Texas native Drake Milligan’s latest album, Tumbleweed, arrives as the seasoned traditionalist is growing as comfortable with a globetrotting slate of arena tour dates as he is in confidence with his well-regarded skills as a crooner of songs and composer of music.
“It’s a record that, because it takes chances and has so many different influences, is the type of album I always wanted to make,” Milligan says.
The artist, 27, who appeared on “American Idol” in 2018 and “America’s Got Talent” in 2022, has grown past those successes and time as a teenage prodigy cast as Elvis Presley in CMT’s 2017 TV series “Sun Records.” He’s now a performer sharing a billing with Brooks & Dunn at 2026’s European C2C mega-festival, following a 2023 No. 1 hit at Canadian country radio (“Honky Tonkin’ About” with The Reklaws).
Beyond also sharing stages with artists including Lainey Wilson, Luke Bryan, and Blake Shelton, he’s also set to evolve into a headlining country artist.
His latest album shows how Milligan has used a decade of worldwide exposure to develop a sound that very effectively uses country music’s numerous traditions to navigate a clear path to modern era renown.
At present, that looks like gleaning inspiration from four decades of country superstars including George Strait and Cody Johnson. Similar to those hitmakers, he understands how to write, sing, and play on recordings that are rooted in Texas’ classic stylings, but also appeal to Nashville’s industry and fans around the world.
Growing up in the Dallas area, Drake and his brother would help work the family scrap yard business on weekends. The story goes; Drake was often nowhere to be found as he either had a guitar in his hands, was enjoying the outdoors, or listening to his favorite country heroes. “Blending the attitude and flavor of Texas’ identity with the gift of Nashville’s musicians, songwriters, and recording studios creates a sound that, whether you’re playing it in an arena or honky-tonk, makes records stand out in a big way,” Milligan says.
Alongside album producer Trent Wilmon (2024 CMA award-winner for Cody Johnson’s “Leather”), he’s able to create songs that appeal to “true, long-term country music fans,” as well as a multi-generational fanbase who use his work to introduce themselves to artists who influenced Milligan, including Country Music Hall of Famers like Presley and Strait, plus Merle Haggard and Marty Robbins, among others.
In the studio, Milligan, Wilmon, and a standout band of ACM and CMA award-winning musicians like fiddle player Jenee Fleenor, made what the artist describes as “true Texas country” that “trusts” the history of its influences.
Songs that stand out on Tumbleweed include the title track. Milligan’s stylings are informed by his current schedule, where he’s gone from home roughly 75 percent of the year. The song features seasoned contributors Bobby Pinson, Cam Newby, and Ian Christian as co-writers.
“Because (the schedule) starts to make you feel like you’re being blown around in all directions, you need the structure of a band, family, team, and support system around you who are as great as professionals as they are as people,” Milligan says.
As well, via songs like “Lonely 30” and “How Much Beer,” the album reflects how Milligan is diving deeper into how his voice and band engage with soulful balladry and timeless, stage-ready party anthems. Jazzy chords reminiscent of Floyd Cramer’s piano playing on Patsy Cline’s crazy define the former. The latter arrived as the result of looser moments he’s had onstage with his band in the past few years.
Songs like the ballad “Good As Gone” and Western swing-inspired anthems “Goodbye Ain’t All That Bad” and “Talk Texas” are lyrically and melodically influenced by country hits of yesteryear. However, the songs’ timelessly lovelorn and enjoyably familiar stories still resonate with modern listeners.
In general, Milligan cites both growing as a composer and arranger as well as discovering how to create deeply powerful emotional ties with the listener as where his artistry has grown the greatest on his latest album.
He’s confident that his latest work showcases how his artistic maturity has begun to advance in measure with mirroring, then advancing performances at the highest pinnacles of country music’s numerous traditions.
“Similar to what Bob Wills says, my songs feel like ones that go away for a while then find their way back.”