Durand Bernarr on new album, Grammy win and upcoming L.A. shows

It was only a matter of time before Durand Bernarr was impossible to ignore.

After more than two decades in the music industry (including singing background vocals for Erykah Badu) and 13 projects deep, the Cleveland-born singer has built a devoted following on the strength of his elastic vocals, tongue-in-cheek lyricism dosed with healing affirmations and flamboyant live shows, which feel as indebted to Broadway as they are to R&B. His 2023 NPR Tiny Desk concert, now with more than 2.9 million views, offers a succinct introduction.

So when Bernarr — born Bernarr Ferebee Jr. — darted to the Grammy stage in February to accept his first award, for progressive R&B album for “Bloom,” the viral moment felt perfectly on brand.

When asked how his life has shifted since, he reaches for a vivid metaphor. “If I can compare it to a fire, there were several pieces of wood,” he told The Times, “and now there is gasoline and lumber and all types of stuff thrown into it — so now it is ignited. The fire can be seen from farther away.”

He didn’t wait long to feed it. Two days later, Bernarr was back in the studio, initially aiming to create a deluxe version of “Bloom.” Instead, the sessions grew into an entirely new project, “Bernarr.,” a self-titled offering named in honor of his dad, whom he shares a name with. Due out May 1, it features contributions from R&B pioneer Raphael Saadiq, pop star Khalid, rapper Vic Mensa and more. Bernarr released the first single, “Wild Ride,” with singer-songwriter James Fauntleroy and an accompanying video in late March.

Ahead of upcoming shows at the Blue Note jazz club April 29 in L.A. and the Netflix Is a Joke festival, where he’ll be merging his musical and comedic gifts (May 6), Bernarr stopped by The Times to discuss the inspiration for “Bernarr.,” why he plans to continue singing background, his variety show debut and the chapter he finds himself in now.

This interview has been lightly edited for length and clarity.

Congratulations on your first Grammy. Your acceptance speech — and that run to the stage — has brought people so much joy. What have the last couple of months been like since that moment?

Thank you, first and foremost. I can’t say much has changed, more so things have just been added on to what was already happening. If I can compare it to a fire, there were several pieces of wood and now there is gasoline and lumber and all types of stuff thrown into it — so now it is ignited. The fire can be seen from farther away.

Following your win, you jumped right back in the studio, right?

Two days later.

[Warning: Video contains profanity.]

You just released a single called “Wild Ride” with singer-songwriter and producer James Fauntleroy. Did that song come out of that time?

Yes. I just jumped right in. There was a list of people that I’ve been wanting to work with and [Fauntleroy] was one of them. Funny enough, that was the first track that he played out of a list of things. I was like, “Whoa, whoa, whoa, go back, go back,” because he only played like five seconds of it. I said, “What is this?” I love his writing. The way that we pieced the song together was that I did a couple passes on it melody-wise, then he wrote to my melodies. I thought that was just really dope.

Why was “Wild Ride” the best song to put out after your Grammy win?

I like to give something that’s a little bit different, at least to get you started. I feel like “Wild Ride” was a great way to kind of segue out of coming from “Bloom,” even though this is still a continuation of that, I wanted to showcase something a little different. I was able to practice restraint in the song while also still being interesting. The composition and the music alone created a world for me to be able to flow in certain ways that I would have to create myself vocally, so the music gave me the space to be able to land on certain notes that I love.

It’s been a little over a year since you released “Bloom,” and now you’re stepping into the next era. I heard that it was initially going to be a deluxe album, but then you decided it would be a second iteration and now it’s something different.

[Laughs] Originally, we were just gonna go with the deluxe five additional new songs and two remixes, and this music that came out of trying to only do five was way more than that. We were like there’s no way. Let’s just do something else, something fresh. And even with the 28 ideas that I came out with in the first two days, it was a lot. We were really trying to narrow it down and it’s so good.

Can you share the name of the album?

It’s another self-title, so it is “Bernarr.” I’m a junior and even the cover of it looks like Bernarr. It very much looks like “You’re looking just like your father.” Even just looking at it I’m like, wow, I’ve really grown up. I’ve really blossomed into this human being that has all of these different layers and dynamics to them, and yet, all of it is cohesive all at the same time. It’s a time capsule of the music that I’ve been inspired by, from yacht music to alternative rock to funk. I mean, “The Midnight Special” with Chaka Khan and Rufus, all of those things that I was raised on, but I’m bringing my approach to it. I’m just glad that I’m in the space to be able to tell these stories in the way that I’m telling them — that are still true to me and also reaching a broader audience.

Does the album feel like a dedication to your father or your lineage?

