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?
In the interest of equal time and giving everyone a forum to voice their grievances, Saving Country Music has decided to post the six messages received from angry Kane Brown fans via the site’s Facebook page here. These aren’t fake, and these aren’t a selection of the messages. These are all the messages presented in order.
The future of mainstream country music looks and sounds like Kane Brown—meaning bad neck tattoos and a monotone delivery of terrible songs. The only question left is what the future of mainstream country looks like if artists like Kane Brown are leading it.
It’s easy to pawn off the fault for the inappropriate moment on Kane Brown, but Kane is surprisingly saying he wasn’t on board with the moment either, and it was the ACM choreographers and producers who insisted on it. “It was super awkward. Lauren was like, ‘Might as well go ahead and grab his butt too!'”
The “Memaw” reference is yet another jab Kane Brown has made towards more traditional country listeners for their age—something he’s done numerous times in his career. He also admits the real motivation behind his recent remix with pop star Camila Cabello on the song “Never Be The Same.”
“I truly believe ‘Meant To Be’ paved the way for other artists to jump into country. This is the most fulfilling thing to me more then #1,” Bebe Rexha said on Twitter. “I want more pop artists to do country collaborations, and I bet that will happen a lot more in the next five to six months. I want to pave the way.”