El DeBarge brings the ‘rhythm of the night’ to New Year’s Eve at Blue Note L.A.

by

The Blue Note’s Hollywood location had a challenging start. The January wildfires affected much of Los Angeles, including the venue, which forced them to delay their initial March opening until August.

Since the Blue Note opened in Southern California, it’s quickly become a success with sold-out shows and unforgettable performances – like when Stevie Wonder played with Robert Glasper last week. Because of this incredible first year in 2025, the Blue Note team wanted to make their first New Year’s Eve show truly special.

On Wednesday, L.A. resident and R&B legend El DeBarge will perform at the club to ring in 2026.

Recently, The Times interviewed DeBarge, where he discussed his connection to jazz music, his plans to continue performing, and his fondness for New Year’s Eve concerts.

We’re talking about your New Year’s show at Blue Note. Will it be with the full band?

I’m playing the New Year’s show at the Blue Note in Los Angeles with half of my band. It’s a small venue, but it has a really special energy. I previously had the honor of playing with Robert Glasper at the Blue Note in New York, and I’m thrilled to be returning to the Blue Note stage.

This is a significant event as it’s the club’s very first New Year’s Eve celebration in Los Angeles. What’s your approach to making it a success, and does being the first to host it here feel particularly special?

I’m really honored to be the first performer at the new Blue Note in New York. Robert Glasper actually helped start a Blue Note location in Los Angeles and let me know they were expanding. Soon after, my manager told me they wanted me to play on New Year’s Eve, which was amazing! I’ve only heard wonderful things about the venue, and I especially love how the space sounds in New York.

Have you had memorable New Year’s shows over the years?

Performing on New Year’s Eve is always a fantastic experience. Everyone’s in a really good mood, excited about the new year and their resolutions, and we all just have a lot of fun. People really don’t want the night to end!

What is the best song for you to play at midnight?

I love playing “Rhythm of the Night” – it’s a really popular request! Whenever I ask crowds what song they want to hear for New Year’s Eve, most people shout out “Rhythm of the Night.” It’s just an upbeat, energetic song that makes people happy and reminds them of good times.

When you do smaller venues like City Winery or Blue Note are there songs you like to revisit?

I like to move away from traditional song structures and really stretch things out – slow the tempo, pause whenever I feel it. It creates a really relaxed atmosphere where the audience starts to sing along, and because we’re so close, I can clearly hear them. Sometimes I even hand the microphone to someone in the crowd and sing with them right at the edge of the stage. It’s a lot of fun when it happens like that.

Living in L.A., it’s been a really challenging year, starting with the fires. Considering everything, does the new year feel more meaningful this time around?

This New Year feels particularly meaningful, especially for those impacted by the recent fires. I want to take a moment to acknowledge and remember everyone who suffered and lost so much – their possessions, and even their lives. I’m incredibly grateful to be here tonight, and it’s a true honor to have been chosen to ring in the new year.

×

Blue Note is a storied jazz club. Talk about your relationship with jazz.

Jazz has always been a huge part of my life, thanks to my brother, Bobby, who sadly passed away. And I’ve been thinking a lot lately about Ricky Calliar, a wonderful mentor who really shaped my musical journey as a kid. I met him when I was around nine years old while I was learning piano, and he taught me so much. He especially loved playing music by Thelonious Monk, Joe Sample of The Crusaders, and Miles Davis – he’d often play their songs for me. Ricky is a trumpet player himself. He and my brother were both key in introducing me to jazz. I recently received the Joe Sample Award and was honored at a ceremony in Houston, Texas. While I don’t claim to be as talented as Joe Sample, it was a true honor to receive an award in his name.

Looking back at your music over time, do you notice any influences from jazz?

That’s interesting you mention that. I’ve been revisiting music by Joe Sample and the Crusaders, and Earth, Wind & Fire, and it struck me how much their sound – especially Maurice White and Philip Bailey’s production and songwriting – influenced my own work. I started really listening closely, and it’s amazing how things you absorbed years ago suddenly become clear. You realize, “Wow, I didn’t even realize that song had such an impact on what I was writing!” It’s become so ingrained in my musical DNA that it just happens naturally. When I sit down to write now, I feel like I’m right there with them, creating music alongside Joe Sample or Earth, Wind & Fire. If you could see and hear it, you’d definitely notice their influence.

