Dann Huff & Friends: A Special Night in Music

Dann Huff took centerstage for the first time in over 30 years and it was mystical

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3^rd & Lindsley, Nashville, hosted an event that was 35 years in the making. It was the triumphant return of guitar hero Dann Huff, under the lights, for the first time in a long time. Maybe you have never heard of Huff, but you have certainly heard him play. He deserves a mention alongside any legendary axe wielder that you can speak into existence. Google his name and you will find him listed as a player with hundreds of famous musicians and on just as many hit records. I’ll give you two names: Michael Jackson and Taylor Swift. 

Dann launched a new record this year.  In fact, it’s hard to believe, but it is his first solo record… ever.  When he emerged on stage in front of a sold-out show, he uttered, “Thanks for coming to the first and last stop of my tour”.  This was billed as a onetime event by his record label Baked Alaska Records, and the line to get in was wrapped around the block (literally) two hours before starting time.  Ticket sales had been announced back in September, and the venue had run out of tickets within a few hours. 

Huff once fronted the band Giant in the late 80’s and early 90’s with his brother on the drums before he became a wanted session man and later a producer.  However, this night was not about those past accolades but rather the new direction that he has taken in life. His record, When Words Aren’t Enough, is a culmination of all that hard work, all that knowledge, and all that talent coming together in one singular moment.   

The room was a buzz as Dann had brought a collection of his friends with him to play through that new record, as well as forming a bit of a highly anticipated Giant reunion much to the delight of many a patron who donned the t-shirt of his former group. If you were looking to find a guitar picker in Nashville, they were all here under one roof.  The language that was being spoken around the room was one that I am not fluent in, but I love the way that it sounds.  It was tech talk and gear heads salivating over what amps, pedals and of course guitars were being used on this particular evening. 

 On stage with Huff were Jerry Roe (drums), Mark Hill (bass), Gordon Mote (Keys) , Mark Oakley (guitar) , Paul Franklin (steel guitar) , and Stuart Duncan (fiddle).  These names alone have participated with the musically elite, as they are themselves considered master’s within the industry.  The evening kicked off with Patrick Murphey playing 30 minutes of absolute gems on his Nord Stage 3 keyboard. He joked that there were too many amazing guitar players in the room, so he would just stick to what he knew. The 26-year-old, singer/songwriter from Minnesota scribed Tim McGraw’s recent hit ‘Standing Room Only’, which launched him into opening for artists such as Maren Morris, Kane Brown, Kip Moore, Maddie & Tae and many more. During his set, he announced an album coming out in 2026, so pay attention.  

Dann is humbled by the limelight and does not ask to be the center of attention, but when his fingers go to work, there is no possible way you can keep your eyes off him.  Some artists go through their whole lifespan hoping to catch lightning in a bottle, but Huff seems to have a full pantry of the stuff.  The moment that he started plucking those strings, the intimate crowd of nearly 700 was locked in. He told little tales about how the album and these tracks were conceptualized, but also quipped, “you’re not here to listen to me talk”.  

Usually, he is right.  I am not a big fan of artists telling long-winded stories that cut into me hearing the beloved works that I paid to see, but with Huff it was quite the opposite.  He is so endearing that I want to hang onto every word out of his mouth, as well as sonically engulfing the tantalizing riffs that he rips into the ethos.  I had goosebumps throughout the entire set which included a reunion with his brother, David, backing him on the drum kit.  This was the Giant reunion that we longed for.  Dann said of the reformation, “the only thing that really sucked about Giant was the lead singer” (which was him).  

For this section they brought up Bryan Cole who fronts a Journey tribute band called Resurrection, so you knew he had the chops and he brought the band to another octave. Huff had Jay DeMarcus join him to push those vocals, so that he could focus on his electric craft. DeMarcus is a Grammy-winning producer, songwriter, vocalist, and musician for the country group Rascal Flatts. There was so much talent in that room, both on and off the stage. Jay took the mic and said, “I offered Dann $1,000 to play something from White Heart”, which was Dann and David’s Christian Rock Band before forming Giant.  He went onto say jokingly, “but he doesn’t walk that path anymore”.  Dann fired back with, “careful, my mom is here”. 

The night also included another monster vocalist sharing the stage with Dann in Charles Kelley who is the co-lead singer with country music’s Lady A. Dann was smiling from cheek to cheek, as we all were, with every tune he played. He was in his element and exactly where he needed to be at this juncture in his illustrious career. He then introduced a dear friend and the man that Huff claims coaxed him to recording this record. That man is Tom Bukovac, whom is also a phenomenal player and session man. I think we are all very happy that Tom poked the bear and edged Huff towards gaining the confidence in making a solo record. It’s a legacy that Huff has often said is ultimately for his grandsons.

Not only was his mother there but also his daughters and his wife Sherri.  When talking about his wife he nearly welled up. The love is overwhelming.  He told the story of writing and playing the song from his new album which is the title track, ‘When Words Aren’t Enough (for Sherri)’, for his betrothed. “She listened quietly and then asked, what else you got?” This was the joy of the show.  Funny yarns that led to brilliant songs.  To be in that venue on that night was truly an honor and I consider myself to be a witness to an important piece music history.