Michael Joseph

Michael Joseph

 Columbus, Ohio, USA

“...fuses folk styles from rock to folk blues with indigenous music a calm but directed new age approach regarding accessibility.” "...a direct reflection of a culture that bridges much of society and the typical roots of American music."


Michael Joseph and accordingly, his Acoustic music, is a representation of one of the cultural cross-sections of America. A mixed heritage ranging from Native American (Blackfeet), to the farmers of Kentucky, to the Appalachian hills of West Virginia. Michael never set out to define these roots in his music; however, as he has learned, our roots are inevitable. “By embracing these roots, you help keep your ancestors alive.”

“Michael Joseph has put history to music and he has done it well.”
R.J. Lannan - New Age Reporter (NAR)

“Ten Minutes Over the Wheel” the long awaited Follow-up CD to “O-Glepi,” includes finger-style picking, some odd time signatures, is dynamic and more structured. Yet, includes an even more diverse cultural feel with a broader mix of ethnic music - still pulls off the heart and soul that was presented in “O-Glepi.” This release is planned to extend beyond Radio, with campaigned opportunities within the Independent film and TV network.

The progression that led Michael to his style as a musician stems from diverse musical abilities, as well as life’s explorations. Beginning at age twelve on guitar, Michael was self taught. He later received private lessons, however, he credits his playing style to “a lot of diverse musical exposure.” He now resources a variety of musical talent ranging from; Acoustic and Electric guitar, Bass guitar, Mandolin, Traditional Flute and Drums, and various musical accompaniments.

Michael’s musical influences began in a typical pre-teen sense of Hard Rock, with a Punk Rock edge. Although, coinciding with his developing years, an appreciation for Classical, some Jazz, traditional Blues, and Country/ Bluegrass also emerged . By age fifteen he played Bass in a somewhat successful local Punk band. He later journeyed as either a guitarist or bassist through various harder edged groups like Restless Breed, Speed of Fright, Throat, and Soulscrape/ Overjoy until age twenty-six. It was at this time that he began to lean towards the Acoustic side of music, partially as a result of the spiritual growth he had experienced when he started to explore both his ancestral roots and traditional Native American music - especially the flute.

“...fuses folk styles from rock to folk blues with indigenous music a calm but directed new age approach regarding accessibility.” CD Baby.

While exploring this side of his heritage, a ceremonial leader taught him to drum and sing along side some singers from the Rosebud reservation. This area of his musical development was consequently practiced in a traditional Lakota way. This experience artistically enabled an outpouring of music. A good example is the song “Rosebud,” from his first release (O-Glepi), it stems from these experiences. However, that outpouring of ancestral influences in his music, was not entirely limited to his American Indian roots, but can also be contributed to exposure of Bluegrass and “Old-time Banjo picking.”

As a child, he would hear stories of his grandpa Gerald playing banjo along side accordion, harmonica, and fiddle players. Down the road, after hours into playing music in the back of a Native American shop, he found himself playing alongside a musician who had also played with his grandpa in those early years. It was during these sessions that he had played an open-tuned acoustic song that originally had flowed out of him the prior year. Along with future musical experimentation, that song would eventually transcend over a ten year period into a track titled, “Ancestor’s Song” (O-Glepi), further influenced by store owner Al Lewis’s suggestion to add Native American flute over top of it.

Utilizing these talents, musical influences, and experiences, Michael has built a strong, unique medley of style.

“...leading listeners along a path of reflection, introspection, and heartfelt discovery” Shari Veleba, Author of “It’s Okay to Cry.”

With a vision for combining both spirituality and growth to this unique playing style, his music is a direct reflection of a culture that bridges much of society and the typical roots of American music. “If music is truly from the heart it should have the ability to move you.” It is in search of music that may invoke this very cord which created the diversity of sound and culture implemented into his music.

Michael's first release “O-Glepi” charted on the New Age Reporter (NAR) for 8 Months in the top 100, highest position was #7. It was nominated for the 2005 NAR Lifestyle Awards in four categories and received favorable print reviews in Acoustic Magazine, UK, Editor Steve Harvey; The Indie Review, Chase Scott; And Indie Nation Magazine.

Michael went on to record a second release with artist Derek Mortland, creating a project titled SOTIW (pronounced So too), "Sketches in Time". Best described as a “New Age, Eclectic, World and fusion Jazz, which has no boundaries” (Native Radio). Michael's flute contribution on "Sketches in Time" was mor


O-Glepi, EP, 2005
SOTIW, Sketches in Time, 2007
Ten Minutes Over the Wheel, 2010

Set List

45 to 90 minute sets, up to 2 hours, without duplication of original material. Currently booking Saturdays and Sundays only at this time, unless otherwise arranged.

Set list TBD, based on audience profile.
Acoustic guitar only performance set.

To have a full performance with both Guitar and Native American Flute there is an additional live performer, Derek Mortland- Acoustic guitar, which requires Wheelchair accessibility. We do have a standard portable ramp for low elevations.