Shoutin’ Red has ben called ”the Swedish countryblues hope” and performs prewar-blues, old-time folk and gospel. With her sincere and emotional voice that echoes the sound of the old american music she’s inspired by, she has a rythmic and playfull fingerpickingtechnique that resembles from influences like Memphis Minnie, Leadbelly and contemporary ones like Jerron Paxton and Frank Fairfield. During less than a year Shoutin’ Red has performed at Åmål International Blues Fest 2014 (where she was awarded the Junior Blues Prize), played at the legendary jazzclub Fasching in Stockholm and released her debutalbum ”Introducing; Shoutin’ Red” on Swedish recordlabel Rootsy, produced by the bluesveteran and drummer Bosse Skoglund.


Past Performances


Clonakilty International Guitar Festival, Clonakilty, IRELAND 17-18/9-2016

Harvest Time Blues Festival, Monaghan, IRELAND – 2-4/9-2016

 AUGUST 2016

23 – Lasse i parken, Stockholm

19 – Malmöfestivalen,

 JULY 2016

23 – Tyrolen, Alvesta supporting GABRIEL KELLEY, 23/7-2016

22 -Hotell Klockargården, Tällberg, 22/7-2016

21 – En lokal, Avesta, 21/7-2016

Theaterladan, Hedemora, 16/7-2016

14 – Cafe Lagårn’, Ullsta, Stjärnhov

13 – Dinos Bar, Mariehamn, Åland

7-9 – Åmål International Blues Festival

JUNE 2016

20 – Blues Kitchen, Camden, London, UNITED KINGDOM

18-19 – Middlewich Fab Festival, UNITED KINGDOM


MAY 2016

28 – Kulturernas Karneval, Uppsala

28 – Norrport, Stockholm



6 – Gitaarlem, Harleem, NETHERLANDS

5 – Misty Fields Festival, Asten-Heusden, NETHERLANDS

5 – Kunstcentrum Catharinakapel, Harderwijk, NETHERLANDS

4 – Stella by Starlight, Arnhem, NETHERLANDS



8 – Hesselby Slott Folk Festival, Stockholm


JULY 2015

27 – Måndagskväll Enköping

24 – Norrtälje Blues Fest w. Bill Öhrström

21 – Stampen, supporting Robert Hill & the Muskogee Four, Stockholm

17-18 – Askersunds Folk Jazz & Blues Festival, w. Bill Öhrström

9-11 – Åmål International Blues Festival

8 – Marys Café, Eskilstuna w. Bill Öhrström

7 – Lasse i Parken, Stockholm

6 – Lasse i Parken w. Bill Öhrström, Stockholm

2 – Strandnära, Öregrund

JUNE 2015

29 – Lasse i Parken, w. Bill Öhrström, Stockholm

27 – Uddevalla Bluesfestival, Uddevalla

25 – Akustiska City Festivalen, Västerås

21 – TwickFolk Twickenham, + Rob Barratt, London, UNITED KINGDOM

13 – Pick Up the Steam Festival, Stockholm

12 – Swedish Blues Dance Society w. Bill Öhrström, Stockholm

10 – Hootananny, Brixton, UNITED KINGDOM

7 – Green Note, + Mark Harrison, London, UNITED KINGDOM


MAY 2015

30 – Upsala Americana Festival, Uppsala


APRIL 2015

Rootsy tour; w. Rikard Lindgren:

Hemma Hos Oss, M.E.C.K, Malmö, 24/4 – 2015

Stampen, supporting Luxury Liners, Stockholm, 23/4 – 2015

Bar KOM, Göteborg, 22/4 – 2015

Broadway Konditori, Norrköping, 18/4 – 2015

Bröderna i Hallen, Saluhallen, Örebro, 17/4- 2015

Stampen, Stockholm, 15/4 – 2015


MARCH 2015

27 – Supporting Spinning Jennies, Stallet, Stockholm

21 -Fasching, w. Bill Öhrström, support Bror Gunnar Jansson

17 – Älvsjömässan

2 – Big Ben, w. Bill Öhrström, Stockholm



27 – Izzy Young Folklore Center, Stockholm

13 – Stockholm Bluessociety, Skeppsbar, Stockholm, w. Brian Kramer & Mats Qwarfort

12 – Scandic Hotel, Örebro, supporting Judah and the Lion



Folk at heart, Örebro, 2-4 january 2015



Trombon, Södertälje, supporting Ida Bang & Lisa Lystam Family Band, 15/11 – 2015

Live at Heart, Örebro, 3-6/9 – 2014

Åmåls Blues Fest, 10-13/7 – 2014

Torsåker bluegrassfestival, 5/7- 2014

“Ladies Got the Blues“, Fasching, Stockholm, 23/5 – 2014

Hijazz, supporting Lisa Lystam, Uppsala, 5/1 –  2014

Stampen, Blue Monday, Stockholm, 25 september 2013


Scolarships and Awards:

Junior Blues Prize, Åmål Blues Festival, 2014, Sweden
Jenny Bohman Scholarship, 2013, ABF Hedemora, Sweden


The loveable Nielsen sings in a melancholy high, unique voice, forlorn and ethereal, reminiscent of some Blue Ridge Mountain girl singing ancient folk songs. No matter what she sings, with her exotically different style, it is always with a tinge of sadness. There is a compelling innocence to her singing, a mysterious shroud. It’s not typically beautiful, kind of thin, but lovely and pure, so unpretentious. It’s a natural folk voice, compelling and individualist, but when set against her guitar skills her musicality comes alive. This girl can play some guitar! Her songs have an alluring immediacy, a sense of wistful fragility that makes the old blue seem even older, even more mysterious.

- Frank Matheis, publisher/editor/writer, http://www.thecountryblues.com/artist-reviews/felicia-jangard-nielsen/


”Felicia… has a nearly magnetic drive in her singing and a guitarplaying that makes it hard to let go.”

-Ulf Torstensson, Lira Musikmagasin (Lira Musicmagazine) no. 3, 2015, www.lira.se


”As i listen to Felicia Jangard Nielsen alias Shoutin’ Reds debutalbum i get just as surprised and impressed every time.”
– Kenneth Hammargren, Nerikes Allehanda Magazine, Sweden, Publicerad 8 apr 2015 06:08, internetsource http://na.se/kulturnoje/musik/skivrecension/1.2918972-shoutin-red

”And yeah, sure, she’s a female in the male dominated blues genre and blah blah. If you want to focus on that aspect, go right ahead. Felicia Nielsen (that’s her real name) is a bad ass, no bullshit, down-home country blues guitarist that can out-pick just about anyone.”
- Daniel Josefsson, festivaldirector Pick Up the Steam, Sweden, 2015

”This is just a fan letter: I’m just writing to say how much I liked listening to you sing… …I still don’t hear many voices with that mysterious truth in them. Yours is definitely one of those voices.”
Dick Lourie, saxphonist and poet, Boston



Shoutin´ Red – Introducing: Shoutin´ Red
reviews / 2015-03-23 / Staffan Solding – rootsy.nu/c/6597-shoutin-red-introducing-shoutin-red

Listen, people!
A new voice has appeared in the airwaves.
And not just any voice. A voice that is accompanied by a guitar that takes us far back in time. To the times of blues, folksongs and ballads that first were played in the early 1900s.
What a debut it is!
Shoutin’ Red plays a very fine guitar fingerpicking and sings with a slightly scarred , slightly high voice that comes with a tastefull fullness. There is a given and pride in the performing that creates a feeling of humble, insistent clarity. A feeling that says; I know what I want and I know what I can, but it wont come anything out of it if you dont like it.
And we like it.
Its not easy to sing songs from the past. Songs from known and unknown masters. Sångs that many people often have personal relations to. There is a built in distrustfullness to this kind of action. But there is also the opposite. The joy to hear a new rendering, a fine performance and a bearer of traditions, that believes in traditions as a way to build life.
That is the case here.
It cant be more right than to begin a debut album with ”Crazy Blues”, the song that Mamie Smith recorded in 1920 and that counts to the first bluesrecording that was published. An era started then, and a new one starts now. And here.
After this we are given blues, foksongs and ballads in the more melodious and floating style. Like Billy Birds ”Millman Blues” from 1928, about the traditionall story about the millman and his grinding as a sexual metaphore. Tom Dicksons ”Labor Blues” is also from 1928. Blind Teddy Darby recorded ”Built right on the ground” in 1931 and John Miller changed the name to it to ”I never cried” during his recording of it 40 years later.
The most known tracks are four. The traditional ”Hesitation Blues” that came up as a folksong in the 1910s and has been recorded by several artists, Memphis Minnies and Kansas Joe McCoys ”When the Levee Breaks” that became a gigantic success for Led Zeppelin, Blind Willie McTells ”Statesboro Blues” that Allman Brothers Band made immortal and the traditional ”Frankie and Albert” that maybe foremost has Mississippi John Hurt as its interpreter.
The combination of obscyre and well known songs are nicely balanced. Therefore ”Geordie”, the childballad no. 209 and ”I Look Down the Road and I Wonder”, a gospel thatamongst others Sister Rosetta Tharpe recorded, fits well in place.
So, people, there is a new voice in the airwaves. And it is here to stay. Be sure of that.


