Tag Archives: Courtney Patton

Concerts

The Biggest Takeaways From the 7th Annual Medicine Stone

2 Comments

It has been a privilege to cover the Medicine Stone festival in Tahlequah, Oklahoma, for the past four years. It’s more than just a celebration of Red Dirt music; it’s also about the atmosphere and the fellowship and the way that the artists and fans come together for a weekend to just have fun and enjoy live music.

But there was an obvious difference this year. How would a festival founded by Jason Boland and the Turnpike Troubadours work without the Troubadours themselves?

Overall, this was the most solid lineup Medicine stone has put together in the years Country Exclusive has been in attendance. Wade Bowen and Flatland Cavalry, two of the main stage highlights from 2018, both returned and delivered excellent sets. Wade Bowen has killed it both times I’ve seen him at this festival, and it would be exciting to see him get a headlining slot. As for Flatland Cavalry, they’ve been improving each year, and sonically, they may be the closest thing we’ll ever have again to the Turnpike Troubadours sound. Shinyribs put on a good show in 2017, and it was great to see them come back and perform even better. Theirs was one of the most entertaining sets of the entire weekend. Red Shahan has been a highlight each year, and 2019 was no exception; in fact, it was a little disappointing that he only got forty-five minutes onstage. And Jason Boland & the stragglers are always great live, but this has been their best Medicine Stone performance yet. There’s a reason the straggler’s live albums are some of their best material.

I was impressed with the new incarnation of American Aquarium; I wrote during my very first year covering this festival that they didn’t quite seem to fit with the Red dirt artists, as their music leaned more toward Americana. Then, after the implosion and rebuilding of the band, their 2018 album really impressed me, and their live show has greatly improved as well. It is wonderful to see that what could have killed them has only made them stronger, and much like Flatland Cavalry, it’s encouraging to watch them getting better every year.

One of the cooler aspects of the festival is the smaller, more intimate stages where artists play each day before the main stage opens. These are a nice place to hear smaller artists, as well as those that thrive more in a quieter setting. Courtney Patton’s acoustic show on Friday (9/20), at the gravel bar was the crown jewel of these quieter sets. This was her first time at Medicine stone, and I would love to see her there again, (and can we please get Jason eady as well?) It was also our first time seeing Bri Bagwell, who turned in a more upbeat set at the river stage on Saturday (9/21). I would like to see her return to the festival as well, and I think she would do well as a main stage performer. She put on an energetic show, and she was also one of the most engaging artists with the crowd. Incidentally, I also need her to record “Seven Spanish Angels” ASAP, she sang that song excellently.

Medicine Stone has had some issues in recent years booking women, and this has been a common concern from attendees. In 2018, only Jamie Lin Wilson and Kaitlin Butts were booked. This year saw a concentrated effort to include more women, with the aforementioned Patton and Bagwell as well as the returning Wilson and Butts and the “Queen of Oklahoma,” Carter Sampson. Wilson, Patton, and Butts also did a Dixie Chicks tribute Friday evening for one of the “after-party” sets that takes place on the small stages after the headliners each night. All these women were standouts of the whole weekend, proud representations of the women of Texas and Red dirt music. It was also encouraging to see them being brought up onstage by so many of the men. Kaitlin Butts sang with Flatland Cavalry and American Aquarium, Bri Bagwell joined William Clark Green, and Butts, Wilson, and Patton all came onstage to accompany Wade Bowen. AT Medicine Stone, these artists often come onstage to sing with each other, but it definitely seemed like the focus in 2019 was on including and appreciating the women of the subgenre.

But the absence of Turnpike was certainly felt. This was both a positive and a negative thing. It was cool to see Kaitlin butts singing “Gin, Smoke, Lies” and to hear R.C. Edwards singing “Fall out of Love” when R.C. and the Ambers opened on the main stage the first night. But Jamie Lin Wilson’s “Oklahoma Stars” took on a whole new meaning when someone pointed out to me that now the star which burns bright and disappears could also be Evan Felker. Although the lineup as a whole was incredibly strong, there didn’t seem to be a closer who could quite fill the hole created by the Troubadours, and only Saturday night, when Jason boland headlined, saw the same kind of crowds which have become customary to us over the years. There’s also a sense that the more things change, the more they stay the same, and to have Turnpike’s own festival going on without them right there in their hometown was bittersweet.

