With absolutely no hyperbole intended, William Michael Morgan earning a #1 on country radio for his debut single “I Met A Girl” is a historic moment in country music. It’s a point in time when an undeniably traditional country song from an undeniably traditional country artist has topped the chart after a long vacancy for a traditionalist at the top spot.
Every year we wonder if it can get any worse, and while there are positive signs for country music’s future all over the place, the bad stuff somehow continues to only get worse. The only saving grace is that many of the songs highlighted below have become commercial flops, whereas in previous years it would be a virtual Top 10 on the country charts.
The lead single to Chase Rice’s new record is done, finished, finito, dead, and game over according to radio insiders. And the results do not paint a very pretty picture at all for the performer. After a big promotional push by Rice’s label Columbia Nashville, all that his song “Whisper” could muster on the radio charts was a whimper before limping off into the night virtually unnoticed.
Chase was sure saying the right things, as are a lot of the Bro-Country acts who are now acknowledging the flight of interest in the bastardized style of country music. But words are cheap, and actions speak louder. And it didn’t take long for Chase to break his promise that his next album would be “all” about depth.
As we transition into 2016, you can anticipate the masters of Bro-Country filing into line to prove they have gravitas in the face of dwindling support for their party hardy dreck falling so quickly out of favor from the sheer frequency such narrow themes have cast over the last couple of years. Prove you can be an artist of substance, or you may not be long for this world.
“Bro-Country”—the much-maligned sub-genre of country music that is defined most purely by acts such as Florida Georgia Line, Chase Rice, Cole Swindell, and a host of others, was recently featured on the Cambridge Dictionary’s “New Words” blog as a neologism, or newly-coined word. And it couldn’t come at a better time since many of Bro-Country’s perpetrators profess ignorance at the word’s meaning.
The increasingly irrelevant Academy of Country Music Awards, or ACM’s, released their annual earache of ignoble pseudo-country performers known as the semi-final “New Artist” nominees this Monday, that spellbind any beholder with an even elementary understanding of the definitions of “New” and “Artist” as to how such names were populated.
We complain all the time about how today’s popular country music pretty much all sounds the same, but is this really true from a technical standpoint? That is what one enterprising Audiophile and songwriter set out to illustrate by making a mashup of some of Bro-Country’s biggest singles over the last couple of years in a pretty mind-blowing and revealing video.
The downward spiral for mainstream country music continues as evidenced by the following list of some of the most horrible offerings of 2014. With how terrible these selections are, you could consider this not only the worst songs of 2014, but arguably a list of the majority of the worst songs in the history of country music. And with such a crowded field, only the worst of the worst were selected.
Beachin, Billy Ray Cyrus, Bottoms Up, Brantley Gilbert, Burnin' It Down, Chase Rice, Chillin' It, Cole Swindell, Donkey, Florida Georgia Line, Girl In Your Truck Song, Jake Owen, Jason Aldean, Jerrod Niemann, Leave The Night On, Lookin For That Girl, Luke Bryan, Maggie Rose, Sam Hunt, Sun Daze, This Is How We Roll, Tim McGraw, Worst songs 2014
Raleigh, North Carolina-based country rock band American Aquarium, and specifically their frontman, singer, and principal songwriter BJ Barham have been known to twist off about the state of country music upon occasion, both online and on stage. Such was the case on Tuesday (10-28) when the band reminisced about the time one of today’s biggest pop country acts actually opened for them.
On Monday, September 22nd, the subset of American country music known to many by its nickname “Bro-Country,” died at its home in Nashville, TN. Though the specific cause of death has yet to be ruled on by the local medical examiner, preliminary findings appear to show that Bro-Country had been exhaustively over-utilized over the last few months and years until it finally passed away from overexposure.
Brantley Gilbert, bro-country, Chase Rice, Cole Swindell, Dallas Davidson, dead, Florida Georgia Line, Gary Overton, Jason Aldean, Jody Rosen, Luke Bryan, Maddie & Tae, Scott Borchetta, Thomas Rhett, Tim McGraw
“What will NASH Icon be, and will it make a significant improvement to country radio?” This has been the question on the mind of many country music fans ever since NASH Icon was announced. Now that there are actually radio stations broadcasting the new NASH Icon format, we can listen in and hear just exactly what NASH Icon is.
Alabama, Alan Jackson, Big Machine Records, Chase Rice, Cole Swindell, Cumulus Media, Diamond Rio, Dierks Bentley, Doug Stone, Dwight Yoakam, Florida Georgia Line, Garth Brooks, John Dickey, Kacey Musgraves, Lee Ann Womack, Mark Chesnutt, Merle Haggard, NASH, NASH Icon, Nitty Gritty Dirt Band, Old Crow Medicine Show, playlist, Ricochet, Sturgill Simpson, Tracy Byrd, Vince Gill
The virtual disappearance of female country music stars on American radio is a dilemma that has now stretched out for nearly half a decade. Now the senior director of music programming at SiriusXM is looking to try and do something about the problem and hopefully create interest around some of country music’s undiscovered and worthy female talent.
Angaleena Presley, Brandy Clark, Carrie Underwood, Chase Rice, Cole Swindell, First Aid Kit, Florida Georgia Line, Fresh Female Voices, John Marks, Kelleigh Bannen, Leah Turner, Miranda Lambert, SiriusXM, Sunny Sweeney, Taylor Swift
Yeah, yeah, bro-country sucks. As satisfying as it is to finally see the rest of the American media waking up to a problem that had actually been gripping country music for half a decade before Vulture’s Jody Rosen unilaterally coined the ill-begotten “bro-country” term, it’s only because it has been festering now for so long and rising like spasmic bile up the charts …
Sturgill Simpson has arrived ladies & gentlemen, thanks to the resounding critical success of his new album Metamodern Sounds of Country Music that has permeated just about every corner of the independent roots music culture. From NPR, to The New York Times, to important periodicals in Europe, wherever you turn, someone is singing the praises of the Kentucky native.
Jamey. Jamey Johnson. Yeah, hey man, it’s your old pal country music here. Sorry to bother you like this out of the blue and everything, but it looks like I’ve kind of gotten myself into a mighty big pickle. Generally speaking I’m one of those proud people that doesn’t like to ask for anything from anybody. But honestly man, I need your help. Now I understand that you’re in some contract dispute…
Just as I’ve been saying ever since the term “bro-country” was widely adopted by naysayers of the current male-dominated laundry list phenomenon in country music, eventually it would be co-opted by the very “bros” it was meant to call out, and be used as a term of endearment. Well now ladies and gentlemen, we have reached that point, and in a big way.
Let me begin by saying that I don’t want to write this review. If I had my druthers I would just ignore this album, and focus on something else. But in the face of an absolute onslaught of requests, I will give my personal opinion unfettered and unabridged. I’ll also preface this business by saying that if you like or love this album, that’s all that matters, and my opinion or anyone elses…