So here we are. It’s the summer of 2014, and the headlines that dominate the country music world have to do with mounds of trash and numerous arrests in Pittsburgh, a man found dead in a dumpster in Cleveland, a “mass casualty” event called by the local fire chief in Mansfield, Mass. at a Keith Urban concert, and then an alleged rape. Where exactly did mainstream country music go so wrong to where it is the new home for irresponsible behavior at concerts? How did a genre seen for over half a century as the bastion for family values and down home fun become one of the worst-behaved crowds in music?
First some perspective might be needed. Though the racy headlines might allude otherwise, how widespread this trend has become is somewhat inconclusive. As some have pointed out, the biggest stories of country concert problems have happened north of the Mason-Dixon Line for whatever reason. Also, numerous arrests for underage drinking, fights, and ambulance rides for numerous ailments are not out of the ordinary for music events by any stretch. The concern is how out of the ordinary they are for country music, at least historically, and how they’re clearly on the rise.
Part of this is simply a symptom of country music becoming the biggest, most dominant genre of American music. The crowds are bigger, younger, and the lowest common denominator is represented en masse. Country music is no longer a community, it is mass marketing. And like rock music of previous eras, it is attracting the most attention, and the most problems. However the idea that all the headlines of problems at country concerts is simply the media making hay upon a problem that has already existed for years is not fair either. Country music is changing, and a deeper discussion should be broached about how to manage those changes, and what the long-term effects those changes could have on the genre as a whole.
If you wanted to point to one single event where the current downward spiral started, you might consider the country concert in Mansfield, Mass. in late July. No, I’m not talking about Keith Urban’s concert on Saturday, July 26th, I’m talking about a Tim McGraw’s show on July 24th, 2011 at the same Mansfield venue.
During the middle of the concert, a 19-year-old attendee named Michael Skehill was jumped from behind by four men who proceeded to beat Skehill to within an inch of his life. The four men were heavily intoxicated, and though the dispute was said by some to be over a woman, the assault came completely out-of-the-blue to Skehill.The 19-year-old was a big man—a football player at Catholic University in Washington D.C.—but was blindsided in the lawn section and never had a chance to defend himself. If it wasn’t for a security guard and ENT responding to the assault as quickly as they did, doctors believe the assault would have resulted in murder.
“He would have died,” Skehill’s mother told a Boston news station at the time. “He had lost two liters of blood and, basically, he would have died.”
Michael Skehill was airlifted to the Boston Medical Center where he immediately underwent surgery. To save the young man, doctors had to remove his spleen. Skehill also suffered a severe concussion and other internal injuries. The four men were arrested and arraigned the next day, and eventually all four plead guilty to assault. It also came out in the investigation that in the lawn section of the venue that is now called Xfinity Center (and was then called Comcast Center), there is a section where young people from Mansfield congregate, and if you try to come into the area, you could be assaulted. In this area, underage drinking and other illicit activities are common. Whether this culture was still in place when the alleged rape of a 17-year-old girl happened at this year’s Keith Urban show—sheltering the incident from outsiders and allowing it to occur longer than necessary—has yet to be revealed in the investigation.
The good news is Michael Skehill was able to recover, and besides a missing spleen, is getting along just fine. But the brutal incident went to symbolize the rise of violence, excessive drinking, and other embarrassing behavior for country music’s summer concerts that was trending upwards all across the country. The Mansfield Police Chief Arthur M. O’Neill after the Michael Skehill incident said at the time:
Country used to be an easy night for us. Now it’s anything but. Country’s just changed. I’m a country fan, but the music and the singers have a party motif about them now. It’s all about drinking … These kids, especially the girls, are getting drunker and sicker faster.
Just appreciate, this isn’t the Mansfield Police Chief circa 2014. This is in 2011. At the time, CMT’s Alison Bonaguro asked, “Is ‘Drunk and Disorderly’ the New Rule at Concerts?” in a story that looks eerily similar to ones running over the last few weeks amidst all of the high-profile incidents at mainstream country concerts.
One of the other significant events in country music in 2011 was the rise of the “Country Checklist” song. Though the term “Checklist” never stuck like its later replacement “Bro-Country”, the music the terms describe had been around years before “Bro-Country” was adopted at large. The music style was already monopolizing mainstream country music by 2011, and forcing women into minor roles in the format like never before. As pointed out by the late Chet Flippo in August of 2011, country music found itself for the first time in recent memory with no women in the Top 30 of the songs charts. Many of the trends that would dominate country music headlines in 2013 and 2014 were already in place in 2011, there just wasn’t a universally-recognized name for it, country media was mostly complicit about it, and the backlash was simmering, but not striking out in earnest.
And what was the biggest song of 2011? Jason Aldean’s landmark “Dirt Road Anthem”. The breakthrough country rap song glorified many of the elements that have gone into much of the lewd behavior seen on the rise at mainstream country music concerts. On August 7th of 2011, Saving Country Music asked if “Country Music Checklist Songs Were Causing an Erosion of Values,” citing the Michael Skehill case and songs like Aldean’s “Dirt Road Anthem” specifically.
