Jeff Tuohy Soulfully Reminds Us That "The Devil's in New Orleans"



The NYC-based Billboard Award-winning singer-songwriter and rock musician Jeff Tuohy releases a stimulating and gritty jazz-infused single entitled "The Devil's in New Orleans."


Known as a daring and multifaceted performer, Jeff Tuohy has impressively toured across 41 states. Also landing on over 120 radio stations with his debut album, 'Breaking Down the Silence,' Jeff Tuohy is currently gearing up to release his forthcoming album 'Hudson Delta.'


Now releasing his forthcoming album's lead single, "The Devil's in New Orleans," Jeff Tuohy fuses various genres into this magnetic single, offering sounds like jazz, country, and alt-rock. Through his raspy and versatile vocals, Jeff Tuohy keeps us engaged with each broad-ranging aspect of this heavy-hitting single.


Diving into "The Devil's in New Orleans," the track opens with a savory downtempo introduction through heavy drum breaks, a thumping bassline, melodic piano, and a sassy brass section. As Jeff Tuohy begins singing with his low and mysterious vocals, he delves into themes that expand on the heroes that live amongst us and the devil who resides in New Orleans.


We honestly can't get enough of this single's irresistible and dark tones, as Jeff Tuohy goes from crooning to belting and back into his soothing whisper. The highlight of this track has to be the deftly created and catchy hook where Jeff Tuohy and his surrounding instrumentals seep through our speakers like an ever-flowing river. We're more than impressed with this song's lyrical and instrumental dexterity, as Jeff Tuohy transports us back to back to the haunting alleyways of the Big Easy.


Tap your feet to Jeff Tuohy's alluring single, "The Devil's in New Orleans," now available on all streaming platforms.



Welcome to BuzzMusic, JeffTuohy. We're stomping our feet to the heavy beat and feel of your dynamic single, "The Devil's in New Orleans." What inspired the creation of this mysterious and haunting single?


The song came to me while drinking in Highland Brass Company- a bar once owned and conceptualized by my friends, Dimitri and Corey. They were hosting a Holiday Miracle, pop-up. Talk about juxtaposition…


What sort of message or concept did you aim to deliver through your lyricism within "The Devil's in New Orleans?"


The lyrics are a commentary on the history of religious turmoil and how pop culture became part of our society’s theology. There are places and outlets where ‘God and the Devil’ seem to pull you in opposite directions. Sometimes people further their devilish intentions in the name of God. New Orleans has those conflicting vibes- beauty and culture versus temptation and gluttony. I love it.


Did you collaborate with any musicians or producers when creating the exhilarating instrumentals within "The Devil's in New Orleans?"


My philosophy is: hire the right people, give them a guideline, and let them experiment. Otherwise, you’re not fully utilizing their unique talents. “The Devil’s In New Orleans” has improvisational components. Dan Asher’s bass and Randy Schrager’s drumming created a deep groove. Randy then went back and overdubbed cymbal screeches and percussion to create the voodoo-inspired sounds. Pat Firth’s piano chords are intentionally angular and dissonant. Dave Archer’s organ is meant to sound like you’re on a bad trip. Harnessing the chaotic, avant-garde ending was instinctual since Nick Biello arranged a section of killer, New York jazz players. Brian Forbes’s role in co-production and mixing is crucial to this recording. It could’ve sounded like a wall of shit without his skills behind the board.


How does "The Devil's in New Orleans" correlate and fit into your forthcoming album, 'Hudson Delta?'


'Hudson Delta' is a road trip through the last 12 years of my life. I’ve toured the country, visited places from New Orleans to Hill Country, and held residencies at Irish pubs in Manhattan. The experiences, cultures, and people influenced these sounds and stories. “The Devil’s In New Orleans” is one of those snapshots. A record executive warned the song doesn’t sound radio-friendly. I don’t care about that; particularly while creating. I care about authenticity, and I think that’s reflected on the album sonically and lyrically.


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