Hi, how are you doing today?

Not bad.

Congratulations on the new single, the sound is fantastic. It’s changed so much since High Country Sound, how much did that record change the game and enact a big musical reset for you?

It totally was. It was a full reset for me, coming from a major label when we had the ‘Love You Like That’ single, it was an entirely different experience – the song selections for the project had to be approved, the production was not in my hands, having to be a slave to the road and the radio shows. The way you make an album and a single work is that you do the dog and pony show, and you go where you have to go to make it work. It was awesome and the pay-off is that you get a number one song. I became a little bit lost in the process. I didn’t even have a gauge for where I wanted my footprint to be.

I guess you begin to question what your music even is at that point?

Yep, and don’t get me wrong, I had songs on Bronco that I still pay in my set and I’m really proud of. I’m super proud of that song and what it did for my career – it was a launching pad. I think I just needed to get away from everyone else’s opinions and – for better or worse – do it for myself. So, I had to just go back to the drawing board for a minute and write a ton of new material and be re-inspired. I found it. I found that inspiration, back in some really simplistic storytelling and production that I was not leaning into prior. There’s a simplistic approach to High Country Sound that really leans on the classic instruments, underproduction, but I think it was still a good middle ground to be competitive, but not feel like it’s following in anyone else’s footsteps.

It’s carving the path out to be who you want to be and bridge that gap in the sound. It opens more avenues rather than shutting them off.

Yeah, and it didn’t make me want to continue to deliver the same album again, but it did make me realise I have my own brand of what I offer. I thought ‘Heartbreak Heaven’ was a good segway from the High Country Sound album, which leaned heavily on my Virginia roots – camping and mountain lifestyle – and taking that same approach musically but also realising that the subject matter can shift.

Well it’s so much fun as a song, from the production to the lyrics. It’s fun and it’s catchy but there’s that infusion of High Country Sound in there. I know you produced this one, so how important is it to you now, to have that reins on the production?

Yeah, it was important to me to just know that I could pull it off. For my own sanity, I didn’t know, it was stepping away from feeling like I had to have too many opinions, I had to be able to stand on my own two feet. It was a test, basically, to see if I could get a finished project across the line.

The test was completed.

Yes, it was a lot of work, I’m not going to lie. I’m not married to the idea that I’ve got to produce going forward, but I’ve really enjoyed it.

I guess it also means that when you now step into the studio with a producer, you have a little more confidence to have a say if you don’t like the direction that a song is going in?

When it feels right in the studio, it is generally something that I’m proud of when it’s finished. My whole game going forward is to just make sure that the vibes are captured the right way. If I feel like doing it myself, I will but if I need someone else to come in and put some fresh ears on it, then I’ll do that. I’m at the stage of my career, where if I’m not shipping things to radio, I don’t have a team right now, I’m fully independent, really my only mission is to do something proud of and so far so good.

I feel like the way music is going, there’s so many more artists making it through who are independent. What do you think it’s given you in terms of control and confidence in having a hand in what exactly you want to release? You could put out a song tomorrow if you wanted to!

I love that idea. I love that that can be an outlet at any time. I also know that putting music out, in a way I’m proud of – a guy like me who’s a bit of a perfectionist to a fault – it takes time. The reality is that I’ve got a lot to juggle to. The takeaway is that there are no rules, no chain of command to sign off on what my next move is, I can carve my own path and my own decisions. I like the freedom that comes with that, but how often that plays out and when I next release is still to be determined. I’m enjoying it right now.

Just to go back to the evolution of this single, what was the genesis of the idea for this track? I know you’ve mentioned Honky Tonk 2.0 before, so what do you mean by that?

Like, it’s nothing new the subject of broken hearts and you find the bar to feel better – it’s not anything new, that’s an age-old story. You’re just now hearing this resurgence of honky tonk production, with this fiddle and steel driven, unapologetically country sound – I’m glad it’s going that way. This song felt that way, where it sounded a lot like the songs I loved when I moved to town and the mission I had for myself when I moved from Virginia to Nashville was to record those kind of songs, that could be country still ten years from now.

I think people are craving that authentic sound in the midst of viral TikTok trends…

Yeah, totally. There’s parts of me that are super quirky and the production is intended to feel a little loose and funky. It sounds like me, so I’m proud of that.

Finally, what can we expect in terms of new music to come?

I’m trying to figure that out. I have a bunch of new songs that I want to release that aren’t finished all together yet, but now that I’m here and fully independent, I love the idea of being able to release more music, more often, so…

Watch this space! We can’t wait personally for any new music to come…

The post INTERVIEW: Canaan Smith on New Single ‘Heartbreak Heaven’ appeared first on off the record.

