We have failed at even making a dent in this female dilemma. So why not think outside of the box? Why not throw out all the old notions that to break down the gender barrier we should just start serving up eye candy singing bubblegum pop? Besides, that’s not the trend we’ve been seeing take hold recently.
Dori Freeman is separating herself from the gaggle of country’s most encouraging prospects by mining the simple beauty from Appalachian dialect, taking deprecated compositions in outmoded tongues and making them feel more relevant than the most modernized hip-hop beats, and then contribution her own original expressions.
Before the accolades start to feel like platitudes, and the reasons become excuses, the Turnpike Troubadours should find their place in the national narrative. Because country music needs them. The Turnpike Troubadours are the band for right here, right now, delivering everything you want, saddled by nothing you don’t need.
Make no mistake about it, the reason a song like this came about is because of the continued criticism coming at artists like Luke Bryan that question their legitimacy as country performers. This means the spirited dissent being logged by literally millions of country fans at this point is being heard, and making an impact.
With only two people and one mic, Mapache can fill up a room with more soul soaring harmony than most symphonic assemblies, carried to great heights by melodies that are incredibly supple and bursting with delight, timeless in their textures and delivery, yet with subtle new turns that give Mapache the benefit of originality.
From the very beginning, there has always been a Gothic side to country and roots music. From the murder ballads and ghost stories of the Ralph Peer-era pioneers of country, to tales of struggle and lunacy from more modern underground artists attempting to keep those haunting spirits alive, Gothic country never gets its due credit.
If tasked to do so, I will unflinchingly and wholeheartedly endorse that Leroy Virgil of Hellbound Glory is one of the greatest songwriters of our generation—up there with Jason Isbell, Cody Jinks, John Moreland et al, even if it’s of a different breed—puffing my chest out and challenging any man willing to assert otherwise.
What Jon Pardi has done over the last year is prove that an artist can stick to a more traditional style, and not only sustain, but turn in career marks, even in this difficult environment for traditional artists in the mainstream, and a stacked field for artists looking to be launched. “She Ain’t In It” is a classic country crooning heartbreak song…
Kellie Pickler is at her best when she writes her own material, and when she makes it personal. That was at the heart of 100 Proof’s critical success. Pickler’s shattered upbringing have made for some excellent country music over the years, and her personal history is what inspires her latest song “If It Wasn’t For a Woman.”
This is a record you use to get lost in the sonic beauty, with groove and soul setting the foundation. As Sturgill Simpson says, all good music is soul music. And since it’s still cast in those sepia hues of classic songs, even a country audience in favor of neotraditional styles will be able to relate. Bravo, Mr. McPherson. Bravo.
Whitney Rose’s “Rule 62″ (which by the way is “Don’t Take Yourself Too Damn Seriously”), is fun and fashionable in that throwback sort of way that’s the rage of independent roots circles at the moment, while also being bolstered by quality songwriting framed within a vintage era that still appeals to the modern perspective.
Music is the way we get through these moments. And though others have tried valiantly, Eric Church is the one so far, verified by the viral reaction, that has stepped out of the shadows of grief to deliver the light and the message we’ve all been waiting to hear, and put words to the emotions we all feel.
The Lost Bayou Ramblers—a very traditional Cajun-style band from Louisiana—has been both helping to keep the Cajun traditions alive in the ears of modern audiences, and trying to find new sonic frontiers for an almost ancient art form for going on some 15 years now.
Sorry to disrupt any Shania Twain fans out there enjoying their Tim Horton’s Canadian bacon breakfast, but this new album is complete junk. Yet the least worthy of blame might be the one whose name and visage grace the cover, trying uselessly to revitalize the 90’s relevancy of leopard print.
Since youth can blind the music connoisseur to the true nature of talent since we regard it on a sliding scale, sometimes you can get too swept up in the marvel to see the forest for the trees. But in the case of Madison Lewis, the material and the voice is so mature and unique, age doesn’t even seem like a factor in the equation.
With all the talk about the cheeky machismo of Midland lately, including many assigning the trio savior status for finally returning a semblance of traditional country back to the mainstream of country, folks seem have forgotten that William Michael Morgan did that very thing with a single called “I Met A Girl” in 2016.
While some try to sell you on the idea that adhering to certain genres or traditional instrumentation is a severe limitation on creativity, some of the most brilliant musicians are the ones who are able to work within the confines of severe limitations and still tap into originality and undiscovered musical vistas that dazzle the spirit in unique ways.
I can’t stand these Midland guys. I can’t stand their faces, I can’t stand their bullshit Tom Selleck circa 1985 mustaches, I can’t stand their stupid getups, or the fact that they’re making a mockery of the authenticity of scores of Austin-based country artists, and legions of traditional country performers across the globe.
With her third record, second generation alt-country performer Lilly Hiatt has offered up a career-defining album full of songwriting gems and inspired performances that is spirited to the heights of infectious listening by smart and considerate production. This personal and galvanized work finds the full realization of Lilly Hiatt’s vision, voice, and potential as a […]
Thomas Rhett’s got nothing. Each performing artist, whether it’s in the independent realm or the mainstream, has at least one thing they can hang their hat on that makes them unique and interesting in the entertainment marketplace. But with Thomas Rhett, it’s none of the above.