Tag Archives: Kacey Musgraves

Collaborations

The Importance of Discussing Mainstream Artists: Featuring The Musical Divide

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Too often, in the discussion of “real country” and keeping tradition alive, we see independent fans choosing to dismiss the mainstream altogether. It’s certainly easy to do when you discover all the alternatives and realize there really is substantive songwriting and actual country instrumentation out there thriving, just beyond the lenses of radio and streaming playlists. But completely turning our backs on the commercial side of country music could potentially have damaging effects on the genre’s longevity. I teamed up with Zackary Kephart of The Musical Divide to talk about why paying attention to and covering mainstream country is still necessary. Read that below!

Megan: Last year around this time we did a piece together on “real country” and the artists still keeping it traditional. But there’s also the other side to this coin, where many traditionalists and fans of independent country dismiss the mainstream out of hand. I know for you, this came to a head recently over Lauren Jenkins’ album. What would you say in response to people who say country radio and the mainstream are lost causes, and we should just focus on the independent world?

Zack: Well, I’d say it’s entirely their choice as music consumers. But personally, as a self-appointed critic and scholar of the genre, I’d advise against this. Whether we like to admit it or not, the country music industry is a business. Critically, and objectively, I always think of country music in terms of how others see it. For example, right now it’s likely viewed as a dumping ground for unfair stereotypes given the Lil Nas X debate. When artists like Maren Morris, Kane Brown, or Luke Combs, three of the biggest current names, release a new song or album, they’re the faces of country music. So I’d say it’s important to take stock in and care about the genre’s mainstream. Like it or not, the debates always circle back to the mainstream anyway. Right now, country music is in the midst of an identity crisis not unlike the one it suffered in the early-to-mid ’80s. Sure, I have other options, but I still care about country music and how it’s being portrayed to the public.

Megan: Don’t get me started on that debate; that’s a whole other piece entirely. But yes, country is definitely in an identity crisis and is being ridiculed on the basis of a lot of negative stereotypes right now. Some of those stereotypes certainly have a basis, but it’s discouraging to see such a one-sided, disparaging approach to the genre by so much of the mainstream media right now. Again, though, that could generate a whole other discussion on its own. As far as how the genre is presented to the public, I can’t overstate the importance of this. I think that often, we who have turned off country radio and discovered the independent scene forget that at one time, we didn’t really know there were alternatives. You can argue that radio is irrelevant, an assertion I don’t completely agree on anyway, but even if you do hold this viewpoint, streaming playlists are arguably even worse than radio at portraying the country genre. It’s easy to forget that the mainstream is the mainstream for a reason; it’s still the most popular music. It’s still what most of the next generation will use to determine what “country” sounds like. If we abandon it altogether, I believe we put the long-term future of the genre in danger. You mentioned the ’80s, which is a great comparison, but where would we be right now if everyone had given up on the mainstream back then?

Zack: Well, the thing with the ’80s compared to now is that we didn’t have those alternative sources. You lived and died by those radio playlists. Of course, we had also had an onslaught of country music related movies such as 9 to 5 and Honeysuckle Rose during this time. The biggest example is obviously Urban Cowboy, an event that caused everyone to want to be “country.” When that trend faded away, and all of the bandwagon jumpers left, country music had to reclaim its core audience. I think we’re seeing that now with the career resurgences of Brooks & Dunn, Reba McEntire and George Strait. Luke Combs, Riley Green, and Midland are further examples of trying to bring that traditional balance back in. That balance is what’s off-center, currently. The faces of the genre are the aforementioned names along with, say, Thomas Rhett. Granted, I liked his last album, but critically, he’s barely a country music artist. But he represents country music to so many right now. He’s also popular, and people like his music, statements that apply to every other popular country music artist right now. Radio is not irrelevant, but again, that also depends on whether you’re talking personal or cultural importance. People often think within the limits of their own perspectives, which is fine. But you’re right, it’s still the leading platform for preferred listening experience. It’s the same thing as saying award shows don’t matter. Tell that to Chris Stapleton.