Williamsburg, Virginia native Canaan Smith continues to deliver quirky and polished country with his new track ‘Heartbreak Heaven’ out now. The track sees Smith dig further into his country roots in a honky-tonk hued track imbued with an edgy and groovy baseline.

Written by Canaan Smith, Brandon Kinney and Chris Loocke, the track was also produced by Smith, mixed by Dave Clauss and mastered by Andrew Ayan. Having a handle on the production has allowed him to continue to deliver authentic, no frills country that is immensely charming. This last track is a witty take on an age-old story – the first place love goes when it dies. ‘Raise a little hell where there ain’t no pain / At the paradise where hearts will learn hard lessons/ A little place called Heartbreak Heaven’.

Of the track, Smith shares, “It’s was one of my favorite songs to hear back after recording it because it has such a distinctive feel. The groove of the song… I just love that kind of music. Honky-tonk 2.0 is what it feels like to me… a big thick bass and a live band… It’s not all lined up and tuned up, on purpose. I wanted it to sound like I pictured ‘Heartbreak Heaven’ the bar to look and it belong in that setting. I pulled from all my honky-tonk traditions and made it something I felt could be evergreen for anyone who is a fan of bonafide country.”

The song is Smith’s taste of new material since the release of his critically acclaimed 2021 album High Country Sound, marking his first release as an independent artist. Taking full control of his career, Smith is making music that is true to his artistry as he realises his full potential as a vocalist and a songwriter. 

For more information about Canaan Smith and to keep up-to-date with his live dates, please visit https://canaansmith.com. Follow Canaan on Facebook, Instagram, TikTok and Twitter.

The post SINGLE REVIEW: Heartbreak Heaven – Canaan Smith appeared first on off the record.

[tps_title] 10. Josh Kerr, 12 of 12 [/tps_title]

Josh Kerr’s sophomore record continued where his debut album let off – it’s a phenomenally heartfelt and tender record, exploring the depths of heartbreak and pain.

Stand-out Track: If This Is The End

Read our full review here.

The post Our Top 10 Country Music Albums of 2021 So Far appeared first on off the record.

Country artists seem to have looked inside themselves and returned to their roots with their latest records created during the pandemic – there’s every indication that this will be the case with Thomas Rhett’s forthcoming Country Again: Side A – and nowhere is this more evident than in Canaan Smith’s new record – High Country Sound. This shift may have been necessary given the unsteady path that led to his sophomore record, including a label change to Round Here Records. The introspective return to his roots worked. The record is a phenomenal love letter to the heart of country music and Virginia, traditional country music is the core of the record yet it has been elevated for a modern audience – even imbibing some characteristic yodelling touches.

Indeed, there is a real feeling that the music pours directly from Smith’s heart on the record – he produced two-thirds of the record and the rest eliciting the help of the FGL boys. The record kicks off in style with ‘Grounded’ – an important track about remaining ‘rooted’ in his hometown. ‘Y’all made me who I am / From the red dirt on my boots / To the red word Gospel truth / I’m tangled in these roots that keep me grounded.’ It’s a refreshingly humble and honest track that thematically is brought to life and given fire on the follow-up track ‘Mason Jars and Fireflies’ – a majestic, swaggering track about living a country life under the stars.

‘Sweet Virginia’ is the most obvious testament for his love of his roots – backed-up elsewhere on ‘American Dream’ – but it’s a double entendre – it’s also a song for his daughter Virginia Rose. It’s an incredibly sweet and poised track, singing of missing home (and his daughter) now in Tennessee, ‘Sweet Virginia, you are always on my mind / Sweet Virginia, I go there all the time / Yeah, they say that you’re for lovers / And I have to agree / ‘Cause ain’t never been another / Ever loved me like sweet Virginia.’ Later track ‘Highway Blues’ has a similar feel, a swaying track about missing life at home while being on the road.

Smith traverses the entirety of the country genre, with bluegrass swampier sounds also seen here, including on the collaboration with Brent Cobb – ‘Catch Me If You Can’. It’s a teasing track about running from trouble – whether that trouble is the police or a girl. It’s a pacing and driving track that is immensely charming, indeed the idea of Smith’s roots is indistinguishable from his love for the traditional country genre itself. John Denver even gets a nod in ‘Cabin in the Woods’ – a stunning, meandering track reminiscing about the importance of home and the memories rooted back to a particular cabin in the woods, brought to life by a haunting fiddle, reminiscent of an early Zac Brown Band production. ‘On a September night, I’ll always remember / We were sipping ’round the fire, singing old John Denver / Life was feeling good / At that old cabin in the woods.‘ ‘High Country’ is another testament to his love for the genre, singing that it’s ‘hard to be low in high country.’ It’s a boot-stomping track replete with harmonica and fiddle that bring the track to life and you can hear hints of Florida Georgia Line in the production – this one of the tracks co-produced by Kelley and Hubbard.

