Rating: 8/10
When it comes to the world of Texas country and Red dirt, Cody Johnson won’t be the first name you turn to when recommending worthy artists in the scene. The first band many will point to is Turnpike Troubadours. The best live show might again be the Troubadours, or perhaps Koe Wetzel, or, on the more commercial side of Texas country, Aaron Watson. Even the first Cody many are likely to name-check is Jinks, though it can be argued Cody Jinks is quite independent from any scene and just out there doing his own thing. Still, it’s Jinks that many independent fans would like to see given an opportunity in Nashville, although Jinks himself might refuse that particular distinction. Cody Johnson is not the best artist in the Texas scene, but he’s solid, and country, and an excellent choice to walk through the door of a major record label and come out winning. That’s what this cover symbolizes–Cody Johnson has walked through the door separating Texas and Nashville and lived to tell the tale. He’s done it without compromise because he has the fan base to back him up, a voice that would sound ridiculous singing anything but country songs, and enough polish to appeal to some of the more traditionally and lyrically minded mainstream listeners.
That’s the cool thing about this album; this is now the record you can recommend to your friends when they ask why you don’t listen to the mainstream and why you enjoy traditional country. It’s a record for the country radio listeners who aren’t out there seeking the depth or sound of someone like Jason Isbell but who miss the sound of a fiddle and good country storytelling. It’s the album for George Strait and Alan Jackson fans who crave that traditional flavor in their music while also enjoying pragmatic lyrics and some modern sensibilities. It’s not the staunch throwback sound of Joshua Hedley or the typical outlaw country fare offered by so many these days, but a true example of how traditional-sounding country can still exist in the modern context. And perhaps most important of all, it’s a door through which other similar artists might be able to walk and find success now that Johnson has made a way for them.
As for the songs themselves, they’re solid and steady like Johnson himself. Cody hasn’t compromised his sound and style, and that’s one of the best attributes of the whole album, that every note and lyric still represent the Johnson his fans have come to know and love. There’s no running theme tying this record together, but most of these songs are good selections and earn their place on the album. “Dear Rodeo” is the highlight, with its heartfelt lyrics about his love/hate relationship with the rodeo and how much he misses it. The title track is another standout moment, as a father gives advice to his son on how to make love and marriage work. On the other side of the spectrum, there’s “Understand Why,” a clever breakup song detailing all the places he’d like to go to avoid his ex. Also, as a lover of the original and a skeptic about this version, I must say that the cover of “Long Haired Country boy” was a pleasant surprise. Johnson really pulls this off and makes it his own without taking anything away from the original. And if you can keep from singing along to “Honky Tonk Mood,” I really question your ability to have fun.
Even the lighter material is delivered with an infectious passion and energy. This element is so often lost in independent music, and it’s great to see this brought to the mainstream as proof that traditional country isn’t always dull or unhappy. The aforementioned “Honky Tonk Mood” is anchored by a healthy does of fiddle, a sound nearly forsaken by the majority of mainstream country artists. “Doubt Me Now” is admittedly cringe-worthy in some places lyrically, but I’d be lying if I said I didn’t enjoy this song. It’s because of the heart, passion, and personality Cody Johnson brings to each track, breathing life and vitality into every word. This will be very cool in a live setting. “Y’all People,” dedicated to Johnson’s fans, feels like a pandering misstep and could have been left off a fifteen-track record, but again, it will probably be great live, and it’s these kinds of songs that make Johnson the right person to bridge the gap between Texas and Nashville, mainstream and independent. Although the album does feel a bit long, this is the only track that really comes across as needless, and it’s harmless filler rather than a truly bad offering.
Cody Johnson is having success with this record for good reason. It’s traditional in sound and style while still offering modern textures and pragmatic songwriting. It’s the perfect balance between Texas and Nashville, offering enough substance and country instrumentation for independent fans while still being accessible and a fun listen. The lyrics are smart, and the melodies are engaging. Most importantly, this record is a significant step for independent artists, and hopefully, Cody Johnson’s success will pave the way for other artists to be given opportunities by major labels. Time will tell on that front, but for now, this is a great record and a solid bridge between the two worlds.