Holding the physical pressing of *Trouble Is*, the latest offering from Edmonton outfit The Prairie States, you can almost smell the diesel and stale beer of a long-haul tour. This is not just another collection of radio-bait tracks designed to climb the charts and disappear. It feels weighted. There is a grit here that only comes from years of grinding through the Alberta circuit, and the band—comprised of Mat Cardinal, Jeff Dick, Mike Nash, Jay Der and Doc de Groot—seems to finally be leaning into their own skin.
The title track, "Trouble Is," acts as the anchor for the entire project. It is a mid-tempo meditation on the fragility of the present. Jeff Dick, the band’s lead guitarist and often their most vocal philosopher, frames the song as a necessary reminder to slow down.
"The song itself is about appreciating those special moments because they don’t last," Dick says. "This album is a great snapshot of a moment in time for our band. The last few years summed up in a musical story."
But stories are rarely linear. To understand where The Prairie States are now, you have to look at the awkward adolescence of their 2018 debut, *Lost In The Right Direction*. Back then, they were a group of talented musicians still figuring out how to be a unit. The growth between that record and this one is staggering.
"When we released *Lost In The Right Direction*, we had just formed the band and hadn’t really found our sound yet," Dick says. "That record was put together at a time where we were just discovering who The Prairie States were."
And that discovery has paid off. With 11 Country Music Alberta Awards on the mantle, the band has moved past the "emerging artist" tag. They have become a fixture on the Canadian Country Chart, though their sound remains stubbornly authentic to their roots.
Take their single "Backroad (That 17 Summer)." On paper, it sounds like every other nostalgic country trope. But the execution is different. It has a shimmering, widescreen production that feels more like a cinematic memory than a simple radio hook. It’s the kind of track that demands a specific environment.
"When the song was pitched to us, we knew it would be a perfect summer driving song," Dick says. "Roll down the windows and turn it up!"
There is a vulnerability on this record that was missing from their earlier work. "Heart Was A Place" is perhaps the best example of this shift. It moves away from the bravado of the barroom and into something much more intimate. It’s a track that feels personal, not just to the songwriter, but to the five men playing it.
"The idea that the heart of the one you love could be a place was very intriguing," Dick says. "Each member of the band has someone special in their life and this song is a dedication to those ladies."
The sonic architecture of *Trouble Is* was largely shaped by producers Erik Dylan and Bobby Wills. These two are heavy hitters in the industry, and their influence is obvious in the way the guitars sit in the mix. However, there is a valid critique to be made that the production is almost *too* clean. While Dylan and Wills have created a polished, professional sound, one wonders if a bit more of the band's live dirt should have been left on the tracks.
"Both Erik and Bobby really helped to influence the record a lot," Dick says. "We always want to have our records sound like a band. When we play live, it’s five guys out there playing, and we want our songs to reflect that."
The road to this release was famously interrupted. Like every other touring act, The Prairie States found themselves sidelined during the pandemic. For a band that thrives on the collective energy of a room, the isolation was a technical and emotional hurdle.
"Part of the process took place during the pandemic," Dick says. "That was a challenge for the whole world but also presented unique challenges when it’s difficult to get into a room together and play music."
It’s moments like that that show you music can connect us in a really meaningful way.
But that forced downtime led to a significant shift in their business model. They transitioned from a scrappy indie outfit to a more structured professional entity. Signing with Willing Records and Sakamoto Agency changed the math for them.
"Trouble Is took us on a journey as a band," Dick says. "When we started it, we were an indie band doing it all on our own. We have been lucky enough to have signed with Willing Records and Sakamoto Agency since then and have a growing team around us."
The band’s identity is a "melting pot," a term Dick uses to describe the collision of their individual tastes. You can hear flashes of classic rock, 90s country and modern pop sensibilities fighting for space in the arrangements.
"The five of us in this band have many musical influences," Dick says. "One of the great joys of being in a band is that melting pot of influences."
One of the more bizarre chapters in their recent history involves a beer. Collaborating with Sea Change Brewing, the band launched Low Life Lager. It wasn't just a marketing gimmick; it became a way to navigate the social vacuum of the lockdowns.
"We ended up delivering it to those who helped us get through that mess, front-line workers, teachers, nurses, doctors, etc.," Dick says. "It became a real community builder and tribute to all of them."
And then there is the tech. While most country bands are content with merch tables and physical CDs, The Prairie States leaned into the digital frontier of NFTs. It’s a polarizing move in a genre that prides itself on being "old school," but they saw it as a way to future-proof their connection with the audience.
"Blockchain technology is a real game changer," Dick says. "Someday it will be a part of every industry, music included."
The band used the technology to offer exclusive artwork and access to performances, treating it as a digital fan club rather than a speculative asset.
"It was a fun and unique way to connect with our fans," Dick says.
Despite the digital pivots and the craft beer, the stage remains the primary focus. Watching them open for the likes of Brothers Osborne or Charlie Major, you see a band that is constantly taking notes. They are students of the craft, always looking for a way to sharpen their own set.
"There is no better way to connect with people," Dick says. "Each time you watch someone play you can learn something new and take it in and make it your own."
The songwriting has also seen a democratization. In the early days, the writing was internal and perhaps a bit insular. Now, they are opening the doors to outside perspectives, which has added a layer of sophistication to their storytelling.
"When we started the band, the songs on our first record were all written by the band members except for one," Dick says. "Over the years we have had the opportunity to expand our circle of co-writers and have worked with some incredible talent."
That commitment to the narrative is what keeps them tethered to the country genre.
"We are lucky enough to be in country music," Dick says. "This is the genre where storytelling is key."
Operating as a five-piece band is an exercise in ego management. It requires a level of compromise that would break most groups. For The Prairie States, the "collective" is the only thing that matters, even when individual creative impulses are strong.
"The overall vision for the band takes precedence over what might be one person’s idea," Dick says. "That being said, it is each person’s individual creativity that makes us what we are."
The payoff for that discipline comes in the form of fan loyalty. Dick recalls a specific instance involving their song "Waiting On You" that highlighted the impact their music has on a personal level.
"We recently had a fan send us a cover of ‘Waiting On You,’" Dick says. "It was a beautiful solo acoustic number and we all really dug it."
The fan revealed the song was the soundtrack to his relationship, even going so far as to ink the cover art onto his skin.
"It’s moments like that that show you music can connect us in a really meaningful way," Dick says.
Ultimately, The Prairie States are a product of their environment. You can’t strip the Alberta out of the music. The geography is baked into the tempo and the lyrics.
"This is the place where most of us grew up," Dick says. "The open prairies are celebrated in our name. You can’t help but be influenced by the beautiful place we are lucky enough to live."
As we move through 2024, the band shows no signs of slowing down. *Trouble Is* may be a snapshot of a moment, but it feels like the beginning of a much larger chapter. Keep an eye on these guys; they’ve finally figured out who they are.
