Kane Brown & Luke Combs Are the Future of Mainstream Country Music
It can be hard to fathom, but we’re living in a time where Florida Georgia Line is beginning to feel old, Luke Bryan is having trouble selling records, and even Sam Hunt’s latest single failed to meet expectations. “Cruise” was released over six years ago now, and Sam Hunt is four years removed from his first hit. When these acts came on the scene, some traditional country music fans were still stuck complaining about Kenny Chesney and Taylor Swift. Then times changed, and now they have changed again.
Kane Brown and Luke Combs couldn’t be more different. Kane is the ultra-contemporary R&B-style chick magnet that sings shallow songs to high school girls and leaves any country leanings to passing tokenism. Combs is the puffy, bearded everyman with a fish hook on his brim, who despite some weak songwriting for some of his biggest hits, is about as close as you will come to a traditional artist in the mainstream at the moment—at least one that is consistently landing radio hits and sold-out shows.
But they are both a new style of country star who made their ascent into mainstream stardom 100% during the streaming era, and due to the streaming era specifically. Parlaying rabid fan bases and preferred playlist placement into impressive streaming numbers and packed houses, the major labels came calling, and so did more fans. And though there is no shortage of names of male country radio stars who can land #1 singles these days and still fail to be recognized even on the streets of Nashville, Kane Brown and Luke Combs have put together very serious careers, and have separated themselves from the herd as the two artists who will have a huge impact on mainstream country in the years to come.
Last week, both artists announced their own arena tours—something reserved for only the top tier of country stars who have proven they can pack the biggest clubs first, and have cut their teeth enough on opening slots. Kane Brown and Luke Combs are now headliners, and it’s time to recalibrate all of your thinking of the power structure in the mainstream, and how stars are born. Radio is no longer the primary power broker, playlist managers are. Opening slots and radio singles aren’t the easiest or quickest way to superstardom, viral videos and a savvy social media presence are.
Who would have picked either Kane Brown or Luke Combs out of a lineup of the otherwise buffed, chiseled, and mannequin-like male performers in mainstream country as the two who would succeed to the greatest extent? But what these two have that Chase Rice, Chris Lane, and Dylan Scott don’t is actual fan bases. Even though both Kane Brown and Luke Combs could be characterized as country music’s first virtual stars, it’s the enthusiasm and loyalty of their fans that have underpinned their success. Like independently-signed country artists, it’s that grassroots buoyancy and the latitude it affords that has made Kane and Luke’s magnitude in the marketplace real, while artists like Cole Swindell and Dustin Lynch are being propped up artificially by radio, and are perpetually stuck in opening slots.
This support for Kane Brown and Luke Combs also translates into hard sales numbers, which we thought was something in the past for most of today’s mainstream artists aside from Chris Stapleton. Luke Combs released his debut LP on June 2nd of 2017, and just like Stapleton was doing over the last couple of years, nearly every week Luke is either #1 or #2 on the albums charts, or at least in the Top 3. Granted, has been helped along by the release of a deluxe edition in June of 2018, but that was months ago now. Just last week This One’s For You was at #1 again. It’s gone Platinum, and has sold nearly 300,000 copies—only 18,000 less that Luke Bryan’s latest album, and gaining quickly.
Kane Brown’s self-titled album is a similar story. It has gone Platinum as well, and has sold 438,000 copies—only 6,000 copies behind Florida Georgia Line’s latest, and gaining. Though both Kane Brown and Luke Combs seemed to benefit from a strange bit of favoritism when it came to placement on playlists early on (especially Kane Brown), however they got here, their sales and their fans are a very tangible force now.
You may ask, where are the women in all of this? Well, they’re in pop. Remember, country music was the genre that launched Taylor Swift, who despite the dominance of hip-hop at the moment, is still the most successful Caucasian female in all of music right now. Early in her career, Taylor Swift was working the MySpace angle and securing herself an incredibly loyal fan base by understanding how technology would be the way to connect with fans in the future. While artists like Martina McBride and Faith Hill were trying to extended their radio careers with big singles and failing, Taylor Swift was taking the new school approach. This is similar to what Kane Brown and Luke Combs have done—understanding the new streaming model of music, connecting with fans via social media, and maximizing it all to their advantage.
The next question the anointing of Luke Combs and Kane Brown as headliners begs is where does that lead country music? Kane Brown is not the country music scourge of Sam Hunt or Walker Hayes perhaps, but he definitely symbolizes an aberration of the “country” term, while his disdain for the old fans and roots of country have been well documented. Luke Combs on the other hand tends to surprise for a mainstream star with the amount of roots and substance his music carries. Competing with most of the bigger acts of the independent country realm like Cody Jinks or Tyler Childers, Combs will always come in 2nd. But that doesn’t mean Luke isn’t easy to root for, or an important figure in the mainstream moving forward.
What all this means for country music will be fleshed out in the coming months and years. But what we do know is Kane Brown and Luke Combs will be a big part of it, and they’ll be a big part because their management understood the shifting paradigm in music consumption, and how to maximize it to their benefit. Though technology may have no place in true country music, it does in the marketing of it. And if more traditional-style artists, women, and others want to compete, they should try to learn from the success of Luke and Kane.
The success of Kane Brown and Luke Combs also means more years to come of the traditional pushing back against the contemporary in mainstream country, and urban influences battling against the rural ones, with the cultural divide continuing to run right down the middle of the genre for the foreseeable future, and for better or worse.
