"This is my tip-of-the-hat to Beyoncé," jokes Dustin Lynch to Rolling Stone Country about "Halo," a clue that appears on the ten-gallon Tennessean's long-awaited green album, Where It's At, out today. While Lynch and the Queen Bee may not assume to allotment abundant above song titles, the advertence is apocalyptic of a new era for the singer, who pulls afflatus from George Strait as abundant as pop Top 40 in his new 15-song collection.
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"I've accomplished added in the accomplished three years amid albums than I accept in my accomplished life," says Lynch. "That's a abundant affair for a writer."
Indeed, Lynch has been crisscrossing the country (most afresh on bout with Keith Urban) back the absolution of his 2012 self-titled admission LP, which saw a blemish hit with the heartstring-tugging "Cowboys and Angels." If it came time to acquaint a individual from Where It's At this accomplished March, Lynch absitively to skip the anticipated carol avenue and go with appellation clue - with its attenuate hip-hop beats abstemious calm by archetypal country strums, the song's a appealing authentic roadmap of the anthology as a whole. "'Where It's At' is actual different for me," he says. "It's all a mash-up."
Produced by Mickey Jack Cones, Brett Beavers and Luke Wooten, Where It's At is a mash-up, too, all centered by Lynch's assorted aficionado and his smooth, vintage-Nashville vocals. From the acerbic riffs of "To The Sky," to the acquiescently acoustic "Your Daddy's Boots" to the twangy piano carol of "Middle of Nowhere," Lynch is as absorbed in attention acceptable country touches as he is flirting with cutting-edge assembly tricks or beats added commonplace on an developed abreast bedrock radio.
Lynch owes this in allotment to an evolving country mural that allows him to play in the flat and bead the rulebook. "The country architecture has acquired so quickly," he says. "A brace songs on the aboriginal anthology were appealing accelerating with our use of programmed drums, but they now complete appealing dated." On Where It's At, Lynch fires appropriate out of the aboideau with the aperture track, "Hell of a Night," lest you admiration area he's going: the aboriginal addendum of the almanac are swirled in a near-metal batter of the guitar, not a candied pedal animate vamp. But lest you overlook area he's from, the anthology closes with an "amen" on the breakable carol "American Prayer."
"We're in a atom in country abundant area we can go out and grab new fans. With Taylor Swift and Florida Georgia Line introducing humans to country music - maybe those humans will appear to a country anniversary and accept the time of their life. We can grab humans that are on the fence, dipping a toe into the water. We can accompany them all the way in."
As abundant as Lynch ability play beyond genres, it's bright area his roots lie - which is why he'll never canal that signature Resistol hat for something a little added modern.
"I bedrock the attending I bedrock because if I got into country music, Alan Jackson, Garth Brooks and George Strait were my guys," he says. "It's why I blanket my dad's cowboy hat if I was five. I was bathrobe up to be like them. They were my heroes. Humans consistently ask me if I'm anytime traveling to lose the hat and the acknowledgment is 'no.' If my hat avalanche of on stage, I feel so naked."
He laughs, abacus mischievously, "I'd abundant rather it be my shirt or my pants than my hat."
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