African Americans Helping to Keep Country & Roots Music Alive
Let’s face it. For a host of reasons, it’s pretty rare to see African Americans making country and roots music. But when they do, more often that not, they’re doing it the right way, pushing the music forward creatively while fiercely helping to preserving the past, becoming part of the solution instead of prolonging the problem, with an often unparalleled passion for the music, and an authenticity to their voice. Ask yourself, how many Bro-Country black artists have you seen?
It’s hard enough these days to be a traditional country artist or a roots performer in its own right. That already sets you as a minority in the music world who will have to fight an uphill battle against the forces that will tell you the music needs to “evolve,” and your sound and modes are not relevant. Add on top of that being of African American descent in a majority white art form, and it takes an additional level of intestinal fortitude to press forward not found in most people.
Whenever you find a performer who doesn’t fit in the stereotypical mold of what we expect certain music artists to be, that’s when you know you’ve found someone with a true passion, because they’ve had to overcome those stereotypes and sideways glances when it might be easier to just fold and move on to something else.
But these black artists aren’t just brave and noteworthy for their participation. They are often the leaders in their respective fields. They are the ones making sure the old country songs don’t go unsung. They’re the ones finding new ways to express old sentiments with traditional instruments. And the attention upon them isn’t just because they present an unusual case as a country or roots performer of color. It’s because they are often excelling in their field, at least creatively.
A perfect case study is classic country crooner Tony Jackson from Richmond, Virginia. You may not find anyone better suited to sing the old country classics from folks like George Jones, Merle Haggard, and Randy Travis. And this Navy brat turned Marine Corps enlistee turned country crooner can do it right on cue when called upon. Tony Jackson’s self-titled 2017 record includes renditions of such iconic songs like “The Grand Tour” by George Jones, and the often-covered “Nashville Cats,” along with original compositions that especially resonate with country music’s traditional crowd.
Though receiving little love from the mainstream, Jackson has garnered a strong following online, with his covers of old country classics often receiving views in the hundreds of thousands on YouTube and Facebook. He has a great story too, being first turned on to country music when he was living in Spain as a child, and met Randy Travis who was performing for service members. If country music ever had a traditional artist of color in the cue to break out, it would be Tony Jackson.
One consistency when it comes to African American traditional country artists is their insistence on paying homage to the greats that came before them, and putting aside time from their own music in reverence and tribute—an exercise lost on many of today’s country stars. Though Charley Crockett‘s ethnicity is of a much more varied descent that includes Jewish and Caucasian bloodlines along with his Creole heritage, he still certainly fits in the class of minority country artists making a difference by revitalizing old country songs. As another very promising rising star in country and roots, Charley Crockett been making big waves by playing to capacity crowds opening for the Turnpike Troubadours over the last couple of years.
But before Charley was ready to record and release what many believe will be a big breakout record full of original songs, he put his own time and money into recording an album called Lil G.L’s Honky Tonk Jubilee in 2017. A collection of songs from Hank Williams, Ernest Tubb, Loretta Lynn, Tanya Tucker, Roy Acuff, Webb Pierce and others, the 16 tracks find Charley Crockett interpreting timeless compositions with such love, you would have thought they were his own. Not just your average traditional covers album, Honky Tonk Jubilee is Charley building a country music foundation, and proving his studious discipline and appreciation for the past greats before he ventures to contribute his own compositions to the American songbook in earnest.
But it’s not just covers of traditional country classics that true country artists of African American descent are building careers upon. Maybe one of the most criminally-overlooked artists in country at the moment regardless of ethnicity is Aaron Vance.
Born on Christmas Day as the son of a preacher man, the Mississippi native would spend Sundays singing in pews, and was forced to move often as his father traversed the South leading new congregations. The churches of Mississippi, and Vance’s truck-driving grandfather who listened to Hank Williams and George Jones while Aaron would ride shotgun inspired Vance’s traditional-leaning love for country music. Always the new kid, and always a rare bird due to his love for older country, Aaron had to learn self-reliance, and sticking to who you are from an early age.
Vance has now released three full-length albums of mostly original songs he wrote or co-wrote, including 2016’s Shifting Gears, which saw Vance double down on a more traditional sound, and 2017’s On My Way.
And if you think it’s hard to make it in country and roots as a minority or a woman already, imagine if you had both of those things placed upon your shoulders as you try to create a career in music. However multiple women have been able to rise to that challenge, and not just tread water, but excel in their respective disciplines.