Owen
September 10, 2018 @ 8:38 am
Kane brown’s new song “homesick” is actually pretty damn traditional
Cobra
September 10, 2018 @ 8:49 am
I’m not sure if I’d go so far as to call it “traditional,” but I was going to say that I’d listened to it and that it actually was pretty decent. I wouldn’t go seek it out again…there’s too much other good music out there, but to give credit where credit is due, it’s not a bad song and not a bad performance.
.
Let’s not go overboard though….Florida Georgia Line fooled us with “Dirt” once upon a time (and I still maintain that song wasn’t even as good as some said it was, but all the same, it was decent). And that album turned out to be one of the worst of all time (remember Trigger’s reaction to that monstrosity?).
Fuzzy TwoShirts
September 10, 2018 @ 10:05 am
Yeah, and monkeys might fly out of my butt
Owen
September 10, 2018 @ 10:31 am
Bro I’m not saying it’s a great song, I’m just saying it has subdued production, dobro, steel guitar, and prominent fiddle. Idk what more you can ask for
Fuzzy TwoShirts
September 10, 2018 @ 11:45 am
meaningful intelligent lyrics, a relaxing and pleasing melody, and for the credits to read “Hank Locklin” instead of “Kane Brown”
Muffy
November 10, 2018 @ 6:43 am
Kane Brown has a terrible voice.
Lilly
November 15, 2020 @ 11:11 am
That’s not true, and also it’s rude. You may have you own opinion, but don’t underestimate him.
JB-Chicago
September 10, 2018 @ 8:50 am
I’m probably the only one on here that’s been behind Luke since I heard his first 2 stripped down EP’s including the song Can I Get An Outlaw. Saw him open for Brantley Gilbert when the first part of his “This One’s For You” triology came out and he tore it up. Saw him headline Joe’s and in the fest atmosphere at the Windy City Smokeout. He’s “everyman” and people love him. Is his music a little commercial? Yep, but it’s still a lot closer to Country than many of these faceless chodes. The songs he writes are good/great for the most part. Did I want 3 versions of the same title to come out with more and more songs each time? Nope! Does he or will he ever have the street cred that Whitey, Cody, Tyler Or Sturg has? Nope!! Is he light years above Kane Brown? YEP!! I just hope he doesn’t ruin himself chasing Pop riches.
Gerald
September 10, 2018 @ 12:15 pm
You ain’t the only one! I been here since “Sheriff You Want to”. I can remember burning discs with his original music and pretending it was an actual album. I miss being able to show people his music without them knowing who he was. I can say that some of his later stuff hasn’t been as good as the original ep’s, but it’s still pretty damn good for mainstream. Like you said “closer to country than many of these faceless chodes.” Luke Combs didn’t come off the Nashville conveyor belt of plug and chug metro bros. He’s actually an authentic guy, that’s where I think the appeal is behind him.
JB-Chicago
September 10, 2018 @ 2:41 pm
He also appeals to men as well as women where many many of them don’t. We can all name a hundred of them that don’t.
Maelynn Adcock
December 24, 2019 @ 5:03 pm
Your on crack
Dobe Daddy
September 10, 2018 @ 8:53 am
The biggest difference between the two is that I’ve actually listened to a Luke Combs song until the end.
hoptowntiger94
September 10, 2018 @ 9:19 am
Not my country!
ScottG
September 10, 2018 @ 9:24 am
Well that was a well put together and objective piece of writing.
Most of us don’t really like where this is headed, but that doesn’t mean it’s not really happening.
It’s very rare in any genre that the best mainstream artists are the most popular…as long as the good ones can carve out a living and keep making great music, I will be happy.
Trigger
September 10, 2018 @ 10:00 am
Wow, someone actually read the article, understood the premise, and the importance of setting this context as opposed to just having a visceral reaction to the faces at the top of the page.
Thanks ScottG.
JD
September 10, 2018 @ 9:28 am
I’ve heard of Luke Combs, but never listened to him before today. Looked him up and streamed a song called Hurricane which was listed in his top songs. It is absolute trash, and no different than the other garbage listed in the article. Electronic drumbeat, generic voice and paper thin lyrics/theme. If this is the future of country radio it is doomed.
Lauren
September 10, 2018 @ 10:14 am
Maybe try listening to more than just one song before declaring the future as doomed?
Trigger
September 10, 2018 @ 10:40 am
You can make a good argument that “Hurricane” is Luke’s worst song. As I said in the article, some of his singles have been his worst material, which is the same thing you can say for most mainstream artists. Listening their most popular song is often an exercise in listening to their worst.
Kyle
September 14, 2018 @ 11:13 am
His second single, “When it Rains it Pours,” is pretty good, as well as others off his album such as “This One’s for You” and “Honky Tonk Highway.”
Dylan Kapisky
April 24, 2019 @ 8:38 pm
Worst song? Look, I know you guys are all about your traditional instruments and the stripping down of the over-produced music market, which I am all for, but you miss the essence of music.
At it’s most fundamental level, since the introduction of vocals, music is about storytelling. It’s about compressing a book’s worth of story into a 200 second soundbite that tells a tale and evokes a response.
Bringing this point to ‘Hurricane,’ while the subject of “broke up but got back together for a night” is far from completely original, what Luke does with his lyrics makes it unique and more meaningful than your run-of-the-mill radio song.