Megan: “People often think within the limits of their own perspectives”; this is a great point and absolutely correct. People forget that the artists you mentioned are rewriting country’s history, and the people that grow up listening to Rhett and Morris will believe this is what country is supposed to be. This kind of thinking will erode the genre and completely rip it from its roots. This is also why I think the other important reason to cover and discuss the mainstream is to highlight those artists who are moving the genre forward and still respecting the roots. This is why it’s so frustrating that an artist like the aforementioned Jenkins, who can rightly be called pop country, has had virtually no support from Big Machine Records while Rhett, Morris, and others are the faces of the genre. Why do you think labels are ignoring artists like Jenkins while promoting straight pop and R&B and rap as country?

Zack: Well, Jenkins has explicitly stated that her team won’t even bother with radio, since they believe they can reach an audience without exploring that avenue. Perhaps it’s a bold, innovative move, but it’s also frustrating that this is a new mindset. I’d of course love if this could be the new model, but as you said, the alternative is streaming playlists. Even there, the idea of radio continues to live on. People enjoy being given a playlist they can listen to hassle free. With an endless array of music, we’re now faced with the tyranny of choice. Basically, it’s easier to listen to someone else’s recommendations. So playlists that are somehow even more male-focused are the new “norm” for listeners. There are many things worth fighting for in country music. Gender equality, representation of other sorts, and sanctity of the genre’s roots. Caring about having that equal balance though brands you as out of style or as a “purist.” It should come as no surprise that the face for traditional country music right now is Luke Combs, a guy who looks like he could change your oil at Jiffy Lube. Jamey Johnson and Stapleton are further examples. Meanwhile, here comes Rhett, Morris or King Calaway where it’s clear the focus is more on the image. And again, this has little to do with pure taste. I personally like Rhett, but critically, I believe it’s still worth our time and effort to care about country music and its portrayal.

Megan: It’s interesting in the case of Jenkins that they believe they can promote her album without radio. In general, I believe that can be done; we’ve seen it with Stapleton certainly and most recently with Kacey Musgraves. But with Jenkins, it feels like she’s caught in a weird place with that strategy, being too pop for many independent fans to take notice. She’s the kind of artist that should be promoted in the mainstream because the music seems to find more of a balance and be more radio-friendly without compromising the lyrics. It’s a shame they went this route because this is the kind of music I want to see pushing the genre forward. We need good pop country as much as we need the traditionalists like Luke Combs. As far as taste, yes, it has very little to do with that. Once again we are called to look beyond ourselves and see the bigger picture. People like Combs aren’t ever going to be the next Jason Isbell, but that’s not what we need in the mainstream to help carry the genre forward. You mentioned King George Strait a moment ago, and this brings me to a point I’ve made several times on CE while defending the importance of the mainstream. People point to the outlaw movement all the time as saving country music from Nashville in the 70s and putting the creative control back in the hands of the artists. This is all true, but look at Strait. He was signed by MCA in 1981 and given only one single because he was thought to be too traditional. Here we are almost forty years later, and he’s still on that same label with one of the longest, most commercially successful careers in all of country music. He did his part, along with others, to turn country back to its roots, but from the inside. King George never reinvented the wheel, but he is as important to the genre as any of the outlaws. We need artists like that today, solid, traditionally minded artists who can carry country music’s legacy forward by making it appeal to the masses.