A band that deserves great credit for exposing the African American influences in early country and roots music is the Carolina Chocolate Drops, whose collection of albums are a great place to start for anyone who wants to explore the deeper impact of African Americans in country. But the talents of Rhiannon Giddens—one of the Carolina Chocolate Drops’ founding members—are bigger than any one band, any one song or album, or even any one medium.
Rhiannon Giddens might be one of the greatest singers in all of country and roots music at the moment, with a very slim field of folks you could compile to challenge that assertion. Her 2017 record Freedom Highway delves deep into the lineage of Africans in America, and the intertwining of the music with their struggles and victories, and it ended up near the top of many end-of-year lists for 2017. Also in 2017, Giddens was a recipient of the MacArthur Foundation’s Genius Grant.
And though not receiving as much attention as Giddens, yet sticking even more closely to the traditional roots of the music is former Carolina Chocolate Drops member Dom Flemons. He is also doing his level best to keep the roots of both primitive country, and the African influence within them alive.
In fact when it comes to old time Appalachian string music and Gospel-infused traditional country, there is a healthy list of minority representatives. Valerie June‘s roots music footprint is massive, and though there is certainly a lot of old school R&B in her sound, and other genres would love to claim her for themselves first, the heart of her music still revolves around wood and wires, and the real foundations of country music’s bluesy and Gospel past.
Instead of attempting to classify her, it’s easier to say that Valerie June has a style all of her own. But it’s also fair to say that style resides in country as much as anywhere. Her 2017 record The Order of Time was one of Saving Country Music’s Most Essential Albums, and she has been an important bridge artist because among the other accolades Valerie June deserves, she’s just “hip,” which helps flip the script that the mainstream often attempts to sell you that roots music can’t be relevant.
In fact often it is the women and minorities of roots music that are charting a path forward where the music can both evolve, and adhere to its roots. That’s certainly the case with Rhiannon Giddens and Valerie June, as it is also the case for Canada’s banjo maestro and roots revivalist Kaia Kater. As an outsider to the United States market, she has yet another burden to shoulder as she attempts to make it in roots music. But with a sound and style that’s bold yet sparse, and excellent songwriting bolstering a strong voice, she is charting a path as a rising star in roots music, building off the work others have done before her to break down the myth that black artists aren’t owed a debt of gratitude to the formation of the country genre.
And this isn’t just about tokenism. What makes many of these African American artists unique is not that they’re making distinctly white music as black performers. It’s that they have their own style that builds off the legacy of country and roots, and takes it places that their own unique experiences as African Americans can only infer.
And there are many more artists where this came from, and no disrespect is meant to anyone left out of this discussion. One of the great things about the success for the aforementioned artists is it’s inspiring others that don’t necessarily look the part of a country performer to discover their own passion for the music, and perhaps perform it for others. And this trend isn’t just relegated to front men and women. Side performers like drummer Jerry Pentacost—who has performed with JP Harris, Amanda Shires, and was part of the house band at the 2017 Americana Music Awards—is another example.
Obviously Charley Pride became one of the greatest, and most commercially-successful country singers of all time. DeFord Bailey was one of the Grand Ole Opry’s original performers, though he certainly was treated like a minority during his tenure. A black street performer named Tee-Tot, or Rufus Payne, taught Hank Williams how to play guitar. Cleve Davis was a relatively-successful country star in the early and mid 90’s. So it’s not that the minority influence in country music hasn’t always been there, it’s just always been overshadowed, and just like all the more traditional country and roots performers today, it’s being overshot by all the attention and accolades of the mainstream.
Though even some mainstream country performers of today are worth mentioning, most notably Mickey Guyton. Though some of her material veers towards pop, a few of her singles like her recent song “Nice Things” are leading the charge for keeping the roots alive in popular country. Another interesting prospect that could have mainstream impact is Milton Patton, who like Mickey Guyton, can be a little more soncially pragmatic at times compared to what most traditionalists might want, but is still worth keeping an eye on.
And yes, if you’re mentioning African Americans in country music, it’s worth pointing out Darius Rucker is making his living in the country genre now, and despite quite a few questionable efforts, he did make a #1 song out of Old Crow Medicine Show’s “Wagon Wheel”—taking a song that might have been ubiquitous in the underground, but was probably worthy of a wider audience all the way to the top of the mainstream charts, underscoring again how it’s often minorities championing the more rootsy material in the mainstream. Even Kane Brown—who is of mixed ethnicity—can’t be accused of not being able to sing the hell out of a traditional country song when he so chooses. He’s done some George Strait covers that are downright astounding. But unlike the other artists mentioned above, Kane chooses to cut more commercially-viable material instead vying to help keep the roots of the music alive.
