Oklahoma singer/songwriter Kaitlin Butts has been on Country exclusive’s radar since her incredible 2016 Medicine Stone set. She’s been killing it live there each year since, but we haven’t gotten much new music from her since her 2015 debut album, Same Hell, Different Devil. We finally have a new single from her in the form of “White river,” and this is Kaitlin Butts putting all the raw energy she injects into her live performances into a studio recording, creating the best song she’s yet released.
The song itself fits into a category we’ve seen become nearly cliché over the past decade, the subgenre of tracks about women killing abusers. These songs can be great, but they need something to make them stand out as unique, and Butts sets “White river” apart by not being the victim seeking revenge, but rather the loved one, most likely the daughter, of the victim, who finally seeks justice in order to rescue the one she loves from the violence. The hook is also smart, as the murder occurs on the White river; “that was the night the White river turned red.”
Kaitlin Butts does an excellent job here writing a song to fit her incredible range. Her vocal ability is often showcased in her live performances, but until now, no studio recording has really shown off her voice, and that’s a strength she should display more in her songwriting. This song does a nice job of balancing smart writing with chilling vocal delivery, and the production works well also, sparse in the beginning to highlight the vocals but building in intensity throughout the song to support the darkness of the narrative. The instrumentation features a nice mix of steel and electric guitar to complete what is simply a fine piece of music.
Kaitlin Butts is a name you should keep your eye on, and “White river” is the most promising single she has released so far. Hopefully, we’ll be getting some more new music from her very soon.
Written by: Kaitlin Butts, Oran Thornton, Jared Hicks
This is the third year in which I’ve had the privilege of attending Medicine Stone, a three-day live music festival on the Illinois River in Tahlequah, Oklahoma. In 2016, I gave a full concert review, and last year, I tried to highlight some of the unsung heroes of the event. This year, Medicine Stone took on a slightly different purpose for me in light of my ongoing goal of seeing live shows in 2018. The festival provided a nice contrast to all the indoor shows I’ve been covering, as well as just being the only festival I’ve covered so far on this journey.
Turnpike Troubadours made a triumphant return to the stage after having to cancel several shows recently due to various medical and personal issues. I’ve discussed Turnpike’s phenomenal live shows before, but it was especially good to see them return to form after their cancelled appearances. In addition, they weren’t as wonderful as they normally are last year; the sound quality made it difficult to hear Evan Felker over the the rest of the band. After having to move their set from Friday to Saturday due to rainy weather, they put on a great show and returned to themselves in fine fashion.
As mentioned, the rain was a major issue on Friday. NO sets were cancelled, but everything was moved inside a tent, the main stage being uncovered. It didn’t provide enough cover for everyone present, so many of us sat under canopies or just out in the rain for some of Friday night’s performances. Reckless Kelly’s lead singer called it the “cheeseburger tent” as they played their set. I’d been especially excited to see them, for they had been outstanding in 2016 and had not come to Medicine Stone in 2017.
As for performers I’d never seen live before, there were several standouts. Koe Wetzel may have his detractors, but the man puts on a ridiculously energetic live show. This was one of the highlights of the whole weekend. Wade Bowen immediately followed, and to the surprise of no one, he’s also fantastic live. He was the artist on the lineup that excited me most when I first learned which artists would be playing this year. John Fullbright played on a smaller stage–actually, he played in the cheeseburger tent–on Friday afternoon, and his set was also a highlight. This aspect of Medicine Stone, having performers play more intimate shows on smaller stages, is one of my favorite things about the experience and a great way to discover newer artists and enjoy those artists whose songs shine in quieter settings.
As for the returning artists, I was most impressed with Red Shahan. He blew me away last year and again this time. AS far as I’m concerned, he can come back every year. Flatland Cavalry also impressed me this year after not really standing out for me in 2017, again due to their sound quality. And everyone knows Turnpike and Boland and Randy rogers all put on a good show, making them staples at Medicine Stone.
One thing I found a bit discouraging was the lack of women on the bill. Only Jamie Lin Wilson and Kaitlin Butts were on the lineup; they’ve both been there each year, but in 2017, there were several more women booked. I specifically mentioned sunny Sweeney last year as being a standout and expressed hope that she would return. Suzanne Santo also put on a great performance. Both Jamie Lin and Kaitlin are great artists, and I recognize that there is a lot more involved in booking more women at festivals than just simply doing it, but I definitely would have appreciated more effort in this area.
