Willmott: “It’s the only window we have into such a young man’s talent.”
If you’ve been to any Madison music venue in the past few years, you’re bound to have spotted Kevin Willmott II. He has worked behind the bar at Genna’s, Mickey’s and the High Noon Saloon. He’s in constant motion, always swaying and bouncing, with a beaming smile and a giant afro. And the guy’s got style. Witness his red, white and blue bell bottoms. He would jump out from behind the bar at the High Noon during Gomeroke to do a Marvin Gaye or a James Brown tune. And after Prince dearly departed, Willmott was there to howl with us through the grief. He recently won The Moth Grand Slam at the Barrymore, is lead singer and guitarist for Cowboy Winter, and shares vocal duties with Carolynn Schwartz in the Clyde Stubblefield All-Stars. Willmott’s latest gig is filling the enormous shoes of Otis Redding. His tribute band, Don’t Mess with Cupid, takes the stage at the Majestic on Dec. 7 to commemorate the 50th anniversary of Redding’s plane crashing into Lake Monona. Isthmus talked with Willmott about why Redding’s music speaks to him and his message of healing for Madison music lovers, who forged a tragic connection with the talented singer.
You are 28 years old. How did you first discover the music of Otis Redding?
Like everyone, I grew up hearing Aretha’s version of “Respect,” which Otis wrote, and “(Sittin’ on) the Dock of the Bay.” But it wasn’t until I was probably out of high school and diving into the classics — Smokey Robinson, Donny Hathaway, Al Green — that I discovered Otis’ Memphis sound, that beautiful, nasty, raw music.
That makes it extra sad that he died so young.
Yeah, he died before he could really be the king of it — he was the prince. He would have been right up there with James [Brown], when James was peaking.
Why do you think his music endures after a half century?
Raw, honest human emotion. He really brings that human aspect to his music. “(Sittin’ on) the Dock of the Bay” is that struggle of getting advice from a friend, and you can’t listen — you’re in a limbo kind of place. I think that’s why people really appreciate his music. He was expressing what is was like trying to live and be the best person he can.
What have you noticed about Otis Redding while preparing for the show at the Majestic?
You can tell he was really making music for the people. He understood the entertainment aspect of writing a song. There are so many aspects of being a frontman. You’re keeping everyone connected. Watching his videos is mesmerizing. The fact that he’s 26 is amazing me. To have that much expression at that age — I would have loved to have heard his stories — it’s the only window we have into such a young man’s talent.
What discoveries have you made while preparing?
We are studying live versions of the music from Live at the Whiskey a Go-Go, and we are trying to bring those live aspects to the show. That’s fun to dive into all the fun tricks and bring it into our band’s interpretation. We are really trying to take from the source. And we are keeping it really uptempo and danceable, making those peaks and valleys.
This seems to have a lot of personal resonance for you. What do you hope people will take away?
There are times when I get emotional. As a musician you can’t help but connect with this music and expression. We’re lucky and blessed to have had him for 26 years. This show can have a healing aspect for Madison. People in the audience are really connected to Otis, not just on a musical level, but about his passing.
