You may have never heard of Carly Pearce or her debut single “Every Little Thing,” but you soon will. As the latest benefactor of iHeartMedia’s “On The Verge” radio program that puts a shot of adrenaline behind the single from an emerging star, it’s virtually guaranteed to rocket to the top of the charts.
Don’t think of Swimming Alone as a commercial release. Think of it as something Liz Rose made for herself and maybe a few close friends and family that you somehow got a copy of. It’s sweet, quirky, funny at times, delightfully dated, refreshingly honest, and just a simple joy to listen to.
Give Zac Brown credit. He listened to his fans, as opposed to speaking down to them about how music needs to evolve, or some other line of flawed reasoning where he could justify his actions to himself if nobody else. It’s hard to describe Zac Brown Band’s ‘Welcome Home’ as anything but what it is, which is a complete about-face.
Strap yourself in, buckle up, and mentally prepare yourself as best you can, because there isn’t anywhere Robyn Ludwick won’t go on ‘This Tall To Ride.’ Unabashedly exploring the dark underbelly of life where cocaine and sex are the ruling currency, and creatures of the night cuddle up with each other for comfort…
For six years straight, the Turnpike Troubadours have celebrated a self-appointed holidays each Spring called Dia Del Gallo at the historic Floore’s Country Store on the outskirts of San Antonio. The city has always been a crossroads of cultures, and the rooster (“gallo” in Spanish) has always been the band’s official mascot.
Styles and dialects and phonetics change, but the eternal themes that stir the soul remain, and it’s the seamless tie to what Colter sings about and how he sings it that makes the experience something beyond music. It is the ability to introduce the element of time into the mix, not just as a texture, but as a vehicle for transporting perspective….
‘Big Bad Luv’ is exactly the type of album that John Moreland needed to make, where his songcraft suffers none, but is bolstered by the virtue of a more compositional approach to the music itself. And this is the only place he could improve or “evolve,” because the songwriting was already at the pinnacle.
In many sectors, the future of country music is rife with uncertainty as you’re forced to squint hard at the current tiers of top stars and up-and-comers and wonder where this all will lead us years down the road. But when it comes to the Texas country scene, there is no cause for concern for who’s gonna fill the shoes.
The biggest adversity to independent music is success. Independent fans score higher grades in so many categories compared to their mainstream and passive listening counterparts, but their one failing is their need for a sense of exclusivity. As soon as something they like becomes popular, it no longer seems to have the same magic.
To us, it’s a sad state of affairs that Guy, Susanna, Townes, and so many more that made up the core of the alternative to country in the 70’s and 80’s are gone, but to Rodney Crowell, these weren’t just distant stars on some stage that perhaps he got to see once or twice in his life, these were his close personal friends.
‘Corners’ feels like an important project in country music, and in Texas music specifically. Dalton Domino is bringing influences to the region that are not entirely foreign to roots music, but do feel lost in the viewshed in the otherwise expansive and diverse Texas scene. It also announces Domino has a creative force
One day, and maybe not too far off in the distant future, you will be bragging about how you lived in the time of Willie Nelson. Whether you’re an oldtimer and remember buying his records new on vinyl, or you discovered Willie in your college years as a back catalog artist, you lived on Planet Earth at the same time as Willie Nelson.
Just making music that sounds “country” is not enough. Just because something is real country doesn’t mean it’s real good. As alluring as the steel guitar, the twang, the cut of the fiddle and the yodel in the voice is to traditional country fans, these things in themselves are not enough to keep the music alive forever.
The second song from Jason Isbell’s impending album ‘The Nashville Sound’ all but certifies what we had suspicions of before and what Isbell has been saying in the media previously, which is the June 16th release will be a much more rock ‘n roll affair than some of his recent efforts, and the title is more tongue-in-cheek
Are we just so happy to hear a mainstream record that doesn’t alienate us or let us down that we can construe a few good songs into a strong effort? Maybe that’s the case, but any work is only fair to judge beside its peers, and right now Paisley is one of the few setting the pace for decency in popular country music.
Uncaged, unhinged, and at times even inappropriate, Wrangled is Angaleena Presley making the record she wants to, be damned of the bridges left aflame and the apple carts upset. It is an unusual record, in both sound production and theme. But it also remains solidly country, Angaleena country, where no recess of the unsettled mind is off limits.
Canaan Smith, Cole Swindell, Chase Bryant, Chase Rice, Chris Lane, who are these clowns? It’s like one douchebag with many faces. Their songs, their styles, their personalities are indistinguishable and interchangeable. They might as well be the same person. Nashville’s overcrowded enough these days. Pick one of these guys and release all the music through them.
Old, forgotten memories get stirred to the forefront. Theories on life are recalled and reflected upon. And you don’t end up more happy like music is supposed to do, you end up a little sad and nostalgic, but in a way that’s strangely comforting in a manner simple happiness is incapable of delivering.
It’s not very common that you can preface a 70-year-old folk country songwriter that never had a big hit and the 14-year-olds in your family have probably never heard of as a “hot commodity,” but that’s exactly what John Prine feels like these days. “Beyond Words” is a songbook combined with a photo anthology in big, coffee-table form.
Jason Eady can do what they can do, but they can’t do what Jason Eady does, which is strip it all back and have the appeal for the music rest entirely on the written composition of a song. Even the most minimalist of performers have to rely a little bit on style, groove, or some sort of window dressing. But for Jason Eady, it’s like a type of Zen.