The VIP package includes:&nbsp;Acoustic performance and Q&amp;A with HayesPhoto and signing opportunity with HayesLimited edition tour poster &amp; laminate10% off merchandise at the showEarly access to the venue<a target="_blank" rel="noopener noreferrer nofollow" href="https://shop.hayescarll.com/products/vip-experience-the-wild-buffalo-bellingham-wa-february-13th-2026">https://shop.hayescarll.com/products/vip-experience-the-wild-buffalo-bellingham-wa-february-13th-2026</a>Hayes Carll isn’t preaching or teaching. He’s not interested in telling the rest of us what todo or think. But he is charting out a personal guide for his life, quieting the noise, and sittingwith his real voice - the one that’s candid, consistent, and often inconvenient.We’re Only Human is Carll’s tenth album. Like his best lyrics, it is also an understatedmasterpiece, an honest snapshot of one man’s confrontation and delight with humanity’sbiggest and most intimate questions. Where do we find forgiveness for ourselves and gracefor others? How do we hold on to peace of mind and stay present? What can we—andshould we––trust? And how can we moor ourselves to, well, ourselves, in the midst ofconfusing, trying times? We’re Only Human offers audiences the chance to listen to Carll ashe listens to himself.“I’ve lived outside of myself for so long,” Carll admits. “Distractions, fear, anxiety, insecurity,and the complexity of being human in this world have so often pulled me away from beingpresent or at peace.”“I feel like there’s been a voice riding shotgun all my life, pushing me to do better, but I’vestruggled to listen to it,” Carll says. “The idea behind this record was to do the personalwork I needed to do, then codify those lessons in song to serve as sort of breadcrumbs toget me back on the trail if, and inevitably when, I get lost again.”Carll is more than two decades into a celebrated career. Praise from places such asPitchfork and the New York Times––the latter of which yoked Carll’s ability to tackle toughissues with wry humor to Bob Dylan––punctuate a resume that includes Americana MusicAwards and a Grammy nomination. His songs aren’t safe, but many of Nashville’s starshave recorded them, including Kenny Chesney, Lee Ann Womack, and Brothers Osborne.As a solo recording artist, Carll has long-since established himself as one of Americana’smost-played––and most loved––voices. His warm but crackling vocals, wit, and heart dancethrough wordplay that’s always clever, and never too precious. Through it all, wheneverCarll points a finger, it’s most often at himself.As We’re Only Human collects moments of Carll figuring out how to be with himself, thesongs feel forthright, hopeful, and timely. In today’s onslaught of instant gratification,rage-baiting headlines, glorified intolerance, and falling empathy, the record is a startlingoutlier: an artist’s raw, real-life effort to live well—both with himself and others. Carllembraces private epiphanies, and shares them with the world, allowing them to unfold for allto see and share.Of course, We’re Only Human is also art. So while appreciating the motivation andcompelling themes driving it will underpin the listener’s experience, Carll’s album alsomatters because of the sheer brilliance of its execution. These are songs composed by awriter’s writer, wielding his considerable skill with precision and beauty.The album’s title track unfolds with plaintive piano and a mantle of grace. Carll sings, with acalming sincerity, “We’ll do most anything to avoid the pain / Hiding our hearts and castingthe blame / 6,000 tongues, but we’re all the same / Ain’t no need to carry that shame /‘Cause we’re only human.”Hard-won minutes of quiet clarity inspired some of the record’s most beautiful moments.Accented by bright mandolin and soft, simple percussion, “Stay Here a While” captures apeaceful reprieve from a racing mind. “I remember sitting on the couch, looking out thewindow, watching the birds do their thing,” Carll says with a laugh. “I got lost in their lives fora moment, and it was such a wonderful feeling because my mind is always going in circles,seeking excitement, and frankly, just thinking about myself. I enjoyed the peace I felt in thatmoment and I thought, this is lovely and I’d like to stay in this place.” Carll shared thattakeaway with MC Taylor, aka Hiss Golden Messenger, who not only could relate, buthelped finish the song.“High” offers another invitation to stop and breathe. Opening with a solo horn, flute, andstripped down piano, the track is lovely and sincere, with Carll’s signature humor hoveringcomfortably nearby. There are also times when Carll’s sharp wit comes roaring to theforeground. “Progress of Man (Bitcoin and Cattle)” sends up society’s disorienting––andconflicting––forces, while “Good People (Thank Me)” is a masterclass in comedic timing,stubborn humanism, and the untapped potential of gratitude.A dogged insistence on acceptance, both of one’s self and others, courses through thealbum— as does Carll’s determination to hold himself accountable. “If I’m judging others,then I’m not having to look at myself,” Carll says. “I’m flawed as hell, judgmental, and criticalof myself and those around me. That’s a loop that feeds itself. But I figure If I can look atmyself clear-eyed and acknowledge my own shortcomings, it might help me have somegrace and acceptance for myself and others.”It’s that sort of harmonious duality––embracing one’s self and confessing one’s ownmistakes––that solidifies the record’s big-hearted honesty. “The creative process was inlarge part a self-therapy session. I don’t think that would work if I was only looking ateveryone else’s issues,” Carll says.A moving series of grounding vignettes, realizations, and self-love roll through “What I WillBe,” as Carll promises to not compromise himself to fit in. A slow-burning, blues-tingedstandout, “I Got Away with It” is painful and gorgeous. Brimming with hope, “One Day”balances the work Carll sees as necessary with the certainty that satisfaction, contentment,and peace are reachable by trusting in yourself and the universe.Featuring a parade of Carll’s longtime friends, album closer “May I Never” is a plea tohimself. As Ray Wylie Hubbard, Shovels &amp; Rope, Darrell Scott, Nicole Atkins, and TheBand of Heathens’ Gordy Quist and Ed Jurdi each take verses, listeners are swept up in aresolute promise to keep after good. “It brings up a lot for me when I hear them singingthose lines,” Carll says. Each of those people - whether they know it or not - have played apart in my story, and it’s gratifying and humbling to me to have them lend their voices to thissong.”In the end, Carll’s latest album is a lovingly and purposefully written collection of reminders.“I hope other people find something in it, too” Carll says. “Through it all, I am trying to stayappreciative, knowing that I did what I set out to do: write something that can help menavigate this journey with a little more grace and peace.”