ZITA

“We don’t try to sound like a ‘New Orleans artist’ – we let the influence shape us naturally.”

“This album represents the band’s truth in who we are as artists.”

“The beauty of New Orleans music is honesty, uniqueness, and being intrinsically yourself.”

“The electric trombone was always meant to act like another guitar or voice.”

“Classic rock ‘n’ roll meets New Orleans – that’s exactly who we are.”

“We’re observers with amplifiers.”

“We think in where the idea naturally wants to go – not in genres.”

“Imitation is never the goal – authenticity is.”

“Feel over precision – anytime, any day of the year.”

“We hope people simply feel something when they hear our music.”

Rooted in the rich musical DNA of New Orleans yet driven by a clear sense of identity, Zita blend classic rock spirit with elements of soul, funk, and R&B without ever sounding like imitation.
Their sound feels less like revival and more like continuation – a living, evolving form shaped by instinct, experience, and environment.
In this conversation with Fok ’bs’, the American classic rock band Zita reflect on the philosophy behind ‘Axiom‘, the balance between arrangement and spontaneity, and how authenticity remains the only real constant in a constantly shifting musical landscape.
‘Axiom‘ suggests something self-evident, almost unquestionable.
What truth were you trying to state so clearly that it needed to be carved into the album title?
“More than trying to clearly convey any certain truth, we feel that this album represents the bands truth in who we are as artists and the most profound things that have influence us in the last three years.”
Your music carries deep New Orleans DNA, yet it never feels like heritage cosplay.
How do you honour tradition without becoming trapped inside it?
“Well-phrased question, as New Orleans music is so coveted that it can be easy to become a caricature of the music, if done the wrong way. The philosophy for us is as simple as not writing a song with any intent of sounding like a ‘New Orleans artist’, but allowing the strongest influences of the music we hear in our hometown to shape our sound in whatever way it might. The beauty of New Orleans music is that any artist that succeeds in that style is always honest, unique, and intrinsically themselves. This is something that artists like Dumpstaphunk, George Porter Jr., and The Rumble (amongst many others) all do exceptionally well: allowing New Orleans music to evolve through the 21st-century.”
The electric trombone is not exactly standard rock equipment.
At what point did you realise it wasn’t a gimmick, but part of your core identity?
“We always envisioned the electric Trombone acting as another guitar, or another voice in the overall soundscape in that way, rather than a gimmick or solo instrument. Throughout the album, there are plenty of foundational applications of it, along with some acoustic trombone choir work that I did on songs like ‘Wildflower’. At the end of the day. To add a brassy tinge to 70s style riffs and guitar language is the exact combination of things that make us who we are: classic rock ‘n’ roll meets New Orleans.”
Compared to ‘Hardly Alive‘, ‘Axiom‘ feels more expansive and deliberate.
What did you learn about yourselves between those two records?
“Juxtaposed to the first album, ‘Axiom’ explores new influences that are informing us as much as anything else, such as soul, funk and New Orleans R&B. There is even a track on the album entirely in Greek, which was my first language (also fitting that axiom is a Greek word). In this way, it is certainly more expansive, and we explore different things. Between our first album in this one, we’ve certainly learned lots about ourselves as artists, but all of it is brought us back to our roots.”
Songs like the title track openly challenge systems of elitism and hypocrisy.
Do you see Zita as commentators, provocateurs, or simply observers with amplifiers?
“Observers with amplifiers is a pretty apt way to put it, and certainly the closest thing to whatever it is that we are. Nonetheless, one of the most important things you can do as an artist is speak for those who may not have the privilege to speak up for themselves. I’m in no position to lecture the general public about global elitism, but I like to think most people have an idea of what’s really going on nowadays. I certainly do my best to read on and keep up with current events, but I’m just calling a spade a spade.”
New Orleans music thrives on groove rather than perfection.
How important is feel over precision when you step into the studio?