The chorus alone connects with how beautifully devastating it can be to have an encounter with an ex, using words commonly associated with one of nature’s most beautifully devastating forces, the hurricane. It’s an excellent metaphor, written with clever, descriptive, imagery-based lines right from the beginning: “You rolled in / With your hair in the wind.” Simple? Yes. Effective? I would say so. A less sophisticated songwriter (of which there are plenty in today’s market) would not choose their words so carefully, as to say “rolled” instead of walked. After all, nobody says a storm walked in. Even “hair in the wind” — with all its simplicity and cliche — takes on a greater meaning in context. Generally, someone described as having their hair in the wind is meant to provoke a positive image of beauty and peace, but when brought into the context of a hurricane, Combs is able to do the opposite, without changing the meaning of the phrase. With her walking in in such a way, her beauty serves to add destruction of his night out.
Further in the chorus is another bit of songwriting proficiency with “The moon went hiding / The stars quit shining.” The weather was clear and calm before the storm rolled in, much as the character’s night was fun and relaxing before the encounter sent his evening into a spiral. But, instead of the focus being exclusively on the speaker and his feelings, the lyrics use the surrounding environment to tell the story. Again, something a less creative writer would shy away from.
The verses don’t necessarily share the same imagery and symbolism, but serve to give context to the chorus, and further the plot. Instantly it is established that there was a breakup, it has taken a very long time to get over, and the main character had not had a night out since it happened. Basic, sure, but the end of the verse provides a clever little hook for those who wish to look beneath the surface. While there isn’t much time for the line to sink in before the game is revealed, by introducing the friends of the ex first, even if by one line, Luke and Co. subtly compare them to the first raindrops before a big storm. They seem innocent, but in reality serve as a warning of what is to come.
In verse 2, they reconnect after ordering the same drink, and reminisce about the past. Though seemingly not connected to the “hurricane” this pushes the story forward, leading to one particular segment that does have its roots in an oft overlooked part of extreme weather, evacuation. The lines “If I would’ve just laid my drink down / And walked out / I wouldn’t be in my truck / Driving us to your house” serve as regret that despite knowing how bad the storm/night would be, the protagonist did not make an escape to safety, instead risking further ruining by holding his ground.
Now, I could breakdown the lines of the bridge, but I’ll skip to what I know is your real issue with the song: the music.
I do agree that traditional, real instruments provide the best quality and most personal feel. However, in keeping with the storytelling part of music, I believe it is okay to use some forms of artificial noise, as long as it has a purpose, such as to help boost the atmosphere. That is what ‘Hurricane’ does, in my opinion. It uses artificial, CG noise but in an almost inoffensive way, with the purpose of adding tonal depth to the story, rather than a convenient way to record. There is plenty of “natural” sounds in the single to dismiss any potential claims of laziness in the recording process, unlike with many others in the mainstream market.
Instead, this lyrical novel uses both music and sound to create a stormy, ominous setting, with the opening guitar riff using simulated pedal effects to create its own sort of warning siren/alarm. This is a major gripe I have with much of mainstream music — the tone of the song not matching the tone of the lyrics. The juxtaposition between happy songs with sad lyrics ruins the storytelling aspect (imagine Infinity War ending with Pharrell’s ‘Happy’). However, Combs and his producers not only match the tone, but also get the music to mirror the theme of the piece (something I also enjoyed about ‘One Number Away’).
As for the autotune/artificial vocals/voice effect/*insert buzzword here* used in the breakdown, that too serves a purpose beyond being “trendy.” The particular effect distorts Combs’s voice in such a way as to mimic that of a radio PSA, a common one during storms. Although it would be difficult to recreate on stage, it adds an extra layer of depth to the recording. That said, even if Luke sings it naturally on stage (which I presume he does), I doubt those 2 lines being different will ruin anybody’s night.
No, this song isn’t totally natural, nor is it 100% recreateable with an acoustic guitar around a campfire. It’s not a song that will take anybody back to the early days of country music. But is that a bad thing? If we all suddenly lived the same way as the early humans, 98% of the population would be gone within a year. A little evolution is a good thing. While many of today’s country songs take this too far, I do not find Combs to be guilty of it, because he uses it with purpose, not for a cheap hit with the 20 somethings in club crowds.
Yes, it is edited and you could make the case it is overproduced. However, I would argue it is overproduced in the same way that a superhero movie is — that being: while not necessary, it enhances the experience — as opposed to an overproduced high school play.
I would not say ‘Hurricane’ is Luke’s best song or even single, but I would never call it his worst. A strong 8/10 for me.
TL;DR – ‘Hurricane’ is actually really good, okay?
Gena Wilson
February 22, 2019 @ 7:02 pm
Try listening to something else Like “Used to you, Honky Tonk Highway, Brand New Man ( reboot with brooks n dunn ), Let the Moonshine, I know she ain’t ready, She got the best of me, This one’s for you…. All you critics hear what is mainstream and don’t give the artist another look, I find artist like Luke even Brantley Gilbert put out the pop crap for the Label but if you play their whole albums you might see a different picture being painted. Before you write off a artist play more than just what is aired on radio or youtube.
RD
September 10, 2018 @ 9:46 am
If that’s the future, then its time to go Jonestown.
Clyde
September 10, 2018 @ 12:50 pm
It’s just the future of “mainstream.” No need to get the Kool-Aid ready just yet.
(Me and) Paul
September 10, 2018 @ 9:48 am
Assuming that I’m on the younger side of this site’s visitors (25), I can say that most people my age don’t listen to the radio anymore. We all have Spotify/Apple accounts and most people tend to listen to whatever those platforms are promoting. Radio is essentially dead as a media format because of streaming and podcast services that let you access what you want whenever you want it. Whether it’s fair or not, the most popular artists moving forward are going to be the ones with the most streaming exposure. It does help us share music easier though; my friends are much more willing to listen if I say go check out Turnpike Troubadours on Spotify instead of go buy their latest CD.
