Biography
The Holmes Brothers were an American roots trio formed by real-life siblings Sherman and Wendell Holmes with their close friend Willie “Popsy” Dixon, who functioned as an honorary brother. Raised in the small community of Christchurch, Virginia, Sherman and Wendell grew up in a Baptist household where church hymns and gospel harmonies mixed with blues and country sounds from records and the radio.[1][2][8] Both brothers sang in church and studied piano as children; Sherman also learned clarinet and music theory, while Wendell studied trumpet and organ before the two largely taught themselves guitar.[1][2] Sherman briefly attended Virginia State University to study theory and composition but left after two years to move to New York, where Wendell later joined him.[1] Throughout the 1960s and 1970s they worked in various bar bands and backing groups on the New York scene, absorbing R&B, soul, rock and roll, and country alongside the gospel and blues of their youth.[1][4]
The group as it became known coalesced in the early 1970s when Wendell met fellow Virginian Willie “Popsy” Dixon, a drummer with a striking falsetto who shared their church-based musical background.[1][4][5] Dixon began performing with the Holmes brothers in informal settings and, after sitting in at a New York blues jam in 1980, the three solidified as The Holmes Brothers: Sherman on baritone vocals and bass, Wendell on tenor vocals, guitar, and piano, and Popsy on falsetto vocals and drums.[1][4] Their signature sound fused blues, soul, and R&B with traditional gospel, spirituals, country, and rock, built around richly layered three-part harmonies that critics described as creating a "mystical fourth entity."[1][4] They became a house fixture at Dan Lynch’s Bar & Grill in New York, released their debut album on Rounder Records in 1989, and went on to record for labels including Real World Records and Alligator Records, producing acclaimed albums such as "State of Grace" and "Brotherhood."[1][4][5] Over the next three and a half decades the trio toured internationally, shared stages with major artists, and won honors including the Blues Foundation’s 2005 Band of the Year and the 2008 Soul Blues Album of the Year, while their blend of sacred and secular traditions cemented their legacy as key bridge-builders in modern American roots music.[1][3][4]
Even as individual members passed away—Willie “Popsy” Dixon in 2015 and Wendell Holmes later that same year—The Holmes Brothers’ recordings continued to circulate as touchstones of contemporary gospel-infused blues and soul.[4][6] Their work was recognized by institutions such as the National Endowment for the Arts, which honored them for their contributions to American traditional arts and highlighted their role in revitalizing older forms for new audiences.[1][2] Through their mentoring of younger musicians, their cross-genre collaborations, and their ability to move seamlessly from a traditional hymn to a pop cover while retaining emotional depth, The Holmes Brothers left a legacy that resonates with both blues purists and listeners discovering roots music through more modern channels.[1][3][6]
Fun Facts
- The Holmes Brothers were the first American group ever signed to Peter Gabriel’s Real World Records label, marking a significant crossover of a traditional-leaning U.S. roots act onto a world-music–oriented imprint.[1][5]
- Before they became a nationally touring act, The Holmes Brothers spent years as the house band at Dan Lynch’s Bar & Grill in New York City, where they not only played regular sets but also anchored open jam sessions that attracted future stars like Joan Osborne and members of Blues Traveler.[1][4]
- In 1996 they recorded the soundtrack for the independent film "Lotto Land," showcasing their ability to adapt their gospel-blues sound to a cinematic context.[1]
- The National Endowment for the Arts has formally honored The Holmes Brothers for their contributions to American traditional arts, recognizing their distinctive blend of blues, soul, gospel, country, and rock as an important part of the nation’s cultural heritage.[1][2]
Musical Connections
Mentors/Influences
- Church gospel tradition and Baptist hymnody - Foundational musical influence from the Baptist church in Christchurch, Virginia, where the brothers sang in choirs and absorbed gospel harmonies, spirituals, and hymns that shaped their vocal style and repertoire. (Influence heard across albums such as "Jubilation," "Speaking in Tongues," and "State of Grace," where they reinterpret hymns and spirituals alongside secular songs.) [Childhood–1960s and continuing influence throughout career]
- Blues, country, and R&B recordings they heard growing up - As children they listened to blues and popular music on records and radio alongside church music, taking in styles from country, rhythm and blues, and early rock and roll that later surfaced in their song choices and arrangements.[2][8] (Stylistic imprint evident in their covers of secular material and genre-blending albums for Rounder, Real World, and Alligator Records.) [1940s–1960s formative years]
