Sunday, January 20th, 2pm – San Antonio, Texas @ The Lonesome Rose – Jimmie Rodgers Concert, Exhibit and Panel, FREE!

Friday, February 1st, 10pm – Toronto, Ontario, Canada @ The Dakota Tavern w/ Tequila Jay & Los Diablos, $10

Saturday, February 2nd, 10pm – Toronto, Ontario, Canada @ The Cameron House w/ The Country Casanovas, (this is a pay what you can show!)

Saturday, February 9th, 11pm – San Antonio, Texas @ The Lonesome Rose, $5

Saturday, March 9th, 11pm – San Antonio, Texas @ The Lonesome Rose, $5






“TROUBLE” Double-Sided Pocket-Tee (White)

FREE SHIPPING! Indicate size M-XXL at checkout






“TROUBLE” Double-Sided Pocket-Tee (Black)

FREE SHIPPING! Indicate size S-XXL at checkout (OUT OF STOCK IN XL)





Saturday Night, Sunday Morning Tee

FREE SHIPPING! Indicate size S-XXL at checkout





“Saturday Night, Sunday Morning” CD

Add $10 for shipping overseas. “…Somewhere between Dylan and George Jones…” –Austin Chronicle “…Drawing from the classic-country inspiration of drinking and heartbreak, Buffkin’s record is 11 tracks of whisky soaked honky-tonk and it is done very well.” –Americana UK




“Saturday Night, Sunday Morning” Vinyl COMING SOON!



“Building upon the sonic foundations laid on the debut and, as the title would suggest, drawing from the classic-country inspiration of drinking and heartbreak, Buffkin’s record is 11 tracks of whisky soaked honky-tonk and it is done very well.” –Americana UK

If you want touchstones, you can take your pick, but, suffice it to say, not one of these artist sounds like [D.T.] Buffkin. They are all reference points I stumbled upon while trying to place Buffkin’s music: early Willie NelsonThe ShirellesBillie HolidayNashville Skyline-era DylanHowe Gelb, even Amy Winehouse, if she had been born male and in Texas. I guess you could argue that Charlie Crockett is a fair comparison from today, but, to these ears, Buffkin is making music that will weather the vagaries of time far better. This album is already timeless, where as Crockett’s latest sounds like it has been produced for today’s market. I know which album I’m more likely to return to in ten years.” –

“Operating in a style affectionately dubbed ‘Honky Tonk ’n’ Roll,’ D.T. Buffkin leads a band of exceptional professionals through the lexicon of classic American music. Whether playing doo woo-inspired carhop ditties or classic country barroom bawlers, his knack for song crafting is surpassed by few and his encyclopedic knowledge of beloved American standards shines through in his learned, captivating originals.” –Paste Magazine

“Somewhere between the AM country of yesteryear, the high, lonesome willow-whine of the ferociously stoned cosmic cowboy and the horny rambunctiousness of ’70s Brit-blues-rock resides D.T. Buffkin and his ‘honky tonk ‘n’ roll.’ Whether opening for esteemed soul balladeers (Lee Fields), icons of the roadhouse and modern Chitlin’ Circuit (Dale Watson and Junior Brown) or rubbing elbows with rock ‘n’ roll royalty (Sir Douglas Quintet and Texas Tornados member, Bob Dylan and Tom Waits collaborator Augie Meyers played on Buffkin’s last record and is often spotted in his crowd) his grasp of the greatest of American music rolls on by like a boxcar on butter – never too shaky or jarring – tied together by the ‘junk-crooned’ gravel balladry of his captivating voice. Think if Ryan Adams worshipped Merle Haggard or Father John Misty abandoned his post-hipster diary entries for folk barroom integrity…or something like that.” –Rolling Stone

“There’s so much to keep you listening to this album, no matter what mood or … neighborhood you happen to be in … (D.T. Buffkin) has taken his considerable talents and his influences and forged his own sound(s) from that raw material.” –San Antonio Current

“Like Garrett T. Capps’ surreal honky-tonk, fellow Alamo city song twister D.T. Buffkin spins weird Americana on his sophomore platter. Buffkin’s creaking vocals whine somewhere between Dylan and George Jones as the swaying music spins lightly through last call – growling and howling and wistful. From epistolary opening “A Correspondence” to the slurry swing of “Houston St.,” featuring Augie Meyers’ accordion, Buffkin billets back alley regret and amusement.” –Austin Chronicle