Still, as always, this was a great experience and one that I would recommend to any fan of live music. You don’t have to like country because not every band sounds country; Cody Canada & the departed are a full-on rock band, and Shinyribs rings much closer to Louisiana than Texas or Oklahoma. You don’t even have to love music itself, for this is more than just music, it’s family and fellowship and one weekend where we’re not divided by anything but rather all here together to enjoy this. This is the power and the joy of live music, to bring us all together for three days until we have to return to our separate realities. May that power and joy continue to live through Medicine Stone for years to come.

Best Live Performers: Jason Boland & the Stragglers, Shinyribs, Wade Bowen, Bri Bagwell, Courtney Patton, Flatland Cavalry, Jamie Lin Wilson

Reviews

Album Review: Jason Eady–I Travel On

4 Comments

Rating: 9/10

Jason Eady’s is a name I want to shout from rooftops and post on billboards, and if you ask me to name an underrated traditional artist getting criminally overlooked in 2018, I’ll say Eady every time. If Keith Whitley was his generation’s shot at Haggard and Jones, as Garth Brooks stated in his Country Music Hall of Fame induction, then Jason Eady is this generation’s shot at Keith Whitley, with a voice so pure and filled with emotion and absolutely born to sing traditional country music. There is a comfort in his voice and a talent in his pen rivaled by few, and this remains true album after album, as he continues to project great music out into the atmosphere without ever a lapse in quality. And yet the mainstream will never take notice, and even many independent fans won’t pay proper attention and give him the respect he is due, for Eady is not the country soul hybrid of Chris Stapleton or the rock/Americana blend of Jason Isbell, or even the upbeat Red dirt of Turnpike Troubadours. He’s too country for the success and recognition enjoyed by those artists, and it’s a shame because in a just world, Jason Eady would be a household name.

The pen of Jason Eady, as I mentioned, is his greatest strength. On any given day, you can pop in any of his previous three records and find something new and hidden in the lyrics. His turns of phrase are sneaky and riddled with deeper meaning, infused with subtlety and depth of emotion so that even months later, there’s something fresh to uncover. And yet, for all that, this new album isn’t really that way, the writing being more straightforward and direct. It’s not your typical Jason Eady record in that sense; the songwriting is more simple, though still great, and there’s not really a moment where you’re taken completely aback by the brilliance and poetry of a lyric like on some of his more recent material.

Yet I Travel On earns its place alongside all those other great Jason eady albums, and even above many of them–in fact, I would argue this is his best album aside from Daylight and Dark, which is my favorite record of all time–and it’s because of the sound and the instrumentation. seeing Eady live is a special experience and one that any fan of his or of live music in general should seek out. And now we get to hear this live touring band on an album, except made even better with the added harmonies of Courtney Patton that enhance every Jason Eady release. The whole thing was cut live in the studio, everything feeling loose and organic and vibrant. It’s all infectious and upbeat, the way you hear these songs out on the road. Bluegrass player Kevin Foster, who plays lead guitar and fiddle in Eady’s touring band, always adds so much to these songs live, and it’s great to hear that unleashed on a record. Not to mention the added bluegrass flair from Rob Ickes and Trey Hensley, two badass bluegrass pickers in their own right called upon to add flavor and vitality to this record.

And it was just the right time to add all these flourishes too, for as its title suggests, this album is very much a tale of the road, of restless characters passing through on their journeys. As I said, there isn’t one song or lyric that will blow you away, but the whole thing is injected with this rambling spirit that just works so well. We have songs like “That’s Alright” and the title track, where the narrators are trying to find themselves as they travel from place to place. In “She Had to Run,” our heroine is escaping abuse, leaving as fast as she possibly can because that’s the only thing left for her to do. And then there’s “The Climb,” where the man’s journey is metaphorical–he’s following a dream, and he’s reached the point on the mountain where he’s gone too far to turn back but can’t really reach the top. It’s just such a simple yet profound line when Eady sings, “he’s not lost, he just don’t know what to do.” I think we find ourselves in this position so often in our journey, at a crossroads and not knowing which way to turn.