Trigger
September 10, 2018 @ 10:43 am
Yes, as streaming continues to take hold, the phenomenon that saw Kane Brown and Luke Combs come to power is only going to grow in momentum. You will have listeners who’ve never heard music on a CD, and will have their window into the music world completely predicated on playlists. Florida Georgia Line does okay on playlists, but Luke Bryan does pretty terrible. That is why the paradigm is shifting away from him, and towards guy like Kane and Combs.
Shastacatfish
September 11, 2018 @ 11:14 am
If this is the case (rhetorical ‘if’ there, not questioning the case), then why is country radio hellbent to court an audience that isn’t there? Why not work to appeal to the folks who still seem to listen to it and not abandon traditional country?
Also, I keep hearing that radio is dead. I sure don’t listen to it anymore but someone must be doing it otherwise it would just go out of business.
I don’t know much about how that whole industry works, but that question always seems to be lurking out there and never getting answered.
Trigger
September 11, 2018 @ 12:21 pm
1) Radio still has an incredible reach, and likely will still moving forward for many years. Yes, streaming is becoming dominant, but radio is still a viable format. It’s just now not the only format, or the dominant format.
2) Country radio is no longer something that attempts to appeal to the masses lie we used to say for years. At this point it’s a very niche market surviving on the fact that sponsors find the “work hard, play hard, spend hard” demographic as very lucrative, and can buy ads for beer and trucks right between songs about beer and trucks.
H.P. @ Hillbilly Highways
September 10, 2018 @ 10:57 am
I only listen to radio in the car, and I only listen to country radio if I can’t find a decent rock song.
Steve
September 10, 2018 @ 10:00 am
This is a fine article, so don’t take this the wrong way, but….
The weirdest thing about this site is calling everything you dislike “hip-hop.” Taylor Swift is not played on any hip-hop station. No hip-hop fan listens to Taylor Swift. Her music has no resemblance to hip-hop beyond, maybe, the existence of a strong electronic bass line. Even Taylor’s recent music is closer to country than hip-hop (but it’s neither). Sam Hunt is much more of a country singer than Taylor Swift is a hip-hop artist. It’s like referring to Led Zepplin as a country band — so wrong that it’s baffling.
It’s not a big deal, of course, but it’s a weird habit for a site that gets upset when the same thing happens to country music.
Trigger
September 10, 2018 @ 10:15 am
Hey Steve,
I did mention hip-hop in the context of Taylor Swift’s name, saying she was the one artist doing well in pop DESPITE not being a hip-hop artist. But I did not in any way characterize her as hip-hop. Nor have I ever said that I hate hip-hop, or that any music that is not country must be hip-hop. In fact I called Kane Brown, “ultra-contemporary R&B-style,” even though I guess I could have associated with hip-hop as well.
I hope this helps clarify.
Steve
September 10, 2018 @ 11:11 am
Man, I completely misread that line. I thought you wrote that she was dominating hip-hop, not that hip-hop was dominating the radio. I am a dope.
Convict charlie
September 10, 2018 @ 1:23 pm
She did hip hop once it was the opening of an awards show. May have been cmt. Under t-swizzle- you don’t want to fight me, in my extra small white tee. It was a minute and a half deal. This was when she was still considered a country artist. I thought it was kind of funny.
ScottG
September 10, 2018 @ 10:47 am
Are you getting that about TS from a different article? This one says the opposite.
Bill
September 10, 2018 @ 10:16 am
One thing I’ve always liked about Luke Combs is his style compared to some of these other acts these days. With such a following/exposure over the last few years, like Trigger noted, and he’s still out there sporting jeans, shirt, and a ball cap, not some monstrosity of the latest fashion like FGL or your typical ‘chic’ cookie cutter image we see with Chris Lane, Dylan Scott, etc. He looks like that guy you would remember from your small town high school.
Bill from Wisconsin
September 10, 2018 @ 10:18 am
I don’t know much about Luke, and don’t listen to radio period. I do know I saw Luke totally belt out “Brand New Man” with just a couple of guys playing acoustic guitar on YouTube. If he stuck to doing stuff that I would be interested.
Kevin Davis
September 10, 2018 @ 10:33 am
I try to avoid being superficial in my comments, but I am still utterly baffled at how women find Kane Brown hot or sexy or anything other than a dweeb. Seriously, I need an education on this. I don’t get it at all. Admittedly I’m only attracted to females, but I thought I had a pretty good idea of what women find attractive, like Burt Reynolds and Tim McGraw. How the hell does Kane Brown have all these women fawning over him?
CountryRoads
September 10, 2018 @ 12:32 pm
It’s gotta be the fact that he looks like a Ninja Turtle. Those guys are bad AF. Women love bad boys, especially ninjas.
Tex Hex
September 10, 2018 @ 2:50 pm
It’s not “women” that are attracted to him, it’s young girls. I watched a Youtube vid one time theorizing why Zac Efron was so popular with girls. It’s because he actually looks like a girl!
Basically, the theory goes that young girls are attracted to feminine features in males, because subconsciously it makes them seem less threatening. Look at Kane Brown’s face. He has an oddly feminine face. It seems odd, but it makes some sense.
Also, a lot of girls/women like six pack abs and exotic bi-racial looks. Remember the blue-eyed, bi-racial convict that popped up on the web years back? That dude is now actually employed as a legit male model.
Hey Arnold
September 10, 2018 @ 9:37 pm
Hold up, Tex. Don’t be hating on my boy Zac Efron. That man is the definition of handsome. And I’m straight as a corn field.
