TOUR
ADD THE VIP UPGRADE EXPERIENCE TO YOUR TICKET PURCHASE
IN SELECT CITIES ON THIS TOUR
Limited quantities available.
Don’t miss out!
- An Intimate Discussion and Q&A With Taj Mahal and Keb' Mo'
- One (1) Limited Edition Room On The Porch Poster
- One (1) Specially Designed Taj Mahal and Keb' Mo' Tote Bag
- One (1) Room On The Porch Sticker Set
- One (1) Taj Mahal and Keb' Mo' Guitar Pick Tin Set
- Pre-Show Merch Shopping Access
- Venue First Entry (where applicable)
- On-Site VIP Host
– Ticket not included. –
Check your venue for specific details on purchasing and availability.
Masterclass Guitar Lesson Series
Presented across 3 standalone editions, Keb’s Masterclass Series features 10+ hours of interactive video lessons, 29 song performances and a wealth of creative insight.
ABOUT KEB' MO'
When Keb’ Mo’ decided to call his new album The Breakdown, it wasn’t a metaphor so much as a declaration.
“It felt like everything in my life was breaking down,” the five-time Grammy-winner reflects. “My health, my relationship, my whole world. The only way I knew how to respond was to break the music down, too.”
So Keb’ stripped his songs back to their most essential elements, laying it all on the line like never before with a series of raw, intimate, solo acoustic performances captured alone at his home studio outside Nashville, TN. Stark and deeply honest, The Breakdown is Keb’ at his most revealing, grappling with the passage of time and the inevitability of change while still holding on firmly to the hope, faith, and love that have always guided him. He writes with a hard-won wisdom here, reflecting on loss, mortality, and gratitude in the wake of life-saving open heart surgery, and he performs with a deceptive ease, delivering virtuosic fingerpicking and wry, revelatory lyrics with the casual warmth and charm of an old friend catching up over coffee. The result is a poignant mediation on the power of positivity to carry us through our darkest days, a masterful blend of folk, blues, roots, jazz, and soul music that sifts through the wreckage of a personal breakdown and transforms it into a work of profound growth and beauty.
“I’m turning 75 this year,” Keb’ reflects, “and I know I won’t be around forever. All you can do is make the most of what you’ve got and be grateful for every step of the journey.”
Born and raised in Compton, Keb’ took the first steps of his remarkable journey at the age of 21, when he landed a gig playing with Jefferson Airplane violinist Papa John Creach. For the next 20 years, he would work primarily behind the scenes, establishing himself as a respected guitarist, songwriter, and arranger with a unique gift for linking the past and present in his evocative playing and singing. Though he recorded a one-off album in 1980 under his birth name, Kevin Moore, it wasn’t until 1994 that he would introduce the world to Keb’ Mo’ with the release of his widely acclaimed self-titled debut. Critics were quick to take note of his modern, genre-bending take on old school sounds, and two years later, Keb’ garnered his first Grammy Award for Best Contemporary Blues Album with Just Like You. In the decades to come, he would go on to take home four more Grammy Awards; top the Billboard Blues Chart eight times; perform everywhere from Carnegie Hall to The White House; collaborate with the likes of Taj Mahal, Willie Nelson, Bonnie Raitt, The Chicks, and Lyle Lovett; have his compositions recorded and sampled by artists as diverse as B.B. King, Zac Brown, and BTS; release signature guitars with both Gibson and Martin; compose music for television series like Mike and Molly, Memphis Beat, B Positive, and Martha Stewart Living; appear as himself in Martin Scorcese’s The Blues and Aaron Sorkin’s The West Wing; flex his acting chops playing Robert Johnson in the 1998 documentary Can’t You Hear The Wind Howl, Possum in John Sayles’ Honeydripper, and Howlin’ Wolf in CMT’s Sun Records; and earn the Americana Music Association’s 2021 award for Lifetime Achievement in Performance.
Keb’s incredible career nearly came to an abrupt end in 2024, though, when he began experiencing shortness of breath on tour with Slash.
“I was struggling to breathe and thought there must be something wrong with my lungs,” Keb’ recalls. “When I finally got off the road, I went to the doctor, and they sent me straight to the emergency room.”
