January 16 is one of those dates where the blues doesn’t just show up in a single moment — it threads itself through a century of American culture, from hidden speakeasies to televised acoustic stages. We start in 1919 with the ratification of Prohibition, a law meant to “clean up” America that instead created the speakeasy underground — the backroom bars and after‑hours joints where Black musicians found new stages, new audiences, and a new urban electricity. These were the rooms where the blues became the soundtrack to defiance, thriving in spaces that were illegal, glamorous, and essential to the Great Migration’s cultural explosion.

From there, we drop the needle on two landmark January 16 recording sessions, exactly sixty years apart. In 1932, Duke Ellington records “It Don’t Mean a Thing”, crystallizing swing with bent notes, call‑and‑response, and the rhythmic feel of the blues hiding in plain sight. Then in 1992, Eric Clapton sits down for his MTV Unplugged session — a global broadcast that reintroduced acoustic blues to millions and became the bestselling live album of all time.

January 16 is also a birthday roll call for artists who expanded what the blues could be. Robert Wilkins, the Memphis country‑blues guitarist whose songs fueled the folk revival. Barbara Lynn, the left‑handed Texas trailblazer who wrote and played her own R&B hits, breaking gender and racial barriers with every chord. And Sade, whose soul‑jazz elegance carries the emotional vocabulary of the blues into modern Black music.

Taken together, January 16 becomes a long conversation across time — from Memphis street corners to Prohibition backrooms, from swing‑era studios to global acoustic stages. It’s a reminder that the blues adapts, survives, and keeps finding new rooms to fill.

Hosted by: Kelvin Huggins

Presented by: The Blues Hotel Collective

Keep the blues alive.

© 2026 The Blues Hotel Collective.