B-Side Guys

Names carry weight, and for Perth’s The Southern Dukes—formerly The Eagleton Brothers—their debut single “Free Man” functions as meta-commentary on their own artistic liberation. Released in late March 2025, this inaugural offering under their new identity arrives with the credibility of their previous incarnation’s “WA Country Group of the Year” accolade, yet pushes decisively into unexplored territory.

The prison break narrative at the song’s core provides perfect thematic parallel to the band’s own reinvention. Its minor key foundation creates immediate tension, while the deliberately accelerated tempo embodies the urgency of escape—both from Alcatraz in the lyrics and from potential pigeonholing in the Australian country scene. This structural approach demonstrates sophisticated narrative awareness rarely found in debut singles.

What distinguishes “Free Man” from standard Southern rock offerings is the carefully calibrated instrumental dialogue between band members. Guitarist Justin Gimm, who also produced the track, creates interplay between lead guitar and organ that establishes the song’s emotional atmosphere. This textural foundation allows Brandon Poletti’s vocals to maintain authenticity without overplaying country affectations—an important distinction in establishing the band’s credibility within the alt-country space.

The rhythm section deserves particular recognition for transforming a familiar “train groove” into something more psychologically complex. Miles Gilbert’s frantic drumming and Riley Burrows’ strategically restrained basslines create momentum that mirrors the narrative’s building tension. This approach elevates what could have been straightforward escapist entertainment into an exploration of freedom’s psychological dimensions.

Geographically, the band’s Perth origins create fascinating juxtaposition with their musical territory. Performing American Southern-influenced music from Western Australia’s coastal metropolis might initially seem incongruous, yet this geographical disconnection potentially enables their fresh approach. Free from regional expectations, they’ve created an alt-country/Southern rock hybrid that respects traditions while avoiding derivative mimicry.

As foundation for the catalogue they plan to build through upcoming releases, “Free Man” showcases a band whose technical proficiency serves their storytelling rather than overshadowing it. In marrying their narrative of imprisonment and escape with their own artistic evolution, The Southern Dukes have crafted an unusually self-aware debut that functions simultaneously as engaging entertainment and artistic mission statement.