Make no mistake about it, the reason a song like this came about is because of the continued criticism coming at artists like Luke Bryan that question their legitimacy as country performers. This means the spirited dissent being logged by literally millions of country fans at this point is being heard, and making an impact.
With only two people and one mic, Mapache can fill up a room with more soul soaring harmony than most symphonic assemblies, carried to great heights by melodies that are incredibly supple and bursting with delight, timeless in their textures and delivery, yet with subtle new turns that give Mapache the benefit of originality.
If tasked to do so, I will unflinchingly and wholeheartedly endorse that Leroy Virgil of Hellbound Glory is one of the greatest songwriters of our generation—up there with Jason Isbell, Cody Jinks, John Moreland et al, even if it’s of a different breed—puffing my chest out and challenging any man willing to assert otherwise.
Kellie Pickler is at her best when she writes her own material, and when she makes it personal. That was at the heart of 100 Proof’s critical success. Pickler’s shattered upbringing have made for some excellent country music over the years, and her personal history is what inspires her latest song “If It Wasn’t For a Woman.”
This is a record you use to get lost in the sonic beauty, with groove and soul setting the foundation. As Sturgill Simpson says, all good music is soul music. And since it’s still cast in those sepia hues of classic songs, even a country audience in favor of neotraditional styles will be able to relate. Bravo, Mr. McPherson. Bravo.
Whitney Rose’s “Rule 62″ (which by the way is “Don’t Take Yourself Too Damn Seriously”), is fun and fashionable in that throwback sort of way that’s the rage of independent roots circles at the moment, while also being bolstered by quality songwriting framed within a vintage era that still appeals to the modern perspective.
Sorry to disrupt any Shania Twain fans out there enjoying their Tim Horton’s Canadian bacon breakfast, but this new album is complete junk. Yet the least worthy of blame might be the one whose name and visage grace the cover, trying uselessly to revitalize the 90’s relevancy of leopard print.
Since youth can blind the music connoisseur to the true nature of talent since we regard it on a sliding scale, sometimes you can get too swept up in the marvel to see the forest for the trees. But in the case of Madison Lewis, the material and the voice is so mature and unique, age doesn’t even seem like a factor in the equation.
With all the talk about the cheeky machismo of Midland lately, including many assigning the trio savior status for finally returning a semblance of traditional country back to the mainstream of country, folks seem have forgotten that William Michael Morgan did that very thing with a single called “I Met A Girl” in 2016.
While some try to sell you on the idea that adhering to certain genres or traditional instrumentation is a severe limitation on creativity, some of the most brilliant musicians are the ones who are able to work within the confines of severe limitations and still tap into originality and undiscovered musical vistas that dazzle the spirit in unique ways.
I can’t stand these Midland guys. I can’t stand their faces, I can’t stand their bullshit Tom Selleck circa 1985 mustaches, I can’t stand their stupid getups, or the fact that they’re making a mockery of the authenticity of scores of Austin-based country artists, and legions of traditional country performers across the globe.
With her third record, second generation alt-country performer Lilly Hiatt has offered up a career-defining album full of songwriting gems and inspired performances that is spirited to the heights of infectious listening by smart and considerate production. This personal and galvanized work finds the full realization of Lilly Hiatt’s vision, voice, and potential as a […]
Thomas Rhett’s got nothing. Each performing artist, whether it’s in the independent realm or the mainstream, has at least one thing they can hang their hat on that makes them unique and interesting in the entertainment marketplace. But with Thomas Rhett, it’s none of the above.
Most great art, regardless of the medium, is the stuff that is able to suspend a deep, roiling human emotion in a captured moment. After You’ve Gone is inspired by the heartbreak of JD Wilkes, and takes a decidedly Shack Shakers approach to extricating the pain from Col. JD’s rib cage in blistering, candid honesty.
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.
Playing music isn’t always the glamours or adventurous profession it appears to be to many fans and observers on the outside, especially within the lean, meager levels of underground and independent realm. Some play music to fulfill their lifelong dreams, while others do it out of a necessity.
You may not know them personally, or maybe you do. Or maybe you even count yourself as one of them. But somewhere out there are swaths of country fans who swear off all that effeminate country crap from from folks like Sam Hunt and Luke Bryan, and swear they only like the real stuff. You know … like The Cadillac Three.
Yodeling is one of the great lost arts in modern country music. As much as country elements like the steel guitar and fiddle are under siege, yodeling is something even more endangered of going extinct if for no other reason than most modern country singers are just not skilled enough to do it.
In simple musical skills, the talent of Lukas might even surpass that of his famous sire. Of course songwriting and style are a bit harder to tabulate, but Lukas is no slouch in these departments either. Yet nearly 10 years into the performing game now, and Lukas Nelson still feels like he’s attempting to find his footing.
I like the idea of Lindsay Ell. A badass guitar-slinging chick that can play her own leads and write her own songs is something that could really spice up the boring mainstream country music scene, and add a shot of adrenaline into the effort to give more women artists attention in the top reaches of the industry.