Let’s face it. For a host of reasons, it’s pretty rare to see African Americans making country and roots music. But when they do, more often that not, they’re doing it the right way, pushing the music forward creatively while fiercely helping to preserving the past, becoming part of the solution instead of prolonging the problem.
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.
“Nice Things” delves into the possessive nature of love in a bold effort that accentuates Guyton’s vocal strengths, and is stirred with Jerry Douglas-sounding rootsy dobro. Mickey Guyton resists the temptation to inflect her voice with urban annunciations and R&B styling that is all the rage in the mainstream country today.
I told you booking Beyoncé was a bad idea CMA’s. Now you’re a racist reprobate in the eyes of the politically-charged Millennial entertainment media and sycophantical pop diva worshipers who will nail people to crosses to prove the depth of their fanaticism, and so is all of country music and its bumpkin fans.
If someone is apt to not pay attention to female artists, whether that’s a garden variety country fan or a major label executive, bunching female artists together is probably not going to garner their attention, it’s probably going to turn them off even more, especially if the premise of putting these artists together is an attempt to break through a gender bias.
If you’re wondering what the Dave Cobb-influenced mainstream country world might sound like after the success of Chris Stapleton, take a good sniff at “My Church.” The arrangement and grainy production quality could very well be that of Lindi Ortega or Nikki Lane, but this is a major label artist looking to gain the attention of the fickle mainstream country music fan.
Camayo, Charles Kelley, Chris Stapleton, Dave Cobb, Hank Williams, iHeartMedia, Jamie Lin Spears, Johnny Cash, Kacey Musgraves, Keith Urban, Kelsea Ballerini, Lindi Ortega, Maren Morris, Mickey Guyton, My Church, Old Dominion, On The Verge, Review, Taylor Swift
The summer concert season in country music has only just begun, and already were beginning to see concerning stories about how this year could be just as bad or worse than last year for concert behavior. The 91 arrests beg the question if we are truly seeing worse behavior than previous years at country concerts, or if it is a symptom of better reporting, and more aggressive enforcement at concerts.
The only thing I conclusively walked away with from this new Mickey Guyton EP is that Capitol Records Nashville has absolutely no idea what to do with this young lady. And that’s about par for the course for just about any up-and-coming female country artist at this moment. Mickey Guyton already released a 4-song EP in March of 2014. So what’s the deal?
“Better Than You Left Me” gets most all of the textures right—the steel guitar, the waltz beat, the swaying back and forth that jars loose the emotions from the heart and sends them racing through the blood stream. It’s pop country, but like Patsy Cline was pop country. Sure I’d love a little bit more dirt thrown on it or for her vocal performance to be a bit more subdued, but it’s more than a start.