Maybe its Kanes tattoos or something. He definitely looks tough, macho etc.
Tex Hex
September 11, 2018 @ 6:32 am
Hey, Hey Arnold, don’t get me wrong. Far be it from me to dictate what men you should think are handsome!
Hey Arnold
September 11, 2018 @ 5:00 pm
It was just a joke bro…
WE’RE ALL IN THIS TOGETHER. GET YOUR HEAD IN THE GAME.
LONG LIVE ZAC EFRON… HIGH SCHOOL MUSICAL
Justin
September 10, 2018 @ 4:05 pm
I just did a quick Google search for Kane Brown, and these comments I found worry me:
“NOT a country music fan, but DEFINITELY a Kane Brown fan!! GIVE ME MORE!!!”
“I was looking forward to meeting Kane Brown because all my girlfriends think he is so cute.”
“shirley day:
I would do anything to meet Kane he’s so hot I love his tattoos and his voice”
“I’d be cougar for Kane”
Kevin Davis
September 10, 2018 @ 4:58 pm
Exactly, those are the sort of comments all over social media and YouTube. By contrast, Luke Combs has almost none of those comments. Overwhelmingly, the Luke Combs fans think he’s a genuine, talented dude with a big, booming voice and catchy songs. That’s right for the most part. It’s the Kane Brown fans that are annoying as hell and oddly fixated on whatever it is that makes him appealing to the female libido, at least of a certain demographic. Super weird.
Sarah
September 11, 2018 @ 2:46 am
Kane Is handsome and grown married women even find him attractive
Fuzzy TwoShirts
September 11, 2018 @ 7:06 am
I can’t imagine marrying a woman who thinks Kane Brown is attractive.
In fact disliking either Luke Bryan OR Kane Brown is a prerequisite to be considered a potential partner of mine UNLESS she is a rich doctor.
Chris
September 11, 2018 @ 4:22 pm
Well, there’s some truth in that first comment in that it seems to imply that country music and Kane Brown’s music are two different things. Which any true country music fan knows to be true.
I’m a gay man, by the way, and Kane Brown does NOTHING for me. To me he looks like a meth addict. I’m generally not into bushy beards but I find Luke Combs much more attractive.
Amanda
September 11, 2018 @ 8:03 pm
Those are so creepy. I’m 22 and female. And I think Kane looks like a toad. I’ve never seen anything or anyone so damn ugly.
the realist
September 22, 2018 @ 7:46 am
And the irony is, Kane Brown looks like a bullfrog.
Victoria Marie Elmore
September 11, 2018 @ 3:46 am
It’s his manuriism. Calmness in his attitude. I’m 55yrs old and find Kane Brown the most sexiest man in the world..ME
Owen
September 10, 2018 @ 10:42 am
Fun fact: kane Brown has 2 career songs that include fiddle. Big boy Chris Stapleton has zero.
Trigger
September 10, 2018 @ 10:47 am
Willie Nelson never had fiddle, steel guitar, banjo, mandolin, or dobro in his music during his heyday, but nobody questioned he was country. Instrumentation is definitely important to helping to set what is country, and what isn’t. But the feel and approach to a song is also important.
D Ray White
September 10, 2018 @ 5:19 pm
Fun Alternative Fact: Chris Stapleton has two albums of mandolin, fiddle, banjo, guitar, etc when he fronted The Steeldrivers.
Try again
D Ray White
September 10, 2018 @ 5:23 pm
Other Alternative Facts:
Chris Stapleton sings without the aid of auto tune, and actually plays a real musical instrument while singing.
OlaR
September 10, 2018 @ 10:44 am
Not so fast…
…declaring Kane Brown & Luke Combs as the future of mainstream-country.
I’ll wait until the next Luke Combs album will be out. Can he go on with his sound or will his label try to change him & will his fans follow?
Kane Brown…not sure too. He can sell but can’t sing…good combination (see Taylor Swift).
What about Cody Johnson & Riley Green? Future of country music…why not?
Trigger
September 10, 2018 @ 11:18 am
You think that singing ability delineates who is popular in music? Taylor Swift is a perfect example of why this isn’t true (though she’s gotten better over the years at control).
The point of this article was not to hand pick who Saving Country Music wants to be the leaders of the mainstream moving forward. It is a cuttingly realistic assessment of what is happening in the mainstream right now, and why. If we don’t like it, and want to see different artists take their places, we better get to work. But Kane Brown and Luke Combs just both announced headliner arena tours, and hopscotched a whole slew of other 2nd tier mainstream artists who been struggling in opening slots for half a decade or more. They’re nipping at the heels of Luke Bryan and Florida Georgia Line. Sure, they could stumble like any artist. But they have a strategy for the streaming era that is beating everyone else, and we’d be smart to pay attention.
OlaR
September 10, 2018 @ 12:41 pm
Well…the strategy works right now until someone will find a better way to put a new artist on the map.
But when i break it down to Luke Combs & Kane Brown…i still have some reservations.
Kane Brown is style over substance & Luke Combs is…a talent. It’s too early for a headliner arena tour. But what do i know about artist-development (or the lack of proper development).
Logan
September 10, 2018 @ 6:57 pm
Trig, I am interested in your opinion of CoJo and Riley Green (Riley moreso because he hasn’t been covered like Cody has), at least in the context of the mainstream?
Amanda
September 10, 2018 @ 11:02 am
Nope and nope.
What about Jon Pardi? Not exactly radio’s favorite person, and maybe not the biggest hit with the general public 16-25 year old crowd (although I’m 22 and love him and his music), but he’s got more country and talent in his pinky fingernail than both of these dudes have in their entire bodies. If Pardi was the future of mainstream country music, I’d be all in.