Zack: Your points about Strait call important points to mind. With him, and even Waylon Jennings and Willie Nelson before during the outlaw revolution, they wanted to change the system. Jason Isbell, Sturgill Simpson and Margo Price don’t care to bring that type of change, which is fine. But it highlights a big difference between decisions made then and now. Strait represented an alternative to what was popular, just as certain artists such as Combs and Midland do now. Is it the exact same scenario? Of course not. But change requires more than just firing off a few tweets. It requires active change on the inside. Of course, that also involves being entrenched in the politics of it all, so it’s a tricky line to walk. And of course, this conversation isn’t strictly limited to traditional or pop country. It’s about caring about country music’s representation. Even someone like Eric Church, who’s hardly a traditionalist, represents a desire for true artistry. Within country music, he embodies that vagabond spirit that’s certainly familiar to country music, despite what his music may actually sound like. It certainly takes all kinds, but a lack of care will only mean that the bottom line gets served. Country music hasn’t needed saving in terms of pure quality. That’s hard to judge. But between the onslaught of the rockabilly movement, the Urban Cowboy movement, the stagnation of the Nashville Sound era (note again, “stagnation,” not an indictment of the era itself), and even now, country music has certainly needed saving.

Megan: Great point on Eric Church and the spirit of artistry. That’s important for country music and for all of music in general. Within country music, I’d argue that’s just as important, if not more, than keeping the traditional sounds alive. It’s more than fiddle and steel and even storytelling, it’s also about being an artist instead of a businessperson. In the mainstream, you have to be both, but someone like Church perfectly illustrates the difference between making a genre-bending record as an artist and exploiting country for cash like many of these artists do. I’m a big fan of Church, but even if you aren’t, or you prefer a more traditional sound, it’s important to see the larger impact of Church’s music and artistry on the culture. I’d rather listen to an artist with something to say than one who is simply going through the motions, even if their sound is traditional.

Zack: Agreed. And that’s still occurring in mainstream country. There’s still music worth discussing and championing, despite what naysayers say. More than that though, I think we’ve established that these conversations matter. To give up on the mainstream is to give up on country music and its potential. The current country charts are a cesspool because we’ve abandoned that hope and drive to fight for an American art form. In 20 years time, perhaps the entire landscape will change. I’d certainly expect a radical departure in the system at some point. Country music as a commercial genre isn’t even 100-years-old yet. But for now, examining and critically discussing artists within the mainstream isn’t worthless, it’s fighting for country music.

Megan: So for the naysayers and people who dismiss the mainstream and focus only on Americana and Red Dirt, who would you say is really pushing the genre forward right now in mainstream country? Who would you say is making the case for good pop country and making good modern music that still respects the roots of the genre?

Zack: You already mentioned Jenkins. I’m a big fan of what she’s doing. I’d say Combs represents the fact that country music is still for the everyday person. He also presents a curious case for how authenticity matters in the industry. Church represents the hangdog spirit that’s always been embedded in the genre. So does Miranda Lambert, despite recent setbacks. Riley Green, Jon Pardi, Midland, and even Blake Shelton now represent a turning of the tide for the genre. Carrie Underwood, despite an underwhelming recent album, also represents how country music can be accessible without completely compromising its roots. Stapleton is the mystifying oddity who both defies expectations and also represents that same outlaw spirit in country. Even Kane Brown, love him or hate him, represents the future of country music. Between him and Combs, there are no hotter artists out there right now in terms of commercial success. Again, this is me looking outside of my own perspective. Of course too, there’s names I’d love to say are killing it, but at the very least are trying to make it in a broken system. Cam, William Michael Morgan and Runaway June immediately come to mind, among others.

Megan: I agree on Combs being important for representing the everyday person in country, and not doing it in a patronizing way, or with cliches about trucks and moonshine. Stapleton and Church both represent that desire for artistry, that intangible thing that makes artists connect with an audience because we believe they’ve lived out their songs and have something genuine to say. Lambert has been important both in her solo career and through the Pistol Annies, keeping a more traditional sound and providing a much-needed female perspective. Underwood’s last album was underwhelming, but she’s always done a fine job of mixing country and pop in a way that’s respectful to both genres. I’d also cite Brothers Osborne as being somewhat similar to Combs in that they’re representing everyday people. Their last album really drove home the fact that in forsaking substantive lyrics and interesting melodies, we’ve also lost appreciation for guitar solos and instrumental flourishes. They aren’t traditional, but they are making very good modern music and evolving the country genre in the right way. And Dierks Bentley really returned to form on his latest record as well, managing to find a smart balance between contemporary and traditional. And of course there’s the aforementioned Musgraves, who achieved an Album of the Year Grammy for a country record. That’s victory in 2019. A staunchly traditional album is not going to see that kind of reception, and although I’m going to continue to stand and fight for the inclusion of traditional country and fair representation, Musgrave’s win is a victory for women, for substance, and yes, for music that can rightly be included in the country genre. It’s important to champion the good modern country, because these are the artists that will influence generations. And like it or not, I’m sure most of us would much rather Golden Hour be the album that influences younger audiences than anything by Rhett, Morris, etc.

