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“There is music. And then there is The Wilder Blue, who feel so transcendent, they’re in a category all of their own.” —Saving Country Music

The Wilder Blue began in 2019 when Zane Williams, already a seasoned troubadour with seven solo albums under his belt, pulled together a select group of multi-talented musicians from the Texas music scene. Their debut album Hill Country (2020) and its follow-up The Wilder Blue (2022) garnered comparisons to early Eagles and 80’s-era Alabama by interweaving five-part harmonies with bluegrassy arrangements of folk-rock and country songs.

For their newest release Super Natural in the fall of 2023, the band enlisted Grammynominated Brent Cobb to produce the album and perform on the title track, a song he and the band co-wrote in the studio. Brent’s groovy, vintage sensibilities proved a natural fit for a band with influences as diverse as Little Feat, Del McCoury, and Robert Earl Keen. A cover of the Eagle’s classic “Seven Bridges Road” also features band admirer Luke Combs, who has added The Wilder Blue to his 2025 stadium tour lineup.

Twenty years before he was fronting a break-out band, Zane Williams was a solo coffeehouse performer and aspiring songwriter in Nashville. After moving back to his native Texas in 2008 he eventually became a dancehall staple and respected songwriter with cuts by the likes of Pat Green, Kevin Fowler, and Cody Johnson. To the surprise of his fans (and the bemusement of his booking agent), Zane announced the formation of the new group in 2019 by soliciting band names from his fans and promising lifetime free tickets to anyone whose suggestion was picked. (The winning name “Hill Country” had to be changed just after the release of their first album due to a trademark conflict, but the winner is still on the guest list for life!)

Multi-instrumentalist, singer and songwriter Andy Rogers was the only member of Zane’s former band to join the new group. Born and raised in Lebanon, TN, Rogers learned bluegrass chops from an early age and excelled on bass, banjo, dobro, guitar, and just about anything with strings. Rogers moved to Denton, TX in 2004 to study jazz bass at the University of North Texas and made a long-term home in the eclectic arts community he found there. Playing in a series of rock and country gigs eventually led him to join the Zane Williams band on bass and vocals in 2016.

Looking over the Texas music scene for likely bandmates, Williams sent a text to a singersongwriter and lead guitar player whose voice had caught his ear a few years before on local radio. Paul Eason was ensconced at the time in a comfortable guitar gig with Texas staple Kevin Fowler but was immediately intrigued by the notion of joining forces. Originally from Houston, TX but living at the time in San Antonio, Eason fronted various bands beginning in his teens and released two solo albums in the early 2000’s before joining the Fowler band full time. A third solo album followed in 2016, which showcased his distinctive lead vocals, southwestern aesthetics, and impeccable guitar playing.

Eason, in turn, vividly recalled meeting a singing drummer named Lyndon Hughes who had been with the Roger Creager band. Eason and Williams paid a visit to the studio in the Woodlands, TX where Hughes was working as an engineer, producer, drummer, and vocalist. Singing together that day on a new song Williams had written called “Dixie Darlin’,” the three realized they were onto something special. Hughes, a Houston native, brought a wide range of skills to the new band. His effortless harmony vocals, his versatile drumming, and his ears as an engineer and producer would end up having an major affect on the shaping the sound of the band.

After an experimental jam session and some casual demo recordings in 2019, the four existing members agreed that Rogers would be best utilized playing primarily banjo and dobro which meant the search was on for a permanent bass player to round out the band. After several months of searching and two dead ends, the band reluctantly decided to begin recording its first album without a dedicated bass player. With the first gig only a few months away, the pressure was building to find someone—-anyone?—-who could fill the role. Which is when the perfect person happened to come along.

Only in his mid-20s, Sean Rodriguez was already both a road dog and a fixture in the live music scene of Austin, TX. Originally from Corpus Christi, TX Rodriguez grew up playing everything from funk to rock to conjunto to country. It’s a diversity reflected in his flamboyant dress and vintage playing style, delivered on stage with a boot-scootin’ joie-de-vivre that quickly earned him the nickname “The Boogie Man”. The four existing band members asked Rodriguez to join them in the studio and play on the final two songs as a trial run. Shortly after he arrived, the five members of the Wilder Blue first gathered around to sing something together in the lobby of the studio. “Let’s try “Seven Bridges Road”, someone suggested. The blend was magic, and the chill bumps on their arms are the same ones fans are now feeling at venues all across the nation. 