Hey Arnold
September 10, 2018 @ 7:23 pm
Pardi is my favorite. His album is usually in the Top 12 each week. He doesn’t have the streaming numbers that Combs has, but California sunrise is about to go platinum soon. It’s about at 900k unit sales.
I feel that She ain’t In It stalled him a bit… as it was a #21 hit on radio… Night Shift single is doing well so far. It’s at #36 after only 6 weeks. Plus, new music for Jon Pardi is on the horizon. New album and all , for 2019.
Also, I’m predicting he’ll open up for Eric Church in 2019.
Amanda
September 11, 2018 @ 8:56 am
That would be one hell of a show. In my opinion, Pardi and Church are the two best mainstream male artists currently. I will continue to support them both! Although, hopefully Pardi will have his own headlining tour soon. He really deserves it.
Hey Arnold
September 11, 2018 @ 12:24 pm
Pardi said in an interview – headlining tour in 2020. I saw him headline his 2017 CMT on Tour – Midland & Runaway June opened for him. He was fantastic!! He sang literally all his songs from California Sunrise & Write You a Song album.
Eric Church is on the same label as Pardi. And in interviews, he said he’s super excited for his 2019 opening tour – but its top secret!! I’m just assuming its with Eric since he has a new record coming out & a tour will be announced soon.
Amanda
September 11, 2018 @ 1:33 pm
I would love to—in 2020–see Pardi headline a tour with William Michael Morgan as a opener. That would be insane. Two of the most talented male artists in the mainstream joining forces. Hell yes. 😊🖤
Hey Arnold
September 11, 2018 @ 5:03 pm
I do like William M. Morgan too. But he’s on a different label than Pardi. Not sure if they could tour together.
Any word on new music, record from Morgan? His label seems to be not supporting him well…
Black Boots
September 11, 2018 @ 3:48 am
It’s cool if you like Jon Pardi that much, and he’s pretty cool, but Luke Combs’ voice is awesome, and I’ve yet to hear a Pardi tune half as good as When It Rains It Pours, but that’s just me.
Hey Arnold
September 11, 2018 @ 4:58 pm
Head Over Boots is straight up 90s country.
Luke gives me Toby Keith vibes, which is cool. But I think Jon Pardi could be the next George Strait/Young Merle. So far he is promising. Looking forward to the 3rd album!!
Conrad Fisher
September 10, 2018 @ 11:18 am
I have respect for anybody who can make a living in music these days. Thanks for another great article, Trigger.
JB-Chicago
September 10, 2018 @ 11:34 am
Oh Amanda (I hit the like button by accident) you know I love Pardi as much as you or anyone but he’s not THAT much better than Luke. He’s a little more Country sounding and maybe I like him a hair cause his tunes are fun but we’re splitting hairs here. He’s got one more album out but song for song they’re close and I’ll take em both on my team as part of the solution of the present/future of mainstream Country rather than part of the problem I’d put Kane Brown in.
Dirt Road Derek
September 10, 2018 @ 11:40 am
After hearing the stations in my area play “Hurricane” non-stop for what seemed like months, I was amazes to learn Combs wasn’t even signed at the time. His major label debut may have a little more gloss on it than his self released albums, but I still thoroughly enjoyed it and I’m looking forward to hearing what he does next. I have a hard time imagining him collaborating with a hip-hop or r&b artist on a pop crossover, but I wouldn’t believed Stapleton would do a pop/dub-step collab with Timberlake. Shirty things happen, hopefully not to Combs. Kane, on the other hand, doesn’t have much left to tarnish at this point.
Dirt Road Derek
September 10, 2018 @ 11:48 am
Although angry things do happen, I meant to say “shitty”, not “shirty”. Thanks, autocorrect <3
Jimmy's Carhartt
September 10, 2018 @ 12:30 pm
It’s 2022.
Thomas Rhett is Entertainer of the Year, beating out Kane Brown, Luke Combs, and Jon Pardi,.
Chance Young, Chris Bryan, and Luke Morgan all have #1s.
Chris Stapleton and Miranda Lambert continue to sweep every awards show, despite zero radio hits in the past 7 years.
Ariana Grande spends her 100th week at #1 on the hot country songs chart with her hit “Feelin’ U” (feat. Keith Urban).
Tyler Childers wins a grammy and has a #1 Country Album.
Florida Georgia Line reinvent themselves as mariachi-country band, to great commercial success.
The future of country music is a weird place.
NJ
September 10, 2018 @ 4:33 pm
Now mariachi country is something I may actually give a listen….
Black Boots
September 11, 2018 @ 3:49 am
Check out the band Mariachi El Bronx. They’re incredible.
Hey Arnold
September 10, 2018 @ 4:44 pm
Continued…
1. Nicki Minaj releases “Fast & Easy” feat. Beyoncé & Florida Georgia Line – spends 50 weeks on Hot country Billboard #1.
2. Chris Stapleton wins album of the year with “From A Room Vol. 14” featuring only 3 songs… but Vol 15 will come out in four months with 3 more songs on it – destined to get even more nominations!!
3. Sam Hunt releases yet another non-album single… “Second album on the horizon” says label record in a panic.
4. 55 year old Keith Urban releases new record “Mid-Life Crisis U, Not Me” – full on pop with rap interludes. Gets Album of Year nomination – still no CMA win for Keith.
