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.”
WAMCon Nashville Immersive Recording Arts Conference Set For Aug. 2
/by Lorie HollabaughWAMCon Nashville, a recording arts conference hosted by Women’s Audio Mission, a nonprofit dedicated to advancing women and gender-expansive individuals in production and the recording arts, will take place at Gold Pacific Studios on Aug. 2.
Presented with Bonnaroo Works Fund and EqualizeHer, WAMCon Nashville will feature panels, mentorship, networking opportunities, giveaways and interactive workshops led by award-winning producers, engineers and artists. Tickets and more information can be found here.
Featured WAMConspeakers and mentors include:
– Cam – Grammy-winning artist and songwriter
– Joy Oladokun – Singer-songwriter
– Alex Hope – Australian producer and songwriter based in Nashville (Troye Sivan, Selena Gomez)
– Gena Johnson – 2X Grammy-winning producer/engineer (Brandi Carlile, Kacey Musgraves, Lady Gaga)
– Leslie Richter – Recording engineer/producer (Sheryl Crow, Ben Folds, Wynonna Judd)
– Rachael Moore – Producer, mixer, and engineer (Elvis Costello, Bob Dylan)
– Piper Payne – Mastering Engineer (Dolly Parton, Janis Ian)
Now in its 14th year, WAMCon has hosted sold-out events in Los Angeles, New York, Nashville, Boston and online. Each conference offers exclusive access to top-tier music professionals, providing a rare opportunity for participants to learn, connect, and grow in an industry where women and gender-expansive individuals make up less than 5 percent of the workforce.
Zandi Holup To Release Debut Album ‘Wildflower’ In August
/by Madison HahnenZandi Holup will release her debut album, Wildflower, on August 1 via Big Loud Records.
“Wildflower is my debut album; it is the first seed I’ve sown in a garden of sounds,” shares Holup. “Its lyrics are a tangled web of roots, a cracked mirror revealing parts of who I am beneath the surface: dark, complex, with pain and curiosity lurking in the shadows.”
“I believe this record will help others understand me on a deeper level and, in turn, explore and know parts of themselves,” she continues. “It’s a diverse glimpse into my world, but only the surface of my true self. I’m a curious, odd soul with many dark thoughts, and this album is my way of sharing that. I’m genuinely excited to release this project and deeply thankful to everyone who has listened and supported me along the way. Your support means everything, and I can’t wait for you to experience the beginning of my musical journey.”
Teaming up with producer Ryan Hadlock, Holup spent a month recording at Bear Creek Studios in northwest Washington. Throughout the project’s 11 tracks, Holup combines poetry, confession and storytelling into her songwriting, filling each moment with vulnerable emotion. Holup co-wrote all 11 tracks, and collaborated with songwriters such as Ben Johnson, Mary Kutter, Paul Sikes and more.
Among the 11 tracks are recent releases “Go Find Less,” “Mountain Man,” “Dirty Wings” and “Gas Station Flowers,” as well as “Mary Jane,” released today (June 27) alongside the announcement. The track was co-penned with Daniel Leathersitch.
“’Mary Jane’ isn’t really about Mary Jane,” says Holup. “She’s a symbol, a shadow, a metaphor wearing a familiar name. I wrote this song about someone very special to me…a soul who danced in and out of heroin’s grip for fifteen years. When I met him, he was already on the long road back to recovery. His scars were stories, and his eyes told the truth before his voice even had to. The more he shared, the more my heart opened, and the song began to write itself. Let me be clear: This isn’t a sermon. This isn’t everyone’s story. This is his story through my eyes. And through him, a window for you to look through.”