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One of the differences we see in modern American society is that members of Generation X were taught not to see race or sexual orientation, while the Millennial mindset seems to want to classify individuals and select them out based expressly on race and sex. And of course all of this has become quite polarizing in the current political climate. It even feels a bit strange to select these country and roots artists out based on race. Ultimately they’re just performers who are contributing their songs and voices to the cause. What should single them out is their talent.
When looking at the African American legacy in country music, it’s a good reminder that music is for everyone, and something we can all enjoy together. But the unique opportunity that African American performers hold—and what makes them so important—is the ability to spread the love of traditional country and roots music to crowds who otherwise might not be exposed to it. Often, African American listeners are turned off by what they hear in the mainstream of country because there are so many instances of cultural appropriation that come across as just lame to the modern ear. But play something more traditional, and it awakens something in them, maybe a memory or nostalgia.
“I haven’t had a single problem in all of the places I’ve sung,” says Tony Jackson. “But one of the things I do hear from people after a show is, ‘I’m not a country music fan, but I really like what I just heard.’ You see, I think that everybody likes country music, but most people just don’t know it yet.”
Lord Honky Of Crackersley
January 15, 2018 @ 9:15 am
I genuinely look forward to the day when we can simply acknowledge someone’s accomplishments, with complete disregard to their race. For that to happen, articles like this will need to cease to exist. That will be a wonderful day.
January 15, 2018 @ 9:49 am
I agree. That was the dream Martin Luther King had when he said that people should be judged not by the color of their skin, but the content of their character. I often fear the new Mellenial mindset of re-instituting the classification of people based on race, gender or sex (i.e identity politics) is a regression that could backfire in the long term, even if the effort in the present-tense is to stamp out bigotry and inequality.
I myself felt a little weird selecting out artists based on race, but I wanted to acknowledge that these African Americans are doing their part to help keep the roots alive that many Caucasian artists are doing their level best to stamp out or outright destroy. These artists are helping to save country music, and per capita, to a greater degree than Caucasians. They all deserve credit and acknowledgement, and as I said, should be recognized for their talent first.
Lord Honky Of Crackersley
January 15, 2018 @ 12:03 pm
Articles like this, contribute to the problem.
You’d have been better off writing separate, non-race based articles about each artist individually.
If these folks are talented, it’s not because they’re black. It’s simply because they’re talented.
January 15, 2018 @ 12:46 pm
“You’d have been better off writing separate, non-race based articles about each artist individually.”
I have for Valerie June, Charley Crockett, Dom Flemons, The Carolina Chocolate Drops, Rhiannon Giddens, Aaron Vance, and others. In fact I’m pretty much the only one writing about Aaron Vance.
Nobody protested when I did an article highlighting Kentucky-born country artists for singling them out because they’re from Kentucky. But ultimately this isn’t about skin color, and actually, it’s not about the individual artists themselves. If it was, I would have made a list, and not a think piece. I wanted to highlight that when looking at artists who are helping to save country music, many of them happen to be African American. Just like many of them happen to be from Kentucky.
That said, and as I said above, I agree singling out artists due to race is less than ideal, and it would be better if we didn’t have to differentiate because of skin color. But if you would have seen some of the comments I moderated out of this comments section, you would have seen why this is still an issue that needs to be raised.
Country Hodge Podge
January 15, 2018 @ 1:08 pm
Hey, we’ve talked about Aaron Vance on our podcast! Just giving you shit, but yes that’s true. He is criminally underexposed.
Lord Honky Of Crackersley
January 15, 2018 @ 5:37 pm
Trigger, would you please let all my comments post. I can’t even talk to anybody.
January 15, 2018 @ 5:44 pm
I’ve let you say your peace in this comment section and others, but we are not going to allow this to become yet another political discussion where nothing gets solved and there’s incessant back and forths. Recently all these comments sections are veering towards the content of your comments and your behavior as a commenter as opposed to the topic at hand. This turns others off from wanting to converse.
How about we talk about these artists and their music? How about we talk about what may lead to black performers wanting to make traditional country as opposed to Bro-Country? I get it, we shouldn’t focus on race. You made that point multiple times and it’s a fair one. Now lets move on.
January 15, 2018 @ 2:28 pm
For Fox sake! I knew there would be comment of this ilk, just not the first.
