Unfortunately, the COVID-19 pandemic will not have a hard and fast end date. It’s not just the risk to the public, but the potential concern for a public relations issue surrounding the polarizing subject of COVID-19 that has the prospects for live music later in 2021 still looking like a mixed bag.
The accolades keep pouring in for Tyler Childers and his 2017 album Purgatory. The latest distinction is the album itself officially being Certified Gold by the RIAA for selling 500,000 copies in physical sales and streaming equivalents. It is the first independently-released title to achieve this distinction in over 18 years.
Due to COVID-19, and then the protests and riots, the Saving Country Music snark machine has been pretty much powered down and collecting dust for the better part of 2020. But there has been as few instances of country music malfeasance so egregious, it would be unconscionable to not address.
Remember, it’s just the ACM Awards. Less prestigious than the CMAs, and more susceptible to bloc voting and other dubious practices than most any other awards apparatus in country music and beyond, think of it more as a performative infomercial for the mainstream of country music.
There is plenty that could render “Build Me A Daddy” much more cheesy than meaningful—the heartstring pulling story of a son losing his father, and oh, let’s make the father a soldier, so we weasel that flag-waving element in there too. But making a highly sentimental subject work is the mark of good songwriters.
“I’m trying to make Luke Bryan money singing Chris Knight-caliber songs,” Parker McCollum says. Parker says he’s taking his cues from folks like Chris Stapleton and Kacey Musgraves who’ve found huge reception for their music despite a cold shoulder from country radio.
The amount of cancellations tied to the Coronavius outbreak can be dizzying to keep up with, even within the confines of independent country and roots. But a few important cancellations are worthy of note, including two dates on the Sturgill Simpson / Tyler Childers tour, and the Mike & The Moonpies Europe tour.
Brad Paisley, Chris Stapleton, Cody Johnson, Coronavirus, Dierks Bentley, Jon Pardi, Kane Brown, Keith Urban, Luck Reunion, Luke Bryan, MIke and the Moonpies, Old Settler's Music Festival, Rodeo Houston, Sturgill Simpson, SXSW, Tyler Childers, Zac Brown Band
Look, it’s real easy to get into the weeds when discussing genre these days. But in a recent interview in the end-of-year installment of the country radio trade periodical ‘Country Aircheck,’ Luke Bryan was a veritable quote machine of misnomers, saying a few things that deserve a spirited rebuttal.
One sign that mainstream country music continues to improve is the decrease in “country” songs that were worthy of rants in 2019 compared to previous years. However there were a few exceptions in 2019, and songs worthy of taking out back to the woodshed. Our full-throated opposition to these monstrosities misappropriated as “country.”
Compiling both sales and streaming data over the last ten years, Chris Stapleton’s “Traveller” not only comes out on top, it does so even though its closest competitors had a head start. “Traveller” wasn’t released until halfway into the decade on May 5th, 2015, and unlike its Bro-Country counterparts, received only sporadic radio play.
This is not the Tyler Mahan Coe I started following and conversing with in 2012, who impressed me with his temperament and intelligence, who I knew once he found his place in the music world would contribute something brilliant, which he has. This isn’t even the Tyler Mahan Coe who released those 14 amazing Cocaine & Rhinestones episodes.
Dear NFL Fans, As the true disciples and aficionados of actual country music, we want to formally apologize to you all for the bad country music and doltish characters you will be forced to endure during this week’s NFL Draft coverage. Please accept our deepest apologies.
You may not know whether to laugh or cry, cheer or jeer, but Cody Jinks was just exposed to a huge national and international audience, though he wasn’t there in person to soak it up. Instead the exposure happened on Sunday night’s (3-17) episode of ‘American Idol’ via a contestant by the name of Colby Swift
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.
Jason Aldean will receive the Dick Award for the Decade from the ACMs come April—“Dick” being for Dick Clark, who this decade award was just renamed after, and who luckily is dead so he doesn’t have to see his name besmirched by being associated with the likes of Jason Aldean.
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.
You shouldn’t have to tell anybody how country you are. It should be patently obvious in the first few bars of a song that an artist or song is country. Unfortunately though, with the loss of country instrumentation, the pervasiveness of electronic beats, performers feel the need to explain how they’re country.
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.
Cute, Florida Georgia Line, cute. Call your latest album Can’t Say I Ain’t Country and act as if this somehow insulates you against what any country music fan worth their salt already knows inherently. I can, and will say you ain’t country if I damn well please, as will the rest of us.
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.
The role of mainstream country music in this contentious time of ever-present social cataclysm and perennial political polarization is starting to materialize, and in pretty conclusive form. Country music is seeing all the turmoil, and wanting to be a calming, unifying voice, instead of choosing sides, and lending to the discord.
You complain that the songs from today’s top country stars are no good and they should start cutting songs that are halfway decent like the ones your favorite independent and underground artists play … until they attempt to do that very thing, and come across like total dork asses.
Apparently there is a hard and fast proviso in the mainstream country music bylaws stating that artists signed to major labels must release a torpid, moronic ode to coincide with the official observance of summer each calendar year. Over the years Luke Bryan has been one of the most steadfast observers of this natural summer phenomenon.