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Chris Shiflett Fuses Honky Tonk With Rock On Upcoming Album
For the past few months, veteran rocker and Foo Fighters six-stringer Chris Shiflett has been sharing new tastes of his signature honky-tonk-meets-rock-and-roll sound.
“Dead and Gone” found the Southern Californian trading licks with Nashville pickers like Tom Bukovac and Charlie Worsham and “Black Top White Lines” put a rocking spin on the classic “murder ballad” format. All of that bridge-building between Music City and his native California will come to fruition on October 20th with the release of Lost at Sea—Shiflett’s new Jaren Johnston-produced album on Blue Élan Records.
Lost at Sea finds Shiflett blurring the lines between his last two albums: West Coast Town’s (2017) honky-tonk homage and Hard Lessons’ (2019) overdriven crunch. Shiflett recorded the majority of the new album in Nashville, working with his aforementioned producer and collaborator Jaren Johnston—frontman of the Cadillac Three, as well as the songwriter behind nearly a dozen Number 1 country hits—and a small cast of Americana all-stars. Among them were fellow guitar slingers Worsham, Bukovac, and Nathan Keeterle, all three of whom laced the record with fiery fretwork. He also teamed up with a number of co-writers, partnering with Kendell Marvel, Cody Jinks, and others to fill Lost at Sea with storylines that pack as hefty a punch as the music itself.
“We wrote a lot of these songs during the lockdown,” recalls Shiflett, who spent much of the pandemic at home in Southern California. “Then I began making trips to Nashville to work with Jaren. He and I have a lot of overlap, in terms of the music we like. We made a guitar-centric record that encapsulates everything I’ve been listening to over the years, from the most country songs I’ve ever recorded to punk rock and even songs that sound like a California version of The Clash.”
“Damage Control” is the track he’s referencing, and it happens to be the next single from Lost at Sea. Straying further from the country influence than most of the album, “Damage Control” is the only “old” tune that Johnston and Shiflett included on Lost at Sea. “All the other tunes were written in the months leading up to recording, but when Jaren and I were sorting out which songs to do he mentioned something about The Clash and I remembered this old one I’d demoed about 15 years prior,” remembers Shiflett. With its layers of reverb, pulsing percussion, and Echoplex tape delay, “Damage Control” went through a number of versions before reaching its final form in the studio with Johnston. “I love that the musical inspiration on this one was late-stage Clash but we wound up layering it with banjos and what-not. Definitely takes it somewhere else. Ska-mericana?” Shiflett laughs. “There’s nothing better than when influences converge taking you places you never expected.”
Australian honky tonk troubadour James Ellis has delivered a gem with his latest album, The Party Might Be Over. Packed with sharp storytelling and genuine emotion, Ellis brings his signature blend of wit and heart to this record, capturing the essence of honky tonk while giving it his own unique twist. Recorded remotely between Melbourne and Nashville during the pandemic, this album is a testament to Ellis’s dedication to his craft and his ability to adapt and thrive even in challenging times.
Ellis’s voice is at its finest in Lonely, Sad and Blue, one of the standout tracks on the album. It’s a soulful exploration of heartache that channels the spirit of classic honky tonk but with a modern sensitivity. Ellis’s rich, emotive voice brings out the raw pain in the lyrics, while the subtle twang of steel guitar gives the song a timeless feel. It’s the kind of track that feels both intimate and universal—a tune that makes you want to drown your sorrows in a dimly lit bar, yet find solace in knowing you’re not alone in your heartache.
Another highlight is the cheeky Don’t Drink By Yourself (If You Can’t Be Drunk Alone), a honky tonk anthem with a wink. The song combines clever, playful lyrics with an infectious rhythm, creating a tune that’s both entertaining and oddly comforting. It’s a lighthearted reminder not to take life too seriously, with an upbeat energy that’s impossible to resist. The rhythm section, recorded by some of Nashville’s top talent, drives this track with precision, adding to its barroom charm. This song is honky tonk at its best—fun, relatable, and brimming with personality.
Producer Micah Hulscher, known for his work with top Nashville acts, deserves immense credit for shaping the album’s sound. Hulscher brought together a stellar lineup of Nashville musicians, including legends like Fats Kaplin, Chris Scruggs, and Lillie Mae, who added their own magic to Ellis’s songs. Recorded at the legendary Creative Workshop Studios in Nashville, the album has a warm, rich sound that makes it feel like a live honky tonk performance, even though it was recorded remotely. The musicianship on each track is flawless, supporting Ellis’s storytelling with nuanced, heartfelt instrumentation.
The Party Might Be Over marks a significant evolution for James Ellis since his previous album, Country Lion. While Country Lion showcased his talent and raw potential, this new album feels more polished, more intentional, and more self-assured. Ellis has refined his voice and his storytelling, creating songs that are both relatable and timeless. He’s moved beyond the role of honky tonk storyteller to become a true artist, delivering songs that feel authentic and memorable.
