The soul of some cities lies not just on maps, but hidden within the strings of an instrument. Emerging from the voodoo-scented streets of New Orleans and the humid breezes of the Mississippi, Gitkin (Brian J.) is a modern-day troubadour of exactly that spirit. When I had the chance to see him live in London two years ago, I was fascinated by his energy on stage. Blending his music with the spices of diverse cultures like a rich "gumbo," Gitkin arrives at Salon İKSV on May 23rd for his debut performance in a city that mirrors his own: the ancient port of Istanbul. Before witnessing this unique performance—which spans from the psychedelic echoes of Anatolian Rock to Middle Eastern scales, and from the dusty solitude of Spaghetti Westerns to infectious funk rhythms—we sat down with Brian J. to discuss the parallels between New Orleans and Istanbul, his obsession with analog gear, and how the guitar becomes a universal language where words fail.
Meanwhile, he was kind enough to send me a preview of his new album, "Where The South Winds Blow," which will be released on May 22nd. We'll also have the opportunity to hear the new songs at his Istanbul concert, and I can tell you in advance: a fantastic album and concert await us!
Hello Brian, thanks for this interview. What are you doing these days?
My pleasure. I’ve been getting into the weeds of everything surrounding putting my new album “Where The South Winds Blow” out. Preparing for tours, making content, all that fun stuff.
Coming to Istanbul for the first time and giving your debut concert in Turkey at Salon IKSV on May 23rd is a big thrill for Turkish audiences. Do you have any special preparations for this show, perhaps incorporating elements of Turkish music?
I’m super excited to visit Turkey for the first time. I’ve always had flashes of influence from your music. I’m excited to put my ear to the street and pick up some new influences.
You’ve been living in New Orleans for a long time, and your music is deeply fueled by the city’s multicultural "gumbo" spirit. Much like New Orleans, Istanbul is an ancient port city where different civilizations, languages, and melodies blend together, shaped by the presence of the water. Do you think being an artist from a port city grants your music that freedom of "belonging nowhere yet carrying a piece of everywhere"? Do you expect to find the breeze of the Mississippi within the salty air of the Bosphorus?
I’m a bit of a sponge, soaking up bits and pieces of spirit and music in many of the places I go. I have the feeling this visit to Istanbul will be very special.
Your music features global influences like North African, Middle Eastern, and Colombian cumbia rhythms. For Turkish listeners, how do you connect these sounds to Turkish folk music or Istanbul's cultural diversity?
I started in the blues. That’s my foundation. At some point I began taking in music from all over the world and had this realization …it’s all blues. When you hear the deepest of a culture's music, It’s the blues. Yes the sounds are different. The scales are different. The rhythms are different. But there’s a shared spirit.
I’m not much of a musicologist. I really just respond to what moves me. Whether it's Anatolian rock, Sudanese folk, Peruvian Cumbia or Hank Williams. It’s all a joyous expression of being human
You once mentioned that creativity is a "dance" and that music already exists somewhere independent of you. In a city like Istanbul, which has layers spanning thousands of years, do you have a special plan to pull new sounds from that "cosmic library"?
Oh yes! I am very much looking forward to taking it in as much as I can in 2 and half days we will be there.
In past interviews, you've described the guitar and studio as "tools to unlock something beautiful." How has this approach evolved in your latest album Golden Age, and what were your key inspirations?
That’s interesting. I love guitar solos. If the song is a choreographed landscape that you paint, the solo is a moment to fly around in that world.
I look at guitar solos as secondary to the composition though. When I play the melody, I’m singing through the guitar.. If I’m doing it right, every note pushes the narrative forward.
You've mentioned being influenced by Tuareg musicians. What creative freedoms does blending these desert blues elements with psych-rock and surf twang provide you?
Freedom is really the word. When I create, I just go wherever I find a spark of inspiration. On a good day, I’m actually not thinking much at all. Just like a child playing in a sand box following a whim. I hear a sound, a riff or a groove and let it take me where it wants.
Albums like Safe Passage and Nowhere To Go But Everywhere have strong journey themes. How does this continue in Golden Age, and what real-life travels inspire you?
When I was child in the suburbs of New York City, I felt isolated and bored. I had a feeling there were so many amazing things happening in the world beyond my reach and I longed to get out there and explore. Getting lost in music was the way I was able to “travel” in those formative years. Listening to the great music my father exposed me and then exploring on my own opened me up to world much more expansive then the little town I grew up in.
After years of vocal-centric work with "Pimps of Joytime," you let your guitar do the talking with Gitkin. Considering Istanbul is also a "speaking" bridge between East and West, did giving up words make the stories you want to tell feel more universal?
I never thought of it in those terms, but that makes sense. I love singing through the guitar.
You've described your instrumental music as taking listeners on a "sonic journey." For Turkish audiences, how do you relate this journey to Istanbul's historical and cultural richness?
This will be my first time visiting Turkey. I have images in my mind of beautiful ornate architecture, rich colors and vibrant street life and culture.
I guess I’ll see how it relates or resonates with folks there. I am hopeful folks appreciate my sound.
In the future, are you considering collaborations with Turkish musicians? Could your May 23rd concert be a bridge for such opportunities?
Yes I would love that. I actually did a small collab with Turkish artist Selin Sumbultepe back in 2021. She incorporated one of my melodies into a song.
I look forward to making new musical friends and seeing where it might go.
We know your passion for vintage gear like spring reverb and analog tape recordings. In today’s digital world, is maintaining this "dusty" and warm sound a form of resistance for you, or simply a nostalgia for the past?
It’s just the sound I love. It’s what captivates. When you record something digital and square, you hear back exactly what you played… which is good but when you use tape, tubes, transformers and all that good stuff, what you hear back is more impressionistic, more baked in, more flavorful… It’s like when you making sauce or soup and give it those few hours on low heat to let the flavors fuse together . That’s tape vs digital.
Do you have any rituals or mental preparations that help you get into the creative mindset?
For the studio, I just need to be in there constantly to get some momentum going. Once the momentum is happening, I stop thinking. That tends to be the best mode for me creatively.
Who are you listening to these days?
Charlie Crockett, Mohammed Wardi, Skip James, Enrique Delgado
Is there anything else you are passionate about besides music?
Quality of life stuff… nature, architecture, food, coffee
What are your plans for the near future?
I’d like to keep expanding my music through albums, collabs and touring.
Thank you very much, finally, is there a message you would like to give to your Turkish listeners?
Many thanks for inviting me to your beautiful city!
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