Yeah, I’m chillin’ on a dirt road, Laid back swervin’ like I’m George Jones.
Smoke rollin’ out the window, An’ ice cold beer sittin’ in the console.
Where ya learned how to kiss and cuss and fight too, Better watch out for the boys in blue.
Ya better mind your business, man, watch your mouth, Before I have to knock that loud mouth out.
But words and actions are two different things, right? They’re just songs.
Well, not really when it came to the culture that was becoming the norm at some of the country music concerts that featured artists that sang these checklist songs. In 2011, “Dirt Road Anthem” co-writer Brantley Gilbert was on the Country Throwdown tour with many other medium and up-and-coming performers. When interviewing another Thowdown Tour artist named Ausin Lucas, he explained how the checklist culture and fighting were beginning to coincide in the live country music experience.
He [Brantley Gilbert] is one of the most popular people on this tour. He’s really doing well for himself, but the thing is, his fans, they cause, they have a lot of fights. And this is nothing against Brantley Gilbert, who I think is a really nice guy. All the guys in his band are amazing people, and a lot of his fans are really cool. But there’s also this element, that country pissing contest, that checklist of things that make you more country, and one of them is fighting.
Fighting, excessive drinking, and other such behavior that were essentials on country’s checklist was beginning to show up in country crowds. Interesting that when the new country female duo Maddie & Tae sat down to write what is considered mainstream country’s preeminent Anti Bro-Country tune “Girl In A Country Song”, they said they made a checklist of all the things stereotypical country songs have. “I think it had trucks, tailgates, cutoffs, tan lines and tan legs, dirt road, and the most important one, the girls. The smokin’ hot girl.”
Maddie & Tae also spoke about how the current male-dominated country trend sets subservient roles for young women that they feel they must follow to be considered pretty or popular by men. In the police report of the alleged rape of the 17-year-old girl at the Keith Urban show in Mansfield, Mass., the alleged victim told police that she went with the man because “she was afraid of what would happen” if she didn’t, speaking to the subordinate role many women are taking in corporate country’s current culture.
But are women really emulating the girls in country songs, and are the men really fighting and drinking to excess because they hear about it in the music they listen to? This seems to be an eternal debate, a chicken and the egg argument in music, that there’s probably not an easy answer for beyond pointing out that in the past, country music sang about drinking, fighting, and killing in a cautionary context, where now it is glorified to the point of being used for marketing specifically.
In the June 2013 issue of Playboy Magazine, writer Rob Tannenbaum wrote an extended feature on Eric Church called simply “The Badass.” In the piece, Eric Church and his manager John Peets reference the “Country Checklist” style of writing by name.
For his second album, Church wrote a song he knew was dumb. It’s in the same mold as other predictable rural-pride songs that work well on radio because they celebrate the consumer goods that are iconic in Southern life call it a Country Checklist song. In this subpar effort, Church lays it on heavy: He mentions beer, barbecue, Jack Daniel’s, college football, fishing, trucks, chewing tobacco, NASCAR and cowboy boots. The only thing missing is something about hunting or tractors.
Church wrote it “almost out of anger or spite,” says his manager, John Peets. Church had seen similar songs amass a lot of airplay, according to Peets, “and he said, ‘If this is the shit that works, let’s just write one.’?”
“That was my Hail Mary,” Church says. “And the sad truth is, it works.” Although “Love Your Love the Most” became Church’s first top 10 single, it didn’t boost his career, because it was so generic. Radio play was up, but record and ticket sales were flat.
Then the Playboy feature took an even more interesting turn. In it, Church and his camp seem to glorify the excesses of his shows—how the crowd is drunk towards the point of incapacitation, fights break out everywhere, and rampant sex occurs right out in the open. “’There are some drunk motherfuckers out there,’ says Marshall Alexander, Church’s cheerful production manager,'” the piece says. Here are some further excerpts:
During tonight’s show, which I watch from the soundboard, the manager of one of the opening acts says he’s seen an average of three or four fights per night. A large part of Church’s success has come from filling a niche in the country market for a rugged, masculine singer.
While watching Church’s set that night, Moore saw a couple screwing in the audience. “A guy pulled a girl’s skirt up, and the dirty deed was going on,” Moore reports. “That was a first for me.”
It’s not a first for Church. He recounts a show last year in Battle Creek, Michigan where “half the crowd was fighting. And I saw guys who had girls bent over the rail, screwing.” His lighting designer a guy who’d toured with nearly every major metal band, including Van Halen, Metallica and Guns N’ Roses was shocked. “He said to me, ‘You should call this the Fucking and Fighting Tour.’”
Compared with Battle Creek’s, tonight’s audience doesn’t impress Church much. “There wasn’t mass bedlam, which is what I usually see.” Tomorrow will be wilder, he predicts.