The problem, it turned out, was not with his lungs, but rather his heart. A leaking valve and aortic aneurysm required intensive surgery, and the lengthy rehabilitation period forced the postponement of a slew of tour dates.
“It felt like death was tapping me on the shoulder,” Keb’ explains. “I’d been going around feeling healthy and strong all these years, and suddenly I had to face the possibility that I might not make it.”
It wasn’t just Keb’s health that was breaking down, though. At the same time, his marriage of nearly twenty years was coming to an end, and the studio he’d built roughly a decade-and-a-half earlier seemed to be on its last legs.
“It was a rough time,” Keb’ explains, “but my recovery taught me to adjust my attitude and be grateful for what I’ve got. After I figured out how to do that, life got a whole lot sweeter.”
That newfound perspective is plain to hear on The Breakdown, which manages to turn pain and uncertainty into hope and resilience at every turn. The tender “One Day Away” reminds us that the best may still be yet to come, while the sly “We Make Love” is a call to remember our true purpose in life, and the sentimental “Every Step of the Way” learns to appreciate even the most difficult days. “It don’t matter how high the cost / Of dreams won or love lost,” Keb’ sings. “It’s made me the man I am today / So I’m thankful for every step of the way.”
“I had to go through some difficult experiences to get these songs,” he confesses, “but I learned a lot looking back on my life and my relationships and taking inventory of everything in a new light. It was actually a big surprise for me.”
While the album is deeply rooted in Keb’s personal story, the tunes also stand as broader commentary on the state of the world at large. The bittersweet “Fussing and Fighting” could just as easily reflect a long-term relationship as a divided nation searching for common ground; the poignant “Stitched Up Heart” doubles as a love letter to the surgeon who saved Keb’s life and an ode to the healing power of human connection; and the playful “Don’t Make ’Em (Like They Used To)—which features vocals from gospel sextet Take 6— reimagines a familiar lament as a celebration of changing gender roles in modern society.
“I co-wrote that song with my engineer, Zach Allen, while my studio was torn apart for repairs,” Keb’ explains. “It grew out of a conversation about recording equipment, but it eventually became a tribute to the times we’re living in. Things aren’t like they used to be, and often that’s a good thing. Change is essential to growth.”
Timely as the album feels, a handful of tracks on the record actually stretch back several decades into Keb’s catalog. The delicate “Living In The Moment,” for instance, was written nearly 50 years ago, though it feels more relevant than ever now in an age of endless digital distraction. “Hand It Over”—originally released in 1996—takes on new life here with a South African flair thanks to an appearance from the Soweto Gospel Choir. The lyrics to “More Yesterdays,” meanwhile, bounced around in Keb’s head for 15 years before finally falling into place after his surgery. “Every day I count my blessings / Do a little less second guessing / This life and every breath you take is borrowed,” he sings over a delicately percussive guitar line. “I’m taking myself too serious / Tell myself lighten up / You might have more yesterdays than tomorrows.”
“I had to grow into that song,” Keb’ explains. “If I’d recorded it when I was younger, I don’t think I could have sung it the way I do now, so I’m glad I waited.”
In the end, it’s that sense of gratitude in the face of struggle that makes the album such a transcendent listen. Youth fades, bodies fail, people grow apart, but still we carry on, stronger, wiser, and with more love and thankfulness in our hearts every day. That’s the beauty of The Breakdown.
When Keb’ Mo’ decided to call his new album The Breakdown, it wasn’t a metaphor so much as a declaration.
“It felt like everything in my life was breaking down,” the five-time Grammy-winner reflects. “My health, my relationship, my whole world. The only way I knew how to respond was to break the music down, too.”
So Keb’ stripped his songs back to their most essential elements, laying it all on the line like never before with a series of raw, intimate, solo acoustic performances captured alone at his home studio outside Nashville, TN. Stark and deeply honest, The Breakdown is Keb’ at his most revealing, grappling with the passage of time and the inevitability of change while still holding on firmly to the hope, faith, and love that have always guided him. He writes with a hard-won wisdom here, reflecting on loss, mortality, and gratitude in the wake of life-saving open heart surgery, and he performs with a deceptive ease, delivering virtuosic fingerpicking and wry, revelatory lyrics with the casual warmth and charm of an old friend catching up over coffee. The result is a poignant mediation on the power of positivity to carry us through our darkest days, a masterful blend of folk, blues, roots, jazz, and soul music that sifts through the wreckage of a personal breakdown and transforms it into a work of profound growth and beauty.