It all comes to a head musically and lyrically in “Pretty When I Die,” where all these bluegrass hints and flourishes finally come bursting out, and all the energy and uncertainty of the road comes pouring out right along with it. In this little tune, Eady declares that he doesn’t want to take an easy route or travel on a road he’s already been on before, and that at the end of this whole journey of life, he wants to “look like a man who tried.” He wants a story for every line on his face when he dies. The introspective companion to this song, and the one that shows off the best instance of Jason’s writing on this project, is “Happy Man,” wherein he lets us know that if he dies today, he would die happy, and that he’s thankful for all of the blessings in his life.

Jason Eady has been blessed with the kind of comfort and healing in his voice that almost can’t be explained, a comfort which makes his stories ones that you have to listen to over and over. When he sings of traveling through life and the struggles and challenges that that entails, you just want to pull up a chair and listen, and draw from that wisdom. There is a thoughtfulness in his pen that is unmatched, and even if it doesn’t come out in overly deep lyrics like in some of his earlier output, it’s there in the beauty and simplicity of a song like “Always a Woman.” It’s that comfort and wisdom that draws you into any Jason Eady record, but I Travel On sets itself apart because it’s also infectious and catchy and able to be replayed for months, even after you’ve been captured that first time by the writing.

As an Eady fan, I do wish there had been a moment here that blew me away lyrically, and for longtime fans, there isn’t really a moment like that anywhere. But this album holds its own in his discography because it brings an energy and musicality that didn’t exist on any of Eady’s other records. Sometimes there’s something to be said for simplicity, for just singing three chords and the truth, and that’s what Jason Eady delivers with I Travel On. And this is the album to show people who don’t know his music, for this is the one that can bring people in and turn them on to the greatness we’ve all had the privilege of knowing. Now go and listen to this fine record.

Buy the Album

Playlists

My Top Ten Albums of 2018 so Far

4 Comments

Note: This has been easily the hardest list to assemble for this site, and unlike last year, these will remain unranked just like the songs list because so many of these are so close. I don’t think we’ve heard the 2018 Album of the Year yet, but overall, the first half of 2018 has been incredibly strong, and it’s impossible at this point for me to try and rank albums. They’re all great, so just check them out.

As with the songs, please respect these choices as my opinion, and feel free to share your favorites in the comments below!

Courtney Patton: What it’s Like to Fly Alone

Standout Tracks: “Round Mountain,” “What it’s Like to Fly Alone (Hawk Song),” “Devil’s Hand,” “Red Bandanna Blue”
Probably the most country of the bunch, Courtney Patton’s fourth album is one that just gets better with time. Her songwriting is superb is always, and this record is also beautifully, cleanly produced. Who said an album had to sound like shit to be classic and authentic? As far as production, which Courtney handled herself, it may be the best-sounding, cleanest record of the year so far.
Read Full Review

Lindi Ortega: Liberty

Standout Tracks: “Lovers in Love,” “You Ain’t Foolin’ Me,” “Afraid of the Dark,” but it’s meant to be consumed as a whole album
This hasn’t been one of my most played albums of the year, but when I do play it, it always blows me away. More and more, I feel like it should have been a 10/10 here. Some vagueness in the concept held me back, as the character’s journey out of darkness into light and life can sometimes be hard to follow. But it’s just so captivating all the way through, and once again, a finely produced album, with the western backdrop lending itself nicely to the story.
Read Full Review

Red Shahan: Culberson County

Standout Tracks: “Waterbill,” “Enemy,” “Roses,” “How They Lie,” “Culberson County”
Speaking of western, here’s a record that perfectly embodies the sound and spirit of west Texas. This has got to be my most underrated album of 2018 so far; honestly, that 8/10 looks totally ridiculous now, and it did so a week after I wrote it. I can’t say enough about this album, as it’s got to be heard to be fully understood and appreciated, capturing the wildness and emptiness of West Texas and romanticizing it in a way that not many could.
Read Full Review

