When Rolling Stone Country hailed A Thousand Horses as the best up-and-comer at the Austin City Limits Music Festival, it was the latest in a whole series of accolades that got the band even more fired up.

A Thousand Horses is a fresh fusion of classic sounds – a hybrid of Lynyrd Skynyrd, the Allman Brothers, Black Crowes and Exile on Main Street-era Rolling Stones, wrapped up in a modern-country context. The band’s Republic Nashville album, Southernality, is as wild and free and powerful as the name A Thousand Horses implies. This is the result of years of a road-doggin’ pursuit, determination and an against-the-odds struggle that found its rewards by bringing great music to the people.

A lot of people have taken notice of what A Thousand Horses is doing. There’s the Rolling Stone Country review, there’s an allegiance of fans in towns all around the South who’ve been digging on them for the past four years, and there’s been many in the Nashville music community who’ve been more than enthusiastic from their first listen.

Michael Hobby is a passionate frontman whose vocal style underscores the gut-level commitment he makes to the music. Bill Satcher and Zach Brown add honest, blues-fueled guitars that layer sweat and soul on top, while bass player Graham Deloach drives a steady, firm foundation underneath it all. Three “boho-chic backup singers” – as Rolling Stone Country referred to Kristen Rogers, Whitney Coleman and Brianne Angarole – round out the nine-piece band with a Southern Gospel/R&B authenticity and confidence.

Their identity is truly branded in the marshes and Bermuda grass of the region where they grew up. There’s a reason they call their album, Southernality. Whether it’s the Stonesy swagger of the opening “First Time,” the heart-felt country of “Tennessee Whiskey” or the thumping celebration, “Trailer Trashed,” the band has delivered an album that reflects the rebellion, attitude and heart that both the youth and working men and women of America live every day.

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