“I’m turning 75 this year,” Keb’ reflects, “and I know I won’t be around forever. All you can do is make the most of what you’ve got and be grateful for every step of the journey.”
Born and raised in Compton, Keb’ took the first steps of his remarkable journey at the age of 21, when he landed a gig playing with Jefferson Airplane violinist Papa John Creach. For the next 20 years, he would work primarily behind the scenes, establishing himself as a respected guitarist, songwriter, and arranger with a unique gift for linking the past and present in his evocative playing and singing. Though he recorded a one-off album in 1980 under his birth name, Kevin Moore, it wasn’t until 1994 that he would introduce the world to Keb’ Mo’ with the release of his widely acclaimed self-titled debut. Critics were quick to take note of his modern, genre-bending take on old school sounds, and two years later, Keb’ garnered his first Grammy Award for Best Contemporary Blues Album with Just Like You. In the decades to come, he would go on to take home four more Grammy Awards; top the Billboard Blues Chart eight times; perform everywhere from Carnegie Hall to The White House; collaborate with the likes of Taj Mahal, Willie Nelson, Bonnie Raitt, The Chicks, and Lyle Lovett; have his compositions recorded and sampled by artists as diverse as B.B. King, Zac Brown, and BTS; release signature guitars with both Gibson and Martin; compose music for television series like Mike and Molly, Memphis Beat, B Positive, and Martha Stewart Living; appear as himself in Martin Scorcese’s The Blues and Aaron Sorkin’s The West Wing; flex his acting chops playing Robert Johnson in the 1998 documentary Can’t You Hear The Wind Howl, Possum in John Sayles’ Honeydripper, and Howlin’ Wolf in CMT’s Sun Records; and earn the Americana Music Association’s 2021 award for Lifetime Achievement in Performance.
Keb’s incredible career nearly came to an abrupt end in 2024, though, when he began experiencing shortness of breath on tour with Slash.
“I was struggling to breathe and thought there must be something wrong with my lungs,” Keb’ recalls. “When I finally got off the road, I went to the doctor, and they sent me straight to the emergency room.”
The problem, it turned out, was not with his lungs, but rather his heart. A leaking valve and aortic aneurysm required intensive surgery, and the lengthy rehabilitation period forced the postponement of a slew of tour dates.
“It felt like death was tapping me on the shoulder,” Keb’ explains. “I’d been going around feeling healthy and strong all these years, and suddenly I had to face the possibility that I might not make it.”
It wasn’t just Keb’s health that was breaking down, though. At the same time, his marriage of nearly twenty years was coming to an end, and the studio he’d built roughly a decade-and-a-half earlier seemed to be on its last legs.
“It was a rough time,” Keb’ explains, “but my recovery taught me to adjust my attitude and be grateful for what I’ve got. After I figured out how to do that, life got a whole lot sweeter.”
That newfound perspective is plain to hear on The Breakdown, which manages to turn pain and uncertainty into hope and resilience at every turn. The tender “One Day Away” reminds us that the best may still be yet to come, while the sly “We Make Love” is a call to remember our true purpose in life, and the sentimental “Every Step of the Way” learns to appreciate even the most difficult days. “It don’t matter how high the cost / Of dreams won or love lost,” Keb’ sings. “It’s made me the man I am today / So I’m thankful for every step of the way.”
“I had to go through some difficult experiences to get these songs,” he confesses, “but I learned a lot looking back on my life and my relationships and taking inventory of everything in a new light. It was actually a big surprise for me.”