Brothers Osborne: Port Saint Joe

Standout Tracks: “Shoot me Straight,” “While You Still Can,” “Pushing up Daisies (Love Alive),” “A Little Bit Trouble,” “Weed, Whiskey, and Willie”
Although not a concept album like Liberty, this record is certainly meant to be consumed and enjoyed from start to finish. Just as Shahan put West Texas on a record, Brothers Osborne immortalize the old, weathered coastal towns so common in the South. It’s a beach record, but the beach is forgotten and secluded, not sexy and touristy. Proof that a fun party album can indeed be substantive and have all kinds of staying power.
Read Full Review

Kacey Musgraves: Golden Hour

Standout Tracks: “Oh, What a World,” “Love is a Wild Thing,” “Slow Burn,” “Lonely Weekend”
Another fantastically produced album; I’m starting to see a trend in these records. I know Kacey Musgraves sparked about a million different controversies with this change in her sound, but after several months with this, I have to say that Golden Hour is Kacey’s best album so far. The dreamy, spacey production all over this album really suits her voice and these songs, and there’s not much else to say, it’s just a great-sounding slice of pop country music.
Read Full Review

Brent Cobb: Providence Canyon

Standout Tracks: “Sucker for a Good Time,” “Providence Canyon,” “Come Home Soon,” “Mornin’s Gonna Come”
This is the only album I’ve given a 10/10 rating to in 2018, but again, these records are so close that it’s not necessarily my favorite record at this point. It’s definitely becoming one of my most played, bringing country, funk, and soul together in the way that can only be done in Brent’s home state of Georgia. This is the first of several albums on this list that carries a unique and distinctly Southern flavor, and though each is different, each one celebrates a vital component of Southern music and culture.
Read Full Review

Blackberry Smoke: Find a Light

Standout Tracks: “I’ll Keep Ramblin'” (ft. Robert Randolph), “I’ve Got This Song,” “Run Away From it All,” “Till the Wheels Fall Off,” “Nobody Gives a Damn,” “Let me Down Easy” (ft. Amanda Shires)
Okay, yeah, it would have been easier to list the tracks that don’t stand out here. There are just so many great songs here, and this is another distinctly Southern album, keeping alive the sound of Southern rock in fine fashion. Southern rock is just as endangered, if not more so, than traditional country, and it’s just great to hear such an excellent slice of this music in 2018. Blackberry Smoke already have a 10/10 record here, and this one came very close to being their second.
Read Full Review

Willie Nelson: Last Man Standing

Standout Tracks: “Last Man Standing,” “Heaven is Closed,” “Me and You,” “Don’t Tell Noah”
What can I possibly say about Willie Nelson? At eighty-five, he is making better music than a giant chunk of Americana artists in their twenties and thirties. It’s a fun, upbeat record that displays Willie’s boundless charisma and clever songwriting at their best. And also, his vocal talent here puts many of the aforementioned independent artists to absolute shame.
Read Full Review

Old Crow Medicine Show: Volunteer

Standout Tracks: “Child of the Mississippi,” “Dixie Avenue,” “Whirlwind,” “A World Away,” “Look Away”
Again, it may have been easier to list the tracks that aren’t standouts. What a fun, energetic album! And I’ve mentioned Southern records, but none of them embrace the rich and vibrant Southern culture quite like this one. This is a love letter to the South, to its people and to its music, and it will make you proud of that heritage even despite the South’s scars.
Read Full Review

American Aquarium: Things Change

Standout Tracks: “One Day at a Time,” “Work Conquers All,” “Crooked+Straight,” “Shadows of You”
Out of the ruins of American Aquarium came something great, the best version of this band that has existed to date. It took everything crashing down to make it all happen, and now, in addition to BJ Barham’s always great songwriting, we have a band that sounds like a band and brings life to these songs in the best way possible. I don’t have much to say other than what everyone else is saying–this is an incredible album.
Read Full Review

Honorable Mentions

It should be noted that these six albums are the reason I chose ten instead of thirteen–because to choose three of these six was entirely impossible.

