Ruthie Collins wears her broken heart on her sleeve with “Hypocrite,” a power ballad that mixes honest lyrics, pedal steel guitar, and a meteoric chorus into its own brand of country music. She wrote the song while living in a 1973 Airstream trailer, parked in the driveway of fellow road warrior Natalie Stovall (Runaway June). “A relationship I really didn’t want to end was clearly slipping away from me, and even though I was trying to pretend I was ok with it all, I was a complete wreck on the inside,” she remembers. “I texted Natalie and asked her if she could come out to the Airstream to finish it with me. I just felt like I needed my best friend; I couldn’t get through it alone.”
Featuring background vocals from Stovall and production from Brandon Hood, “Hypocrite” showcases Ruthie Collins at her best, blurring the lines between country storytelling and pop/rock dynamics.
“‘Hypocrite’ is about that thing we all do: pretend we’re totally ok when the sky is actually falling down all around us,” she explains. “In this song, I’m admitting to the person I’m singing to that I feel like a complete fraud — that not only do I not have it all together, I’m totally still in the thick of all of the hurt. I hope ‘Hypocrite’ lets people know that even though we’re all trying our best to keep it together, there’s so much freedom in owning your emotions — in moving through them instead of blocking them — and that there is true healing and love on the other side.”
About Ruthie Collins
Raised on a grape farm in Fredonia, New York, singer/songwriter Ruthie Collins had already sharpened her craft in Boston and Texas before relocating to Nashville. Those diverse experiences are mirrored in her own music, whose blend of country and folk is glued together by autobiographical lyrics and an achingly emotive voice. Collins introduced that sound with her self-titled, six-song EP in 2014, then expanded it with 2017’s Get Drunk and Cry,2020’s Cold Comfort and 2021’s single “Hypocrite”. Meanwhile, LA Times praised her “sunny demeanor,” Rolling Stone raved that “Collins’ voice has the fluttery nuances more common in Seventies Laurel Canyon than in modern country,” and Billboard praised her music’s “ethereal vocals alongside soaring string features, minimal piano parts, and delicate percussion.”