The Wilder Blue

Sharp storytelling. Gripping and gorgeous five-part harmonies. Arrangements that can swing between fun, engaging, and lively one moment and stirring, booming, and chill-inducing the next. These are the essential elements that make up the sound of The Wilder Blue, the Texas five-piece who put their own spin on rock-influenced country with their eponymous sophomore album.​

Built around the keen storytelling voice of primary frontman Zane Williams, Paul Eason’s salient lead guitar, the imaginative tandem of drummer Lyndon Hughes and bassist Sean Rodriguez, and the striking, compelling mind of multi-instrumentalist Andy Rogers, The Wilder Blue are only beginning to scratch the surface of their potential.​

Williams and Eason began toying with the idea of a new band in 2019 by seeking out a nimble set of collaborators. Knowing that they wanted to emphasize a rich vocal blend that could be replicated live, they soon enlisted Hughes and Rogers. When Rodriguez joined, it solidified the outfit as a cohesive unit.​

“Having studio time paid for by our fan subscribers gave us the chance to relax and spread out a little,” explains Williams about the recording process for The Wilder Blue. Recording over the course of a few three-day sessions every few months allowed the band to experiment in the studio while avoiding harsh deadlines or the demand of cramming an album’s worth of material into a week’s worth of time. Often recorded to tape, a vibrant tapestry of sonic swirls emerged.​

“What’s fun about tape is that it forces you to commit to a take,” adds Williams. “You don’t just record five million parts and go comb through them later.”

“The five of us were able to sit together this time around,” adds Rogers. “Since I was playing bass and other things last time around, I was having to think about a million different things. But for this, we all kind of felt like we were in our zone.”​

In addition to implementing a lone studio for a cohesive sound, the months between studio sessions was an added luxury. This allowed songs and ideas to marinate and work themselves out over the course of band practices, soundchecks, and shows.​

Standout single, “Feelin’ the Miles” is a prime example of a song shifting from one idea to another. What started out as a James Taylor-esque acoustic guitar stroll slowly but surely began to rise from the ashes of its former self.

“My original concept for that song was much more in the vein of ‘Okie Soldier’ or ’Birds of Youth,’” says Williams. “We all liked the song, but we didn’t need another like it so basically one day, I just came up with a totally different groove for it.”​

What emerged was a loping bassline and savvy banjo that evoke the pastel glow of the 1980s where Miami Vice and Smoky & The Bandit intertwine for a heartworn highway midnight drive where all the miles, exit signs, and gas station coffee meld into one daunting long haul down a phantom road.

“‘Feelin’ the Miles’ was one of the first songs that felt like we were all able to filter everyone’s collectiveness into the final version,” says Rogers.​

Much like in “Feelin’ the Miles”, a looming arc of redemption, growth, and inner harmony can be glimpsed throughout the album with the likes of the poignant “Wave Dancer,” the contemplative “The Kingsnake & The Rattler,” and the compelling “Shadows & Moonlight.” ​

“Part of life is figuring out and finding your way,” says Eason, who wrote and sings lead vocals on “Build Your Wings,” a cornerstone song of the album. “A few years ago, I got divorced and I had been speaking with my uncle about it. He actually said that line to me–’Sometimes you build your wings on the way down’–and I thought it was just perfect.”

Even while “Build Your Wings” finds Eason and company seeking out inner peace on the contemplative anthem, a kaleidoscope and cascade of spirited sonic punches and vibrant and vivid harmonies takes charge on this freefalling standout.​

 downs,” adds Williams. “I don’t want to write a song just about the ups. It’s hard for me to write just about the ups. And if you just write about the downs without some sort of redemption, it’s easy to get pretty dark and depressing.”

Throughout, Williams and company are able to add a sense of courage even when surrounded by turmoil and strife.​

Songs like the rollicking “The Conversation” find the Wilder Blue leaning in on the soaring country twang of the Eagles and incorporating a vocal run interlude that calls back to ‘60s The Beatles and timeless bluegrass. On songs like “Wave Dancer” and album opener “Picket Fences”, all five musicians breathe life into tried and true five-part harmonies that are as mesmerizing as they come.​

In addition to the powerful harmonies and sprawling sonic palette, Williams’ knack for five-minute vignettes is yet another pillar on which Wilder Blue can count. The Wilder Blue as an album wouldn’t be complete without taking advantage of the strong and able storytelling arcs of Williams.​

“With all the tools that we have in our toolkit, I think there’s still a lot of ground to be covered,” says Williams.  “We haven’t even delved into all of our tools just yet, but we definitely got to go further down the road with digging into the box for this record.”

