There should be no shame in major music outfits taking money through the government’s Paycheck Protection Program, or PPP, to keep their road crew and support staff financially stable, despite it being characterized as the cash grab of millionaires by some, aided by certain embellished and misleading headlines in the media.
We’ve already run down the Greatest Country Albums of the Decade, and in there, albums in the mainstream were given fair competition to be included, and some made the cut. But in the spirit of inclusiveness and impartiality, let’s make sure the great records from the mainstream get their due as well.
Alan Jackson, Ashley McBryde, Brandy Clark, Caitlyn Smith, Chris Stapleton, Dierks Bentley, Eric Church, George Strait, Jamey Johnson, Jon Pardi, Kacey Musgraves, Kalie Shorr, Kellie Pickler, Kip Moore, Miranda Lambert, Mo Pitney, Pistol Annies, Randy Houser, Reba McEntire, William Michael Morgan
The 2nd Annual Party in the Pines Festival scheduled to occur in White Springs, Florida October 19th and 20th at the Bienville Plantation has been abruptly cancelled just 10 days before gates were set to open, leaving fans and artists in the lurch and looking for refunds and explanations.
Recently Kip Moore laid out the real difference between what he does, and what many major label artists who never took the time to develop a strong grassroots following are forced to do, which is acquiesce to producers, labels, and radio trends to find attention and acceptance.
While in the independent realm of country music, 2017 went down as a record year for quality projects, the mainstream was downright abysmal pretty much across the board for both songs and albums. There actually were quite a few pretty good songs, but most struggled to gain traction in the charts.
It has come to the point in country music history where we are giving certain songs, artists, and albums a pass, or even extra points, simply because they are more country than things that are not country at all. This is one of the unfortunate symptoms of the stretching of boundaries that has occurred through artists like Sam Hunt.
Music can teach us that we all love, we all face fears, and we all can overcome whatever inward or outward oppression that may be dogging us to flourish and prosper. If a music artist chooses to broach political subjects or to speak out against injustices in their music, them more power to them. But don’t hold silence accountable as complicity.
Are you waiting for your favorite music artists signed to MCA Nashville to release an album after a prolonged hiatus? Perhaps you heard the first single months or sometimes years ago, but still no record? Well you’re not alone. It looks like the unenviable position of being the most notorious label on Music Row is no longer a slam dunk for Curb Records.
Though it would be unfair to lump Kip Moore in with the inner sanctum of the Bro-Country sect, the biggest song of his career so far has been the decidedly Bro mega hit “Somethin’ ‘Bout a Truck.” Kip was already veering somewhat in the direction of the style we see reveal itself in full force on Wild Ones before the release, so we can’t be wholeheartedly surprised by the overall style of this album.
Kip insisted to Saving Country Music that he did not know about the appearance, and that it was a lapse in communication with his management that caused the misunderstanding. “Yes they called my team and asked if I’d come by and I would have been glad to,” Moore says. “They helped promote the show and I would have been glad to. That part is my team’s fault which they own…”
On Saturday, April 11th, “Somethin’ ‘Bout A Truck” singer Kip Moore played The Complex at Valdosta State University in Georgia to what by all accounts was a satisfied and appreciative crowd. After the show, some Kip Moore fans gathered at a local bar called the Ashley Street Station where Kip Moore had an agreement to make an appearance at the official afterparty proceeding the concert.
Last night (2-25) as part of Country Radio Seminar festivities in Nashville, Dierks Bentley, aka Douglas “Big Rhythm Doug” Douglason, showed the depth of his commitment to his alter-ego 90’s country band called Hot Country Knights by taking the stage at “The Stage” on Lower Broadway and launching into renditions of big late 80’s & 90’s country hits.
The increasingly irrelevant Academy of Country Music Awards, or ACM’s, released their annual earache of ignoble pseudo-country performers known as the semi-final “New Artist” nominees this Monday, that spellbind any beholder with an even elementary understanding of the definitions of “New” and “Artist” as to how such names were populated.
Why would any fan vote for the ACM New Artist or Entertainer of the Year this year? Their votes didn’t count for the Entertainer award last year, and this year, the front runner for New Artist of the Year isn’t new, and isn’t qualified to receive votes by the ACM’s rules. The whole fan voted element seems to be more about creating attention for the awards, and generating traffic for ACM’s web properties.
Academy of Country Music Awards, ACM, ACM Awards, ACM's rigged, Blake Shelton, Brett Eldridge, Carrie Underwood, Entertainer of the Year, Justin Moore, Kenny Chesney, Kip Moore, Luke Bryan, New Artist of the Year, rigged, Taylor Swift, voting rigged
Today the Academy of Country Music announced the finalists for their “New Artist of the Year” award to be given out an the ACM Awards on April 6th. By the results of fan voting, the eight-name list of nominees was narrowed down to three performers: Brett Eldredge, Kip Moore, and Justin Moore. The announcement comes as questions continue to loom around the eligibility of Justin Moore’s nomination.
Forget that Justin Moore signed to Big Machine’s Valory Music imprint in 2008, that he had a #1 single in 2009, and a #1 album in 2011; as first pointed out by Windmills Country, according to the Academy of Country Music’s specifically-stated rules of eligibility for the “New Artist” category, Justin Moore should be disqualified because he’s had not one, but two albums certified gold.
This year in popular country music, there were some glimmers of hope. Kacey Musgraves’ “Merry Go ‘Round” found some surprising traction and success, and Kellie Pickler’s 100 Proof may go down as one of the best mainstream country albums in years. But of course this was all counter-balanced by a gaggle of the worst songs “country” music has ever seen.
Beer With Jesus, Big Machine Records, Bucky Covington, Corn Star, Craig Morgan, Crusie, Drinking Side of Country, Florida Georgia Line, Kip Moore, Little Big Town, Mike Curb, Pontoon, Scott Borchetta, Shooter Jennings, Somethin' 'Bout A Truck, Taylor Swift, Thomas Rhett, Tim McGraw Truck Yeah, We Are Never Ever Getting Back Together
What a banner year it has been for bad songs in country music. After 2011’s “Red Solo Cup” by Toby Keith and Jason Aldean’s country/rap “Dirt Road Anthem” the bar has been raised for how low you must go to get attention for your twilighting music career. Put a clothesline clip on your nose, a paper bag on your knee, and dive in…if you dare.
Bucky Covington, Corn Star, Craig Morgan, Drinkin' Side Of Country, Jason Aldean, Kenny Chesney, Kip Moore, Little Big Town, Pontoon, Shooter Jennings, Somethin' 'Bout A Truck, Tim McGraw, Toby Keith, Truck Yeah
With the first single from the Big Machine Records-era of Tim McGraw, the country music mega-star pulls off the biggest sellout move of his career, and one of the biggest sellout moves ever seen from an established country music franchise name. Yes friends and neighbors, Tim McGraw has fallen prey to the hyper-trend of the country music laundry list truck song.