Country star Jason Blaine recently took the stage in Brandon, bringing his signature sound to The Great Canadian Road Trip 2.0 tour. A multiple CCMA, SOCAN, and CMAO award winner with over 20+ radio hits, six full length albums, over 25 million digital streams, Jason has built a strong presence in the country music scene.
Following his concert, I had the chance to chat with Jason about his journey in music, the future of his songwriting, and what’s next for him.
Q: You've been busy on your tour with The Great Canadian Road Trip 2.0. How's it been treating you?
It's been a great time. We've been having a blast going across Canada on The Great Canadian Road Trip 2.0 with Jason McCoy and Chad Brownlee.
Q: How was your concert in Brandon?
It was a great show—we had such a great time in Brandon. The fans were incredible, and we absolutely loved it.
Q: I’ve got a few questions lined up, but feel free to take the conversation wherever you'd like. To start, what are your plans for this year?
My plans for this year are to release a bunch of new music. I’ve got a new record that's essentially done. It’s really a follow-up to my single The Road That Raised You Up and Boy Mama. Those songs will be on the record, along with a bunch of new songs. I’m really excited to get that music out. We've got more shows lined up; we got this tour of course. I’ve got a big show on August 30 in Ontario called Sauble Beach Country Fest.
I also have my charity golf event happening in June, and I’m excited about that.
Beyond that, I’d love to carve out some time to get back in the studio and work on more music in the vein of Diamonds in the Desert. That album leaned more into traditional roots, country, and blues, and it’s one of my favourite records I’ve done. I worked with my pal Jay Tooke on it, and I’d love to record more in that style—it’s not necessarily commercial country radio-type stuff, but more traditional roots, even Americana, blues. It’s shaping up to be a pretty cool year.
Q: How did your golf charity initiative come to life?
It started in 2013 when I began attending charity golf events, including one hosted by my friend Gord Bamford. It was a really cool event, with NHL players and country artists coming together for a great cause.
That experience got my wheels turning, and I thought, I’d love to do something like this in my hometown. So that same year, I launched my own event, with Gord as my first guest.
Now, a decade later, we’ve raised over a million dollars for local charities like the Boys and Girls Club, the local hospital, and the Robbie Dean Mental Health Crisis Center.
Q: Your music journey took off during your college years. Can you tell me more about how it started?
I grew up in Pembroke, Ontario, and had a band in college while attending Algonquin College in my hometown. My band included my dad on bass, my brother on drums, and two other local musicians. We played whenever we could—different local events—that’s how it all started.
My dad still plays. He turned 70 this year and is still part of a local band in Pembroke, and I jam with him whenever I get the chance.
Growing up, I watched my dad’s band perform, and he taught me how to play guitar. We still share a mutual love for The Eagles. He introduced me to them—they were his high school band, and when they reunited in 1994 with Hell Freezes Over, they became my high school band too.
There are so many similarities between The Eagles and modern country. They’re just the best. We used to jam to Take It Easy and Peaceful Easy Feeling around the campfire. I grew up camping a lot, and there would always be a group of guys around the fire with acoustic guitars and a six-pack of beer.
Q: You once mentioned that you used to write up to 200 songs a year, but only a few made it to release. Has your songwriting process changed over time?
Yes, I don’t write that much anymore, but at the time, I probably was writing five days a week, sometimes twice a day. So, yeah, I wrote a lot, but you could only release a few per year to radio or elsewhere. Now, I write less, but focus more on recording and releasing. A lot of it was the 10,000 hours rule—constant writing makes you better. Not that everything I write today is great, but it’s better.
Now, I just try to write with more intention and purpose. I save up ideas and write when I think they’re strong. I still collaborate with other artists when they reach out for projects, but in recent years, my focus has been on writing for my own career and releases.
Q: Would you say that's because you've gotten better at writing, or why has it changed?
Yes, I think so. You improve over time. And honestly, I’ve put out a lot of music already. I’ve covered a lot of ground thematically and subject-wise, so I don’t need as much new material. I already have a solid show with songs people know. Now, it’s about adding really strong songs rather than writing just to write.
Q: Yeah. When you write songs, what is the hardest part—the part that takes the most time and effort?
Songwriting is like solving a puzzle—you first need a great idea, then put all the pieces together to make sure you write it in the best possible way.
Then, there’s the recording process. You want to serve the song in the best way and really bring it to life. I enjoy it all. It’s really fun.
I call it the circle of the song. First, it starts with writing—bringing something brand new into the world from nothing, from a blank sheet of paper. That’s exciting. Then, in the studio, you bring it to life. It evolves beyond a rough demo and takes on a real character. And when it reaches fans—whether on Apple Music, Amazon, YouTube, or radio—they start to connect with it. And finally, the last and most important part: when you perform it live and hear fans singing along. Then the circle of the song is complete.
Q: Is there a song in your catalog that means something different to you now compared to when you first wrote it?
I’d say Dance With My Daughter. When I first wrote and released it, my little girl was nine or ten years old. Now, ten years later, she’s 18 and off to college. The lyrics definitely hit differently now.
As she moves on to college, and as my other daughter grows up too—it really resonates in a new way. She was just three or four when we did the music video.
And then, I think certainly They Don’t Make Them Like That Anymore. You know, at the time we shot that music video—that was way back in 2012. Since then, both my grandparents have passed away and gone to be with the Lord in heaven. So now, singing that song night after night hits a little different. But it’s still special. It’s still a treasured memory.
Q: If you could only listen to three albums for the rest of your life, which ones would you pick?
I would pick The Eagles’ Greatest Hits, John Mayer’s Continuum, and George Strait’s Greatest Hits.
Q: You’ve worked with some really amazing artists. Is there someone you would love to collaborate with in the future?
I’ve been lucky to collaborate with one of my all-time heroes, Steve Wariner, and we’ve been talking about writing together again this year.
There are so many artists I’d love to work with. A dream collaboration for me would be Ryan Adams - I don’t think he’d ever do it, but he’s one of those guys who could come to Nashville and write with anyone. That would be incredible.
Another would be Vince Gill. I’d love to have him on a record, maybe playing guitar or even writing and picking some with me.
Q: What’s the best advice another artist has ever given you?
Oh, good question. Best advice another artist has given me…
Steve Wilkinson of The Wilkinsons told me years ago:
"Everything’s already been done. Every subject has been covered, every idea has been sung about. The only thing that matters is how you do it."
Just because someone wrote a hometown or breakup song doesn’t mean you can’t. It’s all been done—but not your way. That was his point.
Q: If you could give one piece of advice to your younger self, what would it be? Let’s say ten years ago.
I would have taken more time deciding what to release first.
Your first songs shape how the public sees you as an artist, so you have to be mindful of that. I had a few early hits that were fun and got me on the road, but they didn’t fully represent who I wanted to be. Luckily, my career lasted beyond those first songs. But if you’re a one-hit wonder, you better be sure it’s the right hit. I’m proud of all my music, but my advice to new artists would be: Your first releases define you, so choose wisely.