Is there an Earth, Wind and Fire song you’d love to cover?

Everyone knows Earth, Wind & Fire for upbeat tracks like “September,” but honestly, the song that really gets to me is “I Can’t Let Go.” It had a huge impact on my musical journey, and I’d jump at the chance to perform it with them. I’ve been lucky enough to meet the band several times over the years, and one of my favorite memories is jamming with them at DJ Cassidy’s birthday party. We – Cassidy, Philip Bailey, Verdeen White, and myself – all gathered around the piano and played “That’s the Way of the World.” I was on piano, Philip sang lead, and Verdeen laid down the bassline. It was pure bliss – I felt like I was in paradise!

You mentioned your connection with Blue Note started with Robert Glasper, and your music has clearly inspired a lot of artists. What do you enjoy most about collaborating with different musicians?

I recently had the pleasure of meeting and performing with a talented young man named Lucky Day. We were both part of Stevie Wonder’s Christmas show, and I was incredibly impressed by him. We’ve even discussed a potential collaboration, maybe as early as 2026, which I’m really excited about.

If there was anybody that you could have come out and jam with you on New Year’s, who would it be?

If I could collaborate with anyone, I’d choose Sting. It would be amazing to just jam with him – our combined energy would create something incredible. My other pick would be Robert Glasper; I’d love to trade musical ideas with him. He’s a fantastic improviser, and I really admire his musical sensibility. Both Sting and Robert would really push me to explore my own musical instincts – they’d be incredibly inspiring. I don’t feel that way about many musicians; they’re two people who would truly spark my creativity.

What songs would you want to do with Sting?

If I could perform any song with Sting, I’d choose “King of Pain” since it’s one of his hits. If it were a DeBarge song, I’d pick “Stay With Me.”

Over your career, have you come to appreciate any songs in your collection more, or are there any that are particularly fun or rewarding to perform?

I really connect with the song “Stay With Me.” Looking back, I wish I’d paid more attention to the legal side of things when I was starting out. I co-wrote that song with my brother, Marty, but because I didn’t focus on the paperwork during my time with Motown, my name was never credited as a writer – and it still hasn’t been. It’s likely too late to fix that now. As an artist, I was just focused on creating and performing, and I didn’t prioritize the business side of things. That was a mistake I made.

As you get older, do you feel like you understand things better and appreciate life more fully?

Absolutely. I really understand and value the business side of entertainment. My advice to any new artist would be to take care of the business aspects of their career, because success in this industry requires both talent and smart business practices.

Do you find that you also appreciate the moments differently?

I find making music incredibly joyful because I’m so passionate about it. Whether I’m performing with artists like Robert Glasper or Stevie Wonder, or even just writing in the studio, it’s an amazing experience. I often get completely lost in the moment, and it’s only later that I fully appreciate everything that happened. Music truly feels like a high for me. Looking back, I often think about what I would do differently if I could relive those moments – what I’d say or how I’d act.

Since you don’t play L.A. often, when you do play here, is every show special?

Yes, I really love playing in Los Angeles. I tell people everywhere I go how much I enjoy it. I don’t actively seek out gigs there, I usually get asked. I’m not one to self-promote, and honestly, without a manager, I’d probably stay home. But I’m a people person, so I cherish every chance I get to perform in L.A. It’s a special place for me, like New York. When I play either of those cities, I feel extra pressure to deliver my best performance because they both feel like home.

It’s wonderful to hear music still brings you so much joy. Your passion for it after all these years is really inspiring.

I’ve always loved music and can’t imagine my life without it. Unlike some artists who plan for retirement, I don’t understand wanting to stop. Music is simply everything to me, and I’ll continue to create it as long as I live. Over the years, I’ve discovered so much about myself through music – it’s become a part of who I am, and we’re completely connected. I truly can’t imagine what I would do without it.

Read More

2025-12-29 21:32