There’s a slow burn in Emanuel Casablanca’s “Mud,” a track that draws power from the murky spaces between blues tradition and rock and roll redemption. Inspired by a single line from Jimi Hendrix’s In From the Storm, Casablanca transforms a fleeting lyric into a sprawling, emotionally charged opener for his third studio album, Hollywood Forever.
“I remember having that song stuck in my head when I was writing this,” he shares with me. “And he has a line in that song, if i’m not mistaken, where he says, ‘I want to thank you my sweet darling, for digging in the mud and picking me up.’ Not sure why, but out of all the lyrics in that song, that line has been in my head for years. All these years later, we have ‘Mud’ by Emanuel Casablanca.” Built on a distorted groove, the track doesn’t just open the album – it opens the door to a soundscape that defines his latest chapter driven by a need to experiment.
In conversation, Casablanca reflects on the moments that shaped the new album and how staying in motion, creatively and personally, has become his compass.
What is your process for writing music that balances the genre’s roots with your own distinctive sound?
Currently, I don’t see my music fitting into the current blues landscape as a whole. My music is definitely the blues and/or blues based, but there is a lot of the exact same thing out here, which is incredible and undeniable blues. However, for me and my listening ears, as someone who grew up on hip-hop, gospel, funk, soul and r&b, it begins to sound a bit rudimentary. There are a number of acts out here in my opinion who are experimenting, but I think that the current state of the blues and the powers that be, don’t really leave much room for experimentation. There should be more collaborations, in my opinion, in blues. There should be more experimentation. That is how other roots genres, country, folk (singer-songwriter), jazz, etc have evolved. We can’t keep doing the same thing and expecting different results. There are ways and methods to collaborate and experiment without sacrificing the quality or history for that matter of the blues. I’m following in the footsteps of Buddy Guy, Hendrix and other greats. Realistically, these guys were ahead of their time, during their time. Hendrix was crucified for playing the National Anthem the way he did back in ’69, now everyone from Kingfish to Jack White, plays the National Anthem in a very similar manner and it is totally acceptable.
My distinctive sound is because I do try to keep the integrity of the music when I write, but it is also because I listen. I studied Journalism in grad school at NYU. A professor from CUNY School of Journalism, Rob Levine (who was the editor of Rolling Stone at the time) came and taught a class. I will never forget that he once said, “How are you going to write if you are not reading?” So I ask the same: how are you going to play without listening?
Hollywood Forever marks your third studio album. How does this new project differ from your previous albums in terms of both musical direction and personal growth as an artist?
I’m surprised I have three albums. I always wanted just one strong album, but I think I have gotten addicted. The more I write, the more I want to keep writing and releasing music. I already have three other albums completed and scheduled to be released late 2025, early and late 2026.
This project is different, because there is a lot of modern rock opposed to blues and/or blues rock. There are also a good amount of singer-songwriter tracks on this album, which I began my career doing. So the musical direction is a bit different. Regarding my personal growth, I think I am becoming a bit more in tune with my writing.
You’ve collaborated with some of the most respected names in blues, such as Eric Gales, Paul Gilbert, and Albert Castiglia. How have these collaborations inspired your own sound and songwriting process?
The collaboration with them has put me on a platform with them. They are all great. The song, “Bloodshot Eyes” with Albert is my most streamed song of all time on any platform, which is wildly funny, because I hate that song. I was actually going to scrap it from the album. I was listening to it after tracking, before I asked Albert to hop on, and I thought it was ok, but not that strong of a track. When Albert recorded his part, he sent me the file and it was the most simple layered accompaniment, and at first I was a bit disappointed, because I was expecting the Albert Castiglia guitar god to unleash on this track, but as my engineer, Paul Howells, was adding the track to the song, and we listened, it was the most perfect guitar accompaniment.
Anything else would have been too much and being the guitarist he is, I am sure Albert knew that. With Eric, I had been a fan of his for so long. I met him playing back in 2024, when I was playing with Lauryn Hill. He has always been someone I have looked up to. And regarding Paul Gilbert, I will never forget, being in school and the TV was on and Guitar Center Sessions came on and Paul Gilbert was playing Muddy Waters’ “I Got My Mojo Working.” It blew my mind because I couldn’t figure out what he was playing, but after watching that a hundred times, he wasn’t playing Muddy’s guitar part, he was playing the harmonica part.
So my first real interaction or impression of Gilbert was the blues, which is ironic because I know the world knows him as one of the fastest rock and roll guitarists ever. These men’s work, along with Joanna Connor, who is my biggest hero and also a collaborator, has allowed me to approach my writing and guitar playing in various different ways. They are all great, all incredible, but all have a different approach.
Beyond your music, you’ve also dedicated significant time and effort to social justice causes through The Emanuel Casablanca Foundation. How do the two passions of advocacy work and music intersect for you?
Honestly, I wanted to do the most simplistic thing that I could, and that was to play music and donate proceeds to those in need. That is pretty much the extent of The Emanuel Casablanca Foundation. I do have sponsors (primarily local sponsors) who do finance some of the tours that I go on to do this, but I partner with various organizations, with various causes: Perfect 10 (Hudson, NY), United Way of New York City, Ukraine Relieve (Bournemouth, UK), along with many others to put on shows and do fundraisers for their organizations. Currently, Hollywood Forever, is on pre-order. 100% of pre-order sales will go towards the efforts in the Ukraine.
The Hudson Blues & Comedy Festival is a wonderful initiative that you’re helping launch. What can fans expect from this event, and why is it important to you?
This is in the works and we are hoping to get this off the ground by Spring 2027 as there have been some delays. Myself and my partner — she and I moved from Brooklyn, NY last year upstate to the country in Hudson, NY. We have really loved it here and the community and want to give back as much as possible so, I am expecting a lot of interactivity, not just musically and artistically, but from the community. I think fans can expect the same.
For me personally, I am truly one of those guys who is about the music. I really really want to hear some great music, play some great music and experience some new undiscovered talent. And I am also the biggest comedy fan. In a past life I was a stand-up comedian. A failed one, though.
You’ve also stepped into the world of film with your role in Broken Strings. How did this opportunity come about, and how do you think your experience as a musician influences your acting performance?
I think when you are playing music, you are constantly performing. I also have an acting background, primarily in theater. I have a friend who is on the show FBI and she brought this filmmaker to a show that I had at the SoHo House in NYC. She introduced us and after the show, he stated that the lead role, of this blues musician who realizes his favorite musician is actually his father, who abandoned him as a child, was supposed to go to American Idol’s Justin Guarini. After saying that he liked Justin better for another role in the film, he thought after seeing my performance that evening that I would be perfect for it and that was pretty much that.
Artists in motion stay in motion. Casablanca’s path spirals outward with his upcoming album release tour, with more dates to be announced.