Zack: I’d have mentioned Brothers Osborne, Bentley and Musgraves if I had only thought of them. Like I said, there are plenty of artists who could stand toe-to-toe with artists in the independent scene, and your contributions are also fitting names. As a fan, it saddens me that country music is looked upon as “yeehaw culture” or a genre of music people can make fun of since they don’t like it. To an extent, there is a danger that artists such as Florida Georgia Line, Luke Bryan, and Jason Aldean have brought to the forefront – rural pride pandering. Now we’re seeing the consequences of it all. And people do care about what’s happening in mainstream country music. Former journalist and current YouTuber Grady Smith’s viral snap-track video is further proof of that. In the end, I’d say it’s important to care enough about country music to examine it personally and critically.

Megan: It saddens me that country music is seen that way as well, and I do believe some of it is the aftermath of bro country. But country has been the victim of stereotypes, both warranted and otherwise, for its entire history. This is almost another entire discussion, and certainly an important one. It’s one I wouldn’t mind having in the future. But as far as this particular topic, I think ultimately you’re right. It’s important to care about the genre both personally and critically and to be subjective as well as objective enough to see others’ perspectives and the bigger picture. We shouldn’t give up on the mainstream, and we should champion the artists still doing it right on Music Row. As you said, these conversations matter, and I certainly enjoyed this one.

Playlists

My Top Ten Albums of 2018 so Far

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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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

March Playlist on Spotify and Apple Music

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March didn’t start out strong, and for awhile, I wondered if we’d actually be able to make a worthwhile list at the end of the month. But I held out hope for the later releases, especially the March 30th albums that promised to bring us a ton of great music. And yeah, I needn’t have worried; we were blessed with great music from Courtney Marie Andrews, Kacey Musgraves, Lindi Ortega, Red Shahan, Ashley McBryde…and the list goes on. It’s as good a time as any to check out all of these artists. This has been our most diverse playlist so far, from the traditional, almost bluegrass selection by Vivian Leva to the rock anthems of Red Shahan, so there should truly be something here for everyone. As always, many thanks to Zack for supplying this on Spotify.

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

For Spotify:

Commentary

The Problem With the Mainstream Media Coverage of Country Music

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Well, Kacey Musgrave’s new album has certainly caused a stir.

At this point, I’m sure many of you are tired of the rash of strong, divisive opinions surrounding this project. Was she uniting fans through genre-defying music, or selling out and forsaking sound and substance? Is the album even country, and what is “real country” these days anyway? I’ve already given my thoughts on her album, as well as discussed the entire genre debate in detail with Zack of The Musical divide, and after this, I promise I’ll just shut up and let you all come to your own conclusions about it all. But this portrayal of Golden Hour by mainstream media who are largely ignorant of the country genre as the album of the year, or some forward-thinking opus that’s “so gutsy it’s not even country” has got to be addressed.

It’s not that these non-country writers shouldn’t cover country music; in fact, the country genre gets ignored too much by the mainstream media and is often given only a cursory glance. And it’s not even that media members who are crowning Kacey Musgraves as some sort of queen of country are necessarily writing a false narrative; maybe they believe the things they write, and probably they do, given the lack of knowledge of other artists who are pushing the genre forward right along with Musgraves. And notice I said “right along with,” as opposed to “better than,” because Courtney Marie Andrews and Lindi Ortega and others aren’t doing more for the genre than Kacey Musgraves; rather, they’re all doing it in different ways, and all of it’s working very well. So even though I have a serious problem with the way the mainstream media is praising this album, I don’t think the answer is to pit other artists against each other.

