Skip to main content

Kenny Wayne, Shepherd

Kenny Wayne Shepherd

Guitarist, songwriter

For the Record

Taught Himself the Guitar

Ledbetter Caused Stir

More Mature Style

Selected discography


In an era when rap and alternative music ruled the airwaves of America, a young guitarist from Louisiana stormed the stage with a blazing blusey style reminiscent of the masters of the Mississippi Delta and a technical virtuosity seldom witnessed before. Kenny Wayne Shepherd has been described as a blues prodigy, much like Stevie Ray Vaughn who was one of Shepherds mentors and earliest influences. Chris Lay-ton, the drummer for Vaughns band Double Trouble remarked to Guitar Players Rusty Russell that, Kenny can nail the style of about any great blues artist you can name, but hes very much his own guy. A young artist takes pieces from all his influences, puts them together, and develops his own thing. I saw Stevie go through it, and I can seethe same thing happening with Kenny. On his record label website, Shepherd remarked that Im a purist myself. Ive been listening to blues since I was very young. Ive researched it. But what I bring to it is a young persons approach to the blues. Its free flowing and wide open. He further commented to Russell that if youre a kid and youre playing the blues, its hard to prove yourself to those guys [the blues masters and

For the Record

Born c. 1977, in Shreveport, LA.

Signed to Giant Records, 1993; contributed to Jewel Spotlights the Blues, Volume I, 1994; contributed to Jewel Spotlights the Blues, Volume II, 1994; released Ledbetter Heights, 1995; contributed to Michael film soundtrack, 1996; released Trouble Is, 1997.

Awards: Gold certification for Ledbetter Heights, 1995.

Addresses: Record company Revolution, 729 Seventh Avenue, 12th Floor, New York, NY 10019. Internet

legends]. They want to know youre not just messing around with it before they take you seriously.

Shepherd, the Shreveport, Louisiana native, was born in the late 1970s, and ata very young age, developed an avid interest in blues music which has influenced him ever since. He recalled being taken by his father, who was affiliated with the radio industry, to a music festival when he was only seven years old. The guitar virtuoso Vaughn was there performing with his band at the festival as well. Thanks to his fathers intervention, Shepherd was able to meet Vaughn. Vaughn allowed the young Shepherd to sit on the side of the stage and watch the show from there.

Taught Himself the Guitar

Around the same time, his father had noted that Shepherd was nosing through his fathers blues records and trying to teach himself the riffs from a Muddy Waters song. Shepherd was hooked on the blues from then on. He then begged his parents to buy him a guitar so that he could learn the playing styles and techniques of Vaughn, BB King, Howlin Wolf, Muddy Waters, Albert Collins, and Albert King. Shepherd then proceeded to teach himself how to play guitar by copying what he heard off the records. The younger Shepherd continued to practice the guitar in his bedroom until he was 13. By that time, he had become something of a local phenomenon.

Not long after this, Shepherd went with his family on a vacation to New Orleans. While there, he met the blind blues player Brian Lee. After much coaxing and persuading, Lee allowed Shepherd to play with him on stage one night. His debut public performance blew away not only Lee but much of the crowd as well. The impromptu gig with Lee not only cemented the relationship between him and Shepherd but it signaled the start of an inspired friendship between the two musicians. The show with Lee also proved to Shepherd that his plans for the future should include performing his beloved blues music.

Shepherd he next few years spent honing and refining his craft through performances with other musicians and gigs at various radio conventions. He eventually formed his own blues band. In 1993, Shepherd was signed by Irving Azoff to Giant Records, which became Revolution Records. The following year saw the release of Jewel Spotlights the Blues Volume I and its companion Jewel Spotlights the Blues Volume II. Both of the albums featured tracks by Willie Dixon featuring some guitar over-dub work performed by Shepherd.

Ledbetter Caused Stir

With his backing band, Shepherd began to work on the sessions and songs that were to comprise his debut album, Ledbetter Heights. Ledbetter Heights was released in 1995 and almost immediately caused a quite a stir. Shortly after the sessions for the album were completed, Shepherd and his band were asked to open for the Eagles at their Austin, Texas concert. Requests for their services as an opening act also came from Bob Dylan as well. Azoff remarked on one of the Shepherd websites that, he is truly a phenomenon. He plays like someone whos lived a lot longer than he has. You dont learn what he has, its given to you. What was also given to Shepherd was additional accolades from the likes of blues legend BB King who was quoted on one of Shepherds websites as saying that, if he continues to grow, hell be fantastic.

Ledbetter Heights garnered Shepherd a number of prestigious honors. It spawned three top ten singles on the rock charts including the smash hit Deja Voodoo. Ledbetter Heights also received gold certification. The album had a lock on the number one spot on the BillboardTop Blues Albums chart for an amazing period of five months straight.

More Mature Style

The following year, Shepherd contributed a track for the motion picture soundtrack for Michael. He also began work on his sophomore album, Trouble Is. Trouble Is was released in 1997 and according to Shepherd it highlighted a more mature and greatly improved style of playing and writing than was evident on its highly acclaimed predecessor. In commenting on Trouble Is, Shepherd told James Rotondi of Guitar Player that the real challenge on the fast tempo stuff is to avoid the temptation to play fast myself. The goal is to make just a few notes sound right and fit in. My chops have gotten so much better from playing nearly every night, not to mention from the maturity that comes from playing for two years on a professional level. If I were to do Ledbetter Heights today, it would sound a lot better. I know Ive progressed, that Ive stepped up a level or two. I dont think Im guilty of overplaying much any more, and I can hear that my rhythm work has gotten a lot tastier.

After the release of Trouble Is, Shepherd took to the road to promote the new album. A support slot on Dylans 1998 tour further helped to bring Shepherds new bluesy revival to the masses and was yet another way Shepherd sought to educate, enlighten, and inform the newest members of the blues community. He related on one of his websites that, I dont want people to just listen to my music. I want them to hear it. Having people appreciate what I do is the ultimate satisfaction for me. I think theres a big explosion in blues-based music and its very exciting. lm glad to be a part of it. I want to turn my generation on to it. I want to help keep it alive for them.

Selected discography

(Contributor) Jewel Spotlights the Blues, Volume I, Jewel, 1994.

(Contributor) Jewel Spotlights the Blues, Volume II, Jewel, 1994.

Ledbetter Heights (includes Deja Voodoo), Giant, 1995.

(Contributor) Michael (soundtrack), Revolution, 1996.

Trouble Is, Revolution, 1997.



Billboard, August 30, 1997.

Guitar Player, October, 1995; January, 1998.

Musician, October, 1997.


Kenny Wayne Shepherd, (February 12, 1998).

Kenny Wayne Shepherd, (February 12, 1998).

Kenny Wayne Shepherd, (February 12, 1998).

Kenny Wayne Shepherd, (January 22, 1998).

Mary Alice Adams

Cite this article
Pick a style below, and copy the text for your bibliography.

  • MLA
  • Chicago
  • APA

"Kenny Wayne, Shepherd." Contemporary Musicians. . 26 Mar. 2019 <>.

"Kenny Wayne, Shepherd." Contemporary Musicians. . (March 26, 2019).

"Kenny Wayne, Shepherd." Contemporary Musicians. . Retrieved March 26, 2019 from

Learn more about citation styles

Citation styles gives you the ability to cite reference entries and articles according to common styles from the Modern Language Association (MLA), The Chicago Manual of Style, and the American Psychological Association (APA).

Within the “Cite this article” tool, pick a style to see how all available information looks when formatted according to that style. Then, copy and paste the text into your bibliography or works cited list.

Because each style has its own formatting nuances that evolve over time and not all information is available for every reference entry or article, cannot guarantee each citation it generates. Therefore, it’s best to use citations as a starting point before checking the style against your school or publication’s requirements and the most-recent information available at these sites:

Modern Language Association

The Chicago Manual of Style

American Psychological Association

  • Most online reference entries and articles do not have page numbers. Therefore, that information is unavailable for most content. However, the date of retrieval is often important. Refer to each style’s convention regarding the best way to format page numbers and retrieval dates.
  • In addition to the MLA, Chicago, and APA styles, your school, university, publication, or institution may have its own requirements for citations. Therefore, be sure to refer to those guidelines when editing your bibliography or works cited list.