Rather, Earle is focused on a different America-the disenfranchised and the downtrodden, the oppressed and the oppressors, the hopeful and the hopeless. Make no mistake: there’s nary a party, PBR or pickup truck to be found in any of the 12 tracks on The Saint of Lost Causes. Although, he adds, “I already sorta was, anyway.” “Frankly, I was horrified,” he says bluntly. ![]() “Maybe having a kid has made me look at the world around me more,” he says. And Earle at times has-most recently on his 2017 album, Kids in the Street, which the artist calls “one of the more personal records I’ve ever made.”īut when it came to his newest effort, The Saint of Lost Causes, Earle, these days sober, married and father to a baby girl, chose to focus his gaze outward. It’s a seemingly bottomless well of material for a singer-songwriter to mine out of just three decades or so of life. That’s before we get to the years spent honing his craft in Nashville bars and on club stages all over the world the various bands, record labels and industry types that have been drawn toward and, at times, pushed away by him and, finally, the celebrated and rather formidable body of work he has amassed since releasing his critically-acclaimed 2007 debut EP, Yuma. For starters, there’s the quick-hit bullet points about his childhood that seem to get dredged up in every interview, article or review about the singer-songwriter and guitarist: Born the son of Steve Earle, who was largely absent during Justin’s childhood struggles from a young age with addiction and numerous stints in rehab long stretches of itinerancy and general juvenile delinquency a youth he once said he was “lucky to have gotten out of alive.” ![]() Justin Townes Earle has done a lot of living in his 37 years.
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