The problem, though, is the underlying message conveyed by these headlines and by these narratives. Kacey’s country album is “so gutsy it’s not even country,” held up as a record that’s so forward-thinking that it’s left the restrictive, claustrophobic nature of country music behind. Musgraves meant to unite with this album and not to divide; she meant to expand her sound and bring country music to listeners who might not otherwise know the genre. She didn’t make this album to cast the bonds of country away, and that’s how it’s being portrayed by some of the media.

This is disrespectful to country as a genre, and this isn’t about traditional versus contemporary, it’s about the fact that it’s considered brave and risk-taking to abandon country altogether. It’s viewed as an inferior art form sonically, and more than that, it’s held up by many as the sound track to backward rural American life. It’s looked down on as the music of rednecks, of racists, of a backward and simple people who need to be brought into the modern world. Obviously, politics drive some of that narrative, and country purists sometimes don’t help the perceptions by putting their own restrictive limits on things, as we discussed in the collaboration, but these are both topics that can wait for another day. The point is, that putting words like “gutsy” and “country” in opposition to one another, as if country can’t earn this distinction on its own merit, is dangerous and derisive to the music we all love.

Does that mean these writers should stop covering country music? absolutely not; rather, it means they should broaden their perspectives and consider other artists. It’s fine to start with big names like Musgraves, and it’s fine if you don’t care for Lindi Ortega’s or Courtney Marie Andrews’ albums as much, but covering them only adds more context and knowledge of the genre. I can write a piece about a pop album; I can even recommend it and say I enjoyed it. But I can’t write with the same expertise and authority of a pop critic, and it’s disrespectful to the art to pretend that I know what I’m talking about if I’ve only listened to three pop records that year. This is the problem with mainstream critics, not that they shouldn’t write about or cover country, but that it should be considered an equal with the other genres of music, an art form to be explored and loved right beside pop or rock or rap. And yet it gets overlooked, except when projects like this come out. And then, instead of letting it be a window to the sounds and stories of country music, they craft narratives around it framing it a some sort of chain-breaking moment for Kacey Musgraves. Let them embrace country music right along with the rest of us, and then if they want to assign all these achievements to Kacey, I will respect their opinions and understand that their views come from a knowledge of the genre and a passion for the music.

That said, it’s not the ignorance of country music which ultimately makes their narrative a problem, it’s that their narrative comes from a place of condescension, a place where the music we love is meant to be cast aside in favor of progressive ideals and sounds. And in framing their opinions this way, they’ve only done a disservice to Kacey Musgraves and Golden Hour, because this is a personal album, meant to bridge gaps, to unite rather than divide, and to open herself up to the world rather than point fingers at judgmental people. Regardless of how you feel about it, it’s meant to bring more people to country music, not to turn them away, and it’s a shame that the media circus surrounding this may ultimately have that effect.

Collaborations

The “Real Country” debate and Other Musings: a Collaboration with the Musical divide

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So I was having a discussion on Twitter today with Zack of The Musical Divide about Kacey Musgraves’ new album and all the mixed reactions to it. It seems to be a completely polarizing release, and that’s sparked the age-old debate about “real country,” in this case whether or not Musgraves is tired of the genre. We agreed that she’s not, and although not traditional, Golden Hour is still a country record, and that people dismissing it immediately for not being country enough aren’t taking the time to really form their own opinions about the music. We decided that we both really had a lot to say about this, so we had a proper discussion and made one of our Twitter musings into a worthwhile, enlightening conversation. You can read that below.

Zack: I’ll pose a question to start this off – what to you defines “country music?”

Megan: I define it by honesty in storytelling, lyrics about real life and real people. I do look for signature sounds like fiddle and pedal steel, but those are secondary for me. Still, if I hear instruments like that, I consider them country elements of a song.