“Feel over precision anytime of the day, any day of the year. There’s no point in being terribly precise if it doesn’t feel good. I would agree that is what New Orleans music is predicated upon, and I’d make the argument that that’s why it is so universally renowned.”
You’ve worked with musicians deeply rooted in funk and soul traditions.
Did those collaborations reinforce your direction – or challenge it?
“We’ve been extremely privileged to work with some terrific musicians on this album, many of which have strong roots in the soul and funk styles: Nigel Hall, Mike Lemmler (of George Porter Jr’s band), Mark Mullins and Steve Lands, to name a few. Working with musicians that we have such a high level of respect for always influences our approach and sound, and we continue to learn new things through these experiences.”
There’s a loose-but-lethal chemistry in your sound.
How much of Zita is careful arrangement, and how much is instinct happening in real time?
“It’s hard to quantify, but I would like to think about half-and-half. With my dad being a musician, I certainly came up learning a very arrangement-heavy philosophy, which cannot be divorced from the music. I know Bradford is the same way, his parents both being musicians. Our Drummer, Kai and Bass Player Sean have excellent ears for arranging as well, and both contribute their own unique ideas. Because of these predispositions, we certainly get to some intricate arrangement things, but we all also recognize the value of spontaneity. And being from New Orleans, improvisation is part of the DNA.”
Lineup changes can destabilise a band – or refresh it.
What did the recent shift on bass reveal about the core of who you are?
“We knew the change on bass was going to shift our sound in a new direction, and it has. Sean is a different kind of player than Dylan, and they’re both terrific in their own ways. We gel shockingly well with him for never knowing him before joining the band, and his musical IQ plus technical skill is inspiringly high. All this is what made the decision a no brainer for us; things clicked with him pretty instantly.”
Tracks like ‘Holding On‘ lean more into soul and R&B, while others hit with straight-up rock force.
Do you consciously think in genres, or do you think in momentum?
“There is never any conscious effort to conform to a certain genre, or fit a style. That would be rather disingenuous, and we feel most artists typically produce their worst work with aims to appease external interests, so to fit into a category. With that being said, there are distinct style shifts, as you mentioned. If by momentum, you mean where a certain idea feels like naturally going, then that’d be the most accurate way to depict our intuition as a band.”
Classic rock revivalism is often nostalgic.
Your music feels more like continuation than recreation.
What separates revival from relevance in your eyes?
“That’s a huge compliment, and we very much appreciate it. There is (or at least was for a few years there) an oddly random classic rock revival movement in modern rock, and as with anything, some of it is cool, some not. I always prefer things which aim to be true and genuine to oneself rather than imitation. This is the only way rock & roll would continue to evolve as a style.”
You’re celebrating the album release at the Maple Leaf – a venue steeped in local history.
How much does playing at home still mean compared to reaching wider audiences?
“The Maple Leaf is our home. We’re honored to be hosted at such an iconic room for music in New Orleans. It is the room where we have all learned so much from legends like George Porter Jr., who plays there every Monday night. For all this, it’s safe to say the goal is broader outreach, but for us, the value of playing in New Orleans cannot be overstated.”
If someone unfamiliar with New Orleans hears ‘Axiom‘ without context, what should they immediately understand about Zita as a band?
“Hopefully the music makes them feel whatever they would need to understand, which varies from person to person. I’m not sure there’s really anything to keep in mind, outside of we appreciate you listening to our music!”
For Zita, the essence of their music lies in authenticity rather than adherence to genre or expectation.
Drawing from the deep well of New Orleans tradition while refusing to be defined by it, the band continues to shape a sound that feels both rooted and forward-moving.
With ‘Axiom‘, they present not a statement of absolute truth, but a reflection of who they are in this moment – a band driven by feel, instinct, and the belief that music should evolve naturally rather than follow a predetermined path.
by Fok ‘bs‘