While the album is deeply rooted in Keb’s personal story, the tunes also stand as broader commentary on the state of the world at large. The bittersweet “Fussing and Fighting” could just as easily reflect a long-term relationship as a divided nation searching for common ground; the poignant “Stitched Up Heart” doubles as a love letter to the surgeon who saved Keb’s life and an ode to the healing power of human connection; and the playful “Don’t Make ’Em (Like They Used To)—which features vocals from gospel sextet Take 6— reimagines a familiar lament as a celebration of changing gender roles in modern society.
“I co-wrote that song with my engineer, Zach Allen, while my studio was torn apart for repairs,” Keb’ explains. “It grew out of a conversation about recording equipment, but it eventually became a tribute to the times we’re living in. Things aren’t like they used to be, and often that’s a good thing. Change is essential to growth.”
Timely as the album feels, a handful of tracks on the record actually stretch back several decades into Keb’s catalog. The delicate “Living In The Moment,” for instance, was written nearly 50 years ago, though it feels more relevant than ever now in an age of endless digital distraction. “Hand It Over”—originally released in 1996—takes on new life here with a South African flair thanks to an appearance from the Soweto Gospel Choir. The lyrics to “More Yesterdays,” meanwhile, bounced around in Keb’s head for 15 years before finally falling into place after his surgery. “Every day I count my blessings / Do a little less second guessing / This life and every breath you take is borrowed,” he sings over a delicately percussive guitar line. “I’m taking myself too serious / Tell myself lighten up / You might have more yesterdays than tomorrows.”
“I had to grow into that song,” Keb’ explains. “If I’d recorded it when I was younger, I don’t think I could have sung it the way I do now, so I’m glad I waited.”
In the end, it’s that sense of gratitude in the face of struggle that makes the album such a transcendent listen. Youth fades, bodies fail, people grow apart, but still we carry on, stronger, wiser, and with more love and thankfulness in our hearts every day. That’s the beauty of The Breakdown.
When Keb’ Mo’ decided to call his new album The Breakdown, it wasn’t a metaphor so much as a declaration.
“It felt like everything in my life was breaking down,” the five-time Grammy-winner reflects. “My health, my relationship, my whole world. The only way I knew how to respond was to break the music down, too.”
So Keb’ stripped his songs back to their most essential elements, laying it all on the line like never before with a series of raw, intimate, solo acoustic performances captured alone at his home studio outside Nashville, TN. Stark and deeply honest, The Breakdown is Keb’ at his most revealing, grappling with the passage of time and the inevitability of change while still holding on firmly to the hope, faith, and love that have always guided him. He writes with a hard-won wisdom here, reflecting on loss, mortality, and gratitude in the wake of life-saving open heart surgery, and he performs with a deceptive ease, delivering virtuosic fingerpicking and wry, revelatory lyrics with the casual warmth and charm of an old friend catching up over coffee. The result is a poignant mediation on the power of positivity to carry us through our darkest days, a masterful blend of folk, blues, roots, jazz, and soul music that sifts through the wreckage of a personal breakdown and transforms it into a work of profound growth and beauty.
“I’m turning 75 this year,” Keb’ reflects, “and I know I won’t be around forever. All you can do is make the most of what you’ve got and be grateful for every step of the journey.”
Born and raised in Compton, Keb’ took the first steps of his remarkable journey at the age of 21, when he landed a gig playing with Jefferson Airplane violinist Papa John Creach. For the next 20 years, he would work primarily behind the scenes, establishing himself as a respected guitarist, songwriter, and arranger with a unique gift for linking the past and present in his evocative playing and singing. Though he recorded a one-off album in 1980 under his birth name, Kevin Moore, it wasn’t until 1994 that he would introduce the world to Keb’ Mo’ with the release of his widely acclaimed self-titled debut. Critics were quick to take note of his modern, genre-bending take on old school sounds, and two years later, Keb’ garnered his first Grammy Award for Best Contemporary Blues Album with Just Like You. In the decades to come, he would go on to take home four more Grammy Awards; top the Billboard Blues Chart eight times; perform everywhere from Carnegie Hall to The White House; collaborate with the likes of Taj Mahal, Willie Nelson, Bonnie Raitt, The Chicks, and Lyle Lovett; have his compositions recorded and sampled by artists as diverse as B.B. King, Zac Brown, and BTS; release signature guitars with both Gibson and Martin; compose music for television series like Mike and Molly, Memphis Beat, B Positive, and Martha Stewart Living; appear as himself in Martin Scorcese’s The Blues and Aaron Sorkin’s The West Wing; flex his acting chops playing Robert Johnson in the 1998 documentary Can’t You Hear The Wind Howl, Possum in John Sayles’ Honeydripper, and Howlin’ Wolf in CMT’s Sun Records; and earn the Americana Music Association’s 2021 award for Lifetime Achievement in Performance.
