Since his stunning debut, Thunderstorms and Neon Signs in 1995, Wayne “The Train” Hancock has been the undisputed king of Juke Joint Swing - that alchemist’s dream of honky-tonk, western swing, blues, Texas rockabilly and big band. Always an anomaly among his country music peers, Wayne’s uncompromising interpretation of the music he loves is in fact what defines him: steeped in traditional but never "retro;" bare bones but bone shaking; hardcore but with a swing. Like the comfortable crackle of a Wurlitzer 45 jukebox, Wayne is the embodiment of genuine, house rocking, hillbilly boogie. Wayne makes music fit for any road house anywhere. With his unmistakable voice, The Train’s reckless honky-tonk can move the dead. If you see him live (and he is ALWAYS touring), you’ll surely work up some sweat stains on that snazzy Rayon shirt you’re wearing. If you buy his records, you’ll be rolling up your carpets, spreading sawdust on the hardwood floor, and dancing until the downstairs neighbors are banging their brooms on the ceiling. Call him a throwback if you want, but all Wayne Hancock wants to do, is simply ENTERTAIN you, and what's wrong with that?
Wayne's disdain for the slick swill that passes for real deal country is well known. Like he's fond of saying: "Man, I'm like a stab wound in the fabric of country music in Nashville. See that bloodstain slowly spreading? That's me."
"Artists like Wayne “The Train” Hancock aren’t just singing those songs—they’re living them just like many of us."
– Country Weekly
"Hancock, who tosses out a roots mix of old country, roadhouse blues, western dance swing, boogie bop, and straight-up Rockabilly, takes what was once old and makes it seem like it's always been and always will be."
“The country music scene could do with a lot more characters like Wayne, who push the music’s limits while staying truer to its roots than any well-known names associated with the genre today.” "A rare breed of traditionalist, one who imbues his retro obsessions with such high energy and passions that his songs never feel like the museum pieces he's trying desperately to preserve."
– Slug Magazine