In true country tradition, heartbreak is still a mainstay of the record. ‘Colder Than You’ is a bittersweet track about moving on, but being happier without a past lover. ‘Ah, ’cause I might’ve finally found something colder than you / Well, I’m happy as hell and hell, it helps me raise it / Took your goodbye and hell, it done erased it / Girl, I ain’t drownin’ your memory.’ More painful still is, ‘Like I Ain’t Missin’ You’ a sweetly heartbreaking track about trying to hide the pain and be fine with moving on, acting ‘like I ain’t missin’ you.’ The stunning fiddle and light-touch background vocal bring the track to life and tug the heartstrings, as does later track ‘Losing Sleep Over a Girl’ that ends the record – a sentimental track looking back at the journey of his relationship, from falling in love to having a child. ‘Wide awake, heart racin’ so hypnotized / Lost in the moment, still lost in her eyes / As the sun made its way ‘cross the dark side of the world / There I was again losing sleep over a girl.’ The track is sweet and lyrical and a perfect sweet note to round out this tremendous project.

There is a true fearlessness in the record – Smith has not removed any of the ‘traditional’ country trappings to make this more palatable for commercial country radio, and it is this that brings the magic to this record. Smith feels more confident, both in production and lyricism – the record is bold, brash and powerful.

The post ALBUM REVIEW: Canaan Smith – High Country Sound appeared first on off the record.

Platinum selling artist Canaan Smith has announced the release of his highly anticipated sophomore album, HIGH COUNTRY SOUND (Round Here Records), out April 2. Fans can preorder the record now.

“This whole album felt like a chance to make something that I truly wanted, which was extremely liberating – but also nerve-racking because I became the one responsible for the project,” Smith explains. “I really focused on having fun with it, and I didn’t feel pressure from anyone to do anything in particular – it all came from a place of my own personal love for these songs. Taking control and kind of steering the project in the way I wanted just made the outcome that much more special, and I couldn’t be prouder of it.”

Serving as the long-awaited follow-up to Smith’s critically acclaimed debut album, BRONCO (2015), and marking his first major release under Round Here Records, HIGH COUNTRY SOUND showcases a new and unexpected side of the Virginia native. Returning to his roots for backwoods inspiration, the 12-track project features everything from bluegrass-tinged, swampy singalongs like “Catch Me If You Can” featuring Brent Cobb to raw, lyrically driven ballads including “Like I Ain’t Missin’ You,” with each tune peeling back a different layer on what he refers to as “Canaan Country.”

Wanting to make an album that truly reflects who he is as an artist, Smith made sure to have his hands in all parts of the creation process – making his debut as sole producer on eight of the 12 tracks, while coproducing the rest of the set alongside Florida Georgia Line’s Tyler Hubbard and Brian Kelley. As a writer, his credit is on every single song on the project.

Canaan Smith’s HIGH COUNTRY SOUND Track Listing:

1. “Grounded” (Canaan Smith, Jim Beavers, Ben Stennis) *
2. “Mason Jars & Fireflies” (Smith, Brian Kelley, Corey Crowder) *
3. “Colder Than You” (Smith, Jared Mullins, Corey Crowder) ^
4. “High Country” (Smith, Blake Redferrin, Corey Crowder) ^
5. “Catch Me If You Can” ft. Brent Cobb (Smith, Brian Kelley, Tyler Hubbard, Jason Afable) *
6. “Cabin In The Woods” (Smith, Josh Miller, Brian Kelley, David Garcia) ^
7. “American Dream” (Smith, Blair Daly) *
8. “Sweet Virginia” (Smith, Brian Kelley, Tyler Hubbard, Corey Crowder) ^  
9. “Still” (Smith, Ben Stennis, Jim Beavers) *
10. “Like I Ain’t Missin’ You” (Smith, Blake Redferrin, Jason Afable) *
11. “Highway Blues” (Smith, Jake Rose, Brian Kelley) *
12. “Losin’ Sleep Over A Girl” (Smith, Marv Green, Kyle Fishman) *

* Produced by Canaan Smith
^ Produced by Canaan Smith, Brian Kelley + Tyler Hubbard

The post Canaan Smith Announces Sophomore Record – High Country Sound appeared first on off the record.