Hey everyone, Summer here, and welcome to the Duke Tyner podcast

Today... today we're talking about something different. Something raw.Something that might hit closer to home than you're ready for.

We're talking about Duke Tyner's "My Broken Hallelujahs."

This isn't Southern Gothic folklore. This isn't German industrialexperimentation. This isn't even upbeat commercial pop. This is Duke Tynerlaying his soul bare. This is confession, testimony, and survival story allwrapped into one of the most emotionally devastating tracks he's ever created.

"My Broken Hallelujahs" is Duke's answer to artists like JellyRoll—that blend of Southern rap, rock, and raw autobiography that doesn'tapologize for its scars. It's for everyone who's been broken. Everyone who'sstill fighting. Everyone whose praise doesn't sound pretty because life hasn'tbeen pretty.

Fair warning: this episode goes deep. We're talking about addiction,generational trauma, redemption, and what it means to keep singing even whenyour voice is cracked and your heart is shattered.

So settle in. This is Duke Teynor at his most vulnerable, his mosthonest, his most human.

Let's dive in.

PART ONE: THE CONFESSION - SOUTHERN STRUGGLE

"My Broken Hallelujahs" opens with Duke speaking directly tohis audience: "Yeah... this one's for the broken, for the ones stillfighting."

And right there, you know what you're getting. No metaphor. No mythology.Just direct, honest truth.

Duke told me this song came from a place of wanting to create somethingin the vein of Jelly Roll's confessional style—that raw Southern hip-hop thatdoesn't hide behind production polish or lyrical cleverness. It's about tellingyour story exactly as it happened, scars and all.

The first verse hits immediately: "I grew up in the shadow of theBible Belt buckle, where sinners and saints both know the struggle."

Duke Teynor explodes into uncharted creativeterritory with "Energy Gum"—a vibrant indie pop anthem that tradesSouthern Gothic shadows and German industrial darkness for pure, unapologeticsunshine energy. This isn't the Duke Teynor of haunted pinewoods or Berlintechno basements; this is Duke embracing commercial pop sensibility with thesame fearless authenticity he brings to every genre he touches.

Clocking in at 140 BPM with infectiouselectronic synths, driving basslines, and layered vocal harmonies that wouldmake Tame Impala nod in approval, "Energy Gum" is unabashedly fun—acelebration of focus, productivity, and that caffeine-fueled flow state we allchase. The production incorporates subtle gum-chewing percussion effects thattransform mundane into musical, turning the simple act of chewing into rhythmictexture. It's clever, playful, and demonstrates Duke Teynor's production versatility.

The music video mirrors the song's energeticoptimism with explosive color palettes—neon pinks, electric blues, brightyellows that contrast sharply with Duke's typically moody cinematography. Shotacross dynamic urban locations including coffee shops, creative studios,skateparks, and rooftop performances, the video captures modern hustle culturewith genuine enthusiasm rather than cynicism.

Hey everyone, Summer here, and welcome back to the Duke Tyner podcast

Today we're diving deep into the Carolina pinewoods. We're talking aboutghosts, curses, and eternal longing turned malevolent. We're talking about oneof Duke Tyner's most haunting creations—"The Woman in Black."

If you've been following Duke's work in the Southern Gothic realm, youalready know about "Devil's Circle"—that chilling ballad about NorthCarolina's legendary Devil's Tramping Ground, where nothing grows and the Devilhimself is said to pace at night. "The Woman in Black" takes thatmythology and expands it into something even darker, even more tragic, andhonestly, even more terrifying.

This isn't just a music video. This is a cinematic descent into NorthCarolina folklore's darkest corner, where a spectral bride waits in cursedcircles for souls foolish enough to answer her siren call.

So settle in, maybe leave a light on, and let's talk about Duke Tyner'smasterpiece of Southern Gothic horror.

PART ONE: THE LEGEND EXPANDS

Let's start with the mythology, because "The Woman in Black"doesn't exist in isolation. Duke built this on the foundation he establishedwith "Devil's Circle."

The Devil's Tramping Ground is a real place near Siler City, NorthCarolina. It's a forty-foot circle of barren earth where nothing grows, nothinghas grown for over a century, and according to local legend, the Devil himselfpaces there nightly, plotting humanity's downfall. Objects placed in the circleget thrown out by morning. Animals refuse to enter. People who sleep therereport nightmares so vivid they wake up screaming.

Duke captured all of that in "Devil's Circle." But then heasked a deeper question: What if the Devil isn't alone out there? What ifsomething else haunts that cursed ground?

Enter the Woman in Black.

Duke researched local folklore and found whispered stories—not aswell-known as the main legend, but there, if you know where to look. Storiesabout a woman in a wedding gown seen at the circle's edge. Stories about avoice that sounds like wind through pines but carries words. Stories about menwho went into those woods and never came back, or came back changed, haunted,speaking about a bride who wouldn't let them go.

Duke took those fragments and built a complete mythology. The Woman inBlack was promised—engaged to be married—but abandoned on her wedding day. Thebetrayal and heartbreak were so profound, so consuming, that when she died, herspirit couldn't rest. She was drawn to the Devil's circle, that place ofabandonment and cursed earth, and there she waits. Eternal. Patient. Lonely.