More than a dozen years into his acclaimed career, Dallas Burrow isn’t just carrying the torch of the Texas-born songwriters who came before him — he’s also carving out his legacy.

A tireless road warrior, songwriter, and community builder, he makes classic country, Americana, and roots music for the modern world. It’s a sound that’s earned him an audience not only across the Lone Star State but also on both sides of the Atlantic Ocean, where Burrow’s albums have reached the Top 40 on the Americana charts in both the UK and the US. Back at home, he’s also become a champion of the Texas Hill Country scene, running the Redbird Listening Room in his hometown of New Braunfels. Somewhere along the way — between his commitments as a traveling musician and his duties as a family man — Burrow found time to record three different records during the same year-long span. Together, those albums showcase the full range of an artist whose songwriting chops match his dizzying work ethic.

Burrow’s forthcoming release, The Way The West Was Won, zooms in on his strength as a storyteller. Produced by Grammy winner Lloyd Maines and featuring guest appearances from Ray Wylie Hubbard, Kelly Willis, and Jim Lauderdale, it’s a richly imaginative collection of cowboy songs, conjuring up a Wild West landscape of vaqueros and outlaws. This is music for campfires and trail rides, theatres and festival stages, and Burrow’s delivery nods to influences like Townes Van Zandt, Willie Nelson, and Marty Robbins.

Burrow recorded the entire album in two inspired days, capturing tracks like “Black Rock Desert Blues” (a murder ballad fueled by accordion and fingerpicked guitar) and “Justice in the West” (a country waltz worthy of “Red Headed Stranger,” featuring harmonica from Terri Hendrix) in a series of live takes. The result is a record that unfolds like a love letter to Texas itself, inspired by his homeland’s twang, traditions, and tall tales. Burrow has often made music that nods to the past, but The Way The West Was Won is his ultimate tribute to his trail-riding heroes.

From the time Dallas can first remember, his father, Mike Burrow, a talented songwriter in his own right, and literal blood brother to Townes Van Zandt, kept a guitar around the house, and some of Dallas’ earliest childhood memories are of seeing his dad strumming and singing his songs next to the fireplace or in the backyard at home. This left a lasting impression on his young mind. He got his first guitar around age ten and started writing his songs soon after.

With The Way The West Was Won, Dallas called up a few legendary friends to add flavor to his Wild West inspired story songs. Texas songwriting icon Ray Wylie Hubbard lends his smoky vocals to the opening track, “Read ‘Em and Weep,” a poker song inspired by guys like Ray Wylie and Townes Van Zandt’s great gambling ballads. Of Dallas, Ray Wylie had this to say, “In this modern time of piss ant singers and so-called songwriters, Dallas Burrow is one of the very few artists who rips off pieces of his soul, turns those pieces into lyrics, puts them to a haunting cool melody or a rocking groove and will stand back to back with you daring the Devil to show up…and the Devil won’t cause he know he ain’t gonna get Dallas Burrow. His integrity ain’t for sale.” Roots royalty, the lovely Ms. Kelly Willis graces the album’s second track, “Colorado Bound,” a folky tale of escaping by train to the majestic Rocky Mountains with her instantly recognizable sultry voice. For the album’s title track, “The Way the West Was Won,” renowned Nashville singer/songwriter and Country and Western legend Jim Lauderdale adorns Dallas’ narrative style lyrics with his one-of-a-kind, old-time style singing. These timeless musical moments, framed by Lloyd Maines’ world-class productions, have this album shaping up to be Burrow’s finest effort to date.

Over the years, Dallas has shared the stage with and opened for such prominent acts as Ray Wylie Hubbard, Kelly Willis, Uncle Lucius, The Great Divide, Midland, Willis Alan Ramsey, and toured with his old friend Charley Crockett, who has called Dallas “one of the finest songwriters to come out of Texas in this generation,” across the American Southwest, from Louisiana, to California, Arizona, New Mexico, Texas, and Colorado, paying tribute to his heroes along the way. When Dallas starts talking about his influences, names like Townes Van Zandt, Guy Clark, Billy Joe Shaver, Willie Nelson, and Robert Earl Keen are often mentioned.

After releasing a series of four EPs dubbed the Four Winds Chronicles from 2012-2016, in 2019, Burrow independently released his first full length album, Southern Wind, recorded in East Nashville with producer Eric McConnell and featuring Sierra Ferrell on hamronies, which hit #4 on the Alt Country Chart, #50 on the US Americana Chart and broke the top 30 in the UK. In 2021, Burrow brought it all back home, releasing his next self-titled LP Dallas Burrow produced by Bruce Robison, and recorded at The Bunker in Lockhart, TX. For his next act, Dallas tapped Austin-based rocker Jonathan Tyler to produce his best-performing record, the Blood Brothers LP, which reached #25 on the US Americana Chart. In 2024, Dallas doubled down, releasing two live records, Live at Cain’s Ballroom and Live at Washington’s, as well as a single, “Old Time Revival” featuring The West Texas Exiles.

Don’t mistake Dallas Burrow for someone who lives in the past, though. Instead, he’s a vital part of the modern-day Americana, Alt-Country, Texas, and Red Dirt scenes, and his eyes remain glued to the horizon ahead, not the rear-view mirror. If the road truly does go on forever, then that’s where you’ll find Dallas Burrow, en route to the next show with his ears still ringing from last night’s gig. “I’m staying true to myself, traveling town to town, sleeping in motels, playing songs every night,” he adds. “That’s all I know.”

“Burrow continues to prove himself one of Texas’ most compelling young artists, with each LP unlocking surprising new facets of his songwriting.” – Doug Freeman, Austin Chronicle