Ryan Bingham and Texas Gentlemen Bring Red Dirt Soul to Railbird

Sunday afternoon at Railbird Festival 2025, June 1, the Limestone Stage glowed under Kentucky’s golden light. Ryan Bingham and Texas Gentlemen stepped up, their boots kicking dust on Lexington’s Red Mile infield. The crowd, bourbon in hand, leaned in as Bingham’s gravelly voice cut through. His set, raw and unpolished, felt like a campfire tale. Fans swayed, singing along, lost in his tales of heartache and open roads. A bit leaner and sporting a new moustache, but still full of song.

A Road Warrior’s Journey

Ryan Bingham, born March 31, 1981, in Hobbs, New Mexico, grew up chasing rodeos across the Southwest. His rough-and-tumble life shaped his music, a blend of country, blues, and Americana. After moving to Austin, he formed The Dead Horses, releasing Mescalito in 2007. Later, he went solo, though he often tours with Texas Gentlemen, a Dallas-based band. At Railbird, Texas Gentlemen included Wes Bayliss (guitar), Daniel Creamer (keys), and Jeremy Menard (drums).

Bingham’s been linked to bands like The Dead Horses and toured with acts like Chris Stapleton. Meanwhile, his marriage to Anna Axster, his manager, ended in 2021, grabbing headlines. He’s kept his personal life quiet since. Additionally, Bingham’s role as Walker on Yellowstone brought him to TV screens, with his songs like “Wolves” featured. He also appeared in films like Crazy Heart, winning an Oscar for co-writing “The Weary Kind” with T Bone Burnett.

His awards shine bright. Besides the 2010 Oscar, Bingham nabbed a Grammy for Best Song Written for Visual Media. He’s also earned Americana Music Awards nods, though no Hall of Fame induction yet. However, controversy has followed him. In 2019, fans criticized his sparse tour schedule, blaming his Yellowstone commitments. Moreover, his divorce sparked tabloid buzz, with rumors of on-set tensions.

Biggest Songs:

• “Southside of Heaven”: Written by Ryan Bingham; a 2007 fan favorite from Mescalito.
• “The Weary Kind”: Written by Ryan Bingham, T Bone Burnett; a 2010 Oscar-winning hit.
• “Bread and Water”: Written by Ryan Bingham; a streaming staple from 2007.

Sunday’s Red Dirt Revival

Bingham ambled onstage, his cowboy hat low, guitar slung across his chest. The Texas Gentlemen followed, their energy loose yet tight. They opened with “Jingle and Go,” its upbeat twang sparking cheers. Fans raised their cups, swaying to the rhythm. Then, Bingham’s harmonica wailed on “Southside of Heaven,” a gut-punch of nostalgia.

His voice, weathered like old leather, carried every note. For instance, “Got Damn Blues” growled with raw emotion. Meanwhile, the band’s keys added soul, blending with Menard’s steady drums. However, Bingham’s stories stole the show. He spoke of rodeo days, his drawl warm and unhurried. As a result, the crowd felt like old friends.

I’ve photographed Ryan for over a decade, so, mid concert — here’s a friendly shot, and I’m pretty sure he wanted me to get a picture of his new line of bourbon. I looked for it over the weekend and couldn’t find it, so maybe he’ll have someone send me a bottle (or two).

Next, he played “Wolves,” a Yellowstone favorite, its lyrics heavy with defiance. The audience sang along, their voices rising over the infield. Yet, the set’s peak was “The Weary Kind.” Bingham’s delivery, tender yet fierce, hushed the crowd. Consequently, phones stayed down—fans just listened.

Surprisingly, no duets emerged, despite Yellowstone co-stars Lainey Wilson and Luke Grimes at the festival. Still, Texas Gentlemen shone, especially Bayliss’s guitar on “Bread and Water.” For example, his solo sparked whoops from the back rows. Meanwhile, the stage setup—simple, with a lone cactus prop—fit Bingham’s rugged vibe.

Kentucky’s Perfect Match

Bingham’s set felt tailor-made for Railbird’s bourbon-soaked spirit. His red dirt sound echoed Kentucky’s love for raw country. Moreover, his tales of wandering resonated with the crowd’s festival vibe. For instance, “Sunrise” had fans dancing, their boots scuffing dirt. However, some wished for more new material—his last album dropped in 2019.

The Texas Gentlemen added fire. Creamer’s organ swelled on “Hallelujah,” lifting the crowd’s energy. Additionally, their backing vocals harmonized seamlessly, especially on “Nobody Knows My Trouble.” Yet, the set wasn’t flawless. A brief mic feedback during “Dollar a Day” jarred the mood. Still, Bingham laughed it off, keeping the vibe light.

His connection to Yellowstone drew newer fans. Many wore show-themed merch, cheering loudest for “Wolves.” Meanwhile, longtime fans cherished older cuts like “Hard Times.” As a result, the set bridged generations, from college kids to gray-haired cowboys. Furthermore, Bingham’s nod to Kentucky’s music scene—praising Chris Stapleton—earned roars.

Moments That Lingered

Bingham’s performance was a study in authenticity. His weathered voice told stories no pop star could fake. For example, “Southside of Heaven” felt like a prayer under the Kentucky sky. Meanwhile, his banter—jokes about bad motels—kept things grounded. However, the set’s 75-minute runtime left some wanting more.

The crowd’s energy peaked during “Bread and Water.” Fans clapped along, their rhythm matching Menard’s drums. Additionally, Bingham’s harmonica solos added grit, especially on “Hippie Radio.” Yet, the lack of an encore disappointed a few. Still, his final bow, hat raised high, felt like a promise to return.

Railbird’s setting amplified the magic. The Red Mile’s infield, framed by horse tracks, suited Bingham’s drifter aesthetic. Moreover, the bourbon tents nearby echoed his songs’ whiskey-soaked themes. As a result, his set felt like a homecoming, even for a New Mexico native.

A Drifter’s Legacy

Ryan Bingham’s Railbird set proved he’s still a force. His music, born from hardship, speaks to the heart. For instance, “The Weary Kind” carried the weight of his Oscar win. Meanwhile, his Yellowstone role keeps him relevant, drawing fresh ears. However, his core fans love the old stuff—Mescalito cuts hit hardest.

Looking ahead, Bingham’s working on new music, hinted at in recent interviews. His tour continues, with festival slots through summer. Meanwhile, his Yellowstone role may grow, tying him to TV. Yet, live shows like Railbird define him—a troubadour with a guitar and a story.

As fans left the Limestone Stage, they swapped tales of favorite songs. Some clutched merch; others hummed “Southside of Heaven.” Bingham’s set lingered, a reminder of music’s power to ground us. For Lexington, he was the drifter who felt like home.

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