Blues Music Blog & Promotion

With a debut album that refuses to be boxed into a single genre and a musical philosophy shaped by everything from Berklee College of Music to his time in the Army, Jason Patrick X arrives with a sound that’s both studied and instinctive. His approach to songwriting leans into emotion over formula, and his ability to intersect rock, blues, and unexpected influences keeps his music authentically unpredictable In this interview, he discusses the moment that ignited his songwriting ambitions, the lessons he’s carried from his military career into his music, and the personal mission driving his creativity. Whether you’re a fan of guitar-driven anthems or curious about the mindset of a musician crafting his own lane, this conversation is one to read.

Jason Patrick X, welcome to A&R Factory! With your debut single and album set to make waves this year, there’s a lot to unpack about your music, background, and approach to songwriting. We’d love to explore what has shaped your artistry and what listeners can expect from your upcoming releases. 

Absolutely. I appreciate you giving me the chance to do that.

You’ve been playing guitar for three decades and started taking songwriting seriously about ten years ago. What was the turning point that made you shift from playing to writing, and how did your approach evolve over time? 

You know, there was a moment that I remember at a young age, around 13 or so, where I heard an uncle of mine playing a song he had recorded on a cassette in his car. He ran a recording studio out of his garage. And I thought to myself, “I think I could do that.” But I guess the idea had to marinate in my brain for a couple of decades before I finally tried it. There was one fateful day, when I was at my brother’s house for a birthday party. He’s a computer guy, and he was showing me this new software he just picked up called Fruity Loops. It was my first exposure to recording music on a computer. He showed me the basics of how to navigate the software and map out instrument sounds, then I completely disappeared from the party for a few hours. When I finally emerged, I had composed a complete sketch of a song. That was the moment when I figured out that I had something to say that needed to come out.

It took quite a few years of dabbling in it when I had time, realizing that I didn’t really know what I was doing, and enrolling into the Berklee College of Music for four years so they could help me discover myself and develop into the songwriter and producer that I am today. I am a firm believer that Mastery is a goal that is always just out of reach. It’s not a destination where you finally arrive. There’s always another level, a new thing that you can learn, a new skill that you can acquire. I am infinitely better in all aspects of music today than I was four years ago. This is only the beginning of that evolution. I imagine that in four more years, I’ll be making that same statement about today.

Rock and Blues are at the core of your sound, but you’ve played across multiple genres. How do those varied influences manifest in your music, and do you consciously lean into certain styles, or does it happen naturally 

This will be an interesting answer. There was a time when I thought that those genres needed to be kept in separate buckets. Like, today I’m a blues guitarist, tomorrow I’ll be a Latin musician, and next week I’ll be a metal guy. But the more I learned and experimented, the more fascinated I became with the bleedover between these various styles. And I think it is really cool having so many different angles that I can look at the same thing. Maybe see what this gospel progression might sound like pushed to 10 on a screaming hard rock guitar. Or, hey, I wonder what it would sound like mixing a Reggaeton beat with Texas Blues?

There are times when I make those conscious decisions just to push my limits and do some experimenting. But when I get into a track, things happen a lot more organically. Everything I do, I try to do in service to that particular song so that my audience feels something through my music. Many times, I’ll find those influences from other genres slipped their way into a song I was working on after the fact for that very reason. But at the end of the day, if you listen to one of my songs and don’t feel something, as far as I’m concerned, I failed.

As a retired Army Soldier, did your time in service impact your songwriting, either in terms of discipline, perspective, or even the stories you tell in your lyrics? 

Oh, most definitely. The Army taught me a lot. They trained me to pay attention to small details while still keeping the bigger picture in mind. They also taught me how to adapt to changing circumstances since life is always a dynamic thing that you can’t predict. I think all the things I learned in the Army play a role in how I approach music. But more than anything else is a “you don’t stop until the mission is complete” attitude. That’s the whole reason I now have three college degrees, and I’m set to release my debut album. I feel very confident that as my listeners start absorbing my music, they will find nods to my time in the military in the lyrics. What can I say, the Army played a major role in who I am today in all aspects of my life.

You recently completed both a Bachelor’s and Master’s degree in songwriting from Berklee College of Music. What was the most surprising lesson you learned about your own songwriting process during your studies?

Yeah. There were so many takeaways from that experience, but I’ll give you two. One that was echoed by almost every professor I had was, “It’s tools, not rules.” Whether it’s music theory, scales, chord progressions, or whatever rigid thing, you sometimes get too wrapped up in trying to do things the “right way.” We tend to take that to mean following all the rules, which invariably make things too formulaic. This takes all of the soul out of a song. And akin to that was something I know I heard from Prince Charles Alexander, Bonnie Hayes, and Valerie Orth during my time at Berklee. You walk away from Berklee having all this newfound knowledge forgetting that simplicity is where it’s at. Attending Berklee makes you feel like you now have to impress the world with this newfound enlightenment by cramming every little thing you’ve learned into every song you work on.

