Nashville-based singer-songwriter Cassidy Daniels is quickly emerging as one of country music’s most intriguing new voices. Raised in a military family that saw her move between multiple states before eventually settling in Nashville, Daniels has built her reputation on honest, emotionally charged songwriting and a powerhouse vocal that balances grit with vulnerability. After signing with Liz Rose Music in 2019, she honed her craft in some of Music City’s most respected writing rooms, developing a sound that blends Southern rock muscle with contemporary country storytelling. Along the way, she has shared stages with artists including Willie Nelson, Florida Georgia Line and Billy Currington, while earning a growing fanbase through her live performances and songwriting.
The past year has marked a breakthrough moment for Daniels. A standout contestant on the CBS/Paramount series The Road, she has also stepped into Taylor Sheridan’s ever-expanding Yellowstone universe, performing original music in the hit spin-off Dutton Ranch. Her recent single ‘Heart Shaped Necklace' showcased the smoky vocals, Southern rock textures and emotional authenticity that are becoming her trademark, while a forthcoming full-length album produced by John Osborne points to an exciting next chapter. With momentum building rapidly and her profile rising on both television and in Nashville’s songwriting community, Daniels is an artist poised to make a significant impact on the genre in the years ahead.
Let’s start with the music. I’ve been loving ‘Southern Rock' and ‘Heart Shaped Necklace.' Are those songs representative of the album you’ve got coming?
I think we’re really watching that shift happen in real time, and it’s been a pretty exciting thing to be a part of. Country music has always been huge to the people who love it, there’s always been that strong sense of community around it, but now it’s grown into something even bigger than we probably ever imagined.
What’s changed the most, in my opinion, is just how wide the umbrella has become. There are so many different sounds and subgenres living under “country” now. You’ve got your traditional artists, your more rock-leaning artists, Americana, folk, even some pop-leaning stuff, and somehow it all coexists. There’s not just one lane anymore, and I think that’s opened the door for artists like me who might not fit perfectly into a single category. Because of that, listeners have more freedom too. They’re not just being told, “This is what country sounds like.” They can go out and find the version of it that speaks to them. And I think that’s a big reason why the genre is exploding right now — there really is something for everyone.
So whether my sound would’ve fit as easily a few years ago, I don’t know. But right now, it feels like there’s space for it. And I think that’s because country music has become less about fitting a mould and more about authenticity — about who you are and what you bring to the table.
Country music feels like a much broader space now than it did even a few years ago. Do you think your sound is more accepted now than it would’ve been before?
I think we’re really watching that shift happen in real time, and it’s been a pretty exciting thing to be a part of. Country music has always been huge to the people who love it, there’s always been that strong sense of community around it, but now it’s grown into something even bigger than we probably ever imagined.
What’s changed the most, in my opinion, is just how wide the umbrella has become. There are so many different sounds and subgenres living under “country” now. You’ve got your traditional artists, your more rock-leaning artists, Americana, folk, even some pop-leaning stuff and somehow it all coexists. There’s not just one lane anymore, and I think that’s opened the door for artists like me who might not fit perfectly into a single category. Because of that, listeners have more freedom too. They’re not just being told, “This is what country sounds like.” They can go out and find the version of it that speaks to them. And I think that’s a big reason why the genre is exploding right now — there really is something for everyone.
So whether my sound would’ve fit as easily a few years ago, I don’t know. But right now, it feels like there’s space for it. And I think that’s because country music has become less about fitting a mould and more about authenticity: about who you are and what you bring to the table.
‘Heart Shaped Necklace' is not really about jewellery, is it? What’s the story behind that song?
No, it’s definitely not about jewellery: that’s kind of the hook, but it’s really just the surface of what the song’s about. It came from a relationship I was in where, on paper, everything looked right. He did all the things you’re “supposed” to do, bringing flowers on Valentine’s Day, buying little gifts, picking up jewellery here and there, those kinds of gestures.
But the truth is, that stuff never really meant much to me. I’m not someone who’s chasing material things or grand displays. I’d take wildflowers off the side of the road over an expensive bouquet any day. I’d rather have someone spend real time with me, be present, know who I am. That’s what matters to me. So the song really came from that disconnect. It’s about being in a situation where someone is checking all the boxes, doing everything they think love is supposed to look like, but they’re not actually seeing you. They’re not understanding what you value or what makes you feel loved.
At its core, it’s about that idea that to be loved is to be known. And if someone doesn’t really know you, if they’re just going through the motions, then it doesn’t matter how many gifts they bring or what they buy you. It’s not going to land the way it should.
So yeah, the “heart-shaped necklace” is kind of symbolic of all of that. The gestures that look right on the outside but don’t actually mean anything if there’s no real connection behind them.
You’re working with John Osborne on this record, who’s not only one of the most respected producers in Nashville right now but also, for me, one of the best guitar players in country music.
