Conversation with Andrew Hyatt about "L Is For"

Andrew, it’s a pleasure to have the opportunity to discuss your EP “L Is For.” To kick things off, could you share the inspiration behind the title “L Is For” and what it signifies in the context of this EP?

Thanks for taking the time to discuss this EP with me! The title itself comes from one of the tracks off the EP. I felt that in order to understand the scope of this EP (which we’ve sort of been calling the divorce EP amongst the team) you have to know the story fully. “L is For” sets the tone and gives the listener the information they need to understand the subject of the EP.

“L Is For” is described as a collection of acoustic tracks that delve into your experiences with separation and betrayal. Can you walk us through the creative process and emotions that fueled the making of this EP?

This EP really was just weekly therapy. I sat with a couple of my favourite writers (Emily Reid and Adam Wheeler) and I talked through the emotions I was having week after week. It is just the process of me coming to terms with my marriage ending and all of the feelings that washed over me and how I then turned them into songs.

The EP showcases a more personal and vulnerable side of you. Was it challenging to bring these intimate experiences into your music, and what motivated you to share them with your audience?

I think (sadly) I’ve always been at my best in heartbreak musically. There’s something about being at the bottom that lets me write with vulnerability. I wasn’t sure that these songs would ever be released, I intended to write them as a way to cope with my heartbreak. Only after I had written and recorded them was I encouraged by my team to release them as the stripped-down versions that they now are.

Collaboration plays a significant role in the music industry. How was the experience of working with producer Derek Hoffman on “L Is For,” and how did his influence contribute to shaping the acoustic sound of the EP?

Derek and I have known each other for years and have been artist/producer dynamic, friends and bandmates throughout it all. When it comes to these really personal songs it makes it easy to work with someone who has watched me go through it all. Derek always understands the vision and goals for the songs and does a great job at giving them life. A lot of times I bring him pieces of a puzzle and then he puts them together and makes it all make sense.

Can you share any behind-the-scenes anecdotes or interesting stories from the recording process that fans might find intriguing?

Our goal in both the writing and recording of these songs was to “make it hurt.” We kept takes that had “feeling” over perfection. It was also a very emotionally charged environment that felt like reliving all of the trauma over again.

The Country Mixtape Tour in 2024 sounds like an exciting venture, especially with fellow Canadian country stars Shawn Austin and Tyler Joe Miller. How does it feel to co-headline this tour, and what can fans expect from your live performances?

This tour is going to be a blast. The three of us are all friends and love to have a good time. There’s so much great energy and music between us that I can guarantee the fans will have an unforgettable experience.

As you reflect on your journey in the music industry, what aspects of your growth and evolution as an artist do you believe are most evident in “L Is For”?

I think this record is above all else for me. When you start creating music as a kid, it’s 100 for yourself, then somewhere along the way it becomes a job and pressures mount as well as outside influences. It feels like I’ve come full circle on this piece of art.

“Four Good Years” received a CCMA nomination for Album of the Year. How does the experience of creating “L Is For” compare, and do you find your approach to storytelling has evolved since your previous work?

A) The process for these two records could not have been more different. I’m incredibly proud of the Four Good Years record! Working with Scott Cook aka Scotty Chops is always fun and he’s a great producer and friend. We built the Four Good Years record remotely with all of us recording our parts in different places. It was the first record I did post-vocal surgery, so it was a true rebuild and it gave me my confidence back. It would be almost impossible to compare the two records because the intention was so different with each of them. I’ve always been of two heads and two hearts in music… the full band music and then the stripped-down music.

Being recognized as the 2022 CCMA Rising Star and receiving multiple CMAO Award nominations, how do these accolades influence your creative process and the expectations you set for yourself with each new project?

I’m always grateful for recognition and support within the industry. I try to take a moment to reflect on that sort of stuff but overall I try not to let it distract from my focus. As an artist, the goal is to create art you are proud of and assign value to it yourself. The second you create art and then allow others to tell you its value, you start to fall apart… at least that’s been my journey.

Looking beyond the EP, what aspirations and goals do you have for your musical career, especially considering the acclaim and success you’ve achieved in the past few years?

Slow and steady has always been my way. I’m fortunate to have had people believe in me in all stages and I’ll keep going as long as I can.