The Heartland Isn’t just a Place — It’s a Sound, And Corey Kent Just Defined It.

Sony Music Nashville’s Corey Kent has always stretched the boundaries of country music, infusing Oklahoma red dirt with the raw electricity of rock and the soul of a storyteller. But with Heartland Rock & Roll, his third major‑label album, Kent delivers a defining body of work, one that crystallizes his identity and cements his place as one of the genre’s most compelling modern voices.

He didn’t set out to chase trends or fit neatly into Nashville’s mold. Instead, he set out to make something far more personal: a record that sounds like the places that raised him.

Born in Bixby, Oklahoma and now rooted in Texas, Kent grew up on the back of the school bus listening to Clapton, Boston, Creedence Clearwater Revival, and Mellencamp — influences that weren’t just musical preferences, but the soundtrack of the heartland itself.

After years of slow‑burn victories, platinum hits that climbed the charts inch by inch, and headline tours built from the ground up, Kent’s rise wasn’t meteoric; it was earned. And that slow build gave him the clarity to create something bold, autobiographical, and unmistakably his.

Heartland Rock & Roll blends country grit with 70s‑rock swagger, guided by Kent’s raspy vocals and a production style that feels both nostalgic and new. Tracks like “Rocky Mountain Low” and “Empty Words” showcase the emotional weight and sonic edge of his new chapter, while songs such as “Wannabe,” “Everyday Life,” and “Bixby” reveal a deeper maturity — a man choosing fulfillment over fame, simplicity over spectacle, and authenticity over expectation.

Written largely at his ranch in Leonard, Texas, the project carries the dust, the open sky, and the lived‑in stories of small towns and long roads.

This album is Kent finally naming the sound he’s been building toward his entire career, a blend of country grit, rock nostalgia, and soul‑leaning honesty that feels unmistakably American. Heartland Rock & Roll isn’t just an album title. It’s a declaration. It’s Kent planting a flag in the ground and saying, “This is who I am. This is where I’m from. This is my mark.”

Rodeo On SI had the opportunity to sit down the Kent. Enjoy.

SI: Congratulations on your new album, Heartland Rock and Roll. Tell me about your journey to finding this sound.

CK: Thank you, that means a lot. Honestly, the journey to this sound started way before I ever stepped foot in Nashville. I say it in my live shows all the time — contrary to popular belief, not every country artist you hear on the radio lives in Nashville. Some of us live out west. And that’s really where this record was born.

I grew up in Bixby, Oklahoma, and now I’m raising my family in Texas, and I wanted to make something that actually sounded like the places that shaped me.

I grew up in the Red Dirt scene, but even before that, I was pulling from what I call Heartland Rock and Roll. It’s not an official genre, but it’s the stuff that raised me; Creedence Clearwater Revival, John Mellencamp, Springsteen, the Eagles.

I was that weird kid on the back of the school bus listening to Clapton and Boston while everyone else was listening to whatever was popular at the time. Those influences were baked into me early, and for a long time I felt like I had to color inside the lines so people could “get” my music and my brand.

But with this record, I finally said, “Screw the rules.” I wanted to make what I love. I wanted to pull from all those influences like Kings of Leon, Ray Charles, soul, R&B, and blend them into something new.

Something that pays tribute to everything I grew up on but still feels like “me.” And that was a big part of the process: making sure these songs were ones nobody else in country music could sing authentically. They had to be my stories, my interests, my sound.

Most of this record was written out at my ranch in Leonard, Texas, and I think you can hear that. It doesn’t feel like it was made in the Nashville machine. It feels dusty, lived‑in, wide‑open like the heartland itself. And I’m really proud of that. It took me a long time to stop fighting my differences and start embracing them, but once I did, this sound finally came together.

Corey Kent Heartland Rock and Roll Cover | Corey Kent/RCA Nashville

SI: You’ve got a couple of great collaborations on the album. How did those come about?

CK: Thank you, I appreciate that. These collaborations were really important to me, and honestly, I was extremely guarded about them from the start. This record is so personal, it’s the most “me” I’ve ever been on an album, so I didn’t want to bring in anyone who didn’t genuinely know me or understand where this music was coming from.

A lot of opportunities came across the table, and some of them were big names, but they didn’t feel right. I didn’t want a feature just because it might help a song chart or because it looked good on paper. I wanted every part of this album to have a personal touch, and that meant only collaborating with people I have real friendships with.

That’s why Koe and Jason made sense. Those guys aren’t just industry acquaintances; they’re friends I text randomly throughout the week. We’ve shared stages, late‑night hangs, real conversations. So, when I started thinking about who could bring something authentic to this project, they were the only two that felt true to the heart of the record.

SI: Let’s start with Koe Wetzel. How did that duet happen?

CK: With Koe, it happened really naturally. I wrote the song, and as soon as I finished the second verse, I thought, “Man, this feels like Koe.” So, I texted him and said, “Call me crazy, but I think you need to be on this.” He sent back “mannnnnn…” with like 22 N’s — which is basically Koe’s way of saying, “Hell yes.” He told me it was a damn good song and he was in.