Oh my gosh, it’s been incredible, truly. I feel so lucky to be working with him, not just because of how talented he is, but because of the kind of person he is in the room. He’s so patient and so kind, and that makes such a difference when you’re creating something that’s really personal to you.
One of the biggest things he’s done for me is just build my confidence, especially as a guitar player. He really encourages me to play on my own songs, which is something I’ve been a little nervous about in the past. There have definitely been moments where I’ve second-guessed myself, and he’s just right there saying, “Cassidy, you’re doing great, go for it.” That kind of support goes a long way.
But beyond that, he’s also really pushed me creatively. He’s not afraid to stretch what I do and explore different textures and influences. He brings in that Southern rock edge, those soul influences, and helps weave them into what I already do in a way that still feels completely authentic to me. It’s not about changing my sound, it’s about expanding it. What amazes me is how he’s able to take all of those influences and still make the record feel like me at the core. He really understands how to highlight an artist’s identity rather than overshadow it. And I think that’s why he’s such a great producer, because he’s an artist himself, he gets it.
So yeah, it’s been an incredible journey working with him. I’ve learned so much, not just about recording, but about trusting myself and leaning into who I am as an artist.
How vulnerable are you willing to go on this record as a writer?
I’d say I’m pretty open when it comes to being vulnerable, and I think a lot of that comes down to the environment I’m in. I’ve been really lucky to grow up in rooms with people I trust. I’ve been with Liz Rose Music for years now, and Liz has known me since I was 14, so there’s already that level of comfort and understanding there. A lot of the writers I work with regularly, people like Vanessa Olivarez and Chris Raffetto, are not just collaborators, they’re some of my closest friends.
When you’re surrounded by people like that, it makes it a lot easier to go to those deeper places. You’re not worried about being judged or misunderstood, you’re just telling the truth. And I think that’s where the best songs come from: when you’re willing to be honest about what you’ve gone through, what you’re feeling, and even the things that might be a little uncomfortable to say out loud.
At the same time, I don’t think I’m very good at not being honest anyway. I kind of wear my heart on my sleeve, and that naturally comes out in the writing. Even if I tried to hold something back, it would probably find its way into the song somehow.
So for this album, there’s definitely a level of vulnerability there, but it doesn’t feel forced. It just feels like an extension of who I am and the people I’m writing with. It’s less about trying to be vulnerable for the sake of it, and more about just being real, letting the songs reflect what’s actually going on inside me.
It feels like you’ve built a close-knit group of collaborators around you. Is that intentional?
Yeah, I think that’s a really fair way of putting it. I’ve definitely found myself building a core group of writers and collaborators that I come back to over and over again, and that’s been really important for me, especially over the last year or so. At a certain point, I kind of made the decision of, “Why fix what isn’t broken?” If something’s working, if the songs feel right and the chemistry is there, then I want to keep nurturing that.
A lot of the people I write with have been part of my journey for a long time. They know me as a person, they know my voice, they know the stories I’m drawn to, and they’ve helped shape my sound from the ground up. That kind of understanding is hard to recreate in a brand-new room every time. So while I do bring in new writers here and there, and I think that’s important too, to keep things fresh, I really value having that constant, that foundation.
There’s also a level of trust that comes with that. When you’re writing something personal or trying to push yourself creatively, you want to be in a room where you feel safe to do that. With this group, there’s no second-guessing, no feeling like you have to hold anything back. Everybody’s there for the same reason, to make the best song possible, and we all know how to get there together.
And I really believe that if you take care of your songwriters, if you respect those relationships and invest in them, that’s how you build something that lasts. It’s not just about writing one good song: it’s about creating a body of work over time with people who understand you and want to grow with you.
When you look back at where you were around the time of your earlier releases, say your EP in 2020, compared to where you are now, both as a writer and as a person, how do you feel you’ve evolved?
I think the biggest thing for me has been just growth through doing. Songwriting really is like a muscle, and the more you work it, the stronger it gets. When I look back at where I was around my EP, I was still figuring out a lot, figuring out my voice, figuring out what I wanted to say, figuring out how to say it in a way that felt like me. And I think that’s a really natural part of the process.
Over the years, I’ve just kept showing up and writing, and I’ve been really fortunate to be surrounded by people who are incredible at what they do. Learning from writers like Liz Rose, Chris Raffetto, Vanessa Olivarez, people who have such a deep understanding of songwriting, that’s been huge for me. You start to understand the structure of a song, the way it’s built, how to deliver a line, how to make something hit emotionally.
At the same time, I’ve also learned that while there is a kind of “formula” to songwriting, you can’t let that box you in. It’s about finding that balance between knowing the rules and then trusting your instincts enough to bend or break them when it feels right. I think earlier on, I might’ve been a little more cautious, maybe trying to do things “the right way.” Now, I feel more confident in following what feels true, even if it’s a little different.