5. Brett Young releases twenty consecutive “sad song” single to radio.
6. Cody Johnson still an independent artist…. ugh
7. Warner Bros Label still “Planning” to do something with William Michael Morgan.
8. Chris Lane named Grand Ole Opry’s newest member.
9. Yodel Kid Mason Ramsey – wins Male Vocalist at CMA awards…
wayne
September 10, 2018 @ 12:51 pm
…”But they have a strategy for the streaming era that is beating everyone else…”
So why can’ the mistreated whiny female artists who are always complaining adopt a similar strategy and bypass the powers-to-be that everyone says is holding down female artists?
If the fanbase is large enough they will be successful just like these two scrappy-looking artists of this article.
Just sayin’.
King Honky Of Crackershire
September 10, 2018 @ 1:33 pm
Kane Brown is a chick magnet? On what planet is a dude that ugly, a chick magnet?
ScottG
September 10, 2018 @ 2:13 pm
Is that how Mama Honk used to console you?
Sean
September 10, 2018 @ 2:29 pm
I believe I read that both of these guys are going to tour arenas (not together). Are they really that popular that they can sell an arena tour? The numbers don’t add up to me but more power to them.
Trigger
September 10, 2018 @ 2:48 pm
Yes they are going to tour arenas. Yes they are that popular. This is the new generation of mainstream country music, and it’s important we recognize that.
Tex Hex
September 10, 2018 @ 2:54 pm
I watched a few video months back of Luke Combs and Leon Bridges doing a duet of Bridges’ song “Beyond” together, trading verses. Honestly, Combs sang it better than Bridges. Guy does a decent vocal.
Justin
September 10, 2018 @ 3:18 pm
Great article. Still can’t believe Kane Brown *actually* became a big country star, even though he has a decent voice. I mean, I thought he was basically an April Fools joke at first.
Hey Arnold
September 10, 2018 @ 4:06 pm
You forgot Jon Pardi. He is more traditional than these guys – his album California Sunrise is about to go platinum. His streaming numbers aren’t as high as Kane or Luke but he is performing solid sale numbers on billboard charts. His album has been in the top 15 for 2 years now. I’m sure in 2020, he’ll be headlining a tour.
GrantH
September 10, 2018 @ 4:44 pm
So, can we officially declare the Bro-Country era dead? I’m as happy to do so as anybody else here, but I’m still not exactly excited for the 2020’s if Combs and Brown are gonna be the ones flying the flag for mainstream country. That said, it is good that their success somewhat proves that rabid fanbases and people actually coming out to shows can still prevail over propped-up radio mannequins. I’m just here wondering if country will succumb to what I call the “soundcloud rap” effect: In modern rap music, the mainstream record labels are basically irrelevant. It doesn’t matter if you’re a completely independent rapper recording songs in your bedroom. If you have just one hit music video that goes viral, you can become a rap star overnight. Maybe future country stars will also be born that way, for better or for worse.
Hey Arnold
September 10, 2018 @ 4:47 pm
I mean, I’d take Luke Combs any day over Bro-Country….
Luke Combs gives me Toby Keith vibes. I’m not sure if this site likes Toby… but yeah..
Trigger
September 10, 2018 @ 5:10 pm
This is very similar to the SoundCloud rapper phenomenon. Both Kane Brown and Luke Combs built huge fan bases completely outside of major label control first. Then when they did approach labels, they could do it from a position of power and negotiate more control. That’s why their rise is more akin to someone like Sturgill Simpson as opposed to someone that a label sings as an unknown, and then tries to develop.
Hey Arnold
September 10, 2018 @ 6:32 pm
Hey Trigger,
Besides the Roughstock website (which is not always dependable weekly) what other sites list artist’s weekly streaming numbers separately from Billboards charts?
Back in July, Roughstock had an article on weekly streams. Luke Combs was earning 24 million streams a week.
Kane = 14 million.
Dan & Shay = 18 million (because new album)
Aldean = 12 million
Stapleton= 11 million
Thomas Rhett = 13 million
Brett Young = 11 mill
Luke Bryan = 6 mill
Zac Brown = 10 million (wow) Greatest Hits
Jon Pardi = 8 million
Sam hunt & FGL = 9 million
Keith Urban = 3 mill
Kenny Chesney = 1 million
These were based on specific album streams.
Trigger
September 10, 2018 @ 6:43 pm
Most of the more specific data is served via subscriptions and is not accessible to the public. Roughstock does a pretty good job giving round numbers. Another site to follow is HITS Daily Double, which offers one of the few building albums and streams charts ahead of Billboard’s week-old charts.
Justin C
September 10, 2018 @ 6:55 pm
The Shift in music due to playlists and streaming has killed the craft of songwriting for mainstream, and the artistic beauty Of the songwriter is rarely felt in mainstream country music anymore.
albert
September 10, 2018 @ 6:56 pm
Isn’t Kane Brown’s ” Independent ” fan base building a bit misleading ?
He sounds like all the guys label have been forcing down our throats for years. Young people were already conditioned/brainwashed/indoctrinated to that music . Has he not just capitalized on that fact in tapping into that impressionable non-country base of listeners ?….. backward cap , tattooed , hip hop phrasing etc…. that could be any of 100 wannabe’s right now .
He has no ” sound ” that I can detect …..no seriously unique approach to music …no style ….no character ….no ‘fresh’….no clever or irony in the writing ……He is no Chris Stapleton or Sturgill or Kacey or Miranda or the countless other artists with an actual VISION for what their sound wants to be ….and actual uniqueness .
He has a following built on a trend established by label artists who all sound the same .
Hmmmm…….hard to see THAT as the future of the genre in terms of music but certainly plausible as a way to expose that music .