Z: I always thought it was something like that too, but these days, I don’t know. Do you think saying that something isn’t “country” is a worthy critique in and of itself?

M: I think it’s a worthy critique when stuff is sent to country radio for sure. Like, Zac Brown Band’s “Beautiful Drug” can be criticized for not being country because he admitted to it being an EDM song and then sent it to country radio. But I also think it’s becoming a blanket criticism for stuff we don’t like. I think you and I can agree Golden Hour has lots of country to it, but a lot of people are just dismissing it out of hand. It’s fine not to like it, and it’s obviously not traditional, but it’s becoming a really lame excuse to not like something.

Z: I agree. I think it’s a matter of people not really owning up to a full opinion. Saying it’s not country is an easy cop-out, and if that’s why you don’t like it, fine, but tell me how that makes it “bad.” Is the lyricism weak? Are the vocals not there? Albums like Musgraves’ always present the ugliness of this debate, when in reality, Musgraves meant to unite rather than divide.

The thing is with this conversation, there’s material that seems like it’s pretty obvious as to what genre it belongs under such as Sam Hunt or Walker Hayes’ material. However, I think we’re starting to see that card played out *too* much, to the point where the only stuff that can only be counted as “Country” is material that rips directly from the past.

Do you think Country music is restrictive in that regard? Or no?

M: You’re right, I think people have gotten to where they hear something like Golden Hour, and they don’t like it, which is fine. It’s halfway there, forming your own opinion about something. But it’s easy for them to say it’s not country enough instead of really thinking about the music. One comparison I keep coming back to is Starfire by Caitlyn Smith. I mean, would you say that’s country? A lot of these same people love that record, which is again fine, but they call it country pop, and for me, it’s way less country than Golden Hour. I remember even telling you that when it came out, that I felt like it was almost out of my lane completely because it was so pop. To answer your other question, I don’t think country is a restrictive genre–look at Marty Stuart’s Way Out West, for example–but I think purists are making it restrictive and putting unnecessary limits on it. I’d be curious as to your take on that as well since you try to avoid the “real country” argument and embrace a lot of genre-bending stuff.

Z: Would I say Caitlyn Smith’s latest album, Starfire is Country? That’s the million dollar question. Or rather, just one of them. I don’t know the answer to that. I think there’s a way for the songs or albums to not necessarily fit the sounds of the genre and yet still fit within somehow. For example, “This Town Is Killin’ Me” is about her struggles in Nashville, and some of those songs like “East Side Restaurant” and “House Of Cards” are dripping with real, honest emotion.

However, I think comparing which album is “more country” is frankly, pretty stupid. Let’s instead argue which one is better, because thankfully that line were trying to draw with genre can’t possibly be drawn with an opinion. We can only offer a perspective and see what the other side thinks (and vice versa).

It’s hard to answer your second question. Do I think it’s true? Yes, but all I really have to go on are random Internet comments I see on social media or other blogs’ comments sections. I think something like Way Out West is a type of rare album, but it’s also hard to say in that instance whether Stuart is getting a pass for actually making genre-bending music or because he’s simply a legend we respect and wouldn’t dare touch.

It’s amazing though, Country oriented sites will gladly talk about acts like Blackberry Smoke or Whiskey Myers, and on the other end of the spectrum, someone more Pop leaning such as Glen Campbell is viewed as aces with the crowd.

And of course, there’s a huge difference between Pop-Country like Glen Campbell and Pop-Country like Walker Hayes, but who am I to say? That would only be my opinion and nothing more. I have no evidence because that line is so murky.

