The long-running name of the Kentucky-born cowpunk scene, Nine Pound Hammer, has kicked off its new era with a powerful new single. The track “Tonight I Let the Bottle Down” arrives as a preview of the band’s upcoming mini-album, Too Outlaw For Outlaw Country. The song not only stays true to the band’s roots but also reasserts its uncompromising attitude within the country punk spectrum.

The new release sits at the heart of a limited-edition EP pressed on 10-inch picture disc format. Scheduled for release on July 10 via Reptilian Records, the record stands out as one of the band’s first new offerings in a long while. The EP includes four new tracks alongside two covers penned by Billy Joe Shaver and Hank Mills–Dick Jennings.

Vocalist Scott Luallen makes the band’s critical stance toward the modern outlaw country scene explicit, emphasizing their reaction against the genre’s increasingly commercialized state. For Luallen, the project serves as both a reminder of country’s rebellious spirit and a manifesto against the perception of “fake outlaw” culture.

The recording process was completed at Underground Studios, shaped by the engineering, mixing, and mastering work of Brian Pulito. The album’s creative direction also includes contributions from the band members as well as the visual design team.

The thematic core of the new song centers on a personal breaking point: the end of a relationship with alcohol and its emotional aftermath. The track builds an atmosphere that nods both to the classic Waylon Jennings era and the Elvis-influenced outlaw aesthetic.

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With this new release cycle, Nine Pound Hammer are also returning to the stage. As part of a tour spanning the US and Europe, the band will move from Kentucky to Norway and the Netherlands, eventually reaching Belgium’s Sjock Festival, where they are set to share the stage with names such as Joan Jett & The Blackhearts and L7.

Having long navigated the line between cowpunk and hard rock in their own unmistakable style, Nine Pound Hammer are once again bringing both their live intensity and the ongoing debate around the genre’s “rebellious core” back into focus.


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