From Oklahoma City to Texas Stages: Redd Faye Steps Forward With “Everyone But Me”

HH Blackbirds is introducing a new voice with serious firepower. Redd Faye, a powerhouse singer with a sound that can feel like the meeting point between classic rock grit, soulful swagger, and country storytelling, is set to release her debut single “Everyone But Me” on March 20th via Jason Edmonds’ Equatr Music Distribution.

It’s the kind of artist introduction that makes you do a double-take. If someone asked you to imagine a vocalist carrying shades of Sheryl Crow, Stevie Nicks, Janis Joplin, and Tina Turner in one breath, you might call it impossible — until you hear Redd Faye. Her arrival doesn’t feel like a trend-chasing debut; it feels like a long-brewing moment where a voice that’s been forged through experience finally gets its turn in the spotlight.

For Redd, the release is about more than a single. It’s about the story behind the sound — and the emotional reason she makes music in the first place. “Life is a challenge. And then there’s music,” she shares. “A bond that can bring pure joy, comfort, or inspiration. This is the hope and heart of my debut album. ‘Everyone But Me’ brings an energy and a message for itself, the writer, Patricia Goldberg, and I instantly knew it!”

Those close to the project speak about her presence with the kind of certainty you can’t manufacture. Hamza Lee describes her as “a producer’s dream,” adding that she’s his “ambassador to the world of country music,” praising her “why-not energy” and her ability to “convert skeptics into believers.” It’s a bold claim — but Redd’s path suggests she’s built for exactly that kind of impact.

Music, after all, isn’t something she discovered late. It’s something she grew up with. Born in Oklahoma City and raised in Boulder, Colorado, Redd remembers a childhood where the house was never quiet — her mother singing throughout the day, her father moving through a vinyl collection of nearly 7,000 albums. “At some point in the day, we always heard a mini concert,” she reflects. The soundtrack stretched across generations and genres: Ella Fitzgerald to Miles Davis, Michael Jackson to Dan Fogelberg — a musical education that didn’t just shape her taste, but shaped her ear.

With African American and Native roots (Seminole Nation), Redd’s relationship to rhythm and storytelling carries a distinct cultural depth. Her great-uncle, Stoney Edwards, is credited as one of the first Black musicians to make a true impact in country music — and while he hoped one of his children would carry that torch, it would ultimately be his niece who stepped into that lineage.

After high school, Redd’s uncle helped sharpen her craft, teaching her the fundamentals of singing — breath control, song structure, and melody-building — and pointing her toward artists like Crystal Gayle for inspiration. She later relocated to Texas, where she joined a band performing country staples from The Judds, Tanya Tucker, and Reba McEntire. One standout moment in their set became a signature: a special cover of “I Will Always Love You,” with Redd opening in the tenderness of Dolly Parton’s version and closing with the powerhouse finish of Whitney Houston’s.

Her talent didn’t go unnoticed. She earned the Best New Country Artist Award at the Texas Country Music Awards at Billy Bob’s Texas, and became known for delivering covers with a rare kind of authority. But eventually, she began writing — searching for her own sound, her own language, her own place in a genre that can be both welcoming and restrictive.

Redd also chose to move without leaning on her family name, keeping quiet about her famous connections and navigating the country scene simply as a new artist trying to earn her space. But as race, gender, and age politics began to seep into the experience, the road grew heavier — and those realities, rather than breaking her, deepened her songwriting.

Now, as she prepares the release of her self-titled project, Redd Faye is positioning herself as an artist who refuses to be boxed in. Her music pulls at the heartstrings of country, but it’s also layered with passionate Native percussion, the edge of rock, and the smooth soulfulness of r&b — a blend that feels less like genre fusion and more like honesty. At her core, she’s an artist who never played by country music’s rules — and now she’s ready to rewrite them.

“I really just want to connect with every person who presses play on my music,” Redd says. “When I stand in the studio, I am thinking about reaching out to them.”

With “Everyone But Me” arriving March 20th, that reach is about to get a lot wider