Trevor Finlay Fires Back with “Shut The Hell Up”

A no‑filter blues‑rock punch from a road‑tested legend.

By
Anders — Editorial Lead
Anders is the creative force and technical architect behind Divine Magazine’s editorial identity. Blending Scandinavian minimalism with a sharp instinct for digital storytelling, he shapes the...

Trevor Finlay has spent over three decades proving that sometimes the smartest thing you can say is nothing at all. As he gears up for his seventh studio album, his new single “Shut The Hell Up” (out June 5, 2026) leans all the way into that truth — loud, unapologetic, and with a grin.

A guitar-driven, no-filter blues-rock punch, the track captures everything Finlay does best: sharp-witted, road-tested, and delivered with classic rock swagger. Early recognition in Billboard Magazine cemented his place within the blues scene, reinforcing a career built on consistency, musicianship, and longevity.

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Written by Trevor Finlay and Ray Barnette — an Emmy-nominated songwriter with a Top 10 Billboard Country hit — and produced by Finlay alongside Michael Klooster (keyboardist for Smash Mouth), the single blends tight, groove-heavy instrumentation with a chant-worthy hook that hits instantly. The result is a track that feels both timeless and fresh, built for volume and attitude.

Shut The Hell Up” taps into the all-too-familiar experience of speaking before thinking, something Finlay approaches with self-awareness and humor. “I like to say that ‘Shut The Hell Up’ is about having a quick mouth — sometimes you say things you haven’t really thought through fully,” says Finlay. “I have a history of saying the wrong things at the wrong times, a characteristic that I come by very honestly. This tune is dedicated to everyone with the same affliction.”

From the opening line, “I must like the taste of my foot in my mouth,” to its driving, tongue-in-cheek chorus, the track walks the line between self-awareness and straight-up rock attitude. It’s relatable, a little reckless, and exactly the kind of song that feels best played loud.

Finlay isn’t new to this. A Nashville-based, multi-faceted singer, songwriter, producer, and session musician, he has toured internationally as both a solo artist and an in-demand sideman — at one point logging over 300 shows a year. Along the way, he’s shared the stage with legends including James Brown, Buddy Guy, Johnny Winter, Booker T. & the M.G.’s, Chris Isaak, and Charlie Daniels. His sound draws from the lineage of The Rolling Stones, The Allman Brothers Band, and Joe Walsh but never leans on nostalgia. This is a living, breathing extension of classic rock — not a throwback.

His previous release, “Get Into It,” expanded his reach beyond the stage, with songs landing in network television placements including CBS’s All Rise (“Poor Lucille”) and ABC’s Stumptown (“Get Into It”).

Known for his sharp-witted personality and high-energy live shows, Finlay blends musicianship and humor in real time. With “Shut The Hell Up,” he doesn’t just deliver another single — he doubles down on everything that’s made his career last: authenticity, attitude, and the kind of rock and roll that doesn’t need to try too hard to hit hard.

Connect with Trevor Finlay

Website | Facebook | Instagram | TikTok | YouTube | Spotify | Apple Music

Media Contact

Danielle Reiss
Dead Horse Branding
pr@deadhb.com
Phone: (949) 421-9787

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Anders is the creative force and technical architect behind Divine Magazine’s editorial identity. Blending Scandinavian minimalism with a sharp instinct for digital storytelling, he shapes the magazine’s voice, visual rhythm, and structural clarity. His work moves between worlds — part editor, part engineer — ensuring every article is not only beautifully crafted but technically flawless beneath the surface. From SEO frameworks to asset design, from WordPress architecture to the magazine’s cinematic featured imagery, Anders builds the systems that let stories breathe. He curates Divine’s tone with intention: clean lines, honest language, and a commitment to elevating everyday subjects into something quietly extraordinary. Whether refining editorial workflows or sculpting the magazine’s long‑term creative direction, Anders brings a steady hand and an eye for detail — the kind that turns a publication into a signature.
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