The Wilder Blue

Sharp storytelling. Gripping and gorgeous five-part harmonies.  Arrangements that can swing between fun, engaging, and lively one moment and stirring, booming, and chill-inducing the next. These are the essential elements that make up the sound of The Wilder Blue, the Texas five-piece who put their own spin on rock-influenced country with their eponymous sophomore album. Recorded at Echo Lab Studios in Denton, Texas, the band self-produced The Wilder Blue with experienced engineer Matt Pence (Paul Cauthen, Shakey Graves). A true collaborative effort, The Wilder Blue is a genuine democracy where ideas, constructive criticism, and value is demanded by all parties. Built around the keen storytelling voice of primary frontman Zane Williams, Paul Eason’s salient lead guitar, the imaginative tandem of drummer Lyndon Hughes and bassist Sean Rodriguez, and the striking, compelling mind of multi instrumentalist Andy Rogers, The Wilder Blue are only beginning to scratch the surface of their potential. 

Williams and Eason began toying with the idea of a new band in 2019 by seeking out a nimble set of collaborators. Knowing that they wanted to emphasize a rich vocal blend that could be replicated live, they soon enlisted Hughes and Rogers. When Rodriguez joined, it solidified the outfit as a cohesive unit. “Having studio time paid for by our fan subscribers gave us the chance to relax and spread out a little,” explains Williams about the recording process for The Wilder Blue. Recording over the course of a few three-day sessions every few months allowed the band to experiment in the studio while avoiding harsh deadlines or the demand of cramming an album’s worth of material into a week’s worth of time. Often recorded to tape, vibrant tapestry of sonic swirls emerged. “What’s fun about tape is that it forces you to commit to a take,” adds Williams. “You don’t just record five million parts and go comb through them later.” “The five of us were able to sit together this time around,” adds Rogers.  “Since I was playing bass and other things last time around, I was having to think about a million different things. But for this, we all kind of felt like we were in our zone.” In addition to implementing a lone studio for a cohesive sound, the months between studio sessions was an added luxury. This allowed songs and ideas to marinate and work themselves out over the course of band practices, sound checks, and shows.

Standout single, “Feelin’ the Miles” is a prime example of a song shifting from one idea to another. What started out as a James Taylor-esque acoustic guitar stroll slowly but surely began to rise from the ashes of its former self.  “My original concept for that song was much more in the vein of ‘Okie Soldier’  or ’Birds of Youth,’” says Williams. “We all liked the song, but we didn’t need another like it so basically one day, I just came up with a totally different groove for it.” What emerged was a loping bassline and savvy banjo that evoke the pastel glow of the 1980s where Miami Vice and Smoky & The Bandit intertwine for a heart worn highway midnight drive where all the miles, exit signs, and gas station coffee meld into one daunting long haul down a phantom road.  “‘Feelin’ the Miles’ was one of the first songs that felt like we were all able to filter everyone’s collectiveness into the final version,” says Rogers. Much like in “Feelin’ the Miles”, a looming arc of redemption, growth, and inner harmony can be glimpsed throughout the album with the likes of the poignant “Wave Dancer,” the contemplative “The Kingsnake & The Rattler,” and the compelling “Shadows & Moonlight.” “Part of life is figuring out and finding your way,”  says Eason, who wrote and sings lead vocals on “Build Your Wings,” a cornerstone song of the album. “A few years ago, I got divorced and I had been speaking with my uncle about it. He actually said that line to me–’Sometimes you build your wings on the way down’–and I thought it was just perfect.” Even while “Build Your Wings” finds Eason and company seeking out inner peace on the contemplative anthem, a kaleidoscope and cascade of spirited sonic punches and vibrant and vivid harmonies takes charge on this freefalling standout. “Life has its ups and downs,” adds Williams. “I don’t want to write a song just about the ups. It’s hard for me to write just about the ups. And if you just write about the downs without some sort of redemption, it’s easy to get pretty dark and depressing.” 

Throughout, Williams and company are able to add a sense of courage even when surrounded by turmoil and strife. Songs like the rollicking “The Conversation” find the Wilder Blue leaning in on the soaring country twang of the Eagles and incorporating a vocal run interlude that calls back to ‘60s The Beatles and timeless bluegrass. On songs like “Wave Dancer” and album opener “Picket Fences”, all five musicians breathe life into tried and true five-part harmonies that are as mesmerizing as they come. In addition to the powerful harmonies and sprawling sonic palette, Williams’ knack for five-minute vignettes is yet another pillar on which Wilder Blue can count. The Wilder Blue as an album wouldn’t be complete without taking advantage of the strong and able storytelling arcs of Williams. “With all the tools that we have in our toolkit, I think there’s still a lot of ground to be covered,” says Williams. “We haven’t even delved into all of our tools just yet, but we definitely got to go further down the road with digging into the box for this record.”