As a musician, I’ve grown a lot too. Being around players and artists like John Osborne, you can’t help but absorb things. You pick up on how they approach music, how they think about tone and feel and performance, and it pushes you to step up your own game.
So overall, I’d say I’m more confident now, not just in my abilities, but in who I am as an artist. I have a clearer sense of my identity, and I trust that more. I’m less worried about fitting into a certain mould and more focused on making something that feels honest and true to me. And I think that’s where the real growth has happened.
You had a big moment last year with the CBS show The Road. What was your reaction when you found out you were going to be part of that show?
Oh my gosh, when I first found out about it, my initial reaction was honestly just pure fear. I was terrified! I had never done anything like that before, and it felt like stepping into a completely different world. In fact, what a lot of people don’t know is that not long before that, I had actually stepped away from doing American Idol because I just didn’t feel ready for that kind of environment at the time. I didn’t feel like it was the right fit for me, so I walked away from it.
But then I got this call from someone who works closely with Taylor Sheridan, her name’s Avon, and she said, “Cassidy, you need to do this show. This is made for you.” And there really wasn’t any hesitation in how she said it, which made me stop and think. And looking back now, she was absolutely right. It really did feel tailor-made for me, no pun intended! (laughing)
Once I got into it, I realised it was a completely different experience than what I had been afraid of. It wasn’t about trying to fit into a mould or compete in a way that didn’t feel natural: it was about being yourself, about showing up as an artist. And that made all the difference for me. It gave me a space where I could actually grow and feel comfortable doing what I do. It ended up being one of those moments where something that initially scared me turned into something incredibly important for my journey. It gave me confidence, it gave me exposure, and it really helped set the stage for everything that’s come after.
Having gone through that experience and being surrounded by artists who’ve already achieved so much in their careers, what did you take away from it? Was there anything you learned about yourself, or about the music industry, that you maybe hadn’t fully realised before stepping into that environment?
I think one of the biggest things I took away from that experience was just a real sense of validation, and that might sound simple, but it meant everything to me. Being in that environment, surrounded by artists who have already done so much in their careers, people you’ve looked up to for years, it can be intimidating at first. But once you actually spend time with them, not just watching them perform, but talking with them, being around them day to day, you start to realise something really important.
You realise that they think the same way you do. They approach music the same way. They care about the same things, the songs, the connection, the authenticity. And that was a big moment for me, because it made me step back and think, “Okay… I can do this. I belong here.”
Up until that point, I think there’s always that little voice in your head that wonders if you’re really cut out for it, or if you’re just kind of finding your way and hoping it works out. But being around people like Gretchen Wilson, Keith Urban and Blake Shelton, seeing how they operate, how they think, how they carry themselves, it gave me a level of confidence that I hadn’t quite had before.
It wasn’t even necessarily about learning some big industry secret or anything like that. It was more about understanding that there isn’t this unreachable gap between where you are and where they are. It’s a process, it’s a journey, and if you stay true to yourself and keep working, you can get there.
Would you say The Road or Dutton Ranch has been the bigger breakthrough moment for you?
I’d probably have to say Dutton Ranch has been the bigger moment but I don’t say that without giving The Road a lot of credit, because I truly don’t think I would be here without it. The Road was absolutely the jumping-off point for me. It gave me that first real platform, that first real sense of exposure, and it helped build my confidence in a huge way.
But if The Road was the jump, then Dutton Ranch has been the diving board, it’s taken everything to another level. That opportunity has just opened up a whole different world. Being part of something in that universe, especially with how big those shows are and how passionate that audience is, it’s been incredible. And now being on multiple episodes, it’s not just a one-off moment, it’s something I’ve been able to grow within. It’s introduced me to a completely new audience, people who maybe didn’t know my music before but are now discovering it through the show. And once that door opens, there’s really no going back in the best way possible.
So yeah, I think they both played huge roles in my journey — The Road gave me the runway, and Dutton Ranch helped me to really take off.
You come from a military family. How has that shaped you as an artist and a person?
It's really shaped every part of who I am. I always joke that I’m Carolina-born, Kentucky-raised, and Florida-grown, because we moved around so much when I was a kid. My dad was in the Army, so I think I moved something like 30 times growing up. I was born in Marion, North Carolina, spent a big part of my childhood in Kentucky, and then finished growing up in Florida: so I’ve got a little bit of all those places in me.
At the time, when you’re a kid, it can feel a little chaotic because you’re constantly starting over, new schools, new friends, new environments. But looking back now, I see how much it actually prepared me for what I do. You learn how to adapt really quickly. You learn how to read people, how to make connections, how to be comfortable in unfamiliar situations. And those are all things that translate directly into being a touring musician.