The fun part was how we approached it. Normally, getting a duet across the finish line is a whole process with labels, managers, agents, schedules, studio bookings. It can take months.

So, I said, “What if we just don’t ask anybody? What if we just do it?” And Koe was immediately like, “I love it. Let’s go.” So, we booked a studio out in Cisco, Texas, hired a videographer, paid for everything ourselves, and cut the song without telling a soul. Then we turned it in fully finished. At that point, nobody could say no because it was already done. And it ended up being our fastest‑climbing single ever.

That’s the kind of collaboration I wanted on this record — not strategic, not manufactured, just two friends making music because it feels right. And that’s exactly what we did.

SI: And what about your collaboration with Jason Aldean?

CK: Man, that one has such a cool backstory. In 2023, Aldean took us out on tour, and that was really the first time we had the chance to play our music across the entire country. Up until then, we were grinding it out in dive bars in Oklahoma and honky‑tonks across Texas, just trying to get our name out there. Jason opened the door for us in a massive way as he exposed our music to a national audience, and I’ll always be grateful for that.

But what made the collaboration possible wasn’t the business side, it was the friendship that grew out of that tour. We spent so many nights after shows just hanging out, talking, laughing, and watching Dave Chappelle stand‑up until two in the morning.

We probably logged 200 hours of Chappelle on that tour alone. It wasn’t forced, it wasn’t industry networking, we genuinely became close friends. That’s the foundation this song came from.

We talked for a couple of years about maybe doing something together. We tossed around ideas, even wrote a few things, but nothing ever felt like the song. Then I sent him this one, and he immediately said, “I think this is the one.” I had already cut my vocals, so I flew to Nashville where he lives, and we rented a studio to track his part.

Me and my buddy Austin Goodloe, who’s producing most of this record with me, were sitting behind the board watching Jason Aldean cut vocals.

And he’s asking us, “Hey, what should I do here?” I’m over there suggesting he scoop up to a note or bend it a little, and he’s like, “Yeah, that’s a good idea.” At one point I looked over at Austin and said, “How in the actual hell did we get here?”

It felt like we were kids in a candy shop with no parental supervision, producing Jason Aldean’s vocals, making the record exactly how we wanted, with basically a blank checkbook to chase the sound.

It was surreal, but also incredibly fun. And again, it all came from genuine friendship. That’s what made it feel right. Not strategy, not clout, just two buddies making music because it felt good and honest. That’s the kind of collaboration I wanted on this record, and Jason brought exactly that.

SI: One song that stands out to me is “Empty Words.” Where did that one come from?

CK: “Empty Words” was kind of what I call like the happy accident of the record. So, we were all out at the ranch in Texas and I had a bunch of my buddies in to write songs with me and about seven of them. Three or four of them had to leave, so it was just kind of like what we jokingly referred to as the leftovers, and we were like, well, the leftovers should just write a song real quick, before everybody's got to fly out. And that's exactly what happened.

That quote-unquote leftover write is how we wrote “Empty Words.” It started with Goodloe; he had this vibe that he had created and recorded. And somebody threw out the title “Empty Words.”

Usually with songs it takes a minute for everybody to get on the same page and kind of view it through the same lens and start writing in the same direction. But with this song, it was pretty instantaneous.

It was like “Empty Words” was thrown out and we were all like, oh, we know exactly where this song's supposed to go. It's gonna be like this self-deprecating vibe. And that's just hold it unfolded. It wrote itself pretty quickly and it became, as of right now, the most successful song on the record.

SI: Where did you draw inspiration for this album, and was it different from Black Bandana?

CK: I mean, the inspiration for this record really came from the musical influences that shaped me. My past records were more of a statement. They showed you how I thought, what I wanted to say, and the ideas I was wrestling with at the time. They weren’t fully autobiographical, at least not in the way this one is. Heartland Rock and Roll is different.

This record comes straight from real life, actual thoughts and moments that were happening in my head and in my world.

This album opens with “Motorbike,” and that song sets the tone immediately. There’s a line in it that says, “Just a stonewashed kid in a buttoned‑up town. They were trying to fit in; I was trying to get out.” That lyric is basically my whole coming‑of‑age story. I wanted to get out of Bixby, Oklahoma, see the world, figure out who I was, and have experiences bigger than what my hometown could offer me at the time.

What’s really cool is how the rest of the record follows that arc. The songs in between are all real‑life experiences: the ups and downs, the mountains and valleys. And then it wraps up beautifully with “Bixby,” which is technically a song about my hometown, but really, it’s about learning to appreciate the simplicity I used to take for granted.

It’s about wanting to get back to a slower way of life and loving the place I’m from for exactly what it is.

So, this record is just a different approach than anything I’ve done before. It’s more personal, more reflective, and more rooted in real life than any other project I’ve been a part of.

SI: What do you hope fans feel when they listen to Heartland Rock and Roll?

