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“There’s a big void to fill in country music, to be more country, or traditional.

You can’t be too soft, and you have to have some attitude.
I just like the fiddle and the steel and guitars all working together.
This is not like a throwback, just a different era of traditional.
So, you know, this is what I do; this is me.
I love a good beat, good lyrics and a good melody.
Put a bunch of great country sounds around that, and it’s pretty awesome.”

To hear Jon Pardi talk, it’s pretty simple. Country music is fiddles, steel and Telecaster guitars; but if you’ve listened to country radio, hearing those things in the realm of synth patches, 808s and hip-hop breaks is like steer horns on a Lamborghini. Yet, the emergent California country star, who not only won the 2017 Country Music Association New Artist of the Year but scored a Single of the Year nomination for the thick-treaded “Dirt on My Boots,” only knows one way.

“You know ‘Head Over Boots’ was one of the countriest songs off California Sunrise,” the affable young man points out. “And it was one of our biggest singles, so it led us to feel like we could go in this direction. My label was like, ‘Don’t be afraid to be more traditional.  The ball’s in your court, man. We’re perfectly fine with this!’”

And so, Jon Pardi dug in, slung low and came back with Heartache Medication. An unrepentantly Bakersfield juke joint/Texas ice house proposition, it’s a cocktail of vintage Brooks & Dunn, stone cold Haggard, a strong shot of the smoothest and swinginest Strait, a long pour of Alan Jackson and equal measures Buck’n’Dwight. From the unapologetic lope of “Old Hat,” a declaration of the good ole boy code of honor, to the quick banjo-trimmed blessing “Starlight,” honoring loved ones who’ve passed, the 34-year old writer sought to re-establish as many classic idioms as possible.

 

With the twin-fiddle/Telecaster grounded title track, Pardi expands the sweeping “Fool Hearted Memory” classicism into a bar-stool coping strategy, while the turbo-thumping post-rockabilly “Me & Jack” recalls the humor-steeped hijinks of Cash or Waylon and Willie at their wittiest. There’s the fiddle-soaked “Call Me Country” with its ascending guitar solos, the mariachi horns of “Tequila Little Time,” the torch truth of “Don’t Blame It On The Whiskey,” with Lauren Alaina at her most aching, and the steel-stitched promenade turning high-test swing “Tied One On” offering a breadth of style that’s pure ‘90s octane.

“That kind of country was always stompin’ boots,” Pardi concedes, also recognizing the camouflage it contains. “I think a lot of these songs and the feeling of this whole record is moving on, dealing with something maybe sad, but knowing the music is going to make you feel good. That’s one thing old country had, that attitude of no matter what was going on, people still want to feel good. I don’t want to be sad and lonely, so let’s go out and have a time, party like it’s gonna fix everything.

 

“You gotta do something to get out of the trap, which is why we called the album Heartache Medication. I wrote that song a few years ago, but, you know, it’s that feeling, we’ve all had and remember. Why do we love ‘Mis’ry & Gin’ so much? Because we’ve all been there, but it’s beautiful and sad, so it makes you feel better.”

 

While his third Capitol Nashville album explores the various phases of moving on, the emphasis is very much on feeling better. In Alan Jackson’s world where “sometimes the cowboy don’t always get the girl,” Pardi embraces all the colors of lonely, whether the tables turned ache of the slow ramble “Ain’t Always The Cowboy,” the dumb boy reckoning, Dixie Chick-feeling “Nobody Leaves A Girl Like That” or the Pig Robbins’ piano shuffle/John Huey steel puddle of a random (re)encounter “Old Times.”

 

“I don’t like writing all the time; it burns me out. I don’t want to just be showing up, looking for an idea or a melody,” he says of the process. “I did go through a struggling time, and I do think a lot of the feeling of this record is moving on, dealing with something sad. But songs – even sad songs – make you feel good. So, this was someone saying, ‘I still want to feel good. I don’t want to be sad and lonely. I want to go out and get to feeling better.’ Because, sometimes music is the one thing that can pull you through.”

Music, for some, is both the final refuge and starting point for getting back in the game. No wonder if Eric Church and Miranda Lambert were going to let anyone have “Don’t Blame It On The Whiskey,” written late night on a tour bus, they were going to give it to someone who understood.

 

“Brian (Wright) is friends with both of them, and he had this work tape – and it was just the best thing. I wanted that song so bad, that Eric Church melody and how real they were being about the fact it’s never the alcohol, it’s everything else. I couldn’t believe they let me have it, but man…

 

“And Lauren, who’s a friend. I figured out when we co-hosted the ACM Honors that we have so much vocal chemistry. She can sing anything, and people don’t think of her like this, but dang, it’s just simple and straight, you can hear every last drop of the emotions.”

 

For an upbeat guy, there’s no shortage of love for the hard stuff. Just as he’s never one to let a little heartbreak bring him all the way down. Even the is-she-or-isn’t-she-gone of Dean Dillon’s “Love Her Like She’s Leaving” walks the line between utter devastation and the unstoppable will to get her back. The George Strait-evoking hanging on to the last shred of maybe is the songwriting legend at his finest.

 

“Dean was playing the Nashville Palace, and he played ‘Miami My Amy,’ ‘Tennessee Whiskey,’ then ‘Is It Raining at Your House,’ and I was dying. Then he played ‘Homecoming ’63,’ never mind all those George Strait songs. He understands that place where guys struggle; this guy has put whatever his demon is in the past, and he’s really going to try to be the right guy. Cause he’s not gonna lose this girl.”

Pardi laughs when he says this. Living in honky tonk bars, whether coming of age or finding his way with a little band, he knows the struggles between the sexes, the way love is what everyone’s looking for and how coming up short has been as central to country music as Don Rich’s guitar-playing, Porter Wagoner’s suits or Waylon Jennings’ back beat.

 

He doesn’t just love it, he exults in what can happen when players meet songs. “I truly love watching great players play. In the studio, they work so hard to get those tones, and the amps. With our road gear, if we brought that in, you’d have a loose bolt, something vibrating, so instead we have the very best players – and some of my road guys – getting the absolute best sounds. If fiddle brings out your inner hillbilly, and steel just melts with the track, it gets a sound that’s just iconic. That’s what we wanted.

“Whether it’s that Tele sound that’s the Rolling Stones, but it’s Buck Owens’ Don Rich, or the Gibson 335, which was on a lot of Motown stuff and gives you a lot of big sounds for rhythm, it all just comes right at you. The Telecaster is that rock & roll country, while the 335 offers a bit of soul.”

 

Pardi laughs, knowing how he sounds. Almost apologetically, he explains, “I’m always in work mode. I’m not the artist, sitting back and saying, ‘Isn’t this amazing?’ I’m more, ‘Can we get more guitar in there?’ I’m always listening for ‘Can we do this? Should we stop that?’ Because when it’s all done, that’s when the magic happens – and I don’t want to fall short of that.”

Across 14 songs, co-produced with longtime collaborators Bart Butler and Ryan Gore, Pardi delivers an homage to what he was raised on without ever seeming like an archivist. Whether bringing the energy hard or slowing things down to a buckle-polishing simmer, Pardi knows the difference – and figures if he can share the things he loves about old school country with a contemporary shine, he can turn people onto the roots by making the tracks feel current, the emotions feel real and the vocals feel true to the heart.

 

“There’s a lot of sneaker country, a lot of people just trying to be hip,” Pardi concludes. “For me, ‘Call Me Country,’ that’s my stuff. Boots, straw hats, saying, ‘Ma’am,’ that’s not a thing of the past for me. It’s a fun, old school song, with some phaser on it – and just some of the stuff I loved about Waylon and Merle, and Willie, who’s still here. There’s that line about being ‘a ghost on the radio,’ but maybe with these songs, that kind of country can live again.”

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JON PARDI SAYS HAVING A HIT SINGLE IS A GREAT WAY TO KICK OFF 2020.

Jon Pardi is closing in on the top spot of the country charts with “Heartache Medication,” the first single and title track from his latest album. He says having a hit record is a great way to kick off a new year and a new decade.

“It’s country. It’s fun. It’s upbeat, and I love the song. I love how country it is. I love that the fiddle kicks it off, and just for a new decade, kicking off with a song with a fiddle and keeping it more on the low-key country-side. Even getting to No. 2 has been an awesome way to kick off the new decade, so that’s probably the biggest thing to me is putting a new record out and getting all the way to 2, and hopefully No. 1, and just getting ready for the next single and getting ready for touring and it’s all coming together.”

Jon has several fairs, festivals and rodeos on the books this year. Go to jonpardi.com for more information on tour dates, music and more.

Audio / Jon Pardi says his latest single, "Heartache Medication," nearing the top of the country charts is a great way to kick off a new decade.

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Jon Pardi (Heartache Medication nearing top of the charts) OC: …coming together. :42
“‘Heartache Medication’ kicking off the record, Heartache Medication the album, it’s the first single off that record. It’s country. It’s fun. It’s upbeat, and I love the song. I love how country it is. I love that the fiddle kicks it off, and just for a new decade, kicking off with a song with a fiddle and keeping it more on the low-key country-side. Even getting to No. 2 has been an awesome way to kick off the new decade, so that’s probably the biggest thing to me is putting a new record out and getting all the way to 2, and hopefully No. 1, and just getting ready for the next single and getting ready for touring and it’s all coming together.”

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NEWS AND NOTES: Little Big Town, Kacey, Kassi, Keith and more

Little Big Town will perform on Live With Kelly and Ryan on January 31st.

Kacey Musgraves will be among the performers for this year’s Primavera Sound music festival. The 2020 event, taking place June 3rd through June 7th in Barcelona, Spain, will also feature performances by Maggie Rogers, Lana Del Rey, Bad Bunny, Beck, Tyler, the Creator and many more.

Kassi Ashton will release a new song “Hopeless” on Friday (January 24th).

Keith Urban is a huge Tennessee Titans fan, and while he had a private show on Sunday, he and his band watched the AFC Championship game during soundcheck at the venue. Later he posted how proud he was of the NFL team as well as the Kansas City Chiefs who advance to this year’s Super Bowl.

Darius Rucker, Dierks Bentley and Jon Pardi will headline this year’s Windy City Smokeout country music and barbecue festival in Chicago. The three-day event, taking place July 10th through July 12th, will also feature performances by Morgan Evans, Ryan Hurd, Riley Green, Cody Johnson and many others.

 

 

JON PARDI CELEBRATES SIX YEARS SINCE THE RELEASE OF HIS DEBUT ALBUM, WRITE YOU A SONG, THIS WEEK.

Jon Pardi released his debut album, Write You a Song, six years ago this week (January 14th, 2014). He has since exploded on the country charts with three No. 1 songs, and headed for a fourth with his latest offering, “Heartache Medication.” The California native, who grew up listening and singing songs by his heroes — George Strait, Dwight Yoakam, Merle Haggard, Alan Jackson — with his grandmother.

Write You A Song contains both of Pardi’s breakthrough hits—“Missin’ You Crazy” and “Up All Night”–as well as tracks that veer from pure honky-tonk and party songs to tales of love and romance. The bottom line, though, is pure, stage-worthy high energy.

“All I ever wanted to do coming to Nashville,” says Jon, “was to write rowdy, in-your-face, straight country music, and that’s what this album is.”

The album’s title track packs the kind of punch that marks Pardi as heir to a honky-tonk line that runs through Buck Owens and Dwight Yoakam, and its spare instrumentation brings a purist’s grit to heartfelt tales of road life. “What I Can’t Put Down” is an ode to the addictive nature of cigarettes, alcohol, love and, above all, music. “Trash A Hotel Room” is not, as might be expected, a tale of road excess, but rather a tale of two lovers getting back to basics, and “Happens All The Time” makes a terrific song out of a pick-up line. If there is a bit of autobiographical philosophy here, it’s in the fan-favorite “Chasin’ Them Better Days,” an infectious look at hope and dreams in the worlds of music and love.

Jon, who released his third album Heartache Medication late last year, is closing in on the top of the country charts with the title track.

Jon is also set to host the 2019 CMA Touring Awards, taking place Tuesday (January 21st) at Nashville’s Marathon Music Works. The CMA Touring Awards highlight vital behind-the-scenes members of the touring industry.

Audio / Jon Pardi talks about the title track of his debut album, Write You a Song.

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Jon Pardi (Write You a Song) OC: …a Song. :51
“Well, ‘Write You a Song’ was the second song I’d ever co-written in Nashville, and it was like 2010, maybe in 2009, and it just stuck for so long. That’s a long time to just stick around, but once you hear it, it’s just so in your face and it’s fun. It’s talking about this guy that tours around the country in a van, and he’d always meet girls at shows, and he’s just having fun and they’re having fun. It doesn’t sound like me at all, you know, it doesn’t sound like me at all. But, this song has brought that guy to life, who’s not me, I’m just saying. It’s about writing chicks songs, and as I listen to the 11 songs, ‘Write You a Song,’ sticks out, and that’s why it’s the title track. It’s like you want to have a title for your essay you turned in in high school, or you have a title for your track list. Boom – ‘Write You a Song.’”

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