Keb’s incredible career nearly came to an abrupt end in 2024, though, when he began experiencing shortness of breath on tour with Slash.
“I was struggling to breathe and thought there must be something wrong with my lungs,” Keb’ recalls. “When I finally got off the road, I went to the doctor, and they sent me straight to the emergency room.”
The problem, it turned out, was not with his lungs, but rather his heart. A leaking valve and aortic aneurysm required intensive surgery, and the lengthy rehabilitation period forced the postponement of a slew of tour dates.
“It felt like death was tapping me on the shoulder,” Keb’ explains. “I’d been going around feeling healthy and strong all these years, and suddenly I had to face the possibility that I might not make it.”
It wasn’t just Keb’s health that was breaking down, though. At the same time, his marriage of nearly twenty years was coming to an end, and the studio he’d built roughly a decade-and-a-half earlier seemed to be on its last legs.
“It was a rough time,” Keb’ explains, “but my recovery taught me to adjust my attitude and be grateful for what I’ve got. After I figured out how to do that, life got a whole lot sweeter.”
That newfound perspective is plain to hear on The Breakdown, which manages to turn pain and uncertainty into hope and resilience at every turn. The tender “One Day Away” reminds us that the best may still be yet to come, while the sly “We Make Love” is a call to remember our true purpose in life, and the sentimental “Every Step of the Way” learns to appreciate even the most difficult days. “It don’t matter how high the cost / Of dreams won or love lost,” Keb’ sings. “It’s made me the man I am today / So I’m thankful for every step of the way.”
“I had to go through some difficult experiences to get these songs,” he confesses, “but I learned a lot looking back on my life and my relationships and taking inventory of everything in a new light. It was actually a big surprise for me.”
While the album is deeply rooted in Keb’s personal story, the tunes also stand as broader commentary on the state of the world at large. The bittersweet “Fussing and Fighting” could just as easily reflect a long-term relationship as a divided nation searching for common ground; the poignant “Stitched Up Heart” doubles as a love letter to the surgeon who saved Keb’s life and an ode to the healing power of human connection; and the playful “Don’t Make ’Em (Like They Used To)—which features vocals from gospel sextet Take 6— reimagines a familiar lament as a celebration of changing gender roles in modern society.
“I co-wrote that song with my engineer, Zach Allen, while my studio was torn apart for repairs,” Keb’ explains. “It grew out of a conversation about recording equipment, but it eventually became a tribute to the times we’re living in. Things aren’t like they used to be, and often that’s a good thing. Change is essential to growth.”
Timely as the album feels, a handful of tracks on the record actually stretch back several decades into Keb’s catalog. The delicate “Living In The Moment,” for instance, was written nearly 50 years ago, though it feels more relevant than ever now in an age of endless digital distraction. “Hand It Over”—originally released in 1996—takes on new life here with a South African flair thanks to an appearance from the Soweto Gospel Choir. The lyrics to “More Yesterdays,” meanwhile, bounced around in Keb’s head for 15 years before finally falling into place after his surgery. “Every day I count my blessings / Do a little less second guessing / This life and every breath you take is borrowed,” he sings over a delicately percussive guitar line. “I’m taking myself too serious / Tell myself lighten up / You might have more yesterdays than tomorrows.”
“I had to grow into that song,” Keb’ explains. “If I’d recorded it when I was younger, I don’t think I could have sung it the way I do now, so I’m glad I waited.”
In the end, it’s that sense of gratitude in the face of struggle that makes the album such a transcendent listen. Youth fades, bodies fail, people grow apart, but still we carry on, stronger, wiser, and with more love and thankfulness in our hearts every day. That’s the beauty of The Breakdown.