It also gives you a certain level of toughness. You’re around a lot of strong personalities growing up in that environment, and you develop thick skin without even realising it. You learn how to handle pressure, how to keep going even when things are uncertain. And in this industry, that’s huge. There’s also a practical side to it. I can sleep anywhere, I can exist anywhere, I can adjust to whatever situation I’m in. If you can grow up in the middle of nowhere Kentucky and then move somewhere completely different and make it work, you can pretty much handle anything.
So yeah, at the time it just felt like my life, but now I see it as such a blessing. It really built the kind of personality you need for this career: someone who’s flexible, resilient, and ready to go wherever the road takes you.
When you think about where you feel most at home as an artist, is it in the studio, crafting songs and shaping the sound of a record, or is it out on the road, performing and connecting with audiences in real time?
I think if I had to choose, my heart probably leans toward being out on the road. There’s just nothing that compares to playing live and feeling that connection with an audience in real time. Every night is a little different, every crowd brings its own energy, and there’s something really special about seeing people react to the songs in the moment: singing along, feeling it with you. That’s the part of this that feels the most alive.
But at the same time, it really does shift depending on the season I’m in. I’ve kind of naturally fallen into this rhythm over the years where spring, summer, and fall are all about being on the road, playing shows, being out there, connecting with people, growing in that way. And then when winter comes around, everything slows down a bit, and that’s when I retreat and really focus on writing.
That writing time is so important to me because, at the end of the day, I’m a songwriter first. I love writing not just for myself, but for other artists too. That’s where everything starts, that’s where the stories come from, where the songs are born. So having that quieter season to just sit with ideas and create is something I really value.
Honestly, being able to do both is what makes this career so fulfilling. You get to have those introspective moments where you’re building something from scratch, and then you get to take it out into the world and watch it take on a life of its own. I wouldn’t want to lose either side of that, they kind of need each other.
Looking ahead: what do you hope to have achieved by this time next year?
That’s a big question, but I love thinking about it like that, like you’re speaking it into existence a little bit. If we’re sitting here this time next year, I’d really love to feel like I’ve taken a big step forward, not just in visibility, but in what I’m doing as an artist.
One of the biggest goals for me would be to be performing on one of the major award shows. That’s something I’ve dreamed about for a long time, not just attending, but actually being on that stage, performing my music in front of that kind of audience. That would feel like a real milestone moment.
I’d also love to be playing bigger stages in general. Just continuing that upward momentum: bigger crowds, more people connecting with the music, more opportunities to get out there and do what I love. I don’t ever want to feel like I’m standing still. I want to keep growing, keep pushing, keep building. I think a lot of that comes down to just continuing to work hard and staying consistent. Everything that’s happening right now feels like it’s starting to come together, things I’ve worked toward for years are finally beginning to take shape, and I just want to keep that going.
So yeah, if I can look back in a year and say I’ve stepped onto bigger stages, reached more people, and taken another meaningful step forward in my career, I’d be really proud of that.
You mentioned working closely with John Osborne and, given that connection, it feels like a really natural fit for you to be out on the road with Brothers Osborne. Is that something that’s already in motion?
Yeah, it actually is happening, which is really exciting. I’m heading out with Brothers Osborne on a run of dates. I think I’m doing around nine of the fourteen shows on this tour, so it’s a pretty significant stretch, and I’m really looking forward to it.
They’ve both been so kind to me, honestly. TJ and John have been incredibly supportive, not just in a professional sense, but personally too. They’ve really encouraged me as an artist and made me feel like I belong in that space, which means a lot. To get to go out with a band like that, who are so respected, not just for their music but for their musicianship and the way they perform live, it’s a huge opportunity. I think it’s going to push me to be even better on stage, to step up and meet that level every night.
It also just feels like a really natural fit musically. There’s a lot of overlap in terms of influences: that Southern rock edge, the soul elements, so I think the audiences are going to really connect with what I’m doing too.
Finally, looking ahead to the bigger picture, fans are clearly starting to get a sense of where you’re going with these new songs, but when can they expect to hear the full project? Do you have a rough timeline in mind for when the album might arrive, and how close are you to having it finished?
Yeah, we’re getting really close now, which is exciting. It’s been a long time coming, honestly, this isn’t something we’ve rushed. We’ve taken our time with it, really lived with the songs, made sure everything feels right, and that it truly represents who I am at this point in my life and career.
I’d say we’re looking at an early fall release. That’s kind of the target right now. And it feels like the right time, because everything is starting to line up: the songs, the production, the touring, all of it.
It’s one of those things where I’ve spent years building toward this moment, figuring out my sound, finding my voice, working with the right people and now it finally feels like I have a body of work that tells that story properly. So yeah, early fall is the plan, and I’m really excited for people to hear it. It feels like the most complete version of me as an artist so far.