That said, overall, I felt that this was the strongest lineup I’ve yet seen at Medicine Stone. In terms of sonic styles within Texas/Red Dirt music, it also felt like the most diverse. There was a good balance of established artists and new talent as well.
IN light of the ongoing commentary on live music, I also have to say there is nothing quite like the camaraderie of a festival experience. I’ve been championing Medicine Stone for three years now, but it can’t be stressed enough that the atmosphere is just special at a festival. I haven’t been to a bad show yet in 2018; I’ve enjoyed some more than others, but each has provided its own unique insight. With Medicine Stone, even though I’ve been there before, it still stands out among the other shows, and not just for the number of artists, or even just for the quality of the music. It’s the social aspect, the way you see faces from years past and recognize them, the way strangers offer you a canopy to sit under to take shelter from the rain. For those three days, you’re all united by this incredible thing we call music, and it proves more than ever that music can unite us even in this divisive world in which we find ourselves. When you spend three days together, you understand why Jamie Lin Wilson was inspired to pick up her pen and write “Oklahoma Stars” about the experience. It is irreplaceable, and I highly recommend this festival to any fan of Red dirt or of live music in general.
Best Live Performers: Koe Wetzel, Wade Bowen, Red Shahan, John Fullbright, Turnpike Troubadours
Brianna and I are both huge fans of Turnpike, and between the two of us, we’ve managed to cover, either via a review or a reflection, each of their other three albums still in print. I’ve also covered their live shows. It seemed fitting to explore this album and complete the picture, especially since they’ve been so important to both of us.
Release Date: 2012
Style: Red Dirt
People Who Might Like This album: Red Dirt fans, those who love strong songwriting mixed with lively, upbeat instrumentation
Standout Tracks: “Gin, Smoke, Lies,” “Before the devil Knows We’re Dead,” “Good Lord Lorrie,” “Call a Spade a Spade,” “empty as a drum,” “Quit While I’m Ahead”
Reflections: It says so much about this band that we would want to feature all their albums here, for this is such a broad category that we only feature stuff we consider to be really great in our reflections. It’s meant to be more of a personal thing for each of us rather than an exploration of “classic” albums. Turnpike’s self-titled record from 2015 is my favorite and won our album of the Year, while Brianna prefers Diamonds & Gasoline and their latest, A Long Way From Your Heart. But unlike other artists where you search through a few good albums to pick one for a reflection and automatically throw out the rest, all of Turnpike’s material is good enough to be featured. And Goodbye Normal Street has its own special things that connect me with it.
“Gin, Smoke, Lies” is the first Turnpike song I ever heard, the one that immediately made me a fan. It shows off the strength of Turnpike, their ability to craft really genius lyrics while also making catchy songs. Their instrumentation, especially their propensity for fiddle, is one of my favorite things. “Before The devil Knows We’re dead” is a song about dying doing the things you love, and it’s somehow made happy because of the way they perform it, with fiddle and electric guitar running free. To all of you out there, take serious note: this is the song I want played at my funeral, not some hymn or tear-jerker; this is a celebration of life, and what a way to go, as Evan Felker sings: “Let’s leave the world laughin’ when our eulogies are read.”
When I was listening to this for this piece, I was stunned by the beauty in “Quit While I’m ahead,” a song I’ve played countless times before but have never completely noticed. It speaks again to the fact that people can listen to this band just for the music and the melodies and all that fiddle and never even pay attention to the songwriting genius. It’s the depth of writing of someone like Jason Isbell, but given to us in a way that’s more accessible and fun. And not to mention more country; they do blend country with rock as is common to Red Dirt, but a song like the duet with Jamie Lin Wilson, “Call a Spade a spade,” can’t be mistaken for anything other than three chords and the truth.
And for all you Turnpike enthusiasts and Lorrie apologists, looking to connect that Browning shotgun and those logging roads and piece together the story of this unforgettable character, she makes her first appearance here in “Good Lord Lorrie.” It’s a great song on its own, but now, in light of their more recent songs with references to her, it becomes even more intriguing, and essential listening for those trying to solve the mystery.