  • Darci Carlson (self-titled)
  • First Aid Kit: Ruins
  • Meghan Patrick: Country Music Made me do It
  • Dierks Bentley: The Mountain
  • Wade Bowen: Solid Ground
  • Sarah Shook & the Disarmers: Years

Other Albums Strongly Recommended by Country Exclusive

  • Caitlyn Smith: Starfire
  • Brandi Carlile: By the Way, I Forgive You
  • The Lost Brothers: Halfway Towards a Healing
  • Mike & the Moonpies: Steak Night at the Prairie Rose
  • Montgomery Gentry: Here’s to You
  • Ashley McBryde: Girl Going Nowhere
  • Laura Benitez and the Heartache: With All its Thorns
  • Teea Goans: Swing, Shuffle, and Sway (released 2017, reviewed 2018)
  • Caleb Caudle: Crushed Coins
  • Courtney Marie Andrews: May Your Kindness Remain
  • Vivian Leva: Time is Everything
  • Trixie Mattel: One Stone
  • Shotgun Rider: Palo Duro
  • Kasey Chambers & the Fireside Disciples: Campfire
  • Randall King (self-titled
  • John Prine: The Tree of Forgiveness
  • Josh Ward: More Than I Deserve
  • Kayla Ray: Yesterday & Me
  • Jason Boland & the Stragglers: Hard Times are Relative

Albums on our Radar, with Potential to be Reviewed

  • Wes Youssi & the County Champs: Down Low
  • El Coyote (self-titled
  • Jesse Daniel (self-titled
  • Anderson East: Encore
  • Eleven Hundred Springs: The Finer Things in Life
  • Tami Neilson: Sassafrass!
  • Jeff Hyde: Norman Rockwell World
  • The Church Sisters: A Night at the Opry
  • Jay Bragg: Honky Tonk Dream
  • Steve Moakler: Born Ready
  • Tim Culpepper: DUI (Drinkin’ Under the Influence)
  • Chris Hennessee: Ramble
  • Steep Canyon Rangers: Out in the Open
  • Hellbound Glory: Streets of Aberdeen
  • Neko Case: Hell-on
  • Paul Cauthen: Have Mercy (EP)
  • Justin Adams: Horizon
Playlists

My Top Thirteen Songs of 2018 so Far

1 Comment

Editor’s Note: These are not ranked in any particular order, and all songs have been reviewed or featured in some way, whether in Memorable songs or on one of our playlists, by Country Exclusive. Please respect this list for what it is–one person’s opinion, and an outlet for sharing good music. That said, feel free and encouraged to share your favorite songs of the year so far in the comments below!
And don’t ask why I picked thirteen, some things should remain a mystery.

Anderson East: “Cabinet Door”

From Encore, featured on our January playlist

This was the first song to blow me away in 2018, and yes, hopefully I will review this album at some point. This is the tale of a man whose wife of fifty-two years has passed away; he’s left lost and alone trying to pick up the pieces, and he’s talking to her about everything he misses, and everything that hasn’t been right since she’s been gone. It’s just an incredible song of love and loss, and it’s impossible not to feel something when you hear it.

Caitlyn Smith: “This Town is Killing Me”

From Starfire

What an honest, bittersweet, heartbreaking story of an artist’s struggles in Nashville, the things they’ll give up and go through in order to chase that dream, and the reasons it’s worth it. Caitlyn Smith is a world-class vocalist, and she’s known for belting and displaying her incredible range, but it’s a song like this, where her emotions are laid bare before us, that really sets her apart and makes her special. An artist with this much talent shouldn’t be struggling for a second in Music City, but it’s the hardship that led to this poignant, beautiful song.

Mike & the Moonpies: “Steak Night at the Prairie Rose”

From Steak Night at the Prairie Rose

Maybe it’s the relationship I have with my dad, or maybe it’s the stories of chasing his dreams of music, or perhaps it’s just a damn good song, but I think “Steak Night at the Prairie Rose” has been really underrated as a song in 2018. Just a simple tribute to his father and to music that should just be heard. Also, love that organ.

Wade Bowen: “Day of the Dead”

From Solid Ground

An underrated song from an underrated album. Putting some really cool Mexican influence in his Texas country, Wade sings of a man who’s run off to Mexico during the Day of the dead on his ex’s wedding day. It uses some interesting metaphors for the death of their love, and it’s one where the melody, instrumentation, and lyrics all work together to create a really great piece of music.

