Photograph by Scott Smith
Brian Owens might have a gift for music, but it is just one of many facets he uses in his ultimate mission of creating conversation, community organizing—and, ultimately, changing the world.
“I think God just has give me a lot of favor with people. Me trying to be a steward and a broker of that is probably the number one thing in my life right now,” he says. “So the whole idea of creating opportunities for others is becoming more and more what I feel like I’m supposed to do. So even my success is only success to the extent that it helps others be successful.”
Using those gifts to his potential has helped to create a number of positive opportunities for both himself and the community. In the aftermath of Ferguson, Owens, himself a resident of the area, worked tirelessly to cultivate learning experiences from the tragedy. He helped create the #HealFerguson concert in 2014, and was a headliner in the Soul of Ferguson Community Festival last September, which was presented by Sterling Bank. Among other things, he’s also been involved with the St. Louis Symphony’s community-focused IN UNISON chorus as an Artist-In-Residence, and in the past has worked with Maryville University in developing music therapy programs for youth, most recently an 8-week program for students at Confluence Academy called “Life Compositions.”
Outside of his outreach work, Owens has built a career on paying tribute to soul “Masters”—artists like Donny Hathaway, Ray Charles, and Marvin Gaye, the last of which he created his signature concert “What’s Goin’ On: The Marvin Gaye Experience.”
On Saturday, Owens is heading to the Sheldon to perform a showcase of Bill Withers songs in a concert titled “Lean On Me.” He also just released an EP of new music, titled “Beautiful Day.” In this interview, Owens sheds light on paying homage, leaving a legacy—and if he’d ever tackle a Prince show.
When did you decide to perform the signature hits of other artists like Marvin Gaye and Bill Withers and turn it into a concert, and not just a cover show?
I perform the music like it’s mine. When we do the Marvin Gaye stuff on the road, we try to embody “What would Marvin do if he were alive today?” And allowing who I am to come out of the music without overshadowing the beauty that the artist [created]. With Marvin, it’s not difficult. The show is difficult, but doing that isn’t difficult, because there’s so many similarities and such an influence on me. I’m doing people that may not necessarily be a vocal influence on me, but I love Bill Withers’ music. For me it’s an opportunity to take a break and just...vibe out.
Would you ever tackle the Prince catalog and do a show of his music?
I know my limits. There’s some artists—they’re beyond my skill set and I’m comfortable with that. I could do a song but to do a whole show is beyond my skill set. I can do Marvin because vocally I’m very similar to Marvin. Back in the day I wouldn’t have been comfortable with that. I know what I do, I know what I do well. I want to maximize my strengths. I would happily go to one, I would happily support one—I may even produce one. But I don’t think necessarily I would do one.
You have a solid presence in the St. Louis music scene. How is performing here different than anywhere else?
For me, I find that St. Louis audiences are much more appreciative of who I was and what I did as an artist when I didn’t do it all the time. Instead of me doing 20 concerts in St. Louis a year I may do four. And understanding that there are other ways to be involved and create visibility and create relationships with the audience than performing. Being perceived as an artist who is local because you live here and not because you work here—and I think that’s the difference. I don’t mind people saying I’m a local artist because in a sense I am a local artist. I’m not a local artist in reach or in scope—I am in location. I like the St. Louis audience, but I had to figure out how to work with them.
What can people expect when they come out to this show?
I’m an audience member just like everybody else—I’m just onstage don’t know what’s going to happen—I never know what’s going to happen in the show. I have a set list, but it’s not set. I have arrangements, but they’re living, they’re breathing. We know how the song’s gonna start, but we never know what’s going to happen. I don’t consider them cover shows, not even really tribute shows—I consider them preservation shows.
What’s next for you?
We’re planning some big stuff for this year, including an announcement that’s gonna probably come out in June with myself and Sterling Bank about some new initiatives that we’re going to be launching. We just finalized a three-year commitment to do some really cool stuff related to arts and mentorship really involving the youth of this city, and bringing in some of the resources of friends of mine who are not in St Louis. This is going back to that whole thing of you have to use success as a platform to build others up, and not to make your pockets fat or to make yourself look good.
Brian Owens appears at The Sheldon Concert Hall on Saturday, May 14 at 11 a.m. Tickets are $12 general admission, and $5 for kids. For more info, go to sheldonconcerthall.org.