What I had to keep drilling into my brain was that learning all of that technique is only the first step. That’s learning what the rules are. The second step is, now that you know the rules, you also know how to break the rules, which is the essence of “it’s tools, not rules.” And then the bigger part is that we are making these songs mostly for people who aren’t professional musicians. That’s the people we are servicing, people who just love music. If you make things too complicated by cramming too much into a song, all you’re doing is making the song too complicated for someone other than another musician to enjoy. In other words, the simpler, the better. And if you think about it, it’s true. Most of the biggest hit songs over the last 50 years masterfully employ some of the simplest things to make the most memorable songs ever. And that, amazingly, is one of the hardest things for us as songwriters, musicians, or any creative person to do. Know when to not use that cool guitar riff or drum part that you’re so proud of because it’s actually making the song worse.

With two teenage sons who are also looking to pursue music, what’s the most valuable piece of advice you’ve given them about navigating this path, especially as someone who’s lived through multiple phases of the industry?

What I try to impart to them is to always remember why you’re doing this. It’s your passion. It’s what drives you. Because there are going to be obstacles, problems, people who tell you no, times when you want to give up, and situations where you have to get creative to get out of life what you want. But if you always remember that burning fire inside you to make other people feel something through what you do, it will be what motivates you when you want to give up. In other words, never forget your “Why.” The reason why you have to do this thing. The reason why it is the only thing you can see yourself doing with the limited time you have on this spinning rock we call Earth.

Metallica, Prince, Queen, Michael Jackson, N.W.A., Stevie Ray Vaughan, and Jimi Hendrix are just a few of the artists who have shaped your musical DNA. If you could sit down with any one of them for a conversation, who would you choose, and what would you ask?

Since a lot of them are dead, any one of them could explain to me what happens after death, lol. No, seriously, I would have loved to sit down with Prince before he died. That guy was such a Renaissance man when it came to music. He was extremely skilled in most of it. Something I aspire to myself. I would love to sit with him for a day and have him explain his creative process to me as he was doing it in real time. I think that would have been eye-opening.

Having spent most of your life in South Louisiana, how much does the local music scene and culture seep into your sound, and do you see yourself as a reflection of that musical heritage?

As far as the musical aspects go, without a doubt. From the great musicians that came from Baton Rouge, where I’m from, to the sweet sounds of New Orleans. My grandmother is from the New Orleans area, so NOLA and the sounds of its music scene down Frenchman Street, at Tipitina’s, and just on street corners in the French Quarter have always inspired me and soothed my soul. It’s a very unique sound unto itself. Nothing is quite like New Orleans Blues, Jazz, or even New Orleans Bounce, for that matter. Obviously, I have a lot of influences from a lot of areas, but I think it all started with the sounds of the bayou. I’ve even had people tell me that they had a feeling I was from Louisiana just by the way I play guitar.

With this being your debut album, do you feel a sense of freedom in introducing yourself on your own terms, or do you feel pressure to establish a particular identity from the start?

Freedom definitely. And I have Berklee, and more specifically Patrick Ermlich, to thank for that. What they helped me do was define my musical vision and then turn that vision into an entire brand image. I’ve actually never been more sure about who I am as a songwriter, musician, producer, or artist than I am right now. As far as I’m concerned, the identity, as it exists right now, is solidified. Now, it’s just a matter of people discovering it. I consider myself to be the next iteration of the Gen X sound. I think it takes an actual Gen Xer like me to truly capture the essence of the experiences my generation lived through. And there just aren’t enough new artists out there servicing us and what we grew up on. So I almost feel as if it’s my obligation to bring my fellow Gen Xers and those who are Gen X adjacent something familiar, but in a new way. And the best way to see what that embodiment looks like is to check out my website. I’m not in any way, shape or form a web designer, lol. But I spent a whole lot of time figuring out how to put one together. And I ended up with a product that I’m proud to say I created. So go check it out at www.jasonpatrickx.com. And sign up for my newsletter so you can stay on top of what’s going on as this story unfolds.

Looking beyond this album, what are your bigger ambitions in music? Do you see yourself continuing to push your sound in new directions, or is there a particular musical goal you’ve always had your sights set on? 

I actually already have plans in the works for a second album that I’m hoping to have ready in 2026. I would like to follow up this initial project with more material that will help further define my sound to my listeners. I imagine there will always be some element of guitarwork in what I do. It has been one constant throughout my life. But I do want to push myself. One thing we can always depend on is change. Nothing ever stays the same. And even though I’ve been around for a while, I still want to see who I am as an artist and songwriter continue to evolve over time.

One other area where I see myself doing that is in the sync space, writing music to be synchronized with live action. You know, like movies, TV, video games, ads, etc. If you think about it, the movie by itself is not half as exciting as the movie synced to some dramatic piece of music that accentuates what’s happening. I find that to be a fascinating way of mixing artistic mediums, and I want in. Stream Jason Patrick X’s album on Spotify from March 14. Until then, connect with the artist via Instagram and Facebook.

Interview by Amelia Vandergast