M: I can’t believe you’ve just written a sentence containing Glen Campbell and Walker Hayes…shouldn’t there be some sort of law against this? You raise a good point, though, that country-oriented sites/blogs/whatever seem to be more accepting of rock influences than of pop ones. It kind of makes sense because rock is musically closer to country, but still, you can make a case that Blackberry Smoke and even Jason Isbell are less country sonically than some of the stuff on Golden Hour, so the disconnect with listeners is interesting. As for which is better, for me personally, I prefer Golden Hour to Starfire even with the killer songwriting on Starfire, and it’s precisely because as a listener, I like stuff like “Love is a Wild Thing,” where you hear modern production with pedal steel. But that’s just me, and it’s not a right or wrong opinion. Similarly, it’s not right or wrong to prefer Starfire. I just don’t think you can actually say you don’t like Golden Hour because it isn’t country and then call Starfire a country pop record because to me, it proves you don’t actually have a complete opinion about why you don’t like Golden Hour. That’s the most important thing about being a music listener, just forming your own opinion and having the intelligence to back it up. Like, I don’t care if you think Walker Hayes is God’s gift to country music if you can actually defend that viewpoint and make me think about why you feel that way.

Z: Those are all great points. The key is to simply become a better music listener at the end of the day. On that note, I don’t have criticism for just traditionalists. It makes me mad to see supporters of the extreme kind of Country (Hayes, Hunt…etc) completely write off anyone who doesn’t like them as someone who can’t “get with the times.” It’s in these moments where I’d like to interject how neither artist (and certain artists beyond) fits in the genre, and yet if I’m going to hold tight to my other perspective, it’s a tricky stance to take. Still, I like when Country music drives itself forward to form something new that pulls from the past and blends it with the new. Anyone who dislikes the aforementioned artists though is just seen as someone who can’t handle Country music evolving, and the truth is, I think it’s stuck in a rut spinning its wheels because of it.

You hear all the time now how artists want to expand their sound, and sometimes I can’t blame them. I mean, Eric Church still receives comment that he’s a “Pop” star in 2018. Rock? Yeah, definitely. Not Country? I don’t fully agree but I get where you’re coming from? But Pop?!? To artists I think it just signals that certain fans have a preferred box they want those artists to be in, and the artists aren’t allowed to do anything except what they want.

That’s the tricky part about the business. We’re the customers, and the artists are the “products.” If I don’t like my iPhone5, Apple makes something better. Artists are real human beings though that have their own visions.

In the case of Kacey Musgraves, when she announced that her new album wouldn’t be as “Country” as her previous ones, while the frustration is understandable, a proper response is “alright, that disappoints me” rather than say, “he or she can’t do that!” At the end of the day, we’re all going to feel what we feel about the music, but there’s a difference between not being a fan of the artist’s choice and not being a fan who want said artist to be happy.

M: Yeah, exactly, your last point makes me go back to Zac Brown for a second. As a fan, I was ecstatic that he was going back to the band’s original sound with Welcome Home. But his heart wasn’t in it, and you can hear that all over it. It makes it the ZBB album I listen to the least. I’m not saying I’d be a fan of his EDM stuff, but if he wants to do that, then let him be happy. I heard more of his passion on Sir Rosevelt as far as that goes. Anyway, I agree, I have a definite problem with the newer artists who assume we all want everything to sound like Hank and Waylon just because we don’t like them. And I get where you’re coming from about it being a difficult line to walk, but actually I think you can pretty easily make the case some of those artists don’t belong in the genre at all. Obviously they don’t sound country, but it’s more than that. Their lyrics aren’t real or honest either, you can’t argue that anything Walker Hayes has ever done has the depth of emotion that you just argued for with Caitlyn Smith. I think the problem with those artists is they’re so obviously just trying to cash in with country. They’re not real, they’re not honest, they’re not anything that relates to what I said when I defined country music. Take out all the accepted country sounds as well, and it’s like adding insult to injury.

Z: Exactly. Personally I liked Welcome Home more than the Sir Rosevelt project, but if I had to pick which avenue Brown should go down, I’d definitely say EDM. Just stop trying to call it Country when you blatantly said it wouldn’t be that. That’s an exception to the rule for me, mostly because the artist themselves have admitted what genre it is.

Walker Hayes is an interesting predicament, because I think people would counter your point with a song like “Craig”, and to be fair, the message is strong, but it’s presented in a childish fashion, whereas Country is more of a mature genre.

