Parker McCollum
For all his Platinum hits, sold-out arena shows and back-to-back radio successes, Parker McCollum has never sounded more like himself than he does on his fifth studio album, appropriately self-titled and arriving tomorrow (June 27) via MCA Nashville.
Written and recorded in a season where he stopped chasing anyone else’s expectations, the project strips things down to something raw and immediate. It’s not a pivot or a reinvention—it’s a letting go.
“I’ve never made a record where I felt this confident,” McCollum tells MusicRow. “Not because I thought it would work. Because I finally quit trying to make it work.”
That shift didn’t happen by accident. McCollum booked a weeklong recording session at Power Station in New York City with producer Frank Liddell and engineer Eric Masse. It wasn’t just a change of scenery—it was a full mindset reset.
He booked a room at the Ritz-Carlton overlooking Central Park, walked around the city like he owned the place and let himself believe, just for a bit, that he was the rock star version of himself he used to dream about. “I told myself I was the shit for seven days,” he says. “I wore dope sunglasses, stayed in a badass hotel, dressed cool, walked into the studio and just did whatever I wanted to feel like John Mayer or Ryan Adams or Evan Felker. I just lied to myself for a week—and it worked.”
That kind of freedom wasn’t about arrogance. It was about unlocking something he couldn’t access while trying to measure up to the traditional image of a country artist.
“I respect country music so much, and I’ve always wanted to be someone that’s good for country music,” he says. “But I was trying to sound like what I thought a country singer was supposed to sound like—like what my heroes sounded like. The longer I’ve done it, I’ve realized… I don’t sound like any of them. I don’t write songs like a country singer.”
That clarity led to the most instinctive recording process of his career. McCollum tracked most of the record live, starting with a solo acoustic session where he ran through song after song with no agenda. Liddell and Masse hit record and followed the energy. “Permanent Headphones,” a song McCollum wrote when he was 15, resurfaced during that run and eventually made its way onto the album, despite his hesitation.
“I didn’t want people to think I was trying to go back to Limestone Kid. That wasn’t it,” he says of his beloved 2015 album. “But when I played that song for Frank and Eric, they kept saying, ‘That one. That’s the one.’ I said no for days. Then finally, I gave in. And I didn’t even listen to it until a few months later. When I did, I got emotional. It brought me back to being that kid again.”
That theme—of honoring where he came from without recreating it—threads quietly through the entire album. Songs like “My Blue,” “Hope That I’m Enough” and “What Kinda Man” carry the weight of experience while leaning into the looseness of his early days. “New York Is on Fire” came together on the second day of tracking after McCollum remarked that the skyline looked like it was burning as he flew in. He, Adam Wright and Nick Bockrath wrote it on the studio floor and cut it immediately.
“It happened the way I used to dream about,” McCollum says. “That cinematic, storybook feeling. Like I was in a movie. That’s how I thought making records would feel when I was a teenager.”
Other highlights include “Watch Me Bleed,” co-written with Lori McKenna and Mat Kearney, a dark and stirring moment that poured out once McKenna encouraged him to stop mapping out the song and just start singing. “She’s really good at getting me to open that part of myself I usually shut down,” McCollum says. “A lot of people need a structure to write. I don’t. And she knew how to lean into that.”
There’s also the cover of “Good Time Charlie’s Got the Blues,” a track McCollum asked Cody Johnson to join simply because he wanted to hear him sing it. “That was for me, honestly,” he says. “I’ve heard that song for years and always thought Cody would kill it. I cut it first, and when I asked him to take the second verse, he said yes right away.”
The album closes with “My Worst Enemy,” written with Wade Bowen, and includes an acoustic cover of “Enough Rope” by Chris Knight—another song McCollum never planned to include, but which Masse and Liddell pulled from that initial session because it felt too real to leave out.
