Jonny Fritz long ago established himself as a kind of reliable clown of country music, recording genuinely great songs that always toed the line of absurdity. A master of people-watching and zooming in on the funniest details of the mundane—the gravity of trash pick-up day, the characters that frequent a run-down motel, the consequences of a chilidog for breakfast—Fritz could spin any of life’s little scenarios into twangy gold.
After a nearly decade-long hiatus from releasing new music wherein he moved to L.A., became a realtor, had a child, survived the Eaton fire, helped shape a burgeoning music venue in Sonoma County, and continued his work as a prolific and gifted leather worker, Fritz returns with Debbie Downers, an album he plans to render four different ways with four different producers. As it always has, his music reflects an artist who wears many hats, and in its first iteration, Fritz dons the countrified sound he does so well.