January 15, 2018 @ 3:55 pm
yeah, but the second part of that was that we’re not there, and until such time as that happened we had to continue to point out all the problems. (it also ignores all the economic stuff, which is tied up in race as well, but would also have large impacts for poor whites)
(oh and I’ll say again, your comments on gen-xers vs millenials isn’t true of African-Americans, who have never had the luxury of ignoring race)
January 16, 2018 @ 1:32 am
Good work Trigger!
January 16, 2018 @ 10:30 am
I like when you type in “American Inventors” on google it just shows mostly black inventors who I’ve never heard of.
July 8, 2020 @ 8:37 pm
There is nothing wrong with acknowledging a person’s heritage or roots. Those who try to deprive people of basic human decency, because of their heritage and roots are the problem. No one is denying this artist is amazing on his own, but people come from all walks of life and that is beauty in and of itself…and that should be acknowledged.
January 15, 2018 @ 9:17 am
As always, whenever I talk about black people in modern country, I have to reference Casualties of Cool and singer Che Aimee Dorval. Masterminded by Canadian extreme metal legend Devin Townsend, the breakthrough came with a self-titled record in 2014 and it’s genuinely one of the most experimental yet firmly grounded country records released this decade.
And Che Aimee Dorval, while her own material trends a little closer to alternative rock than straightforward country, is a stunning singer in her own right and her last album ‘Between The Walls & The Window’ was pretty damn solid.
Just a quick plug from north of the border – it’s nice to see articles like this highlight more diversity than many want to see in country.
January 15, 2018 @ 10:59 am
You Canuck’s make some pretty great country. Will be checking this oot.
January 15, 2018 @ 9:17 am
Awesome and very appropriate article Trig. When you mentioned Aaron Vance awhile ago it peaked my interest and he makes his way into my rotation pretty regularly now. Good music is good music regardless of color
January 15, 2018 @ 9:19 am
Of course, the list of white country artists who think they’re black is infinite.
January 15, 2018 @ 5:27 pm
this would be hilarious if it weren’t absolutely dead on ,kevin .
never mind …it still is hilarious . and sad …and stupid .
January 15, 2018 @ 9:28 am
I welcome quality participants and contributors to the genre irrespective of any adjectives which may help identify them outside of authentic country and folk music.
I go to a lot of NASCAR races and am happy that more blacks have embraced the sport.
January 15, 2018 @ 9:28 am
Freedom Highway is a great album. Rhiannon deserves every accolade she receives.
The Musical Divide
January 15, 2018 @ 9:28 am
I have a Saturday night tradition where I watch CMT with my grandmother (she likes it, and she’s not well, that’s all I’ll say and that’s why I watch it). I had to make it a Sunday night tradition this week. Anyway, all of a sudden it switched over to somewhat of a documentary on Darius Rucker (at least until 2014 ish it seems). When they got to the part about only two other African Americans besides him topping the Country charts in some fashion (Ray Charles and Charley Pride), it made me think how much more there was even in the underground. I wasn’t wild about either Tony Jackson’s or Aaron Vance’s latest albums, but they’re immensely talented. Rhiannon Giddens even had my #5 album of the year. I can’t say you missed any names here, but one I’d add is Joey McGee. ‘Terlingua Taproot’ was a very underrated album from last year.
January 15, 2018 @ 9:30 am
This is an excellent article as usual Trigger ……informed and informative .
“You see, I think that everybody likes country music, but most people just don’t know it yet.”
This is such a simple-sounding statement and yet it holds the key to the survival of real country music, I believe .How will people even be aware of , much less discover how the authenticity of real country music resonates with them, if the avenues of exposure to it are denied them ?
January 15, 2018 @ 12:30 pm
I’m just glad to see the phrase “I didn’t know I liked country music until I heard…” applied to actual country music as opposed to Sam Hunt. Unlike Hunt, Rhett, FGL, etc. performers like Tony Jackson are bringing new fans to music that is actually country.
January 15, 2018 @ 9:40 am
January 15, 2018 @ 12:18 pm
Reminded me of this:
I love these guys, they are funny.
January 15, 2018 @ 5:42 pm
made my day …made my month , Scott ,
these guys are sooooo real and undeniably honest …just like Stapleton .thanks for posting this link …
January 15, 2018 @ 9:40 pm
January 15, 2018 @ 9:46 am
I wish we were at a point where everyone was treated the same regardless of Race or gender, but saying don’t look at it, doesn’t actually change the realities (btw almost no minority gen Xer would make that comment). Kane Brown is a good example. Whatever you may think about the quality of his music, it continues to generally struggle at radio despite excellent sales. His current single has been passed by both Lindsay Ell and Morgan Wallen (leaving out the big names), despite the fact that it sits in the top 30 all genre at itunes.