Even with four No. 1s, major tours, industry awards and a rising profile in mainstream country, McCollum isn’t overly concerned with how the album fits into that arc. He’s always had creative control, he says—but this is the first time he fully stepped into it. Instead of deferring or second-guessing, he followed his instincts from start to finish.
When asked what makes this record different, McCollum doesn’t hesitate. The setting, the sound, the approach all mattered. But more than anything, it’s the kind of project he’s proud to put his name on. “This is the one I’d send to Steve Earle,” he says. “That’s what matters to me.”
McCollum knows it may not be the flashiest move in a career built on radio wins, but he also knows it’s the kind of project that lasts.
“It took me five studio albums to figure out how I want to run my career,” he says. “I spent every day in New York freaking out, thinking I’d ruined everything. But on the last day, we sat and listened to everything we’d cut—and I just thought, yeah. This is it.”
Parker McCollum Talks New Album: ‘This One, I’d Send To Steve Earle’ [Interview]
/by LB CantrellParker McCollum
For all his Platinum hits, sold-out arena shows and back-to-back radio successes, Parker McCollum has never sounded more like himself than he does on his fifth studio album, appropriately self-titled and arriving tomorrow (June 27) via MCA Nashville.
Written and recorded in a season where he stopped chasing anyone else’s expectations, the project strips things down to something raw and immediate. It’s not a pivot or a reinvention—it’s a letting go.
“I’ve never made a record where I felt this confident,” McCollum tells MusicRow. “Not because I thought it would work. Because I finally quit trying to make it work.”
That shift didn’t happen by accident. McCollum booked a weeklong recording session at Power Station in New York City with producer Frank Liddell and engineer Eric Masse. It wasn’t just a change of scenery—it was a full mindset reset.
He booked a room at the Ritz-Carlton overlooking Central Park, walked around the city like he owned the place and let himself believe, just for a bit, that he was the rock star version of himself he used to dream about. “I told myself I was the shit for seven days,” he says. “I wore dope sunglasses, stayed in a badass hotel, dressed cool, walked into the studio and just did whatever I wanted to feel like John Mayer or Ryan Adams or Evan Felker. I just lied to myself for a week—and it worked.”
That kind of freedom wasn’t about arrogance. It was about unlocking something he couldn’t access while trying to measure up to the traditional image of a country artist.
“I respect country music so much, and I’ve always wanted to be someone that’s good for country music,” he says. “But I was trying to sound like what I thought a country singer was supposed to sound like—like what my heroes sounded like. The longer I’ve done it, I’ve realized… I don’t sound like any of them. I don’t write songs like a country singer.”
That clarity led to the most instinctive recording process of his career. McCollum tracked most of the record live, starting with a solo acoustic session where he ran through song after song with no agenda. Liddell and Masse hit record and followed the energy. “Permanent Headphones,” a song McCollum wrote when he was 15, resurfaced during that run and eventually made its way onto the album, despite his hesitation.
“I didn’t want people to think I was trying to go back to Limestone Kid. That wasn’t it,” he says of his beloved 2015 album. “But when I played that song for Frank and Eric, they kept saying, ‘That one. That’s the one.’ I said no for days. Then finally, I gave in. And I didn’t even listen to it until a few months later. When I did, I got emotional. It brought me back to being that kid again.”
That theme—of honoring where he came from without recreating it—threads quietly through the entire album. Songs like “My Blue,” “Hope That I’m Enough” and “What Kinda Man” carry the weight of experience while leaning into the looseness of his early days. “New York Is on Fire” came together on the second day of tracking after McCollum remarked that the skyline looked like it was burning as he flew in. He, Adam Wright and Nick Bockrath wrote it on the studio floor and cut it immediately.
“It happened the way I used to dream about,” McCollum says. “That cinematic, storybook feeling. Like I was in a movie. That’s how I thought making records would feel when I was a teenager.”
