Photo Credit: Chris Griffiths of Riff Photos
Ross – Thank you kindly. It’s been good so far. I feel like my music is slow-burning. It may take time to resonate with the right audiences, but when it does, it’s potent. It sits in an in-between place between Blues audiences and fans of darker types of music. The lyrical content can be heavy, uncomfortable at times. It’s art. This makes it slightly niche, I guess. It’s not for everyone, and I am at peace with that. People have come back to my shows, bought the album, and I’m seeing audiences build up all over the UK, so clearly something is working.
Ross – The overarching motif of my whole creative process at the moment is called The Dark Blues Revival. It’s a phrase I coined to make sense of the collective idea behind my music and how I see it in culture. At face value, it’s about my music having a darker edge—that was the birth of the idea. But it’s grown to encompass the way the music is created, the album itself, and my work both before and after it. I think some of the danger and depth that once defined blues music has been softened over time, and this is my way of pushing back against that. It’s an old-school attitude: live shows, real instruments, human connection. As it unfolds, it’s becoming a deeper artistic identity that takes different forms of expression and connection.
Ross – Fans can expect an honest, immersive live experience. These shows are about serving the room—dynamic performances that range from stripped-back and intimate to heavy, raw, and full-band where appropriate. The songs from The Blood and the Blues really come alive on stage, often taking on a different energy to the recorded versions. There’s a strong emphasis on atmosphere, storytelling, and connection. No two shows are exactly the same, and that’s a good thing.
Ross – As I’ve said often when this question comes up, performing in the UK is a privilege for me. It’s been tough, don’t get me wrong. The music industry is not an easy place to build a career, never mind from scratch while raising a family. But it’s literally a dream come true. When I travel through the UK to all these cities and venues, I remind myself of being 15 years old, not knowing how I would ever be in the position I’m in now, and I feel deeply grateful. The UK has contributed so much to global culture, and to be part of that heritage—and even its progression today—is a huge deal for me.
Ross – Just to clarify, I had already been working professionally in music in South Africa, but relocating to the UK allowed me to do those shows with Dan, and later Jack. Support slots are a great way to get properly embedded in the industry and start gaining experience here. Both Dan and Jack are phenomenal artists, so it was incredible to share the stage with them and introduce my music to British audiences. It gave me a footing in the industry, showed me that UK audiences are genuinely receptive to my music, and gave me the confidence that what I set out to do had real potential.
Ross – It will be a bit of both, depending on the show. I’m very much about building community and supporting other artists.
Ross – Music has been a central part of my life from a young age. I started playing guitar at 11 and was immediately drawn into a wide range of influences—from grunge and metal to classical and progressive music. I always knew I wanted to be a musician, even before I had a clear idea of what that would look like.
I built a professional career in South Africa, working across different projects and developing my sound through constant live performance. While that scene shaped me, I eventually reached a point where I knew that, to grow further and build something on a larger scale, I needed to move abroad. The Blues and rock scene there is small, and I wanted to test my work in a more demanding and expansive environment.
Relocating to the UK marked a major turning point. It was a conscious decision to commit fully to this career long-term, refine my artistic identity, and place my music in a cultural context that continues to challenge and inspire me.
The Blood and the Blues is described as a modern blues album inspired by Americana, electric blues, and bands like The Black Keys. What influenced your music career?
Ross – That description isn’t entirely accurate. The most direct way to describe how my sound evolved is as a mix of my childhood and teenage influences, and later, the Blues greats. Growing up, I had a very eclectic taste in music—everything from grunge and extreme metal to classical. While the album may share some similarities with Americana-adjacent music, I’ve never really been into that style. The Blues came into my life in my late teens and early twenties, and I see myself as an interpreter of that art form rather than a traditionalist. My background and influences sit outside of the Blues, and that’s what gives my music its own character. I think not growing up immersed in Blues has allowed me to approach it from a different angle.
Ross – For the solo Dark Echoes shows, I use two Yamaha acoustic guitars running through an old Boss looper pedal and a lot of effects. That’s become my signature solo sound. It’s definitely not “unplugged”—it’s far more layered, atmospheric, and full.
The Dark Blues Band is essentially a trio. I use a Les Paul Custom-style Tokai, an Epiphone Les Paul Custom, a heavily modified black Epiphone Dot, and my two Yamaha acoustics, depending on the venue and the atmosphere of the show. I almost exclusively use my Marshall Origin 50 head and cab, and very occasionally a Kemper head with a Marshall Plexi profile.
Interview conducted by Anselm Anderson
Good evening, Ross. Congratulations on your latest release, The Blood and the Blues. How has the reception been so far?