SHOUTIN’ RED -Jefferson Blues Magazine no. 184, 2015
Introducing; Shoutin’ Red
Rootsy 117 (41 min)

24-yearold Felicia Jangard Nielsen overturned me an evening in early May. The best of the prewar-blues songs suddenly came pouring out from the speakers performed by a extraordinary exiting voice togheter with a ingenious and also respectfull guitar. The record is produced by Bosse Skoglund, only that makes you understand that this is something special.
Altogheter twelve songs, where most of them are bluessongs from the 1920s/30s, thereamongst Mamie Smiths Crazy Blues that ”started” the blues 1920. An exeption is Geordie, the English Child ballad no. 209, that was interpreted by Joan Baez as early as 1962. Hesitation Blues contains various different traditional verses and is one of the albums best songs. The sweet and at the same time tough attitude that the music is performed with are stunning. When the Levee Breaks would have brought Memphis Minnie to tears and Robert Plant to ask for a dance. What we hear here is unique, the best that have happened Swedish blues since Peps (Peps Perssons Blodsband) picked up his first harmonica. Buy, watch on Youtube, go and see live… Like Ernst says, this really gets me going!

-Max W Sievert, Jefferson Blues Magazine no. 184 (2, 2015), Sweden


musicnewsnashville.com – Shoutin’ Red – Introducing
Posted on March 30, 2015 by Dan Harr
by Iain Patience

‘Introducing’ is exactly that, an intro to a new kid on the Scandinavian blues block.  From Sweden, Felicia Nielsen, aka Shoutin’ Red, is a new, young performer with a debut release that marries traditional 1930s acoustic blues with a few standard traditional folk songs to provide this 12-track album.
Red is already gaining prominence in the vibrant Swedish blues scene with festival appearances and gigs and with this interestingly, fresh release should also now reach a wider blues audience beyond the Baltic.
Tracks covered include Tom Dickson’s ‘Labour Blues'; When the Levee Breaks'; ‘Hesitation Blues'; Willie McTell’s classic ‘Statesboro Blues'; ‘Millman Blues’ from Bily Bird; ‘Crazy Blues’ by Perry Bradford – a good, strong opener here – and John Hurt’s ‘Frankie and Albert’.
From the very off it’s apparent where the moniker ‘Shoutin’ originates, as Nielsson’s voice hammers out the lyrics alongside some fine, well aimed acoustic guitar-work. At times, the vocal delivery is reminiscent of Rory Block, another fine blues-woman with a strong voice and positive presence.  And while Red’s fretwork has yet to reach the heights of Block’s picking, there is clearly scope and time for development in that department.
With strong emotional and enthusiastic support from another couple of Sweden’s better known players who both fancy her chances in the big, bad blues world,  – Brian Kramer and Sofie Reed – Shoutin’ Red looks like she’ll be needing little more introduction in the near future. If there’s a weakness in this release, it probably lies in the folk-based material which is largely unnecessary here. Overall a new voice worth catching and a more than decent first album.

Review source:


Introducing Shoutin’ Red – nodepression.com
by taoboy@cox.net
April 10, 2015
Old Becomes New Again, From Across the Seas

You may scratch your head wondering who the hell Shoutin’ Red is. Well, her name is Felicia Nielsen.  Does that help?  Probably not in any way unless you happen to be clued into Swedish music. There is very little info about her on the internet, however fortunately the music that was sent in a promo package was enough to ring some good memories. The excellent acoustic guitar playing by her was the first tip off that this was something special, then there was here an emotive voice that fit the material she was playing.  It is just her on the disc with no additional musicians of any ilk, she more than fills the aural cavities with rich and full material.
First thought on that this was a reincarnate Memphis Minnie, but no a young Swedish woman.  On this her first release she sticks with mostly traditional material by the likes of Blind Willie McTell, Lottie Kimbrough, Lizzie Douglas (AKA Memphis Minnie) and so forth. Shoutin’ Red nails it, and you might be fooled if it wasn’t for the quality of the recording into thinking that she is a contemporary of these early blues masters, as few are playing this music or recording it these days, at least on this side of an ocean. Then there are a few songs such as “Geordie” and “Seven Dark Strangers” that are very traditional British Folksongs, and she also nails them with the feel of someone brought up on Fairport Convention and  Bert Jansch. She has a flair for taking songs and incorporating them into herself and making them her own, assimilating herself into the song so that it becomes a part of her.
This is an artist that because of her technical prowess and natural feel for a song is going to bear watching to see what may develop. She has the skills and ability to go off on her own and develop her own or… It will be interesting to see what happens.

Review Source: