Hayes Carll has spent over two decades building a reputation as one of Americana’s most beloved and consistent voices—not by chasing trends, but by being unflinchingly himself. 
With a knack for cutting through noise and naming the hard truths with humor, humility, and heart, Carll’s songs feel both deeply personal and universally understood. He doesn’t aim to preach or persuade, but rather to reflect the world as he sees and feels it—flawed, funny, complicated, and worth showing up for.

“...It’s [Carll’s] testament to the power of slowing down and appreciating the moment: to having fun, to loving another, to parenting, to engaging with the world around him in an enduring and meaningful way." 
- Rolling Stone Country

Carll’s voice—both literal and lyrical—is warm, weathered, and unmistakably his. He’s got a knack for pairing clever turns of phrase with real emotional weight, and for tackling big questions without taking himself too seriously. Whether he’s singing about grace, distraction, judgment, or joy, there’s always a sense that he’s letting us in on something real. His songs resonate because they aren’t safe—they’re personal, imperfect, and deeply human.
See above. Hayes Carll is the transmutable jester whose incisive songs and funky beats play as well in shitkicker bars as they do hippie festivals, somewhere as organic as American Public Radio’s “Mountain Stage” concert series and middle America as “The Tonight Show With Jay Leno.”

Maybe it’s the influences – Kerouac, Dylan, Guy Clark, John Prine, Hubbard… Maybe it’s the fact that somebody has to say something… Maybe it’s just the fact that some people are born to play…

But for whatever reason, over a decade into a recording career, Hayes Carll shows no signs of having arrived at his creative apex. Each album expands on his already extreme vintage country, extreme thumping bad road boogie, extreme heartbroken ache – and finds new ways to take on the fate of the nation. Whether it’s the GI protagonist in the propulsive title track of KMAG YOYO, the train wreck objet d’amour of “Drunken Poet’s Dream,” also recorded by Hubbard, the road warrior of both “I Got A Gig” and “Little Rock” or the stoner liberal and the uptight Republican vixen of “Another Like You,” Carll paints vivid pictures of humanity as it really is.
Thick-headed. Avaricious. Squalid. Hungry. Angry. Getting by.

Like so many Texans before him, there’s no agony in the ecstasy – just the wonder of capturing the perfect character in the song. When you’re 6 beers down on a 12 pack night, you know Hayes Carll understands. At a time like that – whether in your own backyard or some jam-packed bar – that’s the best kind of friend to have.

Over the years, Carll has earned praise from critics, peers, and fans alike. His work has been recognized by the Americana Music Association, nominated for a Grammy, and championed by The New York Times and Pitchfork. His songs have been recorded by the likes of Kenny Chesney, Lee Ann Womack, and Brothers Osborne—but it’s his own delivery that leaves the lasting mark. Through his records and live shows, Carll has become one of Americana’s most beloved voices—not by chasing trends, but by staying true to himself.

At the heart of it, Hayes Carll is a storyteller with a songwriter’s soul—always chasing truth, sometimes stumbling into grace, and never losing sight of the power in simply being human. His songs are filled with snapshots of quiet clarity, hard-won insight, and wry observation. He sings like someone still doing the work—and that’s what keeps people coming back. Because in a world full of noise, Hayes Carll offers something rare: a voice that’s still listening.

Independent record label based in London.

The Americans | Barna Howard | Carson McHone | Courtney Marie Andrew | Damien Jurado | Danny & The Champions Of The World | Frankie Lee | Frontier Ruckus | Gill Landry | The Handsome Family | Ian Felice | Israel Nash | Jim White | Joana Serrat | Native Harrow | Sons of Bill | Sturgill Simpson | Treetop Flyers | Vetiver | William The Conqueror

A Texas drifter in the spirit of Townes Van Zandt and Blaze Foley, Caleb Coy spent the past few years in desert drone outfit Headdress. His debut album, Wild Desert Rose (Yer Bird Records), forgoes the reverb and shaman blues in favor of outlaw country, both solo and acoustic, but his peyote visions of devils, dust, and heartbreak are still just as haunting. – Austin Powell

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