Ross – Thank you kindly. It’s been good so far. I feel like my music is slow-burning. It may take time to resonate with the right audiences, but when it does, it’s potent. It sits in an in-between place between Blues audiences and fans of darker types of music. The lyrical content can be heavy, uncomfortable at times. It’s art. This makes it slightly niche, I guess. It’s not for everyone, and I am at peace with that. People have come back to my shows, bought the album, and I’m seeing audiences build up all over the UK, so clearly something is working.
The album was released in November, providing listeners with a few months to engage with it. Could you elaborate on how the album will connect with your forthcoming UK tour?
Ross – The overarching motif of my whole creative process at the moment is called The Dark Blues Revival. It’s a phrase I coined to make sense of the collective idea behind my music and how I see it in culture. At face value, it’s about my music having a darker edge—that was the birth of the idea. But it’s grown to encompass the way the music is created, the album itself, and my work both before and after it. I think some of the danger and depth that once defined blues music has been softened over time, and this is my way of pushing back against that. It’s an old-school attitude: live shows, real instruments, human connection. As it unfolds, it’s becoming a deeper artistic identity that takes different forms of expression and connection.
The UK tour starts on February 7th in Kingston upon Thames and finishes in late March in Stoke-on-Trent after several stops across England. What should fans expect?
Ross – Fans can expect an honest, immersive live experience. These shows are about serving the room—dynamic performances that range from stripped-back and intimate to heavy, raw, and full-band where appropriate. The songs from The Blood and the Blues really come alive on stage, often taking on a different energy to the recorded versions. There’s a strong emphasis on atmosphere, storytelling, and connection. No two shows are exactly the same, and that’s a good thing.
What excites you most about performing at venues in England?
Ross – As I’ve said often when this question comes up, performing in the UK is a privilege for me. It’s been tough, don’t get me wrong. The music industry is not an easy place to build a career, never mind from scratch while raising a family. But it’s literally a dream come true. When I travel through the UK to all these cities and venues, I remind myself of being 15 years old, not knowing how I would ever be in the position I’m in now, and I feel deeply grateful. The UK has contributed so much to global culture, and to be part of that heritage—and even its progression today—is a huge deal for me.
You visited England a few years ago, supporting Jack Hutchinson and Dan Patlansky. How did that experience prepare you for British audiences?
Ross – Just to clarify, I had already been working professionally in music in South Africa, but relocating to the UK allowed me to do those shows with Dan, and later Jack. Support slots are a great way to get properly embedded in the industry and start gaining experience here. Both Dan and Jack are phenomenal artists, so it was incredible to share the stage with them and introduce my music to British audiences. It gave me a footing in the industry, showed me that UK audiences are genuinely receptive to my music, and gave me the confidence that what I set out to do had real potential.
Will there be support bands, or will Ross Harding and the Dark Blues perform alone?
Ross – It will be a bit of both, depending on the show. I’m very much about building community and supporting other artists.
Can you share details about your career and how you got started as a musician and singer?
Ross – Music has been a central part of my life from a young age. I started playing guitar at 11 and was immediately drawn into a wide range of influences—from grunge and metal to classical and progressive music. I always knew I wanted to be a musician, even before I had a clear idea of what that would look like.
I built a professional career in South Africa, working across different projects and developing my sound through constant live performance. While that scene shaped me, I eventually reached a point where I knew that, to grow further and build something on a larger scale, I needed to move abroad. The Blues and rock scene there is small, and I wanted to test my work in a more demanding and expansive environment.
Relocating to the UK marked a major turning point. It was a conscious decision to commit fully to this career long-term, refine my artistic identity, and place my music in a cultural context that continues to challenge and inspire me.
The Blood and the Blues is described as a modern blues album inspired by Americana, electric blues, and bands like The Black Keys. What influenced your music career?
Ross – That description isn’t entirely accurate. The most direct way to describe how my sound evolved is as a mix of my childhood and teenage influences, and later, the Blues greats. Growing up, I had a very eclectic taste in music—everything from grunge and extreme metal to classical. While the album may share some similarities with Americana-adjacent music, I’ve never really been into that style. The Blues came into my life in my late teens and early twenties, and I see myself as an interpreter of that art form rather than a traditionalist. My background and influences sit outside of the Blues, and that’s what gives my music its own character. I think not growing up immersed in Blues has allowed me to approach it from a different angle.
And finally, what instruments will you be using for the upcoming tour?
Ross – For the solo Dark Echoes shows, I use two Yamaha acoustic guitars running through an old Boss looper pedal and a lot of effects. That’s become my signature solo sound. It’s definitely not “unplugged”—it’s far more layered, atmospheric, and full.
The Dark Blues Band is essentially a trio. I use a Les Paul Custom-style Tokai, an Epiphone Les Paul Custom, a heavily modified black Epiphone Dot, and my two Yamaha acoustics, depending on the venue and the atmosphere of the show. I almost exclusively use my Marshall Origin 50 head and cab, and very occasionally a Kemper head with a Marshall Plexi profile.
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