From “Gonna Love You” to “Devil Don’t Go There”: Abram Dean on hits, hustle, and the doors that opened

What if the song that changes your life starts with a brief, a laugh, and a note you weren’t sure you could sing? We sit down with songwriter Abram Dean and trace the unlikely trail from church costumes and a middle-school talent win to LA’s genre-blend grind, a Warner publishing deal, and a move to Nashville that felt less like strategy and more like calling.We unpack the room where “Gonna Love You” took shape for Parmalee—a “power ballad” request that turned into a simple, soaring promise, a months-long hunt for the right bridge, and a cut day that proved how the right voice can unlock a song. Abram shares how that track later became a conduit for the band to tell a painful family story, showing how country songs carry more than romance—they hold resilience. Then we pivot to “Devil Don’t Go There,” where a stubborn idea flipped POV, landed with Laney Wilson, and raced from Friday write to Monday cut under Jay Joyce. The hook is sharp, but the lesson is sharper: trust your co-writers and write the truth the artist can live.The ride doesn’t smooth out from there. Abram talks turkey hunts that led to Dylan Marlowe’s “Record High,” an Andy Grammer session that turned into his first major cut with “Red Eye,” and the wild “My Side of Town” saga—instant holds, a Morgan Wallen cut that missed the final tracklist, and a rebirth with Josh Ross. Along the way, we get field-tested advice for new writers: show up to writer rounds, know your role in the room, let simple ideas breathe, and don’t force doors that won’t open.If you love the craft behind country hits, co-writing dynamics, and real talk about the highs and gut-punches of modern songwriting, this one’s for you. Subscribe, share with a songwriter friend, and leave a review to help more listeners find the show. What part of Abram’s journey hit you hardest?