Jake Owen

Jake Owen’s biggest hit is undoubtedly 2011’s “Barefoot Blue Jean Night,” a summery anthem about never growing up, never slowing down. In 2025, though, Owen isn’t feeling those lyrics so acutely. “Now, all these years later, I’m going, ‘I totally grew up. I’ve totally slowed down in certain ways,’” he says. “I’ve just become a guy that wants to sing songs for people that have also matured with me in my life.” A trusted troubadour for hot summer nights and cold beers, Owen is now in his forties, tangling with separations from lost lovers, raising kids, and growing out of the fresh-faced kid that headed down to Nashville 20 years back with a six-string and a dream. Not that he doesn’t still have both — the latter has just matured. Case in point: Dreams to Dream, Owen’s long-awaited, Shooter Jennings-co-produced foray into classic, honky-tonk country, out TK date on TK label. Owen’s first independent studio album, featuring 10 original tracks and two stellar covers, tells the tale of a man at a crossroads — and what it takes to set out a new path. Owen wasn’t expecting much when he commented on one of Shooter Jennings’ Instagram posts, half-jokingly suggesting that they make a honky-tonk record, but the producer called his bluff. Two days later, Owen’s manager had Jennings on the line and, soon, Owen was on his way to L.A. and Jennings’ Sunset Sound. It was a cozy yet electric scene: Jennings and Owen cracking jokes in the sepia-toned studio, creativity crackling as they collaborated with the likes of songwriters Ben Chapman and Kendell Marvel, as well as long-time shooter pal, guitarist/harmonic player Leroy Powell. “All my friends who have heard my stuff have gone, ‘Dude, Jake, this is you man. This is who you’ve always tried to be,’” Owen says. “Sometimes you need to get outside what’s comfortable, what people think you are, or think you should be, and take a risk.”