Other highlights include “Watch Me Bleed,” co-written with Lori McKenna and Mat Kearney, a dark and stirring moment that poured out once McKenna encouraged him to stop mapping out the song and just start singing. “She’s really good at getting me to open that part of myself I usually shut down,” McCollum says. “A lot of people need a structure to write. I don’t. And she knew how to lean into that.”
There’s also the cover of “Good Time Charlie’s Got the Blues,” a track McCollum asked Cody Johnson to join simply because he wanted to hear him sing it. “That was for me, honestly,” he says. “I’ve heard that song for years and always thought Cody would kill it. I cut it first, and when I asked him to take the second verse, he said yes right away.”
The album closes with “My Worst Enemy,” written with Wade Bowen, and includes an acoustic cover of “Enough Rope” by Chris Knight—another song McCollum never planned to include, but which Masse and Liddell pulled from that initial session because it felt too real to leave out.
Even with four No. 1s, major tours, industry awards and a rising profile in mainstream country, McCollum isn’t overly concerned with how the album fits into that arc. He’s always had creative control, he says—but this is the first time he fully stepped into it. Instead of deferring or second-guessing, he followed his instincts from start to finish.
When asked what makes this record different, McCollum doesn’t hesitate. The setting, the sound, the approach all mattered. But more than anything, it’s the kind of project he’s proud to put his name on. “This is the one I’d send to Steve Earle,” he says. “That’s what matters to me.”
McCollum knows it may not be the flashiest move in a career built on radio wins, but he also knows it’s the kind of project that lasts.
“It took me five studio albums to figure out how I want to run my career,” he says. “I spent every day in New York freaking out, thinking I’d ruined everything. But on the last day, we sat and listened to everything we’d cut—and I just thought, yeah. This is it.”
Tommy Prine Slates New EP ‘Love Circle’ For August
/by Lorie HollabaughTommy Prine has dropped his heartfelt new single “Purple Paint,” from his upcoming new EP Love Circle, due out on Aug. 20.
The new track is inspired by the steadfast support of his wife throughout his musical journey, and is a moving reflection on partnership, devotion and the quiet strength that carries artists through both the chaos and beauty of a life in music.
“My wife is the real reason I am who I am today, if not for her unwavering support and guidance I would have never taken the leap,” admits Prine. “Here’s to making me paint my bathroom purple, and for showing me that things can be built in a day that last forever.”
The new single arrives ahead of his new EP this summer, which finds Prine building on the momentum of his acclaimed 2023 debut This Far South. Fans recently got a first listen to “Purple Paint” through PBS Wisconsin’s Mile of Music Special, where Prine performed a set from the Lawrence University Memorial Chapel during the 2024 Mile of Music festival. The televised performance featured standout tracks including “Purple Paint,” “Fire and Fuel,” “This Far South,” “By the Way,” “Mirror and a Kitchen Sink” and “Ships in the Harbor.”
Love Circle Track List:
1. “Purple Paint”
2. “Standing in the Middle”
3. “Love Circle”
4. “Candybar”
5. “Caught in the Wake”
6. “Space”
7. “Mysteries of Man”
Drew Trosclair Signs With Electric Feel
/by Madison HahnenPictured (L-R): Austin Rosen (CEO & Founder, Electric Feel), Drew Trosclair, John Bradley (Country A&R, Electric Feel) and Chandler Nicole Sherrill (Senior Director, Creative, Electric Feel). Photo: Taylor Stanford
Drew Trosclair has inked a publishing deal with Electric Feel Entertainment, joining the company’s Nashville roster.
Starting his journey as a touring guitarist, Trosclair has opened the stage for renowned artists such as Alan Jackson, Zac Brown Band, Morgan Wallen, Hardy, Gary Allan, and Riley Green. His first songwriting successes came with the Platinum-certified Trey Lewis hit “Dicked Down in Dallas” and Iam Tongi’s “Why Kiki.” He also holds cuts with Lauren Alaina, Walker Hayes, Timmy McKeever, Neon Union, Thomas Edward and more.
“Drew is a true talent that writes and plays at a high level, working with solidified artists as well as up and coming acts,” shares John Bradley, Country A&R, Electric Feel Entertainment. “He’s always chasing new sounds and finding bold, honest ways to tell a story. At the core, he’s a country writer, but he jumps between genres like it’s nothing. His energy in the room is contagious”
“I couldn’t be more excited and honored to join the Electric Feel roster” adds Trosclair. “From the administration to the studios, artists, writers and producers – the entire operation is first class. Austin (Rosen) has really created something special at Electric Feel and I’m grateful to be a small part. Huge thanks to my entire team at EF – Austin, John Bradley, Chandler Nicole Sherrill, (Callie, Danielle, Nick and Nate) – I’m thankful to have an all-star team of true industry professionals in my corner.”
Ryman’s Haunted History Tours To Return This Summer
/by Lorie HollabaughFor those in a spooky mood this summer, the Ryman Auditorium is bringing back its Haunted History Tours during two exclusive evening experiences in July and August.
Visitors will have the opportunity to explore the darker side of the Ryman’s storied past on July 12 and Aug. 1 from 6 – 8 p.m., and learn about the untold history behind mysterious sightings and occurrences reported at the Ryman throughout its 133-year history.
Tickets are on sale now at ryman.com and include a 45-minute guided tour through the Ryman Auditorium plus a commemorative photo to capture the evening. Tours run every 15 minutes.
DISClaimer Single Reviews: New Morgan Wallen Single Is ‘Brilliantly Produced’
/by Robert K OermannMorgan Wallen. Photo: Spidey Smith
Hot enough for you?
As we plunge into summer, the country stars are heating up playlists with worthy sounds. Megan Moroney, Asleep at the Wheel and Deborah Allen are at the forefront, along with Disc of the Day prize winner, Morgan Wallen, who also happens to be the format’s sales king.
Big Loud’s Ink wins the DISCovery Award. This Nashvillian comes to the country format having achieved much pop success as a co-writer of songs recorded by Beyonce, Kendrick Lamar, SZA, Childish Gambino, J-Lo, Lil Nas X and more.
ASLEEP AT THE WHEEL / “Texas In My Soul”
Writers: Ernest Tubb/Zeb Turner; Producers: Ray Benson, Sam Seifert; Label: Bismeaux Records
– Celebrating its 55th anniversary, the evergreen western swing unit is releasing Riding High In Texas as its 32nd album, a tribute to its Lone Star State roots. The advance single is a picker’s delight, tickling the ears with twin fiddles, steel, jazzbo piano plunking, diddling electric guitar and group singing. Boogie back to Texas, because this band will always rule. In the words of Bob Wills, A-Ha!
ASHLEY McBRYDE / “Rattlesnake Preacher”
Writer: Randall Clay; Producer: John Osborne; Label: Warner Music Nashville
– This snarling southern rocker roars with bluesy energy. Is this the first country song saluting fundamentalist snake handlers?
MEGAN MORONEY / “6 Months Later”
Writers: Ben Williams/David “Messy” Mescon/Megan Moroney/Rob Hatch; Producer: Kristian Bush; Label: Sony Music Nashville/Columbia Records
– He dumps her then wants her back. Tough luck, buddy. I love a good kiss-off song, and this one stings with a snappy, bopping track and Moroney’s trademark, personality-packed vocal performance.
PARKER McCOLLUM / “Killin’ Me”
Writers: Monty Criswell/Parker McCollum/Randy Rogers; Producers: Eric Masse, Frank Liddell; Label: MCA Nashville
– A moody, dramatic arrangement frames an alluring lyric. She entices him, even though he knows the infatuation is wrong for him. The sound is cool, and his vocal vibe is drowsy.
CARL RAY / “Get On Board”
Writer: Carl Ray Williams; Producer: Greg Cole; Label: Sucarnoochee Records
– His heartfelt tenor propels this minor-key, groove-soaked, gospel outing. Ray has always masterfully blended country and bluegrass, but never more powerfully than on this single. The strummy, seductive track comes courtesy of an all-star ensemble featuring Darrin Vincent, BJ Cherryholmes, Seth Mulder and Josh Swift. Lend this your ears.
CAM / “Turns Out That I Am God”
Writers: Anders Mouridsen/Camaron Ochs (Cam)/Jeff Bhasker/Nick Lobel/Simon Maartensson/Tyler Johnson; Producers: Ethan Gruska, Jeff Bhasker, Michael Uzowuru, Tyler Johnson; Label: RCA Records
– Gorgeous sounding, with starkly echoey guitar and stacked vocal harmonies. It seems to be some kind of religious journey where she finds deep spirituality within her unconscious mind. It’s probably too brainy for country radio, but this woman could sing an instruction manual and I’d listen.
BRIAN KELLEY / “Saltwater Ranch”
Writers: Brian Kelley/Corey Crowder/Jake Rose; Producer: Corey Crowder, Jake Rose; Label: BK
– Kelley embraces his Florida roots in this swaying, beach-y track. His lightweight vocal is enhanced and disguised by male group singing on most of it.
MORGAN WALLEN / “I Got Better”
Writers: Blake Pendergrass/Chase McGill/Ernest Keith Smith/Joe Reeves/Michael Hardy/Morgan Wallen/Ryan Vojtesak; Producer: Joey Moi; Label: Big Loud Records/Mercury Records/Republic Records
– Brilliantly produced. An understated, rippling track carries a softly voiced performance. The gently rolling sound frames a lyric of healing following a breakup. Essential listening.
INK / “Hoedown”
Writers: Atia Boggs/Dave Hamlin/Juan Pablo Mendez/Patrick Krief; Producers: Ink, Jay P Does It, Patrick Krief; Label: Big Loud Records
– It’s a twanging dance tune with the bops and dips built right in. Step along as she sings the toe-tap instructions. Ink was previously noted as one of the songwriters on Beyonce’s “Texas Hold ‘Em” and “16 Carriages.” This highly engaging outing shows that she is more than ready to stand on her own as an artist.
KAYLEY GREEN / “You’d Still Be Drunk”
Writers: Jason Gantt/Josh Osborne/Kayley Green; Producer: Ross Copperman; Label: Sony Music Nashville
– He still looks good, and she’s still attracted. But now she’s wise to him, realizing he’s never gonna be the one. The track is a body shaker, and there are hooks a-plenty here. This gal’s got something goin’ on.
DEBORAH ALLEN / “Hurt Me Bad (In a Real Good Way)”
Writers: Deborah Allen/Rafe Van Hoy; Producer: none listed; Label: StarVista
– Patty Loveless turned this tune into a No. 1 country hit in 1991. Singer-songwriter Allen’s version has a light, thoughtful sweetness. The guitar-based production has a lilting, jaunty tone that goes down as easily as her vocal. A lovely outing.
RAELYNN / “Heaven Is a Honky Tonk”
Writers: Caroline Watkins/Lauren Hungate/RaeLynn; Producers: Aaron Gillespie, RaeLynn; Label: The Valory Music Co.
– A rocking anthem to Saturday barroom nights. I like it, but I’d like it better if her vocal wasn’t so processed and compressed.
ROBERT RANDOLPH & JUDITH HILL / “When Will the Love Rain Down”
Writers: Judith Hill/Robert Randolph; Producer: Shooter Jennings; Label: Sun Label Group
– Highly dramatic and fascinating. Sacred-steel guitar master Randolph sets the spooky mood. Powerhouse singer Hill raises the gospel roof. There’s not much of a melody, but there is plenty of complex audio going on here. The video showcases what an instrumental virtuoso the man is.
Alison Brown To Be Honored At 17th Annual Louise Scruggs Memorial Forum
/by Lorie HollabaughAlison Brown will be honored by The Country Music Hall of Fame and Museum at its 17th Annual Louise Scruggs Memorial Forum on Aug. 13 at 6:30 p.m. in the museum’s Ford Theater.
The annual forum, which began in 2007, recognizes music industry leaders who continue the legacy of trailblazer Louise Scruggs, a formidable businesswoman who set new professional standards in artist management. The program will explore Brown’s more than 35 years as a musician, producer, songwriter and record label executive and will be led by Museum Writer-Editor Allison Moorer.
Brown began playing banjo as a teen while growing up in Southern California. She attended Harvard University, earned an MBA from UCLA, and worked in investment banking until she realized she missed making music. After an offer from Alison Krauss to play banjo in her band Union Station, Brown gave up her corporate career to play music full time. She released her Grammy-nominated debut album Simple Pleasures in 1990, and became the first woman to win the International Bluegrass Music Association’s Banjo Player of the Year award in 1991.
Known for her innovative blend of diverse musical styles, Brown has recorded 12 solo albums and has produced projects for Claire Lynch, Bobby Osborne and Peter Rowan, among others. Brown won a Grammy for Best Country Instrumental Performance in 2001 for “Leaving Cottondale,” a collaboration with Béla Fleck from her album Fairweather, and was inducted into the American Banjo Hall of Fame in 2019. In 1995, she co-founded Compass Records with her husband, Garry West, and over the last 30 years, the label has amassed a catalog of more than 1,000 releases across multiple imprints.
The program is free and open to the public and tickets can be reserved here.
CRS Releases ‘Are We Okay? Assessing Country’s Year So Far’ Webinar
/by Lauryn SinkCountry Radio Seminar (CRS) has released the next installment of its CRS360 webinar series, titled “Are We Okay? Assessing Country’s Year So Far.” Now available here, this session explores the mid-year state of the country format, offering insights into the trends shaping the format. The panel is moderated by Chuck Aly of Country Aircheck and includes panelists Sarah Frazier (Audacy/Houston), Katie Dean (Leo33) and Jimmy Steal (Collective Heads).
“The country music genre continues to explode, dominating radio programming and consumption numbers,” shares CRB Executive Director RJ Curtis. “This group of industry experts who are working day-to-day in the trenches from all aspects in our industry has a lot to say about how we’re doing so far in 2025, ways to sustain success and insights on what the short-term future may look like. It’s a fascinating conversation!”
Grant Gilbert Heads ‘West Of Fort Worth’ On Latest Album
/by Lorie HollabaughGrant Gilbert will release his new LP West of Fort Worth tomorrow (June 27) via River House Artists.
The singer-songwriter recently released a new single from the project, “Where Do Dreams Go”, a bittersweet track about trying to make ends meet in an unforgiving world. On the new album, Gilbert teamed with producer Lukas Scott and songwriters Dan Alley, Brent Anderson, Joey Hendricks and more.
The new collection finds Gilbert leaning even deeper into his Texas roots, combining his love of the Lone Star country music he was raised on with the rock of Springsteen and Creedence Clearwater Revival. Gilbert has already released several singles from the new album, including “Bad Reputation,” his collaboration with tourmate and fellow Texan Hudson Westbrook which has racked up nearly a million streams on Spotify, the anthemic title track that pays homage to his Texas heritage, and last year’s “Drunk Since Dallas,” which marked his third consecutive No. 1 at Texas regional radio.
Teetering between rollicking bar anthems, tender love songs and story songs about the everyday American, West of Fort Worth further solidifies Gilbert’s soulful rock-influenced country sound, and follows 2023’s Between the Highways EP, which was produced by Jonathan Singleton.
West of Fort Worth Track List:
1. “West of Fort Worth” (Grant Gilbert, Barrett Baber, Korey Hunt, Dan Alley)
2. “This Ain’t That Song” (Grant Gilbert, Beau Bailey, Daniel Agee)
3. “Here For The Party” (Gretchen Wilson, John Rich, Big Kenny)
4. “Bad Reputation” (Grant Gilbert, Hudson Westbrook, Lukas Scott, Beau Bailey)
5. “Forever In This Fire” (Grant Gilbert, Beau Bailey, Jason Massey)
6. “Where Do Dreams Go” (Grant Gilbert, Brent Anderson, Joey Hendricks)
7. “Drunk Since Dallas” (Grant Gilbert, Forrest Finn, Joe Whelan)
8. “In Loving Memory” (Grant Gilbert, Matthew Morrisey)
2026 CCMA Awards To Be Held In Saskatchewan
/by Lauryn SinkThe 2026 Canadian Country Music Association (CCMA) Awards and Country Music Week are set to be held in Saskatoon, Saskatchewan. Slated for September, the date will be announced at a later time.
“We are thrilled to be bringing the CCMA Awards and Country Music Week back to Saskatoon,” says Amy Jeninga, President of the Canadian Country Music Association. “Saskatoon is a city that is filled with creativity and heart. It’s warm community, thriving music scene, and commitment to the arts make it an ideal home for our 2026 celebration of the best and brightest in Canadian country music.”
“We are thrilled to welcome the Canadian Country Music Awards back to Saskatoon,” adds Mayor Cynthia Block. “Our city has a deep appreciation for country music and a strong track record of hosting world-class events. This is an incredible opportunity to showcase Saskatoon’s vibrant arts community, our warm hospitality, and the energy that makes this city such a special place. We can’t wait to roll out the red carpet for Canada’s country music stars and fans.”
Additionally, CCMA has tapped Tom Green to host this year’s awards events. The show will be broadcasting live from Prospera Place in Kelowna, British Columbia on Sept. 13 exclusively on CTV, CTV.ca and the CTV app. The show will also be available to stream the next day on Crave.
“I’m honoured to be hosting the CCMA Awards,” says Green. “Country music has always been a big part of my life growing up in Canada. I can’t wait to be part of this celebration and to bring a few surprises to the stage in Kelowna.”
A full list of performers will be announced at a later date.
Midland’s Cameron Duddy To Direct New ‘Cowboy’ Film
/by Madison HahnenCameron Duddy. Photo: Harper Smith
Painted Horse Pictures, out of the Nashville division of Range Media Partners has revealed its first film, Cowboy. Already in production, the film is a contemporary western rodeo drama and will be directed by Midland‘s Cameron Duddy in his feature directorial debut.
The main cast includes Ben Foster (Hell or High Water), Rudy Pankow (Outer Banks) and Gabriel Basso (The Night Agent). Supporting roles will be held by Taylor Lewan (Bussin With The Boys podcast) and Midland’s Mark Wystrach (The Eyes of Tammy Faye).
The script, written by Adair Cole, is based on a story by Duddy and fellow band member Jess Carson. The film shows the story of bull riders, barrel racers and pickup men in the traveling rodeo circuit scene.
“This is a personal story for me. It’s a film about what it takes to grind it out on the road chasing your dreams, and the emotional and physical toll it takes on all of us, most of all the people we love,” says Duddy. “Cowboy is a raw and honest look at the Rodeo world built from the dust up- it’s about grit, humility, integrity, freedom… 1,800 pounds of rough stock at a time.”
Based out of Nashville, Painted Horse Productions will have access to the full infrastructure of Range Media Partners, including film financing and sales and access to talent. Range’s Matt Graham and William Lowery will oversee the banner, with Duddy, Harper Smith and Sydney Allen rounding out the Painted Horse team.
Lucas Smith, Graham, Lowery and Ian Bryce will serve as the film’s Producers. The team of Executive Producers includes Foster, David Keinath, Jordan Yospe, Shawn Williamson, James D. Stern and Allen. UTA Independent Film Group and Range Select are co-representing global rights.