special guests:
Nigel Hall – keys
Mike Lemmler – keys
Mark Mullins – trombone, horn arr.
Steve Lands – trumpet
Spencer Moore – tenor saxophone

produced & engineered by Evan Martin and Giovanni Ventello

Seemingly out of thin air, Zita return with another release that reinforces why the New Orleans quartet continue to turn heads far beyond the Crescent City.
Blending blues, rock, and R&B with a loose-but-lethal groove, the band’s upcoming album ‘Axiom‘ arrives on March 13, capturing Zita at their most confident and expansive to date.
Ahead of the full release, the band is teasing listeners once more with ‘Don’t Need No Help‘, a track that distills their no-nonsense attitude and deep-rooted feel for rhythm into a sharp, infectious statement.
Rooted in New Orleans’ rich musical tradition but never boxed in by it, Zita thrive on chemistry, feel, and forward momentum.
That credibility is further underlined by an impressive list of collaborators appearing on ‘Axiom‘.
Contributions from Nigel Hall (Lettuce), Mike Lemmler (George Porter Jr.), Steve Lands (The Black Keys / PJ Morton), and Mark Mullins (Harry Connick Jr.), among others, add extra layers of muscle and soul, while still allowing Zita’s own identity to remain firmly front and center.
The album has been more than a quick studio snapshot.
‘Axiom‘ is the result of over a year of writing, recording, and refining, with the band carefully shaping a release that reflects both their growth and their roots.
To mark the occasion, Zita will celebrate the album’s arrival with an official release party on March 13 at the Maple Leaf in New Orleans – a fitting setting for music so deeply connected to the city’s spirit.
As the band themselves put it:
“We are thrilled to announce our album ‘Axiom’ will be released worldwide on March 13, with the official release party at the Maple Leaf in New Orleans, that night. This album has been over a year in the making, and we are elated to finally have it out. Thank you all for your continued support in the process.”
With ‘Axiom‘, Zita don’t just add another chapter to their story – they double down on what they do best:
raw groove, soulful fire, and songs that hit with conviction rather than polish alone.

ZITA are:
Michael Mullins – vocals, trombone
Bradford Lewis – guitar
Sean Weber – bass
Kai Melancon – drums

The Zita are back in motion – and once again dropping another piece of the long-anticipated record that now looks firmly set for a 2026 arrival.
The past few weeks have brought changes behind the scenes, including the departure of bassist Dylan Caillouet, with Sean Weber stepping in to take up the mantle and usher in the band’s next chapter.
Their latest single, ‘Holding On‘, leans deeply into the band’s New Orleans DNA – more steeped in soulful, old-school rhythm & blues than straight-up rock.
It’s a warm, roots-driven track that underscores just how versatile The Zita have become, capable of shifting tone and genre without losing their identity.
If anything, it reinforces the growing sense that this is a band built to be experienced live – where all that range and swagger collide in real time.
Earlier this year, The Zita returned with ‘Broken‘ – a release some feared might hint at the band’s internal state.
Frontman Michael Mullins quickly put those concerns to rest, assuring fans that the track is not a eulogy but rather a signal:
new momentum is building, the gears are turning, and the long-awaited album is finally beginning to step out of the shadows.
With new energy in the lineup and a sound that continues to evolve, The Zita seem far from slowing down – piece by piece, the road to 2026 is getting louder.

Chris Finney (grammy award winning engineer):
“Zita is best categorized as New Orleans classic rock & roll of a decade between the 70s & 80s.”
Keith Spera of The Advocate (New Orleans’ famed journalist):
“If old-school arena rock is to stage a comeback, it will come courtesy of young bands like New Orleans’ own Zita”

The guys from New Orleans, Zita, are back with another track from their forthcoming album, this is the third release from the album.
Its another bluesy rocker, with Bradford Lewis on guitar showing he’s got a few riffs that wouldn’t be too shabby on an AC/DC album. Of course if its Zita, there`s always going to be a have that Louisiana southern rock swing about it.
‘Send Me Again‘ just a little tune in-between Christmas and New Year.
Offbeat Magazine in New Orleans once stated
‘if classic rock is to make a resurgence, it will come courtesy of bands like Zita‘.
Like something straight out of the 1970s, their single ‘Send Me Again‘ is a classic sounding, strut-inducing rock & roll tune.
It opens with a guitar riff akin to a lost AC/DC bootleg.
Then, the full band comes in guns-a-blazing:
drums, bass, guitars, and electric-trombone create the soundscape, over which the soulful rock vocals soar.
It’s easy listening, and fun all the way through.
Especially featuring the electric-guitar vs. electric-trombone duel in the middle (just like every classic rock song has, right?).
At the full-stop breakdown, the band delivers Foghat-style breaks, as the singer wails a high screech you have to hear to believe.
The band is classic rock with a New Orleans flair, and no song captures the fusion of these two worlds better than ‘Send Me Again‘.