Kaitlin Butts Saddles Up for a New Ride with The Yeehaw Sessions
It’s been a big year for Kaitlin Butts. The Oklahoma-born songwriter just signed with Republic Records, making her labelmates with Taylor Swift and Miranda Lambert — not bad for someone who cut her teeth in honky-tonks across the Red Dirt circuit.
Butts said of her hook up with Republic Records “After I had my viral moment with ‘You Ain’t Gotta Die,’ I had so many labels reaching out, and it was really the craziest moment for me, as someone who’s worked at this for a really long time, to have people sniffing around like that. I originally connected with (label executive) Mary Catherine Kinney, who recently started working over there and has always been a big cheerleader in my corner, just as a friend and someone who likes music.
I feel very connected to Republic because I feel like their vision for me aligns with the dreams that I’ve always had for myself. And it just really feels good to work with a team that is so champing at the bit to get to work, and they seem to want to work just as hard as I have been for a long time, so I’m excited to get to work with them.”
And now, with her new EP The Yeehaw Sessions dropping in a couple of weeks, Butts is giving fans the best of what she’s been doing live for years: twangy heartbreak, sly humor, and a voice that could cut glass or melt it — depending on the line.
Butts has been playing these tunes on stage for ages, turning rowdy bar gigs into confessional campfires. The Yeehaw Sessions bottles that vibe perfectly — the grit, the giggles, and that gut-punch of truth she’s always delivered.
Track by Track: Inside The Yeehaw Sessions
1. “The Middle” (Jimmy Eat World)
This is the crown jewel. Butts strips away the pop-punk angst and rebuilds it with pedal steel and patience. It’s no longer a pep talk for high school misfits — it’s a survivor’s anthem for anyone who’s been through the wringer. When she sings “Everything will be just fine,” it’s not naive optimism; its wisdom earned the hard way. Easily one of her most moving vocals takes yet.
2. “Tulsa Time” (Don Williams)
Butts keeps it close to home here, leaning into her Oklahoma roots. “Tulsa Time” has been done a thousand ways, but hers feels lived-in — part jukebox shuffle, part backroad therapy. It’s the sound of cracked leather boots and an open tailgate at sunset.
3. “Sin Wagon” (The Chicks)
Long a fan-favourite from her live shows, this one comes out kicking. Butts brings the same chaos and sass she does on stage, channelling pure outlaw joy. The fiddles are fierce, the tempo’s breakneck, and she sounds like she’s having the time of her life while setting fire to propriety.
4. “Red Wine Supernova” (Chappell Roan)
Here’s where she gets playful. Turning Chappell Roan’s glitter bomb of a song into something smoky and sultry, Butts dials back the chaos for a late-night lilt. It’s the hangover to Roan’s house party — hazy, reflective, and gorgeous. It’s also a subtle flex: she can go modern pop without losing her honky-tonk soul.
5. “You Ain’t Gotta Die (To Be Dead to Me)” (Kaitlin Butts)
Her viral hit makes a return — polished up, but still wickedly funny and sharp. This one’s her signature: equal parts humour and heartbreak, proving she can write a hook as well as she can deliver one. It feels like the moment she draws a bright line between her indie beginnings and her major-label future.
What makes this EP shine is how unbothered it feels. Butts isn’t reinventing herself; she’s reaffirming what’s made her so beloved. Each track sounds like a diary entry — messy, beautiful, honest. The production’s slicker now, sure, but the soul’s untouched.
The Republic signing might open bigger doors, but it hasn’t changed her. She’s not chasing pop-country trends or trying to be anyone else. If anything, she’s doubled down on what makes her stand out: the humour of Miranda, the storytelling of Taylor, and the grounded grit of an Oklahoma girl who still orders whiskey and tells it straight.
The Yeehaw Sessions isn’t a left turn — it’s Kaitlin Butts riding stronger than ever, just with a little more horsepower behind her. “The Middle” alone could stop traffic, but every song here feels essential, a glimpse into the live show energy she’s finally captured on record.
When it drops in 2 weeks, do yourself a favour: grab a drink, dust off your boots, and let the yeehaw commence.
