Fancy Hagood Embraces the Past While Moving Forward on ‘American Spirit’

Music has and continues to be a form of healing for Fancy Hagood. The Arkansas-raised singer who takes his forename from the Drake song – not the Bobbie Gentry and Reba McEntire hit – first began writing songs as a queer junior high student struggling to fit in before dropping out of school at 17 to chase his newfound dreams in Nashville.

Despite growing up listening to everything from contemporary Christian music to The Chicks, Shania Twain, Tim McGraw, Destiny’s Child, and Missy Elliott, it was choir and theatre that brought Hagood’s own creative aspirations to life.

“I really found myself in those classes,” Hagood tells Good Country. “I was dealing with a lot of bullying at the time and writing music became one of the few ways I could truly express myself.”

But upon his arrival to Nashville, Hagood was told that a career as a queer country musician was unlikely. This was followed by a move to Los Angeles, coupled with a transition to pop, that led to him to opening for the likes of Meghan Trainor and Ariana Grande as he juggled a day job at Forever 21. Those opportunities coincided with a decrease in creative control over his own work, something he’s taken back for himself on 2021’s Southern Curiosity and his most recent project, American Spirit, which released October 25.

“I was hell-bent on this album not being a breakup record, but instead one about healing, moving forward, and finding yourself,” Hagood says of American Spirit. “I don’t want to be on the road singing songs about my ex, but I do want to sing about reclaiming your story, bouncing back, and that being the most powerful thing after experiencing something like that.”

Speaking on the phone from his Nashville home, Hagood detailed his ambitious Music City move, experiences with gatekeeping, his work with Apple Music, and more.

What was it like for you moving to Nashville so young? I imagine on one hand it’s quite empowering, but it can also be overwhelming too.

Fancy Hagood: On my song “Fly Away” I sing, “You were scared as hell to take the highway/ You barely knew how to drive…” and that’s the truth. I got my driver’s license when I was 16 and I never drove on the highway until I moved to Nashville, so it was very much a culture shock. I know a lot of people don’t view Nashville as a big city compared to New York or Los Angeles, but when you’re coming from small-town Arkansas it felt like the whole world had opened up for myself. There were parts of it that were really intimidating, but for the most part I had so much enthusiasm that you couldn’t really tell me anything. I had this idea that I was going to be a country superstar and you couldn’t tell me otherwise.

I know things haven’t always been easy for you though. You’ve dealt with some gatekeeping and other hurdles along the way. What’s that been like?

Before I moved to LA, I was getting all this attention in Nashville, selling out shows on my own. A lot was going on for not having any music out in the world yet. I quickly got a publishing deal, but instead of things taking off from there I started getting a bunch of people putting their own opinions on me and putting their own stuff into my music, thus limiting me because of their own fears. That was something I never had going into all of this – fear. It’s a complicated thing when you start mixing art and commerce. The powers that be recognize you have talent, but in figuring out how to make money from it they start thinking of Middle America and who’s going to buy it, leading to a fear game rather than just letting the artist be an artist.

When I moved to LA and got a record deal, that’s where other people’s fears began sinking into my own train of thought and my delusion began slipping away. I was accomplishing all these things, from performing on Dancing With the Stars to hitting the road with Ariana Grande, but on the inside I felt miserable. I realized I’d sacrificed so much of myself and my art to get to a place where other people found it comfortable for me to be successful, but a year and a half into it I just imploded and lost all the deals.

It wasn’t until moving back to Nashville in 2016 that I was able to shake all that off. In 2018 I signed a new publishing deal and began work on my album Southern Curiosity, a slow burn that didn’t release until 2021. It was a really difficult transition having [to go from] a Top 40 hit and everyone treating you like you’re the king of the castle to no hits, no deals, and nobody wants to touch you with a ten-foot pole. It was a humbling experience that taught me that the industry in place was not set up for someone like me to be successful. Because of that, my train of thought stopped being about how do I fit into the industry to thinking about how to create my own, which is exactly what I’ve been doing since Southern Curiosity.

One way you’ve been building that community you speak of is through your role as the host of Trailblazers Radio on Apple Music. What’s that gig meant to you?

I’ve never experienced a company that puts their money where their mouth is quite like Apple. They were supportive of me and my first record before hosting a radio show was even a thought. They first came to me after I guest-hosted on the late Leslie Jordan’s Apple Radio show, which I did three or four times with him. After that, they approached me with the Trailblazers idea and threw me into the deep end. When they offered it to me in 2021 I’d never done radio before and just recently we were picked up for our fourth season. My idea is to feature artists who don’t typically get those opportunities, allowing country music to be for everyone. If you look at our playlist you’ll see all kinds of artists on there, not just what country radio suggests Nashville is.

It’s also been meaningful getting to sit across from actual legends and people who have shattered the glass ceiling in country music. Each artist that’s come through our doors has taught me that not one artist’s journey is the same, which has done a lot for inspiring, motivating, and informing me as an artist.

Are there any particular moments or guests from the show that stand out?

I’d never met Jelly Roll before he came in for his interview and his heart just blew me away. Who he is at his core is so full of joy and his philanthropic side was really inspiring to me. He had just sold out Bridgestone Arena and donated all the money to an organization that helps incarcerated youth. Even when we weren’t recording he was wanting to know more about me, my art, and what I do. He’s just a stand-up person.

A moment ago you mentioned Leslie Jordan, whose loss you touch on (along with your grandmother’s) on the song “Good Grief.” I guess that goes back to songwriting being a method of healing?

Yeah, it came about during a writing session with my friend Jeremy Lutito on a particularly solemn day. We were both in sad moods, but in typical fashion when two guys are alone in a room the last thing they’ll do is ask, “What’s on your heart?” We got to talking about a situation with his family where their dog had passed away the night before, which led to a conversation about grief and having to walk his kids through it for the first time. As he was telling me this I just fell apart thinking of how grief is such a hard thing to come to terms with and reckon with, but sometimes it’s ultimately a good thing. We’d been struggling all day, but that song came about in only an hour or so. It was pure magic.

I’ve seen you refer to this album as a “breakup record,” and I feel like one song that really captures that essence is the title track, “American Spirit.” How’d it come about?

I wrote that with Gina Venier and Summer Overstreet. It started with this idea of cigarette season or a time in your life where you’re smoking and stressed. But with Gina, who’s also a queer artist, it evolved into a song about becoming someone else’s vice. It’s not an unheard-of story in the South, people not being able to fully speak to who they are or how they feel – there’s a lot of closet cases among us. I’ve dealt with that a lot in my time in Nashville and I know others have, too. The song is mostly a nod to those experiences and being an openly queer person dealing with others who aren’t open but are addicted to your openness and freedom and not being able to let that go.

What has music taught you about yourself?

It’s taught me that I’m resilient and can get through anything along with the power of believing in yourself. I’ve gone through a lot in this industry, but I keep coming back. This is what I love and I’m never going to stop.

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Photo Credit: Natalie Osborne