Album Review – Kelsey Waldon’s “White Noise/ White Lines”
The praise for Kentucky’s contributions of talent to the effort to return country to its core musical values are prevalent and warranted, and are often born through names like Tyler Childers, Chris Stapleton, Ian Noe, and in previous eras, Sturgill Simpson. But there’s one artist more than any other that regardless of how far afield from the tobacco rows of Western Kentucky she’s traveled or toured, and no matter how much time she’s spent in Nashville or other cities, has successfully retained a distinctly Kentucky experience in her songs, and the thick Kentucky accent full of twinge and twang. We’re talking about Kelsey Waldon.
From the tiny unincorporated community of Monkey’s Eyebrow near the Ohio River, Kelsey Waldon brings the stories of her distinct Kentucky upbringing to her latest record White Noise/White Lines, released through the John Prine-owned label, Oh Boy Records. If you’re looking for the experiences of rural America spun into songs devoid of diluting agents or phony embellishments, this is where to start. There’s no dulling the edges of Waldon’s molasses thick and unapologetic Southern accent. There’s no effort to commercialize these songs with any sort of electronic beeps or pop sensibilities. It’s just sounds and stories native to Kelsey’s Waldon’s experience set to unrepentant country music.
From the autobiographical “Kentucky, 1988” about her birth and upbringing, to “Black Patch” about one of the region’s most famous commodities of dark-cured tobacco, Kelsey Waldon, who grew up working on the farms and in tobacco fields of Western Kentucky, puts her life into these songs, including a philosophy of hard work and dogged perseverance in the song “Anyhow.” As someone born poor in a mostly forgotten region, and as a woman and a traditionalist in the country genre where these two things act like two strikes against success to start, Kelsey Waldon can sing about insisting on doing it your own way and sweating through adversity from a place of experience.
One place Kelsey seems to miss the mark on White Noise/White Line is in the song “Sunday’s Children.” As opposed to telling a story about her severe upbringing in the Baptist church, which reportedly is what inspired the song, or going after some specific offense of certain sects of Christianity that perhaps preach homophobia or racism, the song simply scattershoots the opinion that over 2 billion people are lying to their children without any real detail or context of why this accusation is being levied. Undoubtedly much evil has been perpetrated due to adages attributed to the Almighty, but much charity and hope has been provided too, and the severe judgement Kelsey supposedly tries to challenge here is just superimposed on others from the lack of any sort of story or specificity.
A few moments on White Noise/White Lines seem like they’re straining for acceptance from the Americana crowd as opposed to finding the heart of the sentiment looking to be conveyed. It’s not just the words of “Sunday’s Children,” but the rhythmic bass beat that drones in the background, and the similar music style of the title track that seem a bit out of place. That said, White Noise/White Lines avoids that filmy recording nature that corrodes many modern Americana or independent country projects unnecessarily. This record is alive and present, and bursting with vibrant hues. It puts Kelsey’s distinct voice out front where it belongs, and provides plenty of separation between instruments and respects the space of important moments to make the record a pleasurable listening experience.
Waldon delves headfirst into heartbreak in the song “Run Away,” which reveals itself as one of the more moving tracks on the record. The solo acoustic song “Lived and Let Go” may feel a little fey and exposed at first, but the folky, Dylan-esque nature finds its place after a few listens. Kelsey also includes a few audio interludes to give the record an even deeper personal touch, including a voicemail from her dad about hearing his daughter on the radio in Muhlenberg County, which had to be a proud moment for Kelsey and dad, and brings this Oh Boy Records release full circle.
What makes country music so unique and engaging is the separate regional dialects and perspectives that all come together to constitute what country music is. Kentucky’s stubbornness to let the future in makes it fertile ground for holding onto those lush expressions of its native people that are still mostly untouched by the monoculture. If you want to know what Kentucky sounds like, listen to Kelsey Waldon.
8/10
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John R Baker
October 21, 2019 @ 9:02 am
Sunday’s children isn’t her best lyric but the context is there. Maybe it’s because I grew up with a pretty severe sect but I totally get it. The point is the way these particular religions teach exclusivity and put up false barriers between people.