Country music and African-Americans are inextricably linked, and a number of extremely talented African – Americans are making wonderful roots and country music today. Thank you for highlighting them. Here’s to hoping that one day they receive the same recognition/treatment as a Sturgill or an Isbell by fans at large.
January 15, 2018 @ 10:31 am
Agreed. SCM is the only site where I learned anything about the Carolina Chocolate Drops, and Valerie June. And, now, Tony Jackson, and Aaron Vance. That’s a shame.
January 15, 2018 @ 9:53 am
Writing on this subject can be problematic, but I thought this was well written, sincere, and your good intentions came through. I would take it a little further with Rhiannon Giddens. Not just one of the best singers, but possibly the most talented period, considering how she can play some instruments as well. I’m in awe every time I see her perform (sadly- so far only on video). Also, I almost want to say that calling Valerie June hip somewhat belittles her music, but in the end, it’s hard not to think that. She is cool as hell. And seems genuinely nice as well.
I hadn’t heard of a couple of the artists here, will check them out. Thx
January 15, 2018 @ 9:57 am
Sometimes I think of Rhiannon Giddens as “The Great Black Hope” of roots music. She’s biracial and relates deeply to both white and black roots music. She is a world class talent with vision, integrity and charisma. In my opinion, she has made successful attempts at making roots music that makes use of modern influences while still being roots music at its core (e.g., Hit ‘Em Up Style, Country Girl, Better Get It Right The First Time). I hope she can be instrumental in bringing more black folks to roots based music.
One eclectic roots/blues artist that I desperately miss is Alvin Youngblood Hart. From what I understand, he got disillusioned by the music industry and hasn’t made a new album since 2005’s great Motivational Speaker.
January 15, 2018 @ 10:24 am
Actually she is multiracial with Native American blood as well. Occaneechi if I’m not mistaken. Check out the recent documentary, Rumble: The Indians That Rocked the World. She is on there playing banjo with some singers in Newton Grove NC.
January 15, 2018 @ 12:10 pm
She is married to Michael Laffan, an Irishman and as white as they come. When it comes to any human relationship and interactions, we should all be so colorblind.
January 16, 2018 @ 8:58 am
Yes, I know. Interestingly enough, I saw an interview where she said that she has turned him to some more traditional Irish music. Apparently, he was more of a prog rock guy.
January 15, 2018 @ 10:15 am
Don’t forget the great Cowboy Troy! (Just kidding)
January 15, 2018 @ 10:16 am
Let us not forget Lesley Riddle who was AP Carters partner in collecting songs for the Carter family. They would travel around the mountains in search of songs. Carter would transcribe the words while Riddle memorized the melody and then Carter would secure a copyright. He was also an influence of Maybelle’s guitar style.
January 15, 2018 @ 10:19 am
Man, I really hope Tony Jackson gains success in the mainstream now that the tide is turning towards a more traditional sound
January 15, 2018 @ 10:25 am
Good music is good music regardless of the race of the person performing it. Or gender, or sexuality, or social class for that matter. All that matters is talent and authenticity, after all you can’t see the person while you listen to a record.
I’m a millennial by the way (just about).
January 15, 2018 @ 11:38 am
I don’t care about someone skin color or if they are male or female. Good music is good music and bad music is bad music. Kane Brown’s last album completely sucked. Charley Pride has never produced a bad album in his life. Who cares about their skin color I care about their music in the quality of it.
January 15, 2018 @ 11:51 am
Joy Styles released (so far) one 5-track EP called Unbreakable. “Fast” (the single) is still on my expanded playlist.
K.C. Williams released a couple of albums. “A Long Hard Look At Forever” is (like “Fast”) still on my expanded playlist.
Miko Marks released two albums Freeway Bound (2005) & It Feels Good in 2007.
January 15, 2018 @ 11:55 am
The microphone, the guitar, the fiddle, they don’t have the ability to see color. Why should we feel the need?
January 15, 2018 @ 2:52 pm
Geezus! The Grand Tour made me choke up. A voice with “character”…..
Now I have to listen to the others, though I will say I’ve heard the Gibbons girl and she’s damn good.
January 15, 2018 @ 2:56 pm
There’s not many female voices in music I enjoy as much as Rhiannon Giddens. Just excellent good old fashioned honest music.
