Corey Harris has earned substantial critical acclaim as one of the few contemporary bluesmen able to channel the raw, direct emotion of acoustic Delta blues without coming off as an authenticity-obsessed historian. Along with Keb' Mo' and Alvin “Youngblood” Hart, he raised the flag of acoustic guitar blues in the mid-1990s. Although well versed in the early history of blues guitar, he's no well-mannered preservationist, mixing a considerable variety of influences - from New Orleans to the Caribbean to Africa - into his richly expressive music.

Corey Harris has performed, recorded, and toured with names such as BB King, Taj Mahal, Buddy Guy, R.L.Burnside, Ali Farka Toure, Dave Matthews Band, Tracy Chapman, Olu Dara and many others. With one foot in tradition and the other in contemporary experimentation, Harris is a truly unique voice in contemporary music.

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Corey Harris has earned substantial critical acclaim as one of the few contemporary bluesmen able to channel the raw, direct emotion of acoustic Delta blues without coming off as an authenticity-obsessed historian. Along with Keb' Mo' and Alvin "Youngblood" Hart, he raised the flag of acoustic guitar blues in the mid-1990s. Although well versed in the early history of blues guitar, he's no well-mannered preservationist, mixing a considerable variety of influences - from New Orleans to the Caribbean to Africa - into his richly expressive music.

Harris was born in Denver, Colorado, on February 21, 1969, and began playing guitar at age 12, when he fell in love with his mother's Lightnin' Hopkins records. He played in a rock & roll band in high school, as well as the marching band, and developed his singing abilities in church. Through Bates College in Maine (where he majored in anthropology), Harris traveled to Cameroon to study African linguistics; during his time there, he soaked up as much African music as possible, becoming entranced by its complex polyrhythms. After returning to the U.S., Harris taught English and French in Napoleonville, Louisiana, and during his spare time he played the clubs, coffeehouses, and street corners of nearby New Orleans. His local reputation eventually earned him a deal with Alligator Records. In 1995, Alligator released Harris' debut album, 'Between Midnight and Day', a one-man, one-guitar affair that illustrated his mastery of numerous variations on the Delta blues style. The record won rave reviews and even some mainstream media attention, marking Harris as an exciting new presence on the blues scene; it also earned him an opening slot on tour with ex-10,000 Maniacs singer Natalie Merchant.

Harris followed it up with 'Fish Ain't Bitin' in 1997, a record that began to expand his style by adding a New Orleans-style brass section on several tracks, while emphasising his own original compositions to a much greater degree. The next year, Harris was invited to participate in the Billy Bragg/Wilco collaboration 'Mermaid Avenue', which set a selection of unfinished Woody Guthrie songs to music; Harris played guitar and contributed bluesy backup vocals to several tunes. He also appeared as a musician and vocalist on its sequel, 'Mermaid Avenue Vol. II'.

In 1999, Harris released what most critics called his strongest work to date, 'Greens from the Garden'; hailed as a landmark in some quarters, the record delved deeper into New Orleans funk and R&B, while recasting its covers in surprising but effective new contexts (even reggae and hip-hop). The result was a kaleidoscope of black musical styles that earned Harris even more widespread attention than his debut. Veteran pianist Henry Butler appeared on the record, and for the follow-up, Harris recorded an entire album in tandem with Butler; issued in 2000, 'Vu-Du Menz' updated several different strains of early jazz and blues.

Harris subsequently left Alligator for Rounder, and debuted for his new label in 2002 with 'Downhome Sophisticate', a typically eclectic outing that explored his African influences and added Latin music to his seemingly endless sonic palette. Two more albums followed on Rounder, the marvellous 'Mississippi to Mali' in 2003 and 'Daily Bread' in 2005.

In 2003 Harris was a featured artist and narrator of the Martin Scorcese film, 'Feel Like Going Home', which traced the evolution of blues from West Africa to the southern U.S. In 2007, he was awarded a MacArthur Fellowship - commonly referred to as a "genius award" - from the John D. and Catherine T. MacArthur Foundation. The annual grant, which recognises individuals from a wide range of disciplines who show creativity, originality and commitment to continued innovative work, described Harris as an artist who "forges an adventurous path marked by deliberate eclecticism." That same year, he was also awarded an honorary Doctor of Music degree from Bates College, in Lewiston, Maine. Ever the musical explorer, Harris turned to Jamaica and roots reggae for the template on his next album, 'Zion Crossroads', which was released in 2007 on Telarc Records. A second Telarc album, 'Blu Black', appeared in 2009 and found Harris continuing to be fascinated by Jamaican music. Released in 2013, 'Fulton Blues' found Harris revisiting several of his hybrid blues forms in a varied and interesting set.