Trigger
October 21, 2019 @ 9:57 am
I understand what Kelsey Waldon is trying to get at. But it’s the job of a songwriter to convey their perspective through words and melody in a way that rings universally, or at least in a manner where what is being conveyed is what is intended, especially when it’s being as accusatory as saying people are lying to their children. In this song, Kelsey Waldon is assuming we can see into her head space, intentions, and experience. It isn’t breaking down false barriers, it’s simply moving them to pen in others. There are many members of the LGBTQ community who are Christian, including Brandi Carlile. Is she lying to her two daughters every Sunday? There are millions of black Christians, and specifically in the American South. The majority of Christians in the world are Hispanic. “Sunday’s Children” paints with too broad a brush to be effective in the message it looks to convey, and in the process creates collateral damage by stereotyping a large swath of people.
All that said, it’s just one song. I do not believe Kelsey’s intent here was to impugn religious people as a whole. But I did feel it was important to point out how misunderstood this song could be, and this was validated by numerous folks who reached out to me who were rightly offended by it, and by an artist they respect.
And for the record, I don’t consider myself a Christian. I also do not NOT consider myself a Christian. I take no religious stance, publicly, or privately. But I do take a stance whenever I see people unnecessarily stereotyped in a way that breeds distrust and misunderstanding. As Kevin Smith pointed out below, this song was used very specifically to tee off on country music and its fans by members of the media. If Kelsey wanted to go after homophobia, racism, false promises of religious zealots, etc., I’d be all for it. But I can ‘t assume what she’s taking on when the only context I’m given is, “Leave the bullshit alone,” or the ambiguous “universal truth.”
Tell a story, and have that open our hearts to your message.
But again, it’s just one song. Otherwise I think this album is very solid.
Mick Mullin
October 21, 2019 @ 9:09 am
I believe the Hebrew children walked into the burning fire
That Ananias was struck dead because he was a liar
Kevin Smith
October 21, 2019 @ 9:18 am
Found an article on a site called “Nylon” that not only praises this song for its anti religion take, but then takes some pretty nasty swipes at Country music. The author of the piece states that Country Music is illegitimate and was never about creativity or artistic expression, but rather created to enrich Gramophone companies at the expense of poor minorities whom the music was stolen from. And so it begins…… sigh…..
Trigger
October 21, 2019 @ 10:16 am
Yes, I read that piece on Nylon that specifically used the release of “Sunday’s Children” to tee off of on country music and its fans, and that’s a perfect example of why a song like this can be so hurtful, and not just to people of faith, but to country music. It’s trying to use negative and unfair stereotypes to breakdown unfair and negative stereotypes, and thus, just creates more conflict, distrust, and misunderstanding.
But again, I don’t think that was Kelsey Waldon’s intentions, just the result. If I had grown up in some rural Baptist congregation where perhaps minorities or homosexuals or liberals or whomever were being rebuked in Fire & Brimstone sermons, I might carry some unresolved guilt or anger over that as well, and feel the need to call it out once I was afforded a public platform. But you just have to make sure the subject of your ire is being conveyed. And if it truly is ALL people of faith, then that’s just wrong. If folks want to use religion to help them through the struggles of life and believe it something after death, they should have a right to.
It almost seems like these days in Americana, you must include a song like this on your record to ingratiate yourself to certain segments of the media. Otherwise, they will ignore you. But at what expense is what the artists have to ask themselves. It feels very similar to a few years ago when you couldn’t release an album in mainstream country without some formulaic, flag-waving “I SUPPORT THE TROOPS!” song.
scott
October 21, 2019 @ 11:44 am
After listening, and reading the lyrics, gotta admit I’m confused. Song doesn’t fit the rest of the album. It will probably be polarizing. Not sure why it was included on this album. I’m no Bible thumper, per se, I love gospel, but the song really taints the rest of it, for me.
sbach66
October 21, 2019 @ 3:20 pm
I went and looked up the article in question and read it. Then I saw who wrote it. Explained everything.
Benny Lee
October 21, 2019 @ 9:36 am
This is her best album to date, and an AOTY candidate for me. Not a weak track on it, and she tells her truth with brutal honesty. Can’t stop listening to it.
