaphor for strength amid struggle. Kimbrough’s guitar work is understated yet essential, offering tasty fills that never overpower but always enhance Copeland’s message.

The mood shifts with “Is There Anybody Up There?”, a reflective and deeply emotional piece that wrestles with the overwhelming despair of today’s world. In a time when the news cycle feels endless and increasingly bleak, Copeland’s plea, “Can someone help us before it gets too late?” resonates with a universal sense of helplessness. Alejandro Escovedo’s guest vocals add an extra layer of depth, his anguish mirroring Copeland’s. The gospel-tinged blues, infused with rock, serves as a reminder that the blues is not just about personal heartbreak; it’s also a reflection of collective soul-searching and a call for something greater to intervene.

“Cadillac Blue” brings a touch of lightness, celebrating love and freedom in a way that contrasts beautifully with the heavier themes on the album. Kimbrough’s slide guitar shines here, as does Copeland’s playful vocal delivery, offering a joyful reprieve. The track’s Americana-infused progression melds perfectly with its Chicago blues foundation, showcasing the band’s ability to blur genre lines while staying true to the heart of the blues.

Copeland’s deep connection to traditional blues comes to the forefront in “Down On Bended Knee.” This slow-burning shuffle takes us back to the essence of the blues—heartbreak, loss, and longing. Her vocal control is spot-on, with every note dripping with the kind of emotion that only a seasoned blueswoman can deliver. Kimbrough’s guitar solo, rooted in the classic blues tradition, complements the mournful tone, providing the perfect foil for Copeland’s powerhouse voice.

What is most impressive about Blame It On Eve is its refusal to stick to a single sound or message. From the hauntingly beautiful “Belle Sorciere,” where Copeland sings in French, to the raucous celebration of life in “Wine O’clock,” this album showcases the full range of Copeland’s artistry. She’s a blues singer through and through, but she’s not confined by it. In her hands, the blues evolves, grows, and stretches to encompass the entirety of human experience, from the personal to the political, the local to the global.

Shemekia Copeland is a torchbearer for the blues, keeping the flame alive and adding fuel from various sources—gospel, country, rock, and more. In a world that often feels chaotic, her music provides catharsis and comfort. With Blame It On Eve, she reminds us why the blues remains relevant, powerful, and absolutely necessary today despite its deep roots in the past.