I had the “Dur&” album. Everybody’s so creative. However, this feels really mature. I thought “Dur&” was my Aaliyah moment, but I also feel like “Bernarr.” really encapsulates when we’re talking about self-titled, it’s really getting into that, that evolution of us as artists. And what a better way to honor one of my biggest supporters? My mother’s number one because she carried me. She’s always number one and then there’s just my dad. Anytime your allegiance, even to yourself, overrides your allegiance to me to make sure that I have everything that I need when you’re modifying and adjusting how you move through life so that your family can be OK, that needs to be acknowledged. It needs to be celebrated.

Your live performance can’t be talked about enough. Whether it’s Tiny Desk or it’s at a day party like Everyday People …

Shout-out to Everyday People. That’s my spot!

… Or one of your tour stops. How does your background in theater, touring with Earth, Wind & Fire and doing background vocals for Erykah Badu help shape you as a live performer? Why is showmanship so important for you?
I don’t ever want anyone to come to a space that I’ve curated and leave uninspired, because that means that I’ve wasted your time. And as Luther [Vandross] said, “I am not here to waste your ticket money.” I’m here to motivate you. I’m here to lift you up. I’m here to provide some insight, some perspective, because if I’m in therapy, we [are] in therapy. So I’m always dropping gems. It’s so many different things that are wrapped into one and that’s why it’s so important to me to make sure that people are inspired when they come see my shows. I want people to come to my show and be like, “You know what I’m getting in the studio as soon as I get home right now, like, I gotta go create, I gotta go paint, I gotta go dance.” Whatever it is that you need to get out of you, I want to bring that out.

You have some upcoming shows at the Blue Note Los Angeles. What are you most excited about for these performances and how have you been preparing?

I don’t feel like I’m preparing for anything because I’m already in the things. When you’re constantly doing it, it’s more so just we’re getting together to rehearse. There hasn’t been a time where I have not been prepping for something. I’m more excited about the interpretations of the songs, specifically at Blue Note. I want to turn most of the songs jazz just to kind of give a different feel. And also do some jazz standards as well, because I was in my jazz bag, real heavy in my late teens, early 20s. A lot of Billie Holiday, Ella Fitzgerald, Sarah Vaughan, Big Maybelle, even Phyllis Hyman when she was doing “Sophisticated Ladies.” And then as far as my Netflix Is a Joke special, I also want people to know I don’t consider myself a stand-up comedian because that’s a different art in itself. However, I can tell stories and there’s an animation in which in which I can tell my story. So getting with friends of mine, who are comedians and I always filter it through them, like, what’s funny, what’s not. So that’s the exciting portion of it, and preparing for that, I feel that would be a great segue into, “We need to get this guy in film. We need to get him on TV. Something. Get him a hosting gig.” Whatever that is. Again, people just need to see me. Once they lay eyes on me, to know me is to love me.

What chapter is Durand Bernarr in now and what are you most looking forward to after the crazy year you’ve had?

What would this chapter be called? Oof. Buckle up. [Laughs] Because at first my restraints were just a seat belt going over the waist, then Tiny Desk happened. Now, we gotta put something over here. Then the nomination happened. OK, now we gotta strap this side. We won the Grammy [makes roller coaster sound]. Now we’re about to do inversions. We’re doing twists and turns and loops and whatnot. So that’s what it feels like and I’m excited about taking these songs on the road — a brief run because last year I was on four tours.

"I don’t ever want anyone to come to a space that I’ve curated and leave uninspired," he says.

You were doing so much. Wasn’t the “Mama’s Gun” anniversary tour happening too?

Yes. So here’s the thing. I was gonna sit my “Sounds of Blackness” down after my third run. Then I saw that she was doing the 25th anniversary of “Mama’s Gun,” my inner teenager was not going to allow me to not do it because I didn’t want to have FOMO and it was easier on my body as my own tour anyway. I’m not exerting as much energy unless of course she has me come out, falling all over the floor. But even outside of that, I also enjoy just being a part of the bigger picture. I don’t have to be in the forefront to tell my story or to express myself. One reason why I wanted the Grammy was so that I could continue doing background because it gives me duality. Not every lead singer can sing with other voices and not every background singer can command the lead, so when you can do both, I’ll never be out of work because it’s not an ego thing with me.

What do you love most about performing with her? It’s been 15 years now, right?

I need my members only jacket. You know what? Let me stop because I got five of them. [Laughs] Baby, talk about Durand keep a job Bernarr. I enjoy how every show is not the same. When you’re kept on your toes in a way that is fun, and also just “Know your stuff so that we can enjoy ourselves.” Also, don’t take yourself so seriously. As she said, when you are in the studio, you are perfecting a moment. Live, you’re creating a moment, so mistakes happen. Just taking notes of how I want to incorporate certain things in my show or how I want to move, or the things I might need, it’s all been very rewarding. I’ve made beautiful connections. That’s an extension of my, of my family. Her and my mama and my daddy be talking. I couldn’t have told you this 16 years ago, that I would still be doing this 15 years later, let alone that I would be someone she considers a friend. It’s like “Is this my life?” And if it’s not, you better not pinch me.