Clarence Tilton, the Omaha-based band known for its sharp storytelling and harmonies to match announces the release of their latest album, Queen of the Brawl. The record features collaborations with country icon Marty Stuart and Presley Tucker (bandmate and daughter of the legendary Tanya Tucker). It weaves together personal history, road-worn experiences, and a love of place into a collection of songs that “blends alt-country grit, rich, melodic hooks, and evocative storytelling, offering a fresh take on the American experience.” (The Country Note)
Recorded at ARC Studios in Omaha (a staple for Midwest Americana and indie artists), Queen of the Brawl follows two previous full-length albums (Start Already Lost [2019], Clarence Tilton [2015]) and an EP (Word Rolled In [2018]). Built on their alt-country foundation, the album captures Clarence Tilton’s ability to balance raw musicianship with evocative storytelling. The album weaves together heartland imagery, the resilience of small-town life, and the weight of history, all wrapped in the band’s signature harmonies and lived-in sound. With “moments of ragged, rumpled charm and red-hot guitar picking” (MusicRow), the record is as much about feeling at home as it is about being on the move.
“Americana programmers take note.” — Bob Oermann, MusicRow
“This band actually restored my faith in new music.” — iHeart Radio’s Dwight Witten
An Album Rooted in Place and Perspective
The 11-track album is a narrative-driven collection shaped by lived experience, family history, and a reverence for the American landscape.
● “Fred’s Colt” (feat. Marty Stuart) – “‘Fred's Colt’ is more than just a song; it's a statement — a declaration of Clarence Tilton's rightful place in the canon of modern Americana.” (Broadway World)
● “Flyway Cafe” (feat. Presley Tucker) – “Clarence Tilton and Presley Tucker’s duet ... is a love letter to small-town America, nostalgia, and the soulful weight of home.” (The Grateful Web)
● “Bongos” – A high-energy, rhythm-driven anthem about rolling through life without a plan — backed by a whirlwind of percussion and an unrelenting pace.
● “Ray’s Stockyard Stomp” – A twang-heavy instrumental named after frontman Chris Weber’s grandfather, a South Omaha stockyard hauler who WAS the King of the Road.
● “Float” – A tribute to rivers across Nebraska (with a couple from Michigan thrown in), with thanks to gravity and time.
● “Friant” – Inspired by a frantic trip through a Rocky Mountain windstorm, this track is a beautiful, contemplative road song.
● “247,459” – Named after an odometer that stopped counting but kept rolling — a song about getting older and pushing forward anyway.
● “Sorrow and Sail” – Written on a plane ride over the Missouri River in Eastern Montana, contemplating dangers posed by each.
● “Pretty Things” (feat. Presley Tucker) – A timeless, easy-going song made for long drives, with your hand out the window, riding the wind—floating, dipping, and soaring like a paper plane on the open road.
● “St. Joseph’s” – A late-night teenage memory, sneaking into a small-town church to crank out bad Allman Brothers covers on an old Thomas organ.
● “Our Love Rings True” – A slow-dance ballad in a wide-open barn, dusty floors beneath your feet, string lights overhead, and a head resting on a shoulder — like no one else in the world exists.
Each song on Queen of the Brawl is built on a real moment, a real place, or a real story, blending high-energy stompers with contemplative ballads, all anchored by the band’s signature harmonies and lived-in sound.
A Defining Moment for Clarence Tilton
Since forming in 2014, Clarence Tilton has built a reputation for authentic, unvarnished songwriting and powerful live performances. They’ve shared stages with Lukas Nelson & Promise of the Real, Hurray for the Riff Raff, The Lone Bellow, and Marty Stuart, steadily carving out their own lane in Americana.
“I loved this song the moment I heard it. It is a breath of fresh air, real writing.” – Marty Stuart on “Fred’s Colt”
With Queen of the Brawl, Clarence Tilton refines their signature sound while pushing into new territory — further establishing themselves as one of the most compelling acts in modern Americana.
