Copperhead Jones Is Done Playing It Safe—Second Wind Is His Reckoning
Somewhere deep in the heart of Texas, where the hum of steel guitars bleeds into the growl of southern rock and the ghosts of old-school country still linger in the air, a man named Copperhead Jones is carving out his own place in the noise.
Born Zack Jones in Greenville, South Carolina, raised under the Florida sun in Cocoa, and now calling Midlothian, Texas, home, Copperhead isn’t just another name in the country circuit—he’s the sound of a man who refuses to fit the mold. His music doesn’t slide neatly into today’s polished playlists or algorithm-approved formulas. It’s raw, unfiltered, and cut straight from the grit of southern rock, the angsty pulse of ‘90s alternative, and the timeless soul of country storytelling.
And now, with his sophomore album, Second Wind, dropping on March 14, 2025, Copperhead Jones isn’t just releasing another record—he’s reclaiming his place in music, this time with nothing to prove and nothing to lose.
The Rebirth of a Songwriter
“I finished Anchor before I’d even played a show,” Copperhead admits. “Back then, I didn’t really know who I was as an artist. I was just writing songs. But after stepping onto stage, after playing for people, after remembering why I fell in love with music in the first place, I knew I had to make an album that was me. This is that album.”He speaks with the kind of quiet intensity that makes you believe him. There’s no PR spin, no over-polished sales pitch—just a guy who’s spent years figuring himself out, one song at a time.
Copperhead Jones didn’t just listen to music growing up—he lived it. The dual-guitar fireworks of Lynyrd Skynyrd and The Allman Brothers weren’t just classic rock staples; they were his foundation. The radio anthems of Daughtry, Third Eye Blind, and Goo Goo Dolls weren’t just catchy tunes; they were the soundtrack to his formative years. The haunting introspection of Staind and the no-bullshit storytelling of Alan Jackson, Travis Tritt, and Chris Stapleton? They weren’t influences. They were blueprints.
And on Second Wind, you hear every piece of it.
“Florida Man” and “All Summer Long” burn with that Skynyrd-style swagger—loose, loud, and unapologetic. His latest single, “It Don’t Work Like That,” carries the weight of a Staind ballad, wrapped in Stapleton’s smoky, soul-drenched vocals. It’s a song about heartbreak, about how moving on isn’t something you can just decide to do.
“I’ve had a past where there was this one girl I couldn’t shake, no matter how hard I tried,” he confesses. “That’s what this song is—it’s that feeling when you want to be over it, but you’re not. Some wounds don’t heal just because you tell them to.”
If Anchor was an introduction, Second Wind is a reckoning. It’s the sound of an artist who’s finally standing firm in his own boots, ready to shake off anything that doesn’t feel real. The blend of country, alternative rock, and southern grit isn’t a gimmick—it’s just who he is.
“This year, I’m all in,” Copperhead says. “I’ve got an album I believe in, and I’m doing everything I can to make sure it reaches the right ears.”
That means doubling down on radio, working closer than ever with Steel Records, and throwing his weight behind streaming and social media—not to chase trends, but to make sure the people who need to hear this music actually do.
And if the packed-out dive bars and festival crowds say anything, it’s that those people are already waiting.
No Frills, No Bullshit—Just the Music
