A fresh breeze of Southern rock-inspired melodies has swept through the music scene with the release of Reid Haughton’s debut EP. The self-titled collection, now available for streaming and download worldwide, marks the arrival of an exciting new talent. The EP, produced by Sadler Vaden, comprises eight tracks, including the previously acclaimed singles ‘Day You Don’t’, ‘She Is’, and ‘Can’t Please ‘Em All’. Each track has been carefully crafted at Nashville’s Sound Emporium, adding a distinct musical touch.
Speaking about this significant milestone in his career, Haughton shares, “This EP signifies the beginning of a transformative journey in my musical path. These songs encapsulate years of performing and songwriting, leading me to discover my true artistic identity. As my first project since moving to Nashville, these tracks resonate with who I am as an artist.” We were trilled to catch up with him in London recently on his tour with Randall King.
Welcome to England! Is this the first time you’ve been over this side of the Atlantic?
Yeah! I’ve never been to Europe before. I did have a passport, so that was cool, I just got back from going to Jamaica where I went out to work and write with my publishing company. The first night was a little rough with the jet lag but I’m all good now! (laughing) It feels like everybody over here is just so super-kind. I’ve been meeting people after the shows and they are so friendly.
For people who don’t know who you are as much, yet, how does a kid from small town Alabama end up a recording artist in Nashville?
The short version, I guess, is that I went to Auburn University in Alabama (Reid was later surprised by the rallying cry of ‘War Eagles’ from somebody in the London crowd, which is Auburn football team’s mantra) and started playing the bar scene there which led to me playing across wider parts of Alabama and then into Georgia some as well. That got the attention of my publishing company, River House, and they brought me up to Nashville in the summer of 2020 which was a weird time to come to town, right at the height of the pandemic. (laughing)
It was also something of a blessing in disguise in terms of timing because I feel like it kinda slow-rolled me into the lifestyle and atmosphere with a little less pressure because there wasn’t a lot happening in Nashville at that moment, during the pandemic. I now have an artist development deal with them.
What’s the best and worst things about living in Nashville and did you have to fight imposter syndrome when you first got there?
I fight imposter syndrome everyday! (laughing) I think we all do. There’s a fine line between being humble and then going out on stage each night and being ‘the dude’. Nashville can give you a crazy mindset, for sure, but I just focus on my own songs, do the best I can and be kind to people.
I grew up in a town with 4,000 people so Nashville is certainly a lot different in that respect. The worst thing about living in Nashville is the driving. It might take you 30-40 minutes to get to a write that is just a few miles away because of the traffic everywhere. The best thing is that it still kinda feels like a smaller city in some respects away from the traffic and I like that.
Did you have to learn to co-write when you moved to Nashville or was it something you were already doing in Auburn?
I had been co-writing a little bit at Auburn with a buddy of mine called Blane Rudd, who is an awesome singer. That was my first introduction to it since just writing songs on my bedroom floor. There’s definitely a step up and a learning curve doing it in Nashville though, where it’s part of so many people’s normal day. Writers there are so good, so professional in terms of ‘well, this is going to go here, this will sound great here,’ and that’s how it works, you know?
There’s definitely a process, which is cool but it can be a double edged sword because you can box yourself in somewhat or even begin to sound like everyone else. My goal was to learn the curve and then try and break the curve! (laughing)
Your music and sound feels a little bit looser to me than the ‘Nashville formula.’
Yeah, that’s what I’ve been trying to do. You gotta learn how to do it and then revert back to what you know you want to sound like whilst incorporating the best bits of what the town has to offer. My goal is not to try and write a hit, it’s to try and write great songs.
What inspires you as a writer? Lyrics? Melodies? Titles? Or does it depend on the song?
I would say it’s all dependent on the idea that I have. Generally speaking, I am very guitar orientated. I’m obsessed with guitars so ideas usually start with me noodling around on a guitar
A track like ‘Say Less’ has a kind of 70s guitar-rock feel to it. Almost a retro vibe. Is that an era you like?
Certainly. I’m huge fan of artists like the Steve Miller Band and Lynyrd Skynyrd, I grew up listening to those guys. That sound was much more part of my upbringing than someone like, let’s say, Alan Jackson. Not to say that I never listened to Alan Jackson or whatever, growing up in Alabama it’s all part of the music you hear, but there was a lot more Rock and Roll played in my house than Country. I love the new Tyler Childers album, he’s someone I admire very much in terms of his sound and what he does. I just saw him live and he was so good. The new Stapleton songs sound so good too, he’s maybe my favourite ever artist.
I sense a Tom Petty vibe on some of your songs……….
I’m a huge fan of his. That’s some of the first music I ever remember learning how to play. Songs like ‘Free Fallin’ and ‘Mary Jane’s Last Dance’ – my dad was a huge Tom Petty fan too. Who isn’t?
You’ve played some big shows with the likes of Jameson Rodgers, Riley Green, Dwight Yoakam and Priscilla Block. Is there an artist that you’ve played with that has taught you about stage craft and how to entertain a crowd and also how to treat the crew backstage as well?
There hasn’t been, like, one person that has stood out in my head as something that I’ve never seen before but you do pick up little bits of knowledge from everyone that you play with who are at a higher level than we are at the moment. We did some shows with Jon Pardi and that was really cool to see how he operated. Dwight Yoakam was cool to see how an older school artist did things. I try to pick up stuff from everybody I play with – even on this run with Randall King, I’ve picked up tips and ideas for when I am out with my guys.
If you had a signature song so far in your career would it be ‘She Is’?
Yeah, that’s what it feels like from a fan perspective I guess. That song is the oldest one that made the new EP. I wrote that song back in 2020 and it was one of my first times in Nashville. The studio at River House wasn’t even finished, it was just wooden planks. It’s been around a while and it has stuck around somewhat, which must mean people like it!
You’ve been teasing a new song, ‘Man Made Money’ on your socials. Tell us a little about that one.
I’m not sure when it is coming out because it’s still in the mixing phase. We’ve recorded a whole batch of new songs and ‘Man Made Money’ will probably the first one out of those songs. I’m hoping it will be before the end of the year.
My grandpa once told my grandmother ‘I’ve got the money, honey, if you’ve got the time,’ and it stuck with me and after we wrote the song I realised that that was the inspiration behind it. It’s crazy when you connect the dots after and work out where the seed of the idea was planted.