My AOTY contenders ATM, in no particular order:
– Kelsey Waldon “White Noise/White Lines”
– Emily Scott Robinson “Traveling Mercies”
– Mike & the Moonpies “Solid Country Gold”
– Chris Knight “Almost Daylight”
Matt
October 21, 2019 @ 9:32 pm
Absolutely agree that it’s a serious AOTY candidate, even in this amazing year.
Chris
October 21, 2019 @ 9:48 am
Yeah, I don’t really feel Sunday’s Children, but I like the album overall.
Matt Murphy
October 21, 2019 @ 10:26 am
The album overall is wonderful, but the inclusion of Sunday’s Children is strange choice for a few reasons. It has a funk sound that is out-of-step with the very country album. The lyrics are simple, repetitive and profane. Most obviously, it is a crude slap at all of Christianity delivered without any subtlety, wit or story.
I suppose its there because its what Kelsey really believes, and I respect her courage in being so bold with it, particularly when it is bound to rub so many of her potential fans the wrong way. What I hope it is not is a play to gin up some publicity by inflaming the culture wars.
Either way, it might have been wise for her to get a little better established before gratuitously insulting so many people.
Daniele
October 21, 2019 @ 10:34 am
KW is one of the best out there, that said i also get this “americana” feeling in the way the record sounds….
hoptowntiger94
October 21, 2019 @ 10:41 am
Do you think you could get your intern to start a page with your top reviews of the year (something ongoing like the new release preview)? I know you do one at the end of the year, I’m looking to catch up. I’ve been using the New Release category (tag) to sort through some, but I feel like I am missing some.
Corncaster
October 21, 2019 @ 1:15 pm
Talented PR.
North Woods Country
October 21, 2019 @ 2:17 pm
Her voice still badly grates at me. It wouldn’t even matter if the music was phenomenal, which it isnt.
As for Sunday’s Children, does she realize the irony of referencing the concept of “universal truth” while stating an opinion? Terrible song all around.
wayne
October 21, 2019 @ 2:55 pm
Definitely hear the channeling of Miranda Lambert in her voice.
albert
October 21, 2019 @ 3:17 pm
listened to bit of her a while back……
couldn’t get past her vocals ….pitch is VERY questionable and not a lot of soul …..I know that won’t matter or perhaps even be noticeable to some but there are just too many GREAT singers around . I have demos returned to our studio asking us to have someone else sing them when the pitch is often better than this . this sounds very much a like a demo .
Kevin Davis
October 21, 2019 @ 4:18 pm
I greatly appreciate your thoughts on “Sunday’s Children.” I really have no problem with someone telling her story of pain within a religious context. I’ve heard those stories. I happen to be very fortunate to have been raised in an incredibly loving church and family. I grew-up with role models of self-sacrifice — those who went out of their way to reach anyone who was hurting and wounded. In fact, some of my happiest moments in childhood were going to Sunday school with my friends at our Baptist church. But I know that’s not everyone’s experience, as I’ve learned over the years. Unfortunately, “Sunday’s Children” is not what’s needed. It’s not even clear what exactly she’s frustrated with, which gives the impression of a broadside attack on all Christians. There’s no story; just anger and judgment.
I can’t help but think that “Sunday’s Children” is the perfect example of Americana’s penchant for the disaffected among America’s cultural left. By sharp contrast, Blake Shelton’s recent “Jesus Got A Tight Grip” represents everything that Americana is against.
Dan Morris
October 21, 2019 @ 4:31 pm
The ‘Route 650 Americana’ live stream from WSM has ‘Anyhow’ on regular rotation and I really like it and, although it took a few listens, have come to appreciate the rural rawness of Kasey’s voice. I’d much rather hear her than a singer whose voice has been manipulated to sound more pleasing for the masses. She reminds me of Loretta Lynn. Just singing her truth in her own voice. On a totally unrelated topic… what happened to the scroll at the top of the homepage Trigger? I usually found interesting stuff to read, watch or listen to from that ticker.
