Andrew Duhon

There’s a mystical allure to the road. Both literal and figurative, it’s the blacktop and the connective tissue linking people, places, and cultures. For Andrew Duhon, it’s always been a path from the unknown toward possibility. He first packed into a Chevy Express van with scuffed amps, overflowing merch boxes, and a trio of musicians to share his songs with anyone willing to listen. For a young Duhon, the road bridged “No Man’s Land” to the “Promised Land,” connecting him with both the good ol’ boys in Beaumont, TX, and the artists in Bellingham, WA. But that journey isn’t weightless. Duhon writes songs that cost something to tell—honest, soul-baring stories that reach beyond entertainment. His music builds connection, healing, and recognition. His travels have offered a rare lens into the American landscape, and his songs reflect both his story and ours.

After years on the road, the pull of home grows stronger with each return to New Orleans. The potholes and politics are temporarily forgiven in favor of the familiar beauty of Louisiana, its culture, contradictions, and change. From this appreciation came The Parish Record, a snapshot of what it means to leave and return, with all the conflict and wonder that brings.

The Parish Record was recorded at Dockside Studios in Maurice, LA, tucked away along the Vermillion River in the heart of Cajun country. There, Duhon recorded with his trusted trio: Myles Weeks on bass, Jim Kolacek on drums, and Daniel Walker on keys. Longtime collaborator and engineer Justin Tockett, whom Duhon calls his secret weapon, shaped the sound in a space that felt like home. As Duhon puts it, “It wasn’t time to hit Nashville or try something new. It was time to believe in the songs from where the songs came from.” The result is a collection steeped in Louisiana’s sound and spirit, balancing heartfelt ballads, gritty rockers, and deeply personal storytelling.

The album opens both Side A and B with a gritty, distorted guitar. On Side A, it leads to “Waco Kool Aid,” a sharp take on today’s political groupthink. On Side B, “Shotgun Religion” reflects on Duhon’s Catholic upbringing and the militant entitlements it fostered. These songs are confrontational and vulnerable, capturing the contradictions of belief and identity.

The album softens into romantic, nostalgic ballads like “Hand Me Down Love,” “Girl From Plaquemine,” “Almost Forever,” and “Just in Case.” Each track is a musical homage to Louisiana, from jazz piano flourishes to Cajun porch picking and old-school country tones.

The most intimate song on the album, “Another House,” is a tribute to Duhon’s mother and her battle with dementia. In a quiet early morning session, Duhon recorded it solo, capturing the bittersweet acceptance of her fading memory as she searched for a home that no longer exists. The lyrics, gentle and brutally honest, paint a deeply moving portrait of love and loss.

A unique touch is Duhon’s first recorded cover, “Bayou La Batre,” originally by Jimmy Louis. Found in a dollar bin at an Alabama record store, the song fits seamlessly into the album’s narrative, capturing the emotional journey home.

At the center of the record is “Man on the Marquee,” a tribute to the traveling songwriter. Inspired by a college memory of seeing a troubadour perform at a dive bar, it traces the bittersweet beauty of life on the road. The song feels autobiographical, echoing Duhon’s own path as the performer who shows up, shares his soul, and moves on to the next town.

Wherever the road takes him, New Orleans follows. With all its quirks, politics, and pain, it’s also the source of Duhon’s clearest truths. The Parish Record is a heartfelt offering of place, memory, and identity, told through music that could only come from the bayou.

Sponsored by: Janet Hinkle