Hey Arnold
September 10, 2018 @ 7:14 pm
I feel that this Kane , Combs, craze is just a very long phase. Young people and millennials do have short attention spans. In two years, some new country pop streaming artist will emerge & overthrow Combs and Kane in numbers.
A true artist’s impact on a genre or music in general is based on their songs, songwriting ability, etc.. There is a reason that The Beatles, Elvis, The Eagles are still celebrated , even by young people, today.
Will anyone say, “Man , “Weekend” by Kane is still a bop” in ten years…? Probably not.
I feel like being a streaming hit artist is like going “viral”. It’s great and all. It will get them social media followers… But how long will the craze last? What will be their legacy in an overstuffed soundcloud/streaming world?
Radio is still important, that’s how connections are made etc.
Carter
September 11, 2018 @ 2:23 pm
Why does Yahoo keep pushing this $#@& !!
the realist
September 17, 2018 @ 10:00 am
Because Yahoo is ran by leftists. Country music has always appealed mostly to conservatives and they know it. What better way to destroy music conservatives love than to promote hip hop R&B “artists” to destroy country music.
Nan
September 11, 2018 @ 5:53 pm
H.P. @Hillbilly Highways, I had to smile at your post. A lot of ‘guts’, that, as this is a Country Music site. It’s okay, I think the ‘Owner/Manager” doesn’t kick us Rocker-types off too easily, ha,ha 🙂 Good Luck to find a decent ‘current’ song, though.
I’m not disagreeing to what the above article said about T.Swift. Fair to mention though, she struck such a cord with esp young female fans who latched onto her personal music. I don’t think anyone else was putting out the type music she was, or maybe ever had, quite like her. A combination I guess, of what you mentioned, and this, and she’s a world-wide music phenomenon.
I don’t know many people who listen to the radio anymore, any age. Esp in a sports-obsessed town, you’ll hear the sports talk almost as often as music from the next car over at the light. Politics/Talk also, is more popular than ever, to listen to instead of the tunes from the local stations.
I do like Kane Brown’s voice. I think the guy can sing. It does seem like a much ‘older’ sounding voice than his years, which I think just adds to the attraction of it. I agree 100% that he shouldn’t be in ‘Country Music’ though.
“A true Artist’s impact on a Genre or Music in general is based on their songs, songwriting ability, etc. There is a reason that……The Eagles are still celebrated, even by young people, today.” Well, said, ‘Hey Arnold’. Songs, and even Albums, with meaning that last long after what is ‘In style’ for music (or culture) at the moment. And they just De-Throned the King of Pop (who I’ve loved), for the Best-selling Album of all time.
Ray
September 11, 2018 @ 9:30 pm
So, Luke Combs and Kane Brown think they can fill enough seats to play arenas in the U.S.? What happened to the days when acts would first be the opening act on a three-act tour. The next tour, they would move to the main opening guest spot and plan approximately 45-55 minutes. There are so many names that are still not considered the headlining act and they have the smarts to know not to do it prematurely. I have nothing against Luke Combs and believe he will eventually will be a top tear act, Kane is willing the void that was left with Sam Hunt being missing in acton. I think Jon Pardi should start his headlining dats soon too,
Trigger
September 11, 2018 @ 11:16 pm
The point of writing and posting this article was to take a very realistic view of the commercial implications of the careers of Kane Brown and Luke Combs. I have no doubt both will pack arenas. If they couldn’t, neither would be booked on them. The numbers behind both are astounding.
TO
September 12, 2018 @ 8:38 am
Ray- Both guys have followed that path.It’s just been accelerated compared to others…
I actually saw Combs open for Chase Rice with Cadillac 3 two years ago. Nobody knew who he was and he killed it.
Then Combs was the 2nd act for Brantley Gilbert and now Aldean over the last two years.
Kane Brown toured with Chris Young this year as well.
Both easily sold out large clubs on their own mini headline tours last year.
charlotte
September 15, 2018 @ 8:30 am
I always laugh about how some posters comment about Kane Brown’s looks. Well…that is Eye of the Beholder. Also, has nothing to do with his singing. He is doing what needs to be done to be successful….too bad that some of you feel he is the devil. Everything evolves….I like him better than Luke Combs….I love watching him….I like his voice more. I am 52 years old and he is very attractive to me. I like Luke Bryan songs but would not go to his concert. Would go see Kane Brown and Eric Church and that’s about all. 3
John B
September 17, 2018 @ 8:13 am
The new streaming/social media paradigm is certainly interesting to watch. Its also arguable that without it, artists like Stapleton, Aaron Watson, and Sturgill would not have the sales and success they are sharing these days.
All I know is I turned on “country” radio a couple times in recent weeks and was able to make it 20 minutes before wanting to throw my radio out the window. Thats ten more minutes longer than five years ago and I even heard a couple true-blue country/pop-country songs in the middle of all the southern hip-pop crap.
Things might actually be getting better! Maybe…
Curious, Trigger, what are your tboughts on Brett Young?
the realist
September 17, 2018 @ 9:56 am
The blame should be directed at the west coast liberals running the Nashville music industry at the moment. They hate traditional country music because it represents mostly conservative voters as it has in the past. They’ve taken Obama’s 2008 campaign pledge to “fundamentally transform” America and simply applied it the country music genre. End of story.
Paul Selby
November 4, 2018 @ 7:52 am
I was stunned to learn that the Feb 2019 Luke Combs / LANCÔ show at the 18,000 capacity Verizon Arena near me in Little Rock is SOLD OUT. Seems like he came out of nowhere.