Trigger
October 21, 2019 @ 5:27 pm
The news ticker was getting tough to manage, because in the aftermath of the Lil Nas X controversy, I just refused to link to sites that had actively worked to mislead the public. What I intend to do is relaunch it at some point to feature new songs, videos, and albums being released. Stay tuned.
Matt
October 21, 2019 @ 9:35 pm
Definitely reminiscent of Loretta.
Buzz Meeks
October 21, 2019 @ 5:26 pm
The only thing you’re “allowed” to say in traditional country lyrics is “Jesus is the answer and the only way to save all your worthless, pitiful souls is to repent and get in line behind Christianity’s every belief without question or skepticism.”
KW didn’t get the memo that you are never, ever supposed to think for yourself when you play and write this kind of music……..
This kind of dogmatic thinking has plagued traditional country music since the beginning. It’s one of its only faults as a genre.
Trigger
October 21, 2019 @ 5:43 pm
I disagree. I think this is the stereotype of country, and the reason some people feel the need to rage against it as a monolithic artifice of an archaic, closed-minded age, when it’s not even close to that. Johnny Cash won the CMA Song of the Year with “Sunday Morning Coming Down” 50 YEARS AGO. He should have been in church, and instead he was getting “stoned” and drinking a beer for breakfast. Of course country music tends to be more Christian and conservative, but it’s always been a lot more open-minded than it’s given credit for. It’s just folks want to earn style points by attempting to tear down the idea of what country music is perceived to be.
Again, it’s the lack of specificity in “Sunday’s Children” that makes it not just inert in its intent, but damaging in its effect. Take Jason Hawk Harris’s “I’m Afraid” released a couple months ago. That’s another song that could easily be mistaken for sacrilege, and might even be sacrilege to some. But by telling a story, it evolves into something much more.
If I knew what Kelsey’s problem was with the Church, I’d more than likely agree with her. But all I can glean from this song is that everyone that’s a Christian is “lying” to their children, and I just don’t feel comfortable with that idea.
Sbach66
October 21, 2019 @ 8:24 pm
You’re obviously not woke enough, Trig.
Corncaster
October 22, 2019 @ 3:25 am
Compared to “Sunday’s Children,” my Baptist hymnal is like Einstein.
And I’m not even Baptist.
Greg Green
October 27, 2019 @ 7:30 am
“Well, I don’t believe that heaven waits
For only those who congregate
I’d like to think of God as love
He’s down below
He’s up above
He’s watchin’ people everywhere
He knows who does and doesn’t care”
I Believe in You (Don Williams) written by Roger Cook and Sam Hogin, released in August 1980.
I’m sure there’s others out there, but this is the first that came to my mind. So you’ve been wrong for at least 39 years.
Tubb
October 22, 2019 @ 3:58 pm
I’ve been a fan of Waldon since I first read SCM’s review of The Goldmine 5 years ago. That’s one of the best albums of the last decade as far as I’m concerned, with High In Heels being a top 5 song of the decade. Loving the new album, thanks for the review Trig.
Brad
October 22, 2019 @ 6:52 pm
She thinks the Baptist Church is severe?! Good Lord.. If you can’t handle the teachings of the largest protestant denomination in the United States, maybe Christianity isn’t for you.
Loretta Twitty
October 23, 2019 @ 6:02 am
#1, She will never be Loretta. Loretta would have written a better song if she had a problem concerning church/belief system’s…anything.
Corncaster
October 23, 2019 @ 8:14 am
Verse two goes:
Tear down the walls we build
Feel darkness with no shield
Nothin’ wrong with growing pains
Let it teach you everything
Let it teach you everything
I wonder if Kelsey knows this language is like the language of santeria and macumba rituals in South America.
Di Harris
October 26, 2019 @ 5:38 pm
And Miami.
Lots of santeria practiced there.
c
October 23, 2019 @ 6:22 pm
That Nylon article is truly awful and is a prime example of why I no longer trust such publications. The Lil Nas X thing was a big wake-up call to me about the bias of the media, the lack of fact checking, the outright animosity towards people who love country music, and so on. That person has no business writing about country music. They obviously know nothing about it.