Key Collaborators
- Willie “Popsy” Dixon - Drummer, vocalist, and close musical partner who completed the trio; his soaring falsetto and strong gospel background deepened the group’s church-inflected sound. (Core member on albums for Rounder Records, Real World Records, and Alligator Records, including "State of Grace" and "Brotherhood."[1][4][5]) [Early 1970s informal work; formally as The Holmes Brothers from 1980 until his death in 2015]
- Peter Gabriel - Label head and artistic supporter; The Holmes Brothers became the first American group signed to his Real World Records imprint, which helped introduce their music to broader international audiences.[1][5] (Multiple releases on Real World Records beginning in 1992.[1][5]) [Early 1990s onward]
- Van Morrison - Shared performance stages; The Holmes Brothers performed with the singer-songwriter as part of their collaborative touring and festival work.[1] (Live performances (specific recordings are not clearly documented in available sources).) [1990s–2000s (touring era noted by sources)]
- Odetta - Collaborative performances with the influential folk and civil rights singer; their shared grounding in spirituals and folk-blues created natural musical common ground.[1] (Live concerts and festival appearances (no specific joint album cited in sources).) [Primarily 1990s–2000s]
- Willie Nelson, Rosanne Cash, Levon Helm - Artists they performed with in concerts and special events, reflecting the trio’s wide acceptance across roots, country, and Americana circles.[1] (Shared stages and live collaborations (no specific studio projects documented in core sources).) [1990s–2000s]
- Joan Osborne - Younger artist they mentored and worked with; The Holmes Brothers served as role models at Dan Lynch’s club and later performed and recorded with her.[1][4] (They backed Osborne and she, in turn, produced or guested on projects; sources highlight ongoing collaboration but do not pinpoint a single definitive album.[4][6]) [Late 1980s mentorship onward through at least the 2000s]
Artists Influenced
- Joan Osborne - Singer-songwriter who has cited The Holmes Brothers as mentors; they encouraged her early on at Dan Lynch’s in New York and helped shape her understanding of roots and gospel-infused soul performance.[1][4] (Her roots- and soul-oriented recordings show the imprint of their gospel-blues phrasing and song choices; she later collaborated with them on performances and studio work.) [Mentorship beginning in the late 1980s and continuing influence into the 1990s–2000s]
- Members of Blues Traveler - Younger New York musicians who looked up to The Holmes Brothers as role models at Dan Lynch’s; the trio’s professionalism, repertoire, and genre-blending approach provided a template for integrating blues into jam-band rock.[1] (Influence is stylistic and career-oriented rather than tied to a specific shared recording.) [Mid- to late 1980s and early 1990s]
- Younger New York blues and roots musicians at Dan Lynch’s - The Holmes Brothers became anchors of the Dan Lynch’s scene, informally teaching and mentoring emerging players who learned repertoire, stagecraft, and vocal arranging by watching and sitting in with them.[1][4] (Influence reflected in the broader New York blues/roots scene rather than specific documented works.) [1980s–1990s]
Connection Network
Discography
Albums
| Title | Release Date | Type |
|---|---|---|
| Simple Truths | 2004-01-13 | Album |
| V.I.P | 2000-01-04 | Album |
| Second Chance - Original Motion Picture Soundtrack | 2005-12-27 | Album |
| State of Grace | 2007-01-16 | Album |
| Brotherhood | 2013-10-15 | Album |
| Speaking In Tongues | 2001-01-30 | Album |
| Feed My Soul | 2010-03-02 | Album |
| Jubilation | 1992 | Album |
| Promised Land | 1997-01-01 | Album |
| In The Spirit | 1990-01-01 | Album |
| Soul Street | 1993-08-01 | Album |
| Where It's At | 1991-01-01 | Album |
| Brotherhood | 2013-10-15 | Album |
| Feed My Soul | 2010-03-02 | Album |
| Outlaws And Angels | 2009-01-01 | Album |
Top Tracks
- We Meet, We Part, We Remember (Simple Truths)
- I'm So Lonely (Simple Truths)
- Beast of Burden
- (What's So Funny 'Bout) Peace, Love And Understanding (State of Grace)
- Hey Baby (Simple Truths)
- Stayed At The Party (Brotherhood)
- Gasoline Drawers (State of Grace)
- Everything Is Free (Simple Truths)
- My Word Is My Bond (Brotherhood)
- Close The Door (State of Grace)
External Links
Heard on WWOZ
Holmes Brothers has been played 1 time on WWOZ 90.7 FM, New Orleans' jazz and heritage station.
| Date | Time | Title | Show | Spotify |
|---|---|---|---|---|
| Dec 5, 2025 | 04:28 | Love Trainfrom Speaking In Tongues | Overnight Music - Friday |