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With The Future Ain’t What It Used To Be, Bleu Edmondson’s long-awaited follow-up to 2007’s critically acclaimed Lost Boy, the southern-fried country rocker embarked on a search for truth, stripping back layers of regret, loss, and longing to uncover a renewed, albeit somewhat painfully soul-baring, view of himself and the world around him. He dug deeper into what the music meant to him as a musician, a writer and a man. “Writing is like holding up a mirror to those darkest corners of our lives that we keep hidden,” confides the raspy-throated singer. “It’s not always a pretty reflection, but it’s real and it matters.” The collection of songs ministers to the saint and the sinner in each of us. It is an amalgamation of those touch points and influences that give us permission to question, confront and raise a little hell on Saturday night. Bleu’s early years were spent focused on sports rather than music. He picked up a guitar for the first time during his college years, learned a few chords and his future was set. Bleu soon discovered that some of his favorite musical acts – Robert Earl Keen, Radney Foster, Uncle Tupelo – shared a common thread: Lloyd Maines either produced or played steel guitar on their recordings. A short time later, using a tape player in his dorm room, Bleu made guitar/vocal demos of some of his songs and sent the tape to Maines. Quickly recognizing the raw talent on that homemade cassette tape, Maines contacted Bleu and ultimately became his producer. The pairing made two records together – Southland and The Band Plays On – and Bleu credits Maines with giving him his start in the music business.