 

The Wilder Blue

Sharp storytelling. Gripping and gorgeous five-part harmonies. Arrangements that can swing between fun, engaging, and lively one moment and stirring, booming, and chill-inducing the next. These are the essential elements that make up the sound of The Wilder Blue, the Texas five-piece who put their own spin on rock-influenced country with their eponymous sophomore album. Recorded at Echo Lab Studios in Denton, Texas, the band self-produced The Wilder Blue with experienced engineer Matt Pence (Paul Cauthen, Shakey Graves). A true collaborative effort, The Wilder Blue is a genuine democracy where ideas, constructive criticism, and value is demanded by all parties. Built around the keen storytelling voice of primary frontman Zane Williams, Paul Eason’s salient lead guitar, the imaginative tandem of drummer Lyndon Hughes and bassist Sean Rodriguez, and the striking, compelling mind of multi- instrumentalist Andy Rogers, The Wilder Blue are only beginning to scratch the surface of their potential.

Williams and Eason began toying with the idea of a new band in 2019 by seeking out a nimble set of collaborators. Knowing that they wanted to emphasize a rich vocal blend that could be replicated live, they soon enlisted Hughes and Rogers. When Rodriguez joined, it solidified the outfit as a cohesive unit. “Having studio time paid for by our fan subscribers gave us the chance to relax and spread out a little,” explains Williams about the recording process for The Wilder Blue. Recording over the course of a few three-day sessions every few months allowed the band to experiment in the studio while avoiding harsh deadlines or the demand of cramming an album’s worth of material into a week’s worth of time. Often recorded to tape, vibrant tapestry of sonic swirls emerged. “What’s fun about tape is that it forces you to commit to a take,” adds Williams. “You don’t just record five million parts and go comb through them later.” “The five of us were able to sit together this time around,” adds Rogers. “Since I was playing bass and other things last time around, I was having to think about a million different things. But for this, we all kind of felt like we were in our zone.” In addition to implementing a lone studio for a cohesive sound, the months between studio sessions was an added luxury. This allowed songs and ideas to marinate and work themselves out over the course of band practices, sound checks, and shows.

Standout single, “Feelin’ the Miles” is a prime example of a song shifting from one idea to another. What started out as a James Taylor-esque acoustic guitar stroll slowly but surely began to rise from the ashes of its former self. “My original concept for that song was much more in the vein of ‘Okie Soldier’ or ’Birds of Youth,’” says Williams. “We all liked the song, but we didn’t need another like it so basically one day, I just came up with a totally different groove for it.” What emerged was a loping bassline and savvy banjo that evoke the pastel glow of the 1980s where Miami Vice and Smoky & The Bandit intertwine for a heart worn highway midnight drive where all the miles, exit signs, and gas station coffee meld into one daunting long haul down a phantom road. “‘Feelin’ the Miles’ was one of the first songs that felt like we were all able to filter everyone’s collectiveness into the final version,” says Rogers. Much like in “Feelin’ the Miles”, a looming arc of redemption, growth, and inner harmony can be glimpsed throughout the album with the likes of the poignant “Wave Dancer,” the contemplative “The Kingsnake & The Rattler,” and the compelling “Shadows & Moonlight.” “Part of life is figuring out and finding your way,” says Eason, who wrote and sings lead vocals on “Build Your Wings,” a cornerstone song of the album. “A few years ago, I got divorced and I had been speaking with my uncle about it. He actually said that line to me–’Sometimes you build your wings on the way down’–and I thought it was just perfect.” Even while “Build Your Wings” finds Eason and company seeking out inner peace on the contemplative anthem, a kaleidoscope and cascade of spirited sonic punches and vibrant and vivid harmonies takes charge on this freefalling standout. “Life has its ups and downs,” adds Williams. “I don’t want to write a song just about the ups. It’s hard for me to write just about the ups. And if you just write about the downs without some sort of redemption, it’s easy to get pretty dark and depressing.”

Throughout, Williams and company are able to add a sense of courage even when surrounded by turmoil and strife. Songs like the rollicking “The Conversation” find the Wilder Blue leaning in on the soaring country twang of the Eagles and incorporating a vocal run interlude that calls back to ‘60s The Beatles and timeless bluegrass. On songs like “Wave Dancer” and album opener “Picket Fences”, all five musicians breathe life into tried and true five-part harmonies that are as mesmerizing as they come. In addition to the powerful harmonies and sprawling sonic palette, Williams’ knack for five-minute vignettes is yet another pillar on which Wilder Blue can count. The Wilder Blue as an album wouldn’t be complete without taking advantage of the strong and able storytelling arcs of Williams. “With all the tools that we have in our toolkit, I think there’s still a lot of ground to be covered,” says Williams. “We haven’t even delved into all of our tools just yet, but we definitely got to go further down the road with digging into the box for this record.”