Tough to say about where we fit in the scheme of things, it’s hard to see the forest for all these dang trees, but I’ll take a stab at describing the landscape, a bit. I like to say the Double A Daddies are doing their part to keep classic Honky-Tonk music alive, but it’s not the main thrust of what we do; we’re not strict preservationists, we draw as much from seminal artists like Johnny Cash and Jimmy Rogers as from Buck Owens by way of Dwight Yoakum, and while you’ll likely hear a few rockabilly classics at a Double A Daddies show, the music we write is a little broader and digs a little deeper into the dark heart of the American dream/nightmare. We deal with themes modern country music wants nothin’ to do with; drinking, drugs, murder, despair and divorce, often to a snappy uptempo beat suitable for two-steppin’, (and/or two-timin’, heh) and exploring questions like, “Do we drink because we cheat, or do we cheat because we drink?” I think that, geographically, our music owes more to Texas than Tennessee, and it is most decidedly rural and blue-collar, despite the large number of PBR-swilling college grads you’ll find at our shows. In fact, although the Americana tag loosely fits us, we’re distinct from your Jayhawkses and Wilcos in a couple of important ways; the fact that we didn’t meet in college is one, and that we’ve worked some pretty brutal day jobs and continued to make music this long is another. Dale Watson, Whitey Morgan and Wayne Hancock would be the leaders of our ‘movement’, if you could call it that, but I don’t think our band, nor a whole bunch of other great ones, woulda happened if it weren’t for BR5-49.