Pat Reedy makes honest honky-tonk music for the modern world, mixing twang, blue-collar songwriting, working-class pride, and an unconventional backstory into albums like 2018’s That’s All There Is.
That’s All There Is was written during breaks in Reedy’s construction job, with lyrics scribbled down on scraps of paper and discarded pieces of wood. Maybe that’s why these songs — with their warm, rough-around-the-edges charm — sound different than the contemporary country-pop hits recorded in Reedy’s adopted hometown of Nashville. In a city full of Hollywood cowboys and wannabe outlaws, Reedy is the real deal, more influenced by the artists whose filled the airwaves during his childhood years — including Dwight Yoakam, Mark Chesnutt, and George Jones — than anything in today’s mainstream.
Years before he moved to Nashville, a 21 year-old Reedy cut his teeth on the street corners of New Orleans. He was taken “under the wings” of senior buskers, strumming songs for the locals on Lower Decatur and the tourists on Bourbon and Royal Streets. In this time he founded the street band Sundown Songs along with Kiki Cavazos, Jesse Kammerdeiner, Matt Bell, and Ross Harmon. The group was later joined by Alynda Seguira (Hurray for The Riff Raff) and Sam Doores (Deslondes.) Those boozy home recordings and performances became the launching pad for his career, and although Reedy eventually graduated to proper venues, he never forgot the lessons learned during his roadside gigs.
“It taught me how to really sell a song,” he says of his busking history. “How to draw a crowd, too. And, occasionally, how to fend off drunks.”
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