CK: Oh, great question. I don’t know if I’ve actually been asked that yet. I think this record carries a real sense of nostalgia, and from the start, we approached it with that feeling in mind.

A lot of the musical influences behind it come from that 70s rock’n’roll era; Mellencamp, Springsteen, that whole world, and I think that shows up in the way these songs feel.

My hope is that a lot of these songs have the power to transport people back to moments in their own life. I want it to be a reflective record, but I also want it to be a good‑time record — something you’d put on when you’re out at the lake or hanging with friends.

There’s a little bit of something for everybody, and honestly, for every season of life on this album. Like “Empty Words” — people reach out to us all the time or come up at live shows saying it got them through the toughest breakup, or that it’s their mantra right now.

Then you’ve got songs about everyday life, which are really just about embracing the chaos of a crazy life. And then there’s “Cherokee Boulevard,” which taps into that good‑old‑days, glory‑days feeling. It reminds me of “Springsteen” by Eric Church — that same kind of nostalgic punch.

I just think music has this power to make people feel seen and not alone in whatever they’re going through. Whether it’s heartbreak, chaos, joy, or just remembering where you came from, I hope this record gives people something that feels familiar and honest, and something they can hold onto in their own lives.

SI: Of all the venues you’ve played, do you have a favorite?

CK: We’re starting the whole tour over at Billy Bob’s because that just feels like the right thing to do. And then, you know, Coyote Joe’s out in the Carolinas is one of my favorite places I’ve ever played. Obviously, Cain’s Ballroom in Tulsa is always near and dear to my heart. It didn’t make the tour this time because we’re playing the BOK in Tulsa with Koe Wetzel, so that kind of took us out of the Tulsa market for a minute. But then we wrap up at the Ryman Auditorium in Nashville, which has always been a bucket‑list item for me.

We were really selective about the routing. We don’t want to play filler shows. We only want to play the venues we genuinely love and make stops in cities where we know we have amazing fans. And hopefully there’ll be a part of the Heartland Rock & Roll World Tour where we can circle back and play the Tulsa markets and the places we missed because of scheduling or other circumstances.

But we’ve been very intentional with this tour. It’s going to feel like a lot of fun because there are no filler shows. Every stop was thought through and chosen for a reason.

SI: You’ve had a new addition to the family since we last talked. How is touring with four kids under eight?

CK: Man, it’s kind of unfortunately something we’ve grown accustomed to. When my first little girl was born, three days later I left for tour, that was back in 2018. So, we’ve been at this for a long time, and my wife is an absolute rock star.

Thankfully, we have more ability now to travel together as a family than we ever have before. Like when we head out to Florida in a month or two, we’re getting a bus just for the family. The goal is to try to merge these two very distinct worlds and make them overlap more.

Because in the music industry, there’s really no such thing as balance. There’s no perfect life balance. So, what you try to do is make those two things overlap as much as possible, and that’s what we’re aiming for. And yeah, it is tough. It takes a lot, and my wife deserves all the credit for my whole career, honestly. Without her, I wouldn’t be able to do what I’m doing or live out two dreams at the same time, having a music career and traveling the world, but also having all these beautiful babies running around and a really full life outside of music.

SI: Is your oldest a fan of your music?

CK: Yeah, actually. To a certain extent, I’m definitely lower on the totem pole than Megan Moroney or Ella Langley or Taylor Swift. My oldest girl is obsessed with all of that. I think she thinks it’s pretty cool that I get to introduce her to those folks, those girls, and friends of mine in the industry.

My oldest two girls got to experience that firsthand not too long ago when we played a show with Ella. She asked them, “You guys want to come up and sing “You Look Like You Love Me?” And they were like, “Yeah!” So, they got up there and sang with her.

I’m more like the cool dad who provides opportunities, not the cool dad because I play music. It’s less about them thinking I’m a rock star and more about them getting to meet people they look up to and have those moments. That’s what makes me cool in their eyes, not the fact that I’m on stage, but the doors the job opens for them.

SI: After this headlining tour, what’s next? More records? Producing?

CK: Oh man, I think maybe someday. I haven’t given a ton of thought to it yet. I’m very single‑minded as I tend to focus on whatever task is right in front of me and not look too far into the future. Right now, it feels like there’s just so much happening in my own career that I can’t even imagine venturing out into anything else.

But you know, someday, maybe. I look at someone like Miranda Lambert, who’s been really involved in Ella’s career, and I could see myself eventually taking on a mentorship role like that and helping a younger artist, giving them guidance, being that steady voice. I think that would be really rewarding. I’m just still kind of in the middle, or honestly the beginning, of my own career here.

So, for now, it’s about building what we’re doing, seeing where it goes, and touring. I love playing live music, that’s where my heart lies. So that’s what I’m doing right now.

Heartland Rock and Roll Available Sept. 25 via Sony Music Nashville – Check out more on Corey Kent and his tour at https://www.coreykentofficial.com/

Add us as a preferred source on Google