VIDEO PREMIERE: Trever M. Keith of SoCal Punks Face to Face Steps Into His Reflective Country-folk Era with “Only Time”

For more than three decades, Trever M. Keith has lived the kind of restless, road-worn existence that tends to bleed into the art—equal parts grit, observation, and hard-earned reflection. Known to many as the driving force behind SoCal punk lifers Face to Face, Keith has long operated as a creative polymath, channeling his instincts not just into music but writing and painting. Lately, though, his focus has drifted somewhere both familiar and newly revealing: the pull of country music, a thread that’s quietly run through his life all along.

Raised in the cultural sprawl of the 1970s, Keith absorbed country music almost by osmosis—beamed through televisions, piped across AM radio, embedded in the fabric of everyday life. It wasn’t something he consciously chased at the time, but its imprint lingered. Decades later, after putting down roots in Nashville, that early exposure came rushing back into focus. Immersed in the city’s deep musical lineage, Keith began reconnecting with the sounds of his youth while digging further into the canon, turning up names like Faron Young, Connie Smith, Jim Reeves, and Lefty Frizzell—artists whose influence now echoes clearly in his latest work.

That work arrives July 10th in the form of We Drank From A Poisoned Well, an eleven-song set that leans fully into classic country and Americana textures. There’s no irony here, no half-step into the genre—Keith embraces it head-on, threading pedal steel, twang-heavy Telecasters, and unvarnished storytelling into a record that feels both reverent and lived-in. It’s less a detour than a full-circle moment, a return to something elemental.

Today, Glide is offering an exclusive premiere of the standout tune “Only Time” along with its accompanying music video. While plenty of punks have pivoted to country and folk alter-egos, listen to this tune and you will realize within seconds that Keith has been working his way toward this sound for a long time coming. With its mournful folk soundtrack complementing his dry, poignant vocals, Keith offers a quiet, unflinching look at a life worn down by struggle. Adding to the song’s emotional power is a healthy dose of dreamy pedal steel and warm fiddle.

Watch the video and read Keith’s reflection on it below…

“This one was a late addition to the body of work I was putting together for this record. I picked up a guitar and almost instinctively played the riff like it was a song I already knew. It just flowed from there. “Only Time” is a quiet, unflinching look at a life worn down by struggle—years of bad luck, mistimed chances, and self-inflicted wounds that have left the narrator older, exhausted, and running on the last fumes of endurance.  

Redemption here isn’t about personal heroics or dramatic change. It lives in the memory of a single, genuine human connection—however short-lived—that felt right when almost nothing else did. In that brief window of closeness, he gave something good to another person and received goodness back, and that exchange, fleeting as it was, stands as the clearest proof that his life wasn’t entirely wasted. The song quietly argues that true fulfillment doesn’t come from conquering life’s cruelties or racking up victories alone; it comes from those rare moments when we manage to bring light and tenderness into someone else’s world, even if only for a little while. “You’re the only time I ever got it right” becomes the song’s anchor: not a boast of achievement, but a humble acknowledgment that true fulfillment comes from those rare instances when we touch another life with real tenderness, when closeness matters more than the length of the stay. 

The pain doesn’t disappear, the road doesn’t get easier, but the echo of that shared goodness becomes the quiet reason to endure. The song celebrates the importance of connection as the one thing that can redeem an otherwise unforgiving existence, proving that even in the late hours, a single moment of mutual humanity can make the whole long fight worthwhile. 

Sonically: The most modern song on the record. Simple and honest like early Zach Bryan but with swirling pedal steel and haunting electric guitar atmosphere. The fiddle is classic and familiar which firmly anchors the song in the traditional sound.” – Trever M. Keith