Courtney Patton: “Round Mountain”

From What it’s Like to Fly Alone

As I said recently on Twitter, here’s a song that blows me away every time I hear it. A beautifully crafted narrative of a woman who married young and felt trapped by her life and family–she made mistakes and eventually abandoned them, and the beauty here is that she’s neither apologetic for her actions nor unaware of what she’s done and the people she’s hurt. Also, there’s an overdose of lovely fiddle.

Courtney Marie Andrews: “Took You Up”

From May Your Kindness Remain

An incredibly moving love song that reminds us the best things in life are free. What a world it would be if we could all learn to embrace life like the lovers in this song. Also, Courtney Marie Andrews absolutely sings the hell out of this.

Red Shahan: “Waterbill”

From Culberson County

And for those of you who don’t think fun songs can be on these lists, I present Red Shahan’s “Waterbill,” the best album opener of the year so far and an absolutely fun, infectious tune that’s been one of my most played in 2018. It’s also got one of the best lyrics this year with: “you ain’t livin’ unless you’re livin’ life broke.” It’s impossible not to smile when you hear this song.

Sarah Shook & the Disarmers: “New Ways to Fail”

From Years

Another fun tune, and probably the most honest, relatable song you’ll hear for a long while. I can’t say anything else about this, I can just assure you that you’ve felt like this at some point in your life, and that relatability is what makes a great country song.

John Prine: “Lonesome Friends of Science”

From The Tree of Forgiveness

John Prine is a songwriter like no other, and we’re blessed to still be getting great, thoughtful songs from him at this stage of his life. He can create empathy for anyone or anything, even “poor planet Pluto,” who was demoted and uninvited by the other planets, as he explains in this song. And what a great way to live, thinking it doesn’t matter if the whole world ends today because this place is not really your home.

Ashley Monroe: “Orphan”

From Sparrow

Overall, I did not care for the overly polished sounds on Ashley Monroe’s latest effort, but this autobiographical sketch of an orphan is beautiful, and it’s made even better by the lovely strings supporting it. This is a story only Ashley Monroe can deliver, and it might be the best song of her career thus far.

Old Crow Medicine Show: “Look Away”

From Volunteer

In a world where Southern culture is being forsaken and eradicated at an alarming rate, “Look Away” uses lines from “Dixie” and embraces everything that is good and cherished about the South. This is a five-minute case for why Southerners still have things to be proud of, and why so many people embrace this land and its rich heritage.

American Aquarium: “One Day at a Time”

From Things Change

The best songs come from a place of honesty, the ability to release a part of your soul out into your music. BJ Barham gives us that in “One Day at a Time,” detailing his journey getting sober. And “you see the man left holding the pen controls how every story ends, and truth becomes a martyr for the sake of the song”–that line is just brilliant.

Jason Boland & the Stragglers: “Hard Times are Relative”

From Hard Times are Relative

The first time I heard this, I declared it the best song of the year so far. I don’t know how that will hold up, but this is an excellently crafted story song and a reminder to us that when we think our lives are tough, these people in times past had it far worse.

Honorable Mentions

  • Blackberry Smoke: “I’ve Got This Song”
  • Brent Cobb: “Come Home Soon”
  • Ashley McBryde: “Livin’ Next to Leroy”
  • Courtney Marie Andrews: “Border”
  • Kayla Ray: “Rockport”
  • Brandi Carlile: “The Mother”
  • Dierks Bentley ft. Brandi Carlile: “Travelin’ Light”
Playlists

February Playlist on Spotify and Apple Music

Leave a comment

Well, this month’s playlist is definitely a good one. If you haven’t checked out Brandi Carlile, Wade Bowen, Caleb Caudle, Mike & the Moonpies…well, here’s your chance. It was a strong month for singles, and we’ve got some promising new songs from Willie Nelson, Kacey Musgraves, Ashley Monroe, and Red Shahan. There seemed to be something for everyone in February, from Americana to Texas country to the mainstream. And if you’re shocked that a Cole Swindell song made our list, well, deal with it. Thanks as always to Zack for supplying the Spotify version, and my apologies in advance for the lack of Courtney Patton on that platform.

Apple Music users, you can follow me there @countryexclusive for this and all our future playlists, as well as for updates to the Saving Country Music top 25. For February’s playlist,
Click Here

For Spotify users: