In a quiet edge of Farmersville, Texas, Mike Schikora has returned to music after twelve years away, channeling his life between Montana’s mountains and Texas’s plains into his new album, Outlaw From The South. Schikora’s sound remains unapologetically rooted in country and folk, crafted with a rugged authenticity that reflects his off-grid lifestyle and independent spirit.
The album begins with the title track, “Outlaw From The South,” a gritty, stripped-down anthem that captures Schikora’s unvarnished style. Produced by Michael Bonagura and Kathie Baillie, formerly of the Grammy-nominated ‘90s group Baillie & The Boys, Outlaw From The South brings a timeless, well-aged quality, as if poured from a bottle of whiskey saved for a special occasion. Their production gives the album a warmth and clarity that makes Schikora’s weathered voice feel both familiar and renewed.
Standout tracks like “Last Rose of Summer” feature harmonies from Baillie and guitar from Lance Hoppen, creating a melodic landscape that enhances Schikora’s rough, evocative voice. Songs such as “These Are the Good Old Days” remind listeners of Schikora’s storytelling prowess. With a reflective yet realistic perspective, the song captures the feeling of an old Western ballad updated for a contemporary audience. Schikora offers nostalgia without sentimentality, giving us a slice of life that feels grounded, hard-won, and relatable.
Throughout the album, a lineup of Nashville veterans adds layers to Schikora’s sound, including Buck Johnson on keys (Aerosmith, Joe Perry), bassist Steve Mackey (Garth Brooks, Dolly Parton), and steel guitarist Scott Sanders. Tracks like “You Do Me Wrong” and “Waitin’ Out a Storm” channel the classic country styles of Guy Clark and John Prine, artists whose straightforward lyrics and honest delivery have clearly influenced Schikora’s approach. These songs carry an earthy, familiar vibe, yet Schikora’s own perspective adds a fresh take on country traditions.
Notably, Outlaw From The South presents a mix of moods, from the gruff outlaw persona of its title track to the quieter introspection of “You’re My Angel” and “When Forever Smiles.” In these more tender moments, Schikora sets aside the rugged exterior and offers listeners a glimpse into his more contemplative side. These tracks strike a delicate balance between emotion and restraint, keeping them sincere without crossing into overly sentimental territory.
The album’s penultimate track, “It Ain’t Whiskey Til It Rains,” could have easily veered into well-worn country tropes, but Schikora’s seasoned delivery gives it an authenticity that keeps it grounded. It’s the kind of song best heard in a smoky, dimly lit bar—the type that makes you want to pause and reflect, whiskey in hand.
One area where Outlaw From The South might not appeal to all listeners is its adherence to a classic country sound that doesn’t push boundaries or innovate much beyond genre staples. The album’s focus on Schikora’s personal journey and experiences may resonate more with fans who value storytelling over experimentation.
Closing with “Last Rose of Summer,” Schikora leaves us with a bittersweet note, as his voice mingles with Bonagura’s harmonica and Baillie’s harmonies, bringing a sense of closure that feels earned. Outlaw From The South is both a comeback and a declaration: Mike Schikora is back—not chasing trends but staying true to his roots and to the stories only he can tell.
Claire Uebelacker