Tyler Reese Tritt Steps Out With ‘Wild at Heart’ and a Fierce Focus on Finding Her Own Voice

(Full Interview will be avaiable right here on PressPlayRadio.com at 3pm Eastern Friday December 12, 2025)

Raised on storytelling, steeped in 90s country swagger, and unafraid of doing things her way, Tyler Reese Tritt is shaping a career that blends tradition, independence, and a whole lot of attitude.There’s a rare clarity in the way Tyler Reese Tritt talks about music — a confidence that feels earned, not inherited. Sitting with Don, Dean, and Press Play CEO Tina on Press Play Conversations, Tritt shows why she’s becoming one of the most compelling young voices in the modern country space. She laughs, cusses, dives headfirst into songwriting talk, and still leaves room to gush about Disney-princess energy, 4D Wizard of Oz shows in Vegas, and the Backstreet Boys. It’s confidence without calculation, and that makes her fascinating.

Tritt’s upcoming EP, Wild at Heart, isn’t a branding exercise — it’s a declaration. “Everybody who knows me says the same thing: I’m the fun one, the wild one,” she explains. “You don’t have to twist my arm. If you’re ready, I’m already there.” That fire frames the project’s core: not reckless, but restless. Not chaotic, but honest.

She’s already dropped several tracks that will land on the EP — including “You Lost Me,” a lyrical twist built on the classic country tradition of double meanings. It’s a song she didn’t write, but instantly claimed. “I wouldn’t cut an outside song unless I feel like I could have written it,” she says. “That one hit me emotionally. It was exactly what I was going through.” Produced by Chris Sly and written by Matt McClure, "You Lost Me" became her first real statement to listeners: vulnerable but tough, melodic but stinging.

Other standouts include “Blood Money,” a cinematic, story-driven burner that she admits is her personal obsession. It channels the spirit of songs like “Fancy” and Tanya Tucker’s “It’s a Little Too Late” — big hooks, smoky dramatics, and a protagonist with a past. Hollywood might agree; the track has already been pitched for film and television. “It sounds like something straight out of a Taylor Sheridan show,” Tritt says, and she’s not wrong. It’s furious, feminine, and built for headlights and asphalt.

Unlike artists trying to brand themselves as “industry rebels,” Tritt’s independence feels practical, not performative. She proudly remains a DIY artist — and has no problem explaining why:

“Managers have everything a label has now. Social media, creatives, marketing… You can build your own relationships.
Everyone keeps telling me: keep doing what you’re doing. You have way more freedom.”

Her father, country superstar Travis Tritt, is undeniably part of her story — but not her steering wheel. She lets him listen to demos, but only in her voice. “He’ll hear a pitch and say, ‘I don’t know,’ then I sing it and he goes, ‘Oh, that’s great!’” she laughs. Ultimately, he knows when to give advice and when to step back. “This is your deal,” he told her. “Figure it out.” It’s exactly the right kind of legacy pressure: supportive, not suffocating.

She writes, she co-writes, she cuts outside songs — whatever serves truth. Like the legends she studied, she believes a great song is a great song, no matter who wrote it. She cites George Strait and her dad’s classic hit “It’s a Great Day to Be Alive,” neither written by the voice that made them famous. “There are suitcases of great songs just sitting around waiting,” she says. “I’m going to snatch them up before somebody else does.”

Tritt embodies an older school of storytelling dressed in a modern mindset. One minute she’s talking 90s country fingerprints, the next she’s confessing to a Sabrina Carpenter obsession or plotting a Bonnie & Clyde music video starring Charlie Hunnam (“He can be Clyde.”)

She’s fun, sharp, unfiltered — and still visibly hungry.

Her next releases drop soon, with shows booked through the end of the year, including a November stop in Vegas (and yes, she’s trying to catch a Sphere show while she’s there). If the EP lands the way her singles already have, it’ll be a breakthrough moment — one built on instinct, heart, and the stubborn belief that she doesn’t need a label to define her.

For more on Tyler Reese Tritt, tour dates, new music, and upcoming releases, visit:
???? https://mosaic.pressplay.me/profiles/tyler-reese-tritt

And for the complete interview — songwriting talk, mother-energy, film-soundtrack ambitions, Vegas plans, and Sabrina Carpenter rabbit holes — the full conversation with Don, Dean, and Tina is streaming now on Press Play Radio.