We Speak Music
Americana Singer-Songwriter Richard Daigle Releases New Single “Cajun Getaway”
A Tribute to Spontaneity, Memory, and Louisiana Roots
Americana artist and Louisiana native Richard Daigle is proud to release his latest single, “Cajun Getaway,” a heartfelt, roots-infused ode to spontaneous adventure and the culture that shaped him. The song was recently recognized as a semi-finalist in the prestigious International Songwriting Competition, affirming Daigle’s growing presence in the Americana songwriting landscape.
Rooted in Daigle’s Cajun heritage and inspired by childhood memories, “Cajun Getaway” captures the anticipation of a spontaneous road trip more than the destination itself. “I had the tune in mind before the lyrics,” says Daigle, “but as the writing process began, I found myself wanting to bottle that feeling of planning a last-minute escape — especially one steeped in the familiar joy of Louisiana’s rich culture.”
The track includes the evocative line:
“We’ll drive on down to the end of the world, we’ll know we’re there when we hit Grand Isle.”
For Daigle, Grand Isle isn’t just a geographic marker at the southern tip of Louisiana — it’s a touchstone from childhood, a memory of long drives to his uncle’s camp along a lonely two-lane road. “As a kid, it felt like we were driving to the edge of the earth,” he recalls.
“Cajun Getaway” joins Daigle’s earlier release “Cajun People” in celebrating Cajun culture, something that runs deep in his blood: both of his parents were Cajun, and their influence remains central to his music.
A retired writer/editor and communications specialist, Daigle is a self-described “late bloomer artist,” who released his debut CD in 2020. Now based in Chattanooga, TN, he performs across the Southeast, blending homespun stories, sly humor, and poignant reflections in a style reminiscent of John Prine, one of his greatest influences.
In fact, Daigle’s connection to Prine spans decades — from attending a packed bar show in 1977 to interviewing Prine in 1979 as a young reporter, and finally seeing him again on New Year’s Eve in 2016. That story inspired another of Daigle’s songs, “John Prine, A Friend of Mine,” which pays homage not just to Prine’s genius but to his humanity.
“Songwriting is how I process life,” Daigle shares. “I was blessed to be married for 34 years to Jan White Daigle, a beautiful soul who passed away in 2014. Since then, I’ve leaned on music — and the stories in it — to make sense of grief, joy, and everything in between.”
With “Cajun Getaway,” Daigle invites listeners on a musical road trip that’s as much about nostalgia and hope as it is about destination. It’s Americana at its most honest — unpolished, heartfelt, and deeply human.
In “You Never Do Shit,” Brooklyn’s Dead Tooth deliver a snarling, urgent post-punk single that distills their barbed energy into under four minutes of sharp-tongued wit and scuffed-up sonics. It’s a track that bristles with disdain—Zach Ellis’ vocal delivery is acidic, at times theatrical, and often more spoken than sung. There’s a punk rock immediacy here, but with the knowing wink of someone who’s watched the scene curdle and still wants to dance through the ashes.
The song began its life in a different medium—written for a fictional band on City on Fire—but the real-life iteration carries more weight. There’s a palpable satisfaction in Ellis’ decision to reclaim it, and that freedom seeps into every detail: the unkempt rhythm section, the jarring saxophone lines from John Stanesco, and the deliberate looseness that characterizes its structure.
Dead Tooth are at once participants and commentators in the culture they inhabit. Their songs are alive with noise, but also with intent—tracking the psychic hangover of nightlife, subcultural collapse, and underground scenes that burn bright and disappear too soon. Ellis’ lyrical observations land like tossed-off critiques, but underneath the smirk is something deeper, almost desperate: a desire for connection, even through chaos.
With their debut album looming, “You Never Do Shit” feels like a thesis statement. Not just of sound, but of ethos: reject slickness, embrace noise, tell the truth—even if it’s ugly. In a year when punk has mostly whispered or wandered, Dead Tooth has chosen to scream.
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