So here was Church, openly bragging about how his concerts had become bedlam where “half the crowd is fighting,” bragging about open sex that from the stage could be hard to determine as consensual, and how this behavior is worse than what is normally seen at Van Halen, Metallica, and Guns N’ Roses shows, speaking deeply to the descent of the country genre compared to other genres. This was part of the Eric Church marketing—the image he wanted to portray: live experiences full of madness that people wanted to see and be a part of. And all of this is coming from one of the most commercially-successful artists in country music, and one whose album at the time had won Album of the Year from both the CMA and ACM—a true leader of the genre. After a while, whether the rowdiness of his concerts started as fact or fiction, the trend began to perpetuate itself and spread to other artists and other concerts.
But I know what some of you are thinking: “Is Eric Church really Bro-Country?”
One of the most curious aspects of the issues a Keith Urban’s recent Mansfield, Mass. concert is that Keith Urban is not one of these typical Bro-Country entertainers who constantly sing about getting drunk and fighting. Urban is from a earlier era, when soccer moms were country music’s primary demographic. His latest single “Cop Car” may veer slightly in the newer direction, but his American Idol judgeship spot notwithstanding, Keith Urban is not the type of artist that appeals to underage drinking fans or Bro-Country knuckle chuckers. So why was it his show that got so out of hand?
Because of the way the country music live experience is set up, it almost doesn’t matter what Top 15 pop country act you go to see, the same culture exists nearly at every concert. Of course there is some variation between every crowd, but not as much as one might expect. This is a symptom of the homogenization of the country format from radio consolidation and the dominance of male stars at the top of country ranks. But it is also facilitated by Live Nation’s Country Megaticket multi-concert package as pointed out by Windmills Country. The Country Megaticket is like a season pass for concert goers that covers most of the major country acts and the venues they play, including Keith Urban, and Mansfield’s Xfinity Center. Buy the ticket, and you not only have access to Luke Bryan and Jason Aldean, but Keith Urban and Lady Antebellum. This Country Megaticket culture facilitates the spreading of the undesirable elements to country music shows that they would normally not appeal to. The fans show up for the party, with the music as the backdrop. Country music is the only genre that Live Nation offers the Megaticket for, because it is the only genre that can support it. Once again, country music’s size and dominance is hindering its ability to control and define itself.
One of the reasons the adoption of the term “Bro-Country” last summer was so unfortunate is because it symbolized in many people’s minds the start of a new era when in truth it was the continuation of a trend begun in earnest in 2011, and goes back even farther than that. Saving Country music declared 2011 “The Year of the Country Checklist Song.” This was before Florida Georgia Line had even signed a publishing deal, and six months before they released their first EP. The reason this is important is because to understand what is going on in country music in 2014, you have to understand these trends go back much farther than Jody Rosen coining the term in August of 2013. “Bro-Country” was also a more palatable way to couch the trend compared to “Checklist Country” which explained what the problem with the trend was right in the term. And now Bro-Country has been adopted by the very people it was meant to criticize.
So what can be done? Do venues need to beef up security? Should the artists get involved somehow?
One of the most surprising things about all of the recent headline-grabbing country music concert fiascoes is how silent the headliners have been about them. In 2013, when Kenny Chesney’s name was at the top of the marquee for the first wave of trash that filled the parking lots of Heinz Field in Pittsburgh, the singer was curiously silent as the controversy raged. Same can be said for Luke Bryan who was the headliner at the same venue, and at the same annual event when it happened again this year, despite the media swarming the event in anticipation of problems. To Jason Aldean’s credit, he did send his heartfelt condolences out to the family and friends of the man found dead in a dumpster at his Cleveland show, but Keith Urban has said nothing about the most recent incident in Mansfield, Mass.—either about the arrests and hospitalizations, or the alleged rape. In fact Keith Urban removed a video in which he praised the Mansfield crowd, saying at one point, “Gosh, up on the lawn tonight? That was nutso.” So we know Urban’s PR team is on the case, they just simply don’t want to acknowledge what happened.
There are no easy answers here, and it is made harder because of all the money being made at these concerts. It is boom time on the country music touring circuit, and many of the tours are underwritten by the country’s major alcohol suppliers, from Budweiser to Jack Daniels. Though coolers are checked at gates, and ID’s checked at concession stands, there’s clearly a wink-and-nod culture when it comes to underage drinking at concerts, similar to how many venues have a wink-and-nod acceptance of marijuana. Teenagers are going to drink, and that’s an issue beyond country music or country music concerts. But when teenagers are in public places, it makes the situation more perilous, and results in injuries, arrests, and recently, alleged rape. The 22-year-old man who fell five stories into a dumpster at Jason Aldean’s Cleveland concert was said to be “extremely intoxicated.”
The problem can only be solved if there is an acknowledgement of its existence. But as Eric Church evidenced above in the Playboy Magazine piece, what may be bad publicity for some makes for good marketing for others. The lack of even acknowledgement of the issues from the headliners or their management seems to be almost a default approval, or at least a complicit posturing to the problem. The mentality appears to be that as long as the money is flowing and nobody gets killed, let’s keep the party going.
But now, somebody has been killed, and somebody’s daughter has been allegedly raped. Country music cannot afford to turn a blind eye any more.