Corey Harris has performed, recorded, and toured with names such as BB King, Taj Mahal, Buddy Guy, R.L.Burnside, Ali Farka Toure, Dave Matthews Band, Tracy Chapman, Olu Dara and many others. With one foot in tradition and the other in contemporary experimentation, Harris is a truly unique voice in contemporary music.

Quotes

Masterful...a remarkable talent...potent... effortless...magnificent ....Harris is as powerful a vocalist as he is a string-bender, capable of varying his deep, rich voice from wind-through-the-treetops sighs to thunderclap howls to beautifully controlled crescendos ...electrifying passion... Harris embodies and transcends tradition. Chicago Tribune

Harris combines stunning acoustic guitar work with deeply resonant vocals. Austin American Statesman

Corey Harris...has the same majesty, stark beauty and brutal honesty as the music's inventors and innovators....Stunning and beautiful, with complex finger-picking and tasty slide...played and sung with utter conviction. His most compelling instrument is his voice: rich, warm and inviting, perfect for storytelling and wiser than his years would dictate. This is music of great power, joy and celebration. Blues Revue

As comfortable and low-key as a Sunday afternoon family jam session. Sweet and intimate. Harris is a new talent with a very old soul. Seattle Post

Harris sings in a voice pebbled with hundred-year-old gravel and haunted by ghosts from ancient crossroads....an authentic voice and an eclectic vision. San Francisco Bay Guardian

Harris is the authentic article; the real keeper of the Delta flame. Jazz Times

Brilliant readings of blues standards, seamlessly fitting new compositions, lovely guitar work, and amazing vocals... plain astonishing. Clean, fast picking sung and played with a sweetness that brings to mind Mississippi John Hurt. Harris is a steady and consistent presence. Blues Access

Harris' voice is remarkable: he sounds worldly and grizzled beyond his years. Harris skillfully weaves his voice together with the serpentine writhings of his slide... the rootsy real thing. Living Blues

Record stores take warning: it's becoming harder and harder to confine Corey Harris to the blues bin. Acoustic Guitar

Harris displays a mastery of Delta and ragtime blues guitar styles. He plays and sings like a man whose soul is a native of Clarkesdale, MS, circa 1936. Guitar World

Corey Harris comes as a voice in the desert, promising rain. Hard-driving slide and accomplished ragtime fingerpicking, a booming voice, and a knack for writing new songs that sound as timeless as his covers. He doesn't sound like anyone else. Sing Out!

TICKETING INFO

General Admission ticket buyers have an added option of purchasing The Basement's Plate & Glass deal on the following booking page.

The Plate & Glass meal includes one meal option with one glass of selected wine which will be made available at the Green Room Bar from the time doors open through to 10:30pm.

Plate and Glass meal and wine options are listed on the following booking page.

Dinner & Show tickets include entry, seating and 2 course meal.

Dinner & Show tickets are only available via Moshtix.

Some Dinner & Show Bookings may be on a shared table. Please let us know at the time of the booking as a special request should you prefer not to share, and subject to availability we'll do our best to accommodate your request. Note it is not possible to join ticket holders together across ticket groups (meaning A Reserve ticket holders cannot sit with B Reserve etc).

Standard and Premium Beverage Packages are available by exclusive table service to Dinner & Show Ticket Holders for 3 hours from Doors. Beverage packages are available for purchase on the following booking page. *RSA and conditions apply

DOORS OPEN AT 7.00PM
MUSIC STARTS AFTER DINNER SERVICE, AROUND 8.30PM
SET TIMES ARE SUBJECT TO CHANGE FROM SHOW TO SHOW

PLEASE NOTE THE FOLLOWING:
When General Admission Ticket sales have closed on the day of the show they may still be available at the door on the night.

All patrons must be over the age of 18

Once purchased tickets are non-refundable & non-transferable
(applies to both Standing and Dinner sales)

Please ensure you bring photo ID as proof of age

A booking fee applies to all advance tickets. (All quoted prices include tax).

Dress is Smart/Casual at Manager's discretion. No thongs.

ACCESSIBILITY

The Basement has very limited accessibility for patrons with disabilities, however please contact the venue to ensure there is adequate availability for you to enjoy the show comfortably and they can advise on the recommended seating options.

RESTAURANT (GREEN ROOM BAR) 
RESTAURANT HOURS ARE DEPENDENT ON SHOW
Please call The Basement to confirm opening times - (02) 9251 2797

SEATING MAP FOR DINNER & SHOW BOOKINGS
Please Note: tables cannot be joined together. Please ensure everyone you intend to seat at your table is included in your booking to avoid being seated separately. Unfortunately, Dinner & Show bookings are for a minimum of 2 people.

Specific table reservation is not available for this performance. It is the venue's decision as to which table you will be allocated. Whilst the venue would love to give everyone their preferred seats, it is not always possible. We ask that you respect this decision and enjoy the performance.