In The Party Might Be Over, James Ellis has crafted an album that celebrates the highs and lows of life with humor, heart, and a whole lot of soul. It’s a must-listen for fans of honky tonk and classic country, and a promising indication of even greater things to come from this talented Australian singer-songwriter.
Listen to the Country HQ Spotlight On Podcast with James Ellis.
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REVIEW: Barely Blue – Midland
A showcase for Midland’s skill in fusing classic country elements with contemporary sensibilities, “Barely Blue”—produced by the legendary Dave Cobb—contributes to the band’s unified and introspective discography.
A showcase for Midland’s skill in fusing classic country elements with contemporary sensibilities, “Barely Blue”—produced by the legendary Dave Cobb—contributes to the band’s unified and introspective discography.
Song number one on the album, “Lucky Sometimes,” establishes the mood for the whole thing. The album’s profound lyrics and powerful emotional resonance are brought to light by the song’s spare production, which lets the band’s harmonies sing out. Embracing serendipity and the bittersweetness of life’s unexpected twists and turns, the lyrics, “Sometimes, you just get lucky and you don’t ask why / It’s like falling up to heaven and coming up a seven / Every time you roll the dice,” encapsulate the qualities of the song.
The album’s title tune, “Barely Blue,” is one of its memorable moments. It takes a sombre, contemplative look at loss and perseverance, drawing on Midland’s long-embraced sound that was influenced by George Strait. with crisp and interwoven harmonies give the song a deeper meaning, which is both sad and hopeful. Like the rest of the album, this song showcases Midland’s talent for writing music that sounds as good now as it did decades ago.
With its beautiful guitar intro and heartwarming promise of new love, “Better Than A Memory” is another standout. With its upbeat tempo, catchy choruses, and wistful, nostalgic mood, “Vegas” puts a modern spin on the old “what happens in Vegas stays in Vegas” story .
“Baby It’s You” showcases Midland’s adaptability and desire to explore diverse sounds while the song’s silky vocals and Bee Gees-inspired beat set it apart. The trio’s distinctive harmonies are front and centre on the heartfelt “Old Fashioned Feeling”, setting the mood for a welcoming and comforting listening experience.
“Halfway to Heaven” and “Lone Star State of Mind,” the album’s last two songs, are among its best. “Halfway to Heaven” evokes the music of Waylon Jennings and provides a sparkling slice of country tradition that is at once familiar and new. Mark Wystrach’s powerful lead vocals are on full display in the final track, “Lone Star State of Mind,” a moving and emotionally packed tune. It is one of Midland’s finest songs ever recorded due to its acoustic-driven melody and emotional lyrics.
“Barely Blue” has a few gripes, one of which is its length. There are eight songs on the album, which isn’t very long and leaves listeners wanting more. The album would have felt more finished with a couple of extra tracks, even though the song quality is very excellent. Nevertheless, this small criticism does not diminish the album’s overall influence.
Many consider “Barely Blue” to be the album that really set Midland apart from her peers. With a more mature and contemplative sound that is cohesive and engaging, it is less chaotic than some of their past work. The album delves further into the band’s conventional influences while simultaneously venturing into new musical realms, creating a set of songs that can be played again and again, revealing new nuances and layers with every listen .
On “Barely Blue”, Midland have captured the band’s development as artists and chronicles their journey over the last decade. The album exemplifies Midland’s talent for making music that stands the test of time with its combination of classic country elements and contemporary production. It is layered in emotional depth and complexity, whilst still staying true to the bands signature mature approach to country music.
Country music sensation Tanner Adell is set to make waves this summer with her latest single, “Cowboy Break My Heart”, as the song has quickly become a fan favourite, capturing the essence of heartbreak and resilience with a catchy, upbeat melody.
Adell’s new track is a perfect blend of traditional country and modern pop influences, showcasing her unique style and vocal prowess. Written by Adell along with Akil “Worldwidefresh” King, Stephen “Di Genius” McGregor, Will Weatherly, and Anthony Germaine White, “Cowboy Break My Heart” tells the story of a love gone wrong, inspired by a past relationship with a Dallas Cowboys fan. The song’s infectious chorus and relatable lyrics make it an instant anthem for anyone who’s ever experienced heartache.
The release of “Cowboy Break My Heart” comes just in time for Adell’s highly anticipated performances at the Ridin’ Hearts festival in Sydney and Melbourne. Fans are eagerly awaiting her live renditions of the new single, which promises to be a highlight of the festival. Adell’s energetic stage presence and powerful vocals are sure to make her performances unforgettable.
Produced by LVRN Records, the single marks a significant milestone in Adell’s career. Her debut performance of the song at the BET Awards earlier this year was met with widespread acclaim, further cementing her status as a rising star in the country music scene.
As Adell prepares to take the stage at Ridin’ Hearts, “Cowboy Break My Heart” is poised to become the soundtrack of the summer, resonating with fans across Australia and beyond. With its blend of heartfelt storytelling and catchy rhythms, the song is a testament to Adell’s talent and her ability to connect with listeners on a deeply emotional level.
REVIEW: The Four Seasons – Henry Wagons
REVIEW: Brighter Days – Dwight Yoakam