January 15, 2018 @ 2:58 pm
All My Life I Been shifting Gears…. voice with character singing ‘my’ life before I retired and now I’m just coasting…
January 15, 2018 @ 3:05 pm
Kaia Kater….. another voice with character. I didn’t care much for the song in the video though, a little too subdued IMO. I kept waiting for her to let loose. But I do like her.
January 15, 2018 @ 3:32 pm
one of the biggest obstacles for black roots artists is the ostracism they face playing “hillbilly” instruments often associated with deep south conservatism like banjos and mandolins …and that’s just coming from their own people. it’s best epitomized in the ‘rhythm, country & blues’ documentary when the late natalie cole jokingly talks about listening to country music privately when she was alone. there’s a stigma attached to playing the “white man’s blues” that still very much exists.
nas’ contribution to jack white’s american epic project could point the way to a potential merging of hip hop and americana.
yes there’s a diversity problem in alt country but it’s not entirely self inflicted and it’s really up to the african american community to step up and reclaim their roots music heritage. jazz, blues, rockabilly all have black architects at their roots. there’s no real money or fame to be found here. just purity of sound and authenticity of creation. it’s the anti-mainstream and to embrace it is to accept a life lived on the fringes. not the greatest advertisement. tour hard, record often, write when you can, drag your family along or leave them behind so they can resent you in private save for the 2 week break from the road when you get to go home when they can resent you to your face. it’s a tough life, black or white. you really have to be a glutton for punishment and you really have to be called to this line of work. even the brightest of our “stars” have to have a good hustle, releasing new content regularly, keeping up on their social medias, etc. remember when elvis costello took an interest in our music? as prolific as he was, he burned out after a few years describing the experience as a “treadmill.” write/record/tour/repeat. it’s a wonder anyone can live that groundhog’s day for any length of time really.
January 15, 2018 @ 5:24 pm
It’s really fashionable to point to a diversity problem in Americana right now. I think there is plenty of diversity on the stage. It’s the crowd that needs diversity. Forcing more diversity into Americana just for diversity’s sake will create even more issues with the genre’s biggest problem, which is defining itself. The artists highlighted above have the unique ability to help diversify the crowds without necessarily expanding the umbrella of what Americana is.
January 16, 2018 @ 5:19 am
Good point. Just read not too long ago that KebMo who is on the Americana board, would like jazz, R&B and hip hop to be included in Americana.Hail the mono genre!
All those genres are already well represented elsewhere! They get loads of exposure through numerous media sources. None of those genres need Americana to survive.
Americana as it first was intended to do, gave a home to the Alt Country movement, which at the time wasn’t being taken seriously by country radio, Grammys, etc. Now, nobody can define it.
January 15, 2018 @ 6:20 pm
I know he is very pop country but I really like Jojo Mason. He has a hell of a voice. Canadian pop country for those who don’t know. He is a guilty pleasure I know his music is just more of the same pop country but I can’t help but like it.
January 15, 2018 @ 7:04 pm
Tony Jackson is not from Africa. Wasn’t he born and raised in Barbados?
January 15, 2018 @ 7:15 pm
Absolutely love Tony Jackson’s voice, and his cover of this song. Beautiful. I’m a fan.
EW in DFW
January 15, 2018 @ 8:08 pm
I saw Charley Crockett open for St Paul and the Broken Bones last fall. Great show.
January 16, 2018 @ 8:20 am
Good article. Thank you, Trigger.
January 16, 2018 @ 10:48 am
Does OB McClinton or Dobie Gray classify as country? I think they are!
I’m not trying to find artists trigger might have missed. I am just genuinely wondering?
January 16, 2018 @ 11:01 am
I just revisited some ob, I don’t know what I was thinking he’s definitely country!
Fat Freddy's Cat
January 18, 2018 @ 10:36 am
I had the pleasure of seeing Kaia Kater live at The Purple Fiddle in Thomas WV. She’s an awesome performer.
January 18, 2018 @ 10:58 am
I’ve seen ads for Tony Jackson and apparently didn’t give them enough attention. This song was excellent, sung with heartache. I’ll have to pick it up.
February 1, 2018 @ 6:04 pm
October 15, 2018 @ 7:44 pm
You had me right up until that kumbaya-race-shouldn’t-matter ending. Race isn’t a problem; racism is. It is more than fine that these artists are black, that we call them black, and that we enjoy their artistry whether they are black or not.