Hardy
speaker
637 appearances
2 recordings
2 series
first heard May 2025
last heard 26 Jan
Hardy’s voice in public audio — every appearance, attributed to the second.
Trend
recordings per month · last 12 monthsRecordings per month over the last 12 months — 1 in all, peaking in Jan 2026 with 1.
Appearances
I think that's really cool. I didn't know that. I didn't know that that was really being popularized. Yeah. Yeah, I mean, there's such a culture and there's such a cool thing to these guys that just look like dudes. And you'd see them at the grocery store and you would have no fucking idea that they wrote, like Craig Wiseman.
You know, just a dude in a Hawaiian shirt at the grocery store that wrote, live like you were dying, plus 40 others. But like, you just, that you would never know. And there's such a cool thing, especially with Nashville. I feel like in LA, you know, like even the songwriters are like an artist themselves and there's a big personality and they have a following and people know who.
In Nashville, man, it could just be Joe Blow, dude. And he's just like- Literally walking down the street and nobody, unless you're connected in the industry, this person, this normal looking dude or girl right here wrote your favorite song. It's cool.
I don't know how many people have publishing deals these days, but I would say four or 500 people, you know, throughout a 10, maybe a thousand throughout a 10 year span that are just normal people that don't want to be famous.
They don't want to be like a star or, or have that, even that artist like bone in their body moved to Nashville just because they're like, I have a voice and I have something to say. I have like, I have a pencil or a pen in my hand that I have words that I, I think, you know, somebody could, could sing. And, uh,
It's just such an eclectic or just such an acute dream to chase but it's such a cool thing and there's such a really cool common thread with most Songwriters and how just different it is. This is the culture of being a nashville songwriter is so different and it's also so supportive and like You know, it really tries not to be competitive and dog-eat-dog or anything like that.
To me, the Nashville songwriter scene is like the coolest shit ever. I love it.
yourself how did that come to be how did that originate I mean I would say it was kind of it was definitely like gradual process I think my biggest pivot moment was shout out to Dane Schmidt Jordan Schmidt who's a big songwriter and buddy of mine I've written a lot of my stuff with I know Dane called me when he was still working for Tree Vibes. Okay.
And was like... Which is Tyler... FGL's publishing company. And he was like, hey, the guys have been hearing your name a little bit around. I had nothing. Still nothing. And they were like, they would love for you to... You hadn't been cut yet. Hell no. Dude, I had... At that point, I had...
goose egg cuts i had nothing dude but they i you know a lot of times i mean i see a lot of writers that they they won't have the cuts but they get momentum and they're a good writer and it just it just hasn't happened and that's what was happening to me so they had me out on the road and and i wrote with them and i think it just kind of you know our hang and just our songs and stuff was enough for them to want to have me back and that that was a big moment for me because then i
You know, back then they were all Big Loud. Well, Big Machine label, but Big Loud management just covered up. So then I met Seth England. Seth was out there, you know, and we started hanging. And then through Seth and just through kind of being now intertwined in the Big Loud camp, this kid named Morgan Wallen comes around. And so Seth is like, hey, would you write with Morgan?
I'm like, yeah, absolutely. Morgan comes to my house, you know. And then out on the road, they have Ernest, who was a rapper back in the day. And he went by Snow, but he would write country songs.
And, uh, so he would come out and, and, uh, anyway, just, just, but that it was that early stages of like me riding with and for FGL that really kind of, that was the center of the spider web and everything just sort of started to come, come together after that.
Yeah. Yeah, yeah, yeah. My first time ever on a moving tour bus was, God, dude, it was Nashville to freaking Hartford. Oh, geez. So we left at like 6 p.m. and rolled up. We had two drivers and we rolled up at like, you know, 10 a.m. the next morning or something crazy like that. That's wild, man.
I did.
Yeah, yeah, man. I was on what I think is the most legendary FGL tour they had. It was them. Dan and Shay was direct support. Morgan was second of four, and I was first of four.
Yeah, that was an awesome tour. And yeah, I had been writing songs for them for a couple of years.
well Up Down was yours right Up Down was mine that was my first number one really one of my still one of my first cuts great fucking song thank you dude I love it thank you so much but they you know at that point I had been talked into doing the artist thing and was a little apprehensive but that was like who talked you into that T-Hub was one of them, actually. Tyler Hubbard was one.
Tyler and Seth, Seth England. And one of the biggest ones was that Joey Moy, Canadian. I know Joey. It was my favorite producer, not only in the rock world, but in Nashville. I just loved everything that he did, everything he touched. I love the rock thing. And he called me out of the blue one day before I knew him at all. I was like, hey, this is Joey. And now I understand.
I'm sure that somebody was like, hey, give Hardy a call. I bet he'd really appreciate it. But it worked. I mean, and he was like, dude, I just want you to know, if you ever wanted to put out a record, like I would love to produce you. And I was like, dude, this is, this is, I need to do this. Like I'm an idiot if I don't take this opportunity and just try and see what happens.
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