Despite the easily-verifiable original release date for ‘Experiment’ as November 8th, 2018, Spotify sent Kane Brown’s ‘Experiment’ through the new release promotional cycle a second time, and currently has the album’s release date listed as July 12th, 2019. This resulted in an unfair boost in the charts.
The Country Music Antichrist Scott Borchetta is hellbent on world domination ladies and gentlemen, and in the process expect him to pull country music in the pop direction more than ever before. In an interview, he downplayed Luke Combs and Kane Brown, while touting Thomas Rhett as the only true 20-something headliner.
Before the controversy over the removal of Lil Nas X’s “Old Town Road” from the Billboard country charts would roil the country music world with accusations of racism and “black erasure,” it was Beyonce and her song “Daddy Lessons” from 2016 that had many outside of country hot and bothered.
We are starring straight at the future of mainstream country music ladies and gentlemen, and it’s fuzzy-faced, overweight, wearing duds acquired at a Bass Pro Shop, and possibly holding a red solo cup in its right hand. That’s right, we’re talking about Luke Combs, and after the release of his latest single, there’s no mistaking it now. He is the biggest thing in all of country music.
See, this is the reason why showing concern of where and how songs are placed in music charts is so critical, and how making a simple mistake can cause dramatic reverberations throughout the music ecosystem where now you have long-standing institutions and entire genres of music being accused of outright racism.
The incredible accolades and numbers just keep racking up for Texas country music artist Cody Johnson. After hitting #1 on the Billboard Country Albums chart with his recent album Ain’t Nothin To It, he rolled into Houston’s NRG Stadium on Friday night (3-15) for a performance on the star-shaped stage for a crowd of 73,009.
The boys from Tahlequah, Oklahoma known as the Turnpike Troubadours traveled down to Houston on Saturday (3-2) to take advantage of their first ever berth on the biggest stage in Texas—the star-shaped one in the center of the NRG Stadium as part of the annual Rodeo Houston production.
‘Austin City Limits’ has brought in popular country acts in the past such as Garth Brooks and Eric Church who don’t need the exposure whatsoever, but still have ties to the American roots scene in some capacity. But Kane Brown is uniquely unqualified and undeserving of this slot, and unhelpful to the mission of ‘Austin City Limits.’
An artist like Yola is the antidote to such a prognosis; a firewall against the free-range onslaught of cultural sameness pervading popular music. She represents a lushness of perspective, and a re-invigoration of musical diversity, beyond any shallow observances simply based upon skin pigmentation.
The heart welled up with excitement in many true country music fans when word came down that Brooks & Dunn had a new title on the way, only to be tempered by the fact that it’s a Reboot (nice double entendre there) of some of their old classics re-recorded with contemporary stars.
The bombshell moment for the asterisk era in music streaming is likely to happen at some point. It may be wishful thinking to think this Kane Brown lawsuit will be it. But it could be. And so this lawsuit is definitely worth watching.
When it comes to the hottest acts in mainstream country music at the moment, it’s the tale of three names: Kane Brown, Dan+Shay, and Luke Combs. And as a conscientious country music fan, if you had to root for one of them to succeed above the others, without hesitation you would have to go with Luke Combs.
When looking at the top of charts in country music—whether based on radio play or consumption—it’s these songs and other similar ones that are dominating, especially recently, and paralleling the trend of women not just being placed on perilous footing, but falling off the precipice of country music’s major indexes.
For many years, the influence and contributions of African American musicians in country music went mostly overlooked, or overshadowed by their Caucasian counterparts. However there has been a recent trend by media and even some artists to overstate the influence of African Americans.
We took the time to celebrate some of the Best Songs Released in 2018, as well as some of the Best Albums, so now it’s time to place a clothespin firmly on our noses, slip on some elbow-length rubber gloves, and go digging through the cesspool that is radio country to dredge up the absolute worst offenses.
Oh you’ve got to love watching the contortions of the fawning media trying to convince the masses that Kane Brown is some kind of country music revivalist because they believe his “diversity” is good for the genre. Recently ‘Variety’ named Kane Brown’s song “Heaven” a quote unquote “pure country smash.”
This story has been updated. The big news in country music on Wednesday (12-5) was how for the first time in the nearly 30-year history of Billboard’s Country Airplay chart, there wasn’t even one woman represented in the Top 20. By Billboard’s charting methods, this is true. And regardless of whatever other clarification points proceed […]
“Best Shot” is not a bad song, for pop. And it’s a sum positive that a man of African American descent can earn a #1 song in country music in 2018. But it would mean so much more if the song was actually country. Only then would it be an noteworthy accomplishment.
Kane Brown is not country, and by insisting that he is, unnecessary conflict is created. Understand that many country fans would rather listen to a hip-hop, R&B, or pop record as opposed to Kane Brown, because at least that music will be authentic and honest, and genuine about its nature, as opposed to an aberration of the truth.
Country interloper Kane Brown just released his second record called Experiment, and since most of music media has devolved into nothing more than a promotional arm of the mainstream industry, the album’s arrival has been dutifully met with a host of fawning puff pieces filled with over-hyped tripe.
It’s now been two months since purely pop star Bebe Rexha eclipsed the all-time record on the 70-year-old Billboard Hot Country Songs chart for consecutive weeks at #1, and there is still no end in sight for the song’s reign. 43 weeks now the song has remained in the top spot, with challengers coming and going with no real threat.
Kane Brown and Luke Combs couldn’t be more different. 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. Last week, both artists announced their own arena tours.
Now that the 2018 CMA Awards nominations have been announced, the people who care about the awards can pour over the lists and find things to complain about, while the people who complain about the awards can pour over the lists while professing to not care. This is the way of things, and what happens every year.
What has happened to American country music? How did we get here? What diabolically bad state of disrepair has befallen the country genre where someone would even be forced to interface with a song like Kane Brown’s “Weekend” as a country music fan or critic?