On Monday, September 22nd, the subset of American country music known to many by its nickname “Bro-Country,” died at its home in Nashville, TN. It was three-years-old. Bro-Country is survived by its family and close friends, including Luke Bryan, Florida Georgia Line, Jason Aldean, Brantley Gilbert, Cole Swindell, Chase Rice, Thomas Rhett, Dallas Davidson, and dozens of other lesser-known country music artists and songwriters. Though the specific cause of death has yet to be ruled on by the local medical examiner, preliminary findings appear to show that Bro-Country had been exhaustively over-utilized over the last few months and years until it finally passed away from overexposure. Bro-Country’s death is definitely being considered the result of “foul play”.
Though the exact date of birth of Bro-Country has never been specifically determined, many place its origins in early 2011 with what was initially called “checklist” or “laundry list” country music. Regularly listing off mundane artifacts of country living such as ice cold beer, pickup trucks, tailgates, dirt roads, hot girls, cutoffs, moonshine, mud, and many other country calling cards, songs like Jason Aldean’s “Dirt Road Anthem” and Florida Georgia Line’s “Cruise” went on to become some of the biggest country music songs during Bro-Country’s life. The name “Bro-Country” wasn’t coined until August of 2013 when culture writer Jody Rosen’s dissertation on the subject described Bro-Country as a, “tatted, gym-toned, party-hearty young American white dude.”
Florida Georgia Line’s song “Cruise” very much typified Bro-Country’s life and legacy, and when the single became the longest-running #1 song in the history of country music, the troubles for Bro-Country began. Predictions of Bro-Country becoming a hyper trend that would grow old prematurely began to spread, and so did public dissent about Bro-Country in what became known as the Season of Discontent. Things began to look especially bleak for Bro-Country when Big Machine Records CEO Scott Borchetta said in December of 2013, “There’s too much, to be honest with you. We can’t keep talking about Fireball and Coors Light and having the tailgate down, etc. So we’ll task our writers and artists to dig a little deeper.”
In 2014, enemies of Bro-Country began to emerge from the country music industry itself, and anti Bro-Country songs like Maddie & Tae’s “Girl In A Country Song” were released to radio, exacerbating Bro-Country’s health problems. Even Bro-Country proponents who had recently given a rosy prognosis for its future, like Sony Music Nashville’s CEO Gary Overton who once said Bro-Country’s demise was “nowhere in the foreseeable future” is now saying “There’s a saturation point.” New albums from Tim McGraw and Kenny Chesney purposefully avoid Bro-Country. In some ways it seems fitting that Bro-Country would pass away on the last official day of summer, since the party themes and good times of Bro-Country seemed to be perpetually stuck in the year’s warmest months.
Of course there will be some who will not be able to come to grips with the death of Bro-Country, especially many of Bro-Country’s friends who made lots of money during Bro-Country’s life—many of the same people who refused to acknowledge the problems Bro-Country was facing in the first place. There will be people who attempt to carry on Bro-Country’s legacy by singing about the things Bro-Country loved like beer and tailgates, and they may even find some success in the short term. But eventually they will have to face Bro-Country’s death, or be like the mullet-wearing uncle stuck in the glory days.
Bro-Country is scheduled to be buried in the rubble of the historic RCA Studio ‘A’ building set to be bulldozed on Music Row in Nashville. And in Bro-Country’s memory, an edifice to gentrification and homogenization will be erected in the form of a 147,000 square foot condominium complex on the location.
R.I.P. Bro-Country, you smelled extremely manly.