On "I Saw the Arkansas", underground country sensation Dylan Earl guides us through the many wacky stories, close encounters with the law, dizzying romances, and endless highways from this chapter of his life. Juxtaposed, but perhaps not entirely in opposition, he describes the calm yet wild beauty of the Natural State and the inspiration and contemplation he draws from his home. Longtime fans of Dylan’s work will recognize the trademark blend of honkytonk, southern rock, and traditional country which has defined his sound for years: rowdy rambling tunes like “Buddy” and up-beat two-steps like “Fever,” full of energy and swagger. On this latest recorded effort, Dearl blazes new sonic trails, like the borderline psychedelic romp of “White Painted Trees” and the meditative and somber title track, a dreamy waltz which paints a picture of the spirits of the narrator, the Arkansas Traveller, and beloved Southern poet Frank Stanford, watching their bodies float by from atop a levee on the Arkansas river. Across the record’s nine tracks, Earl’s baritone vocal stylings are, in moments, reminiscent of iconic country forebears Randy Travis, Waylon Jennings and Conway Twitty. He uses it to tell his story earnestly, and not without laughing at himself a little bit along the way. Timeless in its unique combination of elements, forging "I Saw The Arkansas" into a tender, rambunctious, and ultimately classic listening experience.
Born in Louisiana and naturalized by the Natural State, Dylan Earl seeks to understand himself by understanding others. His new album, ‘Level-Headed Even Smile’ (2025), charts territory into his formative years discovering Arkansas, the people who showed him the ropes and back roads; and who he hopes to become. Offering poignant nostalgia, history, and a refreshingly progressive approach to country and western music, his newest effort is rife with wry wit, irreverence, and an endearing desire to colour outside the lines.
Earl is a welcome, original voice in the scene, finding favour in mainstream and alternative spaces alike as a loveable, alt-country hippie. Charming and direct, he’s easy to root for, and has spent many hours behind the wheel, driving to play for you. Sharing stages with other fan favourites like Esther Rose, labelmate Nick Shoulders, Judy Blank, Emily Nenni, Teddy & The Roughriders, Rattlesnake Milk and The Deslondes across the USA and the EU/UK, Earl has honed his performance and craft for nearly a decade.
Describing Earl’s catalogue as “an exploration of identity” is fitting, but it’s certainly deepened by the subtleties and clever turns of phrase across the 10 track run-time. Earl is a welcome, original voice in the scene, finding favour in mainstream and alternative spaces alike as a loveable, alt-country hippie. Travelling counter-culture and across vast expanses, not unlike the inimitable White River in Arkansas, Earl carves a path distinctly his own.
"Justin Townes Earle released Kids In The Street, his first record on New West Records, in May of 2017. The album received critical acclaim and further cemented Justin’s legacy as one of the best active songwriters in music. Songs like, “Champagne Corolla” showcased his wry sense of humor as well as his deft ability to build upon the music that came before him while at the same time creating something unique and new. Familiar, inventive, creative, and clever.
Justin would release his second album with New West Records in May of 2019. The Saint of Lost Causes was hailed as one of the best albums of 2019 by Rolling Stone Magazine with “half a dozen or so career classics.” “I was trying to look through the eyes of America,” Earle says. “Because I believe in the idea of America - that everybody’s welcome here and has a right to be here.” Earle tells these American stories in detail and without judgement. While some songs cite historic events like “Flint City Shake It,” and “Don’t Drink The Water,"" other tracks present fictionalized narratives that are no less harrowing, or true-to-life , as heard in ""Appalachian Nightmare,” “The Saint Of Lost Causes,” and “Over Alameda.""
Justin Townes Earle was always a champion of the underdog and All In features in depth looks at the hopeful, and the hopeless. Fueled by empathy, baked in the blues, Justin was never without something poignant or humorous to say. Sadly, Justin passed away in 2020 at the age of 38. ALL IN: Unreleased & Rarities (The New West Years) is a fitting tribute to Justin’s legacy. The collection features many never heard before songs, demos, and cover tunes, spanning his time as a New West Records recording artist."
In his debut full length, 'The Good Life', Earle blends genres seamlessly, framing his songs in warm musical settings and creating tunes that could easily be mistaken for classics
“I started out to make an old timey country record, but I listen to so many other kinds of music,” Justin explained. “Some of the songs were rearranged on the spot and took on other lives and album is now more of an exploration of southern music.” Earle approaches universal topics like traveling and matters of the heart (“Hard Living”, “The Good Life”) with the same fervor with which he evokes the bleak loneliness of a Civil War soldier on “Lone Pine Hill”
One of the most distinguishable vocals in all of music, Earle's high lonesome drawl evokes intensity, nostalgia, fear and fun. ‘El Corazón’ is the seventh album by country rock musician Steve Earle. From rock, to ballad, to bluegrass, 'El Corazón' seamlessly covers a lot of ground. Steve Earle is well known for his guitar work, and this is no exception. With Earle’s lyrics you get the range from "Christmas In Washington" and "Taneytown" (feat. Emmylou Harris), politically aware, along with the funny "You Know The Rest", almost straight-out-rock of "Here I Am" and "NYC", and the intensely personal "Fort Worth Blues", a genius Earle song. ‘El Corazón' is a masterpiece from one of the real masters of modern music.