Phil Madeira

For those in his personal orbit, the idea of a happy Phil Madeira might seem a little… odd. They’re used to other descriptors. Talented? A given. Funny? Riotously so. Passionate? Exceptionally. Wry? Nigh-constantly.

But the past few years, both on a deeply personal and wider worldview level, there hasn’t been much that’s brought a true, joyful smile to the longtime music maker’s face. Until now. And Madeira’s happiness is gloriously displayed on his newest collection of songs, not-so-subtly titled Bliss.

This new project can be looked at as the completion of a trilogy (along with recent projects Open Heart and Hornet’s Nest) of albums that chronicle Madeira’s journey from a devastating loss, through the stages of grief, and finally, the celebration of new life and love.

The respected songwriter and longtime Emmylou Harris sideman retreated to the studio in 2021 with his longtime friends, bassist Chris Donohue and drummer Bryan Owings (both members of Emmylou’s Red Dirt Boys), as well as a few carefully selected guests and collaborators, to produce this stunningly joyous record.

Madeira wears his heart on his sleeve at all times, on all sorts of matters, making it no surprise that the subject matter of new, true love filtered down those sleeves and through his multi-instrumentalist fingers and onto Bliss’ 11-song set.

On a broader sense, it’s also a collection of styles, modes and excellence of execution that celebrates Madeira’s musical loves and influences, everything from Beatles to Randy Newman to Donald Fagan to Dr. John. As he’s done his entire career, both as a solo artist and sideman, Madeira draws inspiration from the masters, from both close and afar, and synthesizes them into his own unique creation.

The fact that Madeira would showcase such a personal transformation within his music shouldn’t surprise anyone familiar with his work. The work he has shepherded has always been deeply autobiographical, be it the acclaimed multi-artist projects called Mercyland: Hymns For The Rest of Us, or his solo albums prior to this trilogy, PM and Providence.

And that willingness to get personal has propelled his career both as a versatile, go-to session wizard for artists including Mavis Staples, Keb’ Mo, Taj Mahal, Alison Krauss, Amy Grant, Little Big Town, Garth Brooks, Emmylou Harris, Vanessa Williams, Buddy Miller, Solomon Burke, and dozens more.

He may very well joke “always a bridesmaid, never a bride” about his artistic journey, but it’s that versatility in his songwriting and mastery of his cadre of instruments that has made him a much sought-after collaborator for decades, and that willingness to serve the art of others while shaping his own should keep him in that mode for many more to come.

Music and song. Collaboration and innovation. Love and joy. It all comes together to shape Phil Madeira’s Bliss.