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.
Make way you mamby pambys for the steel-jawed and fully-cocked musical madness coming at you like a face full of claws from the unhinged and wild-eyed “Dirty Ol’ One Man Band” known as Scott H. Biram. That grit in your eyes and those shotgun pellets you’re spitting out is how you know this is the real deal.
Sam Outlaw didn’t become one of the fastest-rising artists in independent country because of his name. He did it in spite of it. Everybody wants to hide behind layers of forced authenticity in country music these days, and bray about how country they are because of where they were born, or what kind of bad things they’ve done.
The poem “Gold All Over The Ground” was first composed in March of 1967 about Johnny Cash’s wife June Carter, and was published in 2016 in the posthumous Johnny Cash poetry collection called Forever Words. It’s not just Johnny Cash’s 50-year-old word that make Brad Paisley’s “Gold All Over The Ground” traditional though.
With 75 years of history hanging thick in the air, Floore’s Country Store booked two nights of stellar talent Easter weekend to celebrate their 75th Anniversary. Friday and Saturday evening saw Robert Earl Keen and the Randy Rogers Band taking the stage, with Bruce Robison joining them on Friday, and Red Shahan opening the show on Saturday.