In the early to mid-20th century, the blues was very rarely performed in large venues like the concerts of today. Even during the blues revival of the 1960’s, venues were still relatively small in size compared to our modern arenas and stadiums. Rather, blues (especially country blues) was the music of barrooms, juke halls and other small, intimate gatherings. This intimacy suited the music; as the blues is a genre usually written to express intense emotions; sorrow, loss, pain and heartbreak. In short, the blues was and is the music of the “truth” (Cone, 1972). As a result of the intimate performances of emotional expression and its religious foundation, the roles of the performing bluesman and preacher have been compared. According to Ferrris when comparing blues artists and preachers "Both are spokesmen for their community, and their respective performance have much in common. Though sacred and secular language separates their song traditions, the preacher and blues singer deal with familiar themes of suffering and lonliness." (Ferris, 1978). These comparisons have led to the creation of the phrase “preaching the blues”. Charles Keil wrote “The word ‘ritual’ seems more appropriate than ‘performance’ when the audience is committed rather than appreciative. And from this, it follows, perhaps, that blues singing is more of a belief role than a creative role-more priestly than artistic.” Keil continues “Bluesmen and preachers both provide models and orientations; both give public expression to deeply felt private emotions; both promote catharsis- the bluesman through dance, the preacher through trance; both increase feelings of solidarity, boost morale, strengthen the consensus.” (Keil, 1966, as cited in Spencer, 1993, p.40).

  Preaching the blues was a talent unto itself; a talent which blues legends like Son House became renowned for. Admittedly, bluesmen like Son House may have had a slight advantage, as before he became one of the most influential blues artists of his generation, Eddie “Son” House Jr. was a Baptist preacher, having spent his childhood in church congregations (Beaumont, 2011). This religious background is evident in such House songs as Preachin’ The Blues and John The Revelator, songs with particularly Christian references. Of Son House, fellow blues idol Muddy Waters once said “he could surely preach the blues-sit down and sing one song after another, he said, just like a preacher (Oakley, 1977, as cited in Spencer 1993).