Travis Tritt was seen as the no frills, Southern rock representative for the now legendary “Class of ’89” contingent of breakout stars in country music; a class that also included Clint Black, Alan Jackson, and Garth Brooks. While his sound leaned heavy on electric guitar and he coined himself as a “No Hat” act early on along with long-time friend Marty Stuart, Travis Tritt also remained in the good graces of many of the greats that in some respects got shoved aside by the Class of ’89, including Waylon Jennings.
Tritt’s undeniable authenticity and straight shooting approach once had Waylon saying about him, “Travis is about my favorite new singer. What a talent, and a writer. He hones his songs, cares about them, and he knows how to work that rock-and-roll hoofbeat so it turns into a stampede. For me, he’s a cross between Hank Williams and Ray Charles…”
In some respects, time has forgotten just how big, and just how true Travis Tritt was back in the 90’s, and that is the crux of a recent Peter Cooper-penned feature on Tritt for The Tennessean. Tritt is recording a “Travis Tritt & Friends Live Acoustic” DVD during the next couple of nights at the Franklin Theater in Nashville’s famous suburb, and the stripped-down approach is a chance for Tritt to showcase his skills as a songwriter and picker, not just a full-tilt country rocker; something that Tritt is better at than some may assume (see below), and something some of Tritt’s country music contemporaries would not be able to pull off.
Tritt told Peter Cooper that artists theses days are being “stifled” by the business of country music that thinks it knows what’s right for artists. But according to Tritt, that’s not always the case.
There’s a mentality in the country music world of Nashville that says, “You don’t know anything, and we know how to do this.” It’s “We know what’s best for you: You get to the microphone, sing what we tell you to sing, play what we tell you to play, and you’ll be fine.” That scares people away from branching out and doing things that creatively are out of the box.
The music business establishment does not have a crystal ball. They do not know everything that they tell you they know. I’d say to any of the new people coming out, ‘Find the courage to step out and try it your way.’ Otherwise, what we get is a cookie-cutter mentality that isn’t good for artists who are having to portray themselves as something they aren’t, or that are capable of doing so much more but are being stifled.