Mickey Guyton made one of the greatest impacts during this week’s ACM Awards. But as we have seen from the media on numerous occasions, important moments for black country artists in the past are being overlooked to score a buzzy headline or tweet.
Just remember, “It’s only the ACM Awards.” It’s just disappointing that one of their best presentations in perhaps a decade or more—and under difficult circumstances—had to be sullied at the very end by a silly and avoidable decision.
This week, Maddie & Tae’s “Die From A Broken Heart” finally made it to #1 on the country radio charts. It is a major accomplishment, and a long-fought battle for a song that was originally revealed to fans all the way back in the fall of 2018, and not released as a proper single to radio until May 6th, 2019.
Re-integrating important black voices into that living tapestry should be a priority for the genre moving forward. But performing this important re-integration as either a commercial enterprise, or via hip-hop appropriations will only be effective at eroding what makes country music so vital.
Neither Amanda Shires, Brandi Carlile, Natalie Hemby, nor The Highwomen collectively have addressed the issue publicly, or directly. We still don’t know why Mickey Guyton felt she was “disinvited” from the shoot, whether it was the fault of “a giant miscommunication” or otherwise.
In a recent op/ed, Guyton spelled out numerous frustrations she’s experienced, but one of the most shocking revelations of the article was not on the systemic racism she’s suffered from in the country music industry, it was how she was snubbed by her fellow women in the genre.
Margo Price is no longer signed with Jack White’s Third Man Records, and is now signed with Loma Vista Recordings. Ahead of the release of her third record, Margo Price has unveiled a new song called “Stone Me.” “After what feels like an eternity, I’m releasing a new song into the wild today,” Price says.
Oh the irony of so many people demanding all music sound the same in the name of “diversity.” The only reason we’re even having a discussion of where Lil Nas X’s “Old Town Road” should be placed on the charts is because you can’t tell the difference between most any given piece of popular music anymore.
Aaron Vance, Allison Russell, Amythyst Kiah, Ben Hunter, Ben Hunter and Joe Seamons, Carolina Chocolate Drops, Charley Crockett, Charley Pride, Cleve Francis, Darius Rucker, DeFord Bailey, Dom Flemons, Jerry Pentacost, Kaia Kater, Leyla McCalla, Linda Martell, Mavis Staples, Michael “Scooter” McDonald, Mickey Guyton, Milton Patton, OB McClinton, Our Native Daughters, Pastor Shirley Caesar, Priscilla Renea, Ray Charles, Rhiannon Giddens, Stoney Edwards, Sunny War, Tammi Savoy, The McCrary Sisters, The Pointer Sisters, The War & Treaty, Tina Turner, Tony Jackson, Valerie June, Yola
Announced Monday morning (3-25), country music duo Maddie & Tae will finally have an album of new music to peddle come April 26th when a 5-song EP called ‘One Heart To Another’ is released via Mercury Nashville. But there’s a reason why this release feels inappropriate, and more of a stop gap than a proper album.
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.
Aaron Vance, Allison Russell, Amythyst Kiah, Charley Crockett, Charley Pride, Darius Rucker, DeFord Bailey, Dom Flemons, Hank Williams, Jimmie Allen, Jimmie Rodgers, Kane Brown, Leyla McCalla, Mickey Guyton, Ray Charles, Rhiannon Giddens, Rufus Payne, Valerie June
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.
Aaron Vance, Carolina Chocolate Drops, Charley Crockett, Charley Pride, Cleve Davis, Darius Rucker, DeFord Bailey, Dom Flemons, Jerry Pentacost, Kaia Kater, Kane Brown, Mickey Guyton, Milton Patton, Rhiannon Giddens, Rufus Payne, Tony Jackson, Valerie June
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.