Cashing in is definitely a popular sentiment. I mean, go back and listen to Hayes’ songs “Pants” or “Why Wait For Summer”; they easily fit the mold of early 2010’s Country. His new stuff sounds like a Macklemore meets Sam Hunt knockoff, and at that point it’s hard to tell what his true intentions are.

M: Yeah, I’ll give you that, “Craig” might be the exception. Still, his older stuff is completely different to his new album as you pointed out. He’s clearly adapted himself to whatever he thinks will sell. And as we’ve been discussing, expanding yourself as an artist is fine, and you should. But with Walker, you honestly can’t even tell they’re the same person. That’s not artistic growth at that point, it’s just trend-chasing.

Z: Well if nothing else, at least we’ve established that – the difference between art and commercial fluff. Still, I’m curious. Who would you say really is “traditional country” sounding today?

M: Truly traditional country? Jason Eady. Ags Connolly. Vivian Leva also just released a really traditional album. Joshua Hedley might be about to do so as well, but we’ll have to wait for the whole album. Zephaniah OHora, although to be really technical and nerdy, he would be countrypolitan. Courtney Patton, I almost forgot to mention her, and she’s released one of my favorite albums this year. I’m sure I’m leaving out some really obvious names. But with all the subgenres country is splitting into, there really aren’t that many “traditional-sounding” ones left. Who would you consider really traditional? I know I have to be leaving obvious people out.

Z: To use this answer again – I’d have no idea. Unfortunately I think you could make arguments for all of them being more “folk” singers than anything else. I consider those first three artists as Country artists who are making really great modern Country, but with Hedley and O’Hora, it’s fine and all, but notice how it’s a carbon copy of music of the past. That’s not bad on principle – O’Hora made one of my favorite songs last year, and I’m looking forward to Hedley’s album, but it goes back to that point of many artists not being accepted as “real” country until they literally pull from that well that artists of the past did.

M: Yes, I agree. And carbon copies of the past won’t ultimately move the genre forward. There is a lot of great modern country, from Red Dirt to Americana to pop country, but the ones I mentioned are the most “traditional” ones I can think of. I think you can make a folk argument for some of Connolly’s music and Leva’s too, but Jason Eady I’d disagree, that’s straight-up, three-chord country. Still, if we have only one or only a handful of true traditionalist artists, it’s further proof that we have to embrace the forward-thinking stuff because ultimately, we want country music, or I call it our beloved country music a lot on CE, to survive. And putting limitations on it will kill it as quickly as letting in the Sam Hunts of the world.

I think to that end, it’s important for older listeners and fans of that traditional style to introduce their children to good modern country. For example, maybe you don’t like Maddie & Tae, but your granddaughter might, so you come together over that, and she gets that passion for country music. That’s far better than wishing it would all revert back to Haggard and Jones and leaving her to listen to Hunt and Hayes. It might not always be your type of country, but it’s important for traditionalists to open themselves up to the good modern country and pass it down so that country music lives on.

Z: Right, I’m not saying it would be my argument, but I could totally see someone coming up with some asinine excuse for why Eady isn’t “real” Country. I don’t know, that’s just the vibe I get, but maybe I’m reading too many Internet comments! I think you said it all with your last comment, Megan. I’m not sure what else to add, but I think this conversation has certainly been enlightening. It’s a tough question to really answer, and ultimately I’m not sure I’ll ever get it, but I think thankfully there’s an artist for everyone in the Country genre right now, so instead of arguing about what they are, let’s have discussions on their music. Those seem more fun, even though I did have fun with this particular conversation.

M: I had a lot of fun also, and I think that you said it perfectly when you said there’s someone in the genre for everyone. Today, we got releases from Lindi Ortega, Kacey Musgraves, Red Shahan, and Ashley McBryde, all carrying the torch for country music, all doing it completely differently, and, in my opinion, all releasing really kickass albums. So instead of arguing over which of them has more country cred, let’s go listen to all that good music. Thanks for the discussion, I always love exploring stuff like this.