Wildflower Track List:
1. “All That’s Left Is Me” (Zandi Holup, Autumn Buysse, Mary Kutter)
2. “Dirty Wings” (Zandi Holup, Chris Drizen)
3. “Go Find Less” (Zandi Holup, Brock Butler, Autumn Buysse, Ben Johnson)
4. “Wildflower” (Zandi Holup, Mike Mizwinski)
5. “Gas Station Flowers” (Zandi Holup, Stefanie Joyce, Brian Alexander)
6. “Runs In The Family” (Zandi Holup, Mary Kutter, Chris Sligh)
7. “Doing the Time” (Zandi Holup, Nate Kenyon, Paul Sikes)
8. “Cowgirls Don’t Cry” (Zandi Holup, Willie Breeding, Mary Kutter)
9. “Mountain Man” (Zandi Holup, Daniel Leathersich)
10. “Mary Jane” (Zandi Holup, Daniel Leathersich)
11. “Things I’ll Never Forget” (Zandi Holup, Mike Mizwinski)
Gavin Adcock Slates New Album ‘Own Worst Enemy’ For August
/by Lorie HollabaughGavin Adcock will release his brand new album, Own Worst Enemy, on August 15 via Thrivin Here Records/Warner Music Nashville. A new single from the upcoming project, “Last One To Know,” penned by Adcock, Jack Rauton, Erik Dylan and Luke Laird, is out today (June 27).
Among the 24 songs appearing on Own Worst Enemy are “Loose Strings,” “Need To,” “Unlucky Strikes,” “Never Call Again,” “On One,” “Almost Gone” (feat. Vincent Mason), and “Morning Bail,” and the full track list for the project will be revealed at a later date.
The new album lands just over a year after Adcock’s album Actin’ Up Again released worldwide and was subsequently crowned the largest major-label country debut from a solo male artist released in 2024, with more than 15 million on-demand U.S. streams the week of release. Collectively, Adcock’s releases have pushed the rebel-rouser over the Billion global streams mark, and he recently received a surprise on stage during CMA Music Fest with four RIAA certification plaques for “A Cigarette” (Platinum), “Run Your Mouth” (Gold), “Deep End” (Gold), and “Four Leaf Clover” (Gold), marking a major milestone in his breakout career.
Adcock is currently on his “Need To Tour” which kicked off in May, and will join Morgan Wallen for select dates on the “I’m The Problem Tour” this summer.
Nate Smith Notches Second Week At No. 1 On MusicRow Radio Chart
/by John Nix ArledgeNate Smith claims the No. 1 position on the MusicRow CountryBreakout Radio Chart again this week with his song, “Fix What You Didn’t Break.”
The song appears on Smith’s second studio album California Gold, and was written by Smith, Ashley Gorley, Taylor Phillips and Lindsay Rimes.
With a busy July of festivals and fairs ahead, Smith will keep up the momentum as direct support on Jason Aldean’s 2025 “Full Throttle Tour.”
“Fix What You Didn’t Break” currently sits at No. 8 on the Billboard Country Airplay chart and No. 7 on the Mediabase chart.
Click here to view the latest edition of the MusicRow Weekly containing the MusicRow CountryBreakout Radio Chart.
Trey Pendley Inks With Leo33 & Make Wake Artists
/by Lauryn SinkPictured (L-R): Meg Goggins (Leo33), Dusty Cantrell (Leo33), Katie Dean (Leo33), Trey Pendley, Natalie Osborne (Leo33), Joseph Manzo (Leo33) and Chris Fabiani (Leo33). Photo: Nicole Murphy
Trey Pendley has joined Leo33’s artist roster and inked a management deal with Make Wake Artists. His first track with the label, “Drunk as Any Rich Man” is out now.
Hailing from Toad Suck, Arkansas, Pendley’s songwriting is shaped by his lived experience, from fatherhood, healing, and the generational stories that echo through rural America. He is currently working on his debut project.
“It’s wild to think that songs I wrote in the quiet corners of my life are now connecting with teams who truly believe in what I’m trying to say,” shares Pendley. “With Leo33 and Make Wake, I’ve found a circle of people who value honesty, depth, and the long game. I feel like I’m exactly where I’m supposed to be.”
“Trey’s voice, both literal and lyrical, is undeniable,” adds Katie Dean, Label Head of Leo33. “The first time we heard him, we knew we were witnessing something rare—an artist who doesn’t just write songs, but offers stories that stick with you. We’re thrilled to welcome Trey to the Leo33 family and can’t wait to support him as he continues to build something meaningful and lasting.”
“From the moment I heard Trey Pendley sing, I knew he had something special. He brings so much heart, honesty, authenticity and grit to everything he does—and he’s just getting started,” shares Shelby Marvel at Make Wake. “I’m so proud to officially welcome him to the Make Wake family and truly honored to be part of his journey.”
Make Wake’s Shelby Marvel and Trey Pendley
Blake Whiten Inks With Enchntmnt/Warner Records
/by Madison HahnenPictured (L-R): Enchntmnt’s Alix Negrin, Reid Daroff and Benny “Brisk” Negrin; Blake Whiten; Warner Record’s Aaron Bay-Schuck, Tom Corson and Kelly Bolton.
Blake Whiten has signed with Enchntmnt/Warner Records.
“I’m just a small town boy from Six Mile who picked up a guitar and started writing my own story,” says Whiten. “Now I’m a part of the amazing Warner Records family and one step closer to playing the music I love on the biggest stages. This is just the beginning, let’s make some noise!”
Hailing from a less than 800 population town in South Carolina, Whiten grew up learning how to play guitar from his dad. He first went viral with his cover of Morgan Wallen’s “I Guess,” amassing 9 million views and 40,000 creates. Building off his loyal fan base from posting covers, he released his first two independent singles “Rollin’ Stone” and “Breakin’ My Heart,” currently averaging 800,000 monthly listeners on Spotify. He also co-wrote Bailey Zimmerman’s “Holding On.”
Earlier this year, he released his debut EP Six Mile as well as his single “Carolina.” Whiten played at CMA Fest earlier this month and has also been opening for Waylon Wyatt across the country. Whiten is slated to play Country Jam Colorado, VOA Country Festival, Ridin’ Hearts Festival and more throughout the rest of the year.
“Blake Whiten is a prime example of the type of artist we pride ourselves on signing at Warner Records,” shares Aaron Bay-Schuck, Co-Chairman & CEO, Warner Records. “He possesses raw talent, distinct vocals, real musicianship and an impeccable knack for storytelling. We couldn’t be happier to welcome him to the Warner family and look forward to working closely with Enchntmnt to set Blake up for a long-lasting career.”
“Blake Whiten is the kind of artist who reminds you why you get into this business in the first place,” adds Enchntmnt team Reid Daroff, Benny “Brisk” Negrin and Alix Negrin. “We’re proud to stand beside him and partner with Warner Records, a team that shares our vision and belief in true artist development. This isn’t just about music, it’s about legacy, and we’re just getting started”
Alongside the signing, Whiten released his major label debut, “Made for Goodbyes.”
Assistants vs. Agents Hosts First ‘Music City Takeover’ Event
/by LB CantrellPictured (L-R): Kat Luna, Nikki Boon, Brad Parker, Warner Bailey, Martha Earls, Charlene Bryant and Keith Levy
Assistants vs. Agents, the viral Instagram account turned entertainment and media brand, hosted its first-ever series of events in Nashville this week, produced in partnership with jump.global—the Nashville-based international personal and professional development community.
Known for its witty posts and content often poking light fun at the work relationship assistants have with their bosses in the entertainment industry, the Assistants vs. Agents series of Nashville events stayed true to form. On Wednesday (June 25), AVA held their marquee program at Ampersand Studios on Music Row. AVA IRL NEXT GEN consisted of multiple panels of music professionals and artists speaking to a room filled exclusively with assistants from Nashville-based companies such as CAA, WME, Wasserman, UTA, Live Nation, MCA, Sony Nashville, Red Light, Sandbox, Make Wake, The Core and others. Attendees were carefully curated and invited directly by the executives at their respective companies.
“Nashville’s global music community has meant so much to Assistants vs. Agents throughout the years, and I’m so excited we were finally able to bring our panel and event series to Music City” says Warner Bailey, the Founder of Assistants vs. Agents. “Empowering and connecting the next generation of the music industry is at the core of what we do, and I appreciate jump.global’s work in putting together a panel of incredible visionaries, especially as we forge a greater relationship with Nashville.”
Warner Bailey interviews Martha Earls and Nikki Boon
The night kicked off with a conversation between Bailey along with Martha Earls, Owner of Neon Coast, and Nikki Boon, Artist Manager at Neon Coast. Fresh off their client Kane Brown’s viral performance of “Shake It Off” with Taylor Swift at Brooklyn Bowl earlier in the week, the management duo discussed their rise together, mistakes they’ve made along the way and the advice they have for the next generation of artist managers and execs coming up in the business.
The event also featured a panel consisting of Festival Director of Bonnaroo/C3 Presents Brad Parker, SVP at Wasserman Music Keith Levy, Founder of Riveter Management Charlene Bryant and Sony Music Nashville artist Kat Luna. The panelists dicussed their respective journeys through the music business, as well as their challenges and triumphs in navigating the industry.
Attendees were then treated to pizza and networking with the panelists following the words of wisdom.
Industry Ink: Cole Swindell, Warren Zeiders, Something Out West, Republic Live, YEAH!
/by Lauryn SinkCole Swindell To Appear On NBC’s ‘Today’ & ‘ABC News Live Prime With Linsey Davis’
Cole Swindell. Photo: Robby Klein
Cole Swindell is set to make appearances on NBC’s Today and ABC News Live Prime with Linsey Davis on Tuesday (July 1) in celebration of his new record, Spanish Moss, which releases tomorrow (June 27). Swindell will perform his newest single “We Can Always Move On.”
Additionally, Swindell will celebrate the new album with fans at a special Spanish Moss album release show at New York City’s Webster Hall on July 1.
Warren Zeiders Attends Saturday Night Lacrosse
Warner Records’ artist and former college lacrosse player Warren Zeiders attended this weekend’s Saturday Night Lacrosse (SNL) match in Baltimore, Maryland. Recently named Premier Lacrosse League’s Music Ambassador, his song “Ride The Lightning” serves as the soundtrack for SNL across ABC, ESPN and ESPN+.
At the match, Warren shot around with Blaze Riorden, watched the match mic’d up on President’s Row, and spoke with ESPN on his love of lacrosse and partnership with SNL.
Something Out West Releases EP, Appears On Kelly Clarkson
Something Out West, the duo comprised of Chet Hanks and Drew Arthur, recently released their EP, Leaving Hollywood, via Big Machine Records. To celebrate, the duo performed their track “You Better Run” on the Kelly Clarkson Show.
Boots And Hearts Emerging Artist Showcase Finalists Unveiled
Boots and Hearts Music Festival has unveiled its 2025 artist showcase finalists. Participants include Amanda Couture, Annika Catharina, Jade Hilton, Lake Porter, Lowell Lawson, School House, Sean Michael Ryan and Warren Hargraves. The finalists will perform on Aug. 7 to open the Kick-Off party featuring Tyler Joe Miller and headliner Justin Moore.
Along with the chance to perform on the festival’s main stage, the winner of the 2025 EAS will receive a $10,000 cash prize, a single release with Universal Music Canada, artist development sessions with RLive Management, a Gibson J-45 Special guitar and a VIP tour of the Gibson Garage in Nashville. All remaining finalists will be awarded a complimentary one-year STRUT VIP membership, an exclusive platform designed to empower emerging artists with vital tools, industry access and personalized support to accelerate their careers.
Additionally, Republic Live has announced that Sarah Vanderzon, winner of the 2024 EAS, has joined the roster of RLive Management.
YEAH! Receives $25,000 Grant From Genesis Inspiration Foundation To Power Youth Creativity
YEAH! (Youth Empowerment through Arts and Humanities) a Nashville-based nonprofit empowering youth voice through creativity, has been awarded a $25,000 grant from the Genesis Inspiration Foundation. The award is part of the foundation’s bold $3 million investment in over 70 youth arts organizations nationwide in 2025.
A check presentation and community celebration will take place on August 12 at The Forge, another Genesis Inspiration Foundation grant recipient.
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”