It’s so great to say that we’ve written about all the Turnpike albums still in wide circulation. It’s wonderful that their output has been so strong, not to mention significant to both Brianna and myself. Goodbye Normal Street completes the puzzle, at least until they grace us with a new record. That day cannot come soon enough.
For the people who didn’t grow up in Texas and Oklahoma in the 90’s and 00’s, and the people who have flocked to Texas country and Red Dirt recently because of Turnpike and Cody Jinks, it might be hard to imagine just ow prevalent Red Dirt music was here in those days. You can still go to Texas and find stations just playing Texas music, and others that play Texas country and Red Dirt right along with mainstream stuff, and for those looking to Americana to become a viable alternative format to mainstream country, Texas has already done that, with its own charts and festivals and fans that have sustained these artists’ careers for years. In Oklahoma, it was much the same before corporate radio, before iHeart and Cumulus dictated everything from on high–I grew up with Jason Boland and Cross Canadian Ragweed on my radio dial right beside Tim McGraw and Keith Urban. One of our local country stations had a show called Red Dirt Nights and played this music with pride. My divorce from country radio had as much to do with the sudden blacklist of Red Dirt music from the airwaves as it did with anything else.
Understand, then, that to see Jason Boland, Cody Canada, and Mike McClure onstage together is a legendary experience in the world of Red Dirt, akin to hearing three mainstream stars, or the Red dirt equivalent of what people would like to see with Sturgill Simpson, Jason Isbell, and Chris Stapleton. These three are all legends in their own right in the landscape of Oklahoma music, and it’s great to see any one of them live. To see all of them together doing acoustic songs and swapping stories is a different kind of experience, and one that is just as special for Red Dirt fans.
It was that experience that I got to witness Friday night, (6/22_, at Oklahoma City’s historic Tower Theatre. This venue has welcomed me now for several events during my 2018 concert series, and I looked forward to this one because this would be unlike anything I’ve covered or will cover in 2018. I’ve seen these artists at Medicine Stone, and I certainly enjoy them live with a full band. That’ll be a great experience come September, but this was different, it was intimate. It was three friends onstage together, taking turns playing their songs and trading stories in between. They’ve named this tour “Yellow House Revisited” after a house they lived in in Stillwater, and it’s just so interesting to hear stories from those early days of Red Dirt music. It’s great to hear the story of how Cross Canadian Ragweed’s “Seventeen” was written after a conversation between Cody Canada and Jason Boland; it was Boland who said, while they tried to avoid the cops, that “you’re always seventeen in your hometown.” Canada and McClure’s ill-advised trip to Nashville turned into an even more ill-advised trip to Panama City, Florida, and with virtually no money to get back home, Canada decided the only thing he could do was write a song, and “Alabama” was born.
All that underscores the way that artists in the Texas/Red Dirt scenes are like a family. Mike McClure sang “The Funeral,” which many will know as a Turnpike Troubadours song, and if you’re at all familiar with Red Dirt, you’ll recognize that as a common practice. These artists record each other’s songs and sing on their albums and support each other. It was mentioned by one of them onstage that they’d been told Oklahoma’s music was different from Texas music, and the difference was the loyalty. I believe the whole scene is loyal, but there is something about three Oklahoma musicians traveling around singing each other’s songs that just wouldn’t happen anywhere else. That makes songs like “If I ever Get Back to Oklahoma” all the more special, and songs like “Boys from Oklahoma,” the perfect choice for an encore, all the more fun. I will never get tired of hearing either of these songs in a live setting because the kinship with the artists and the fans is something irreplaceable.
It’s that kinship, and that commitment to live music, which makes Red Dirt music a special thing. all three of these artists embody what makes this music important to our state, and further drive home the point that we should never have cast it off our airwaves. If you’re not that familiar with this subgenre, a show like this is a great introduction, and a case for what the elusive term “Red Dirt” actually means. If you’re already a fan of this music and these artists, this is a show you go to to see them in a different light, to hear those old songs reimagined, and to get that camaraderie between artists and fans that only exists in Oklahoma music.
Best Live Songs: “Fightin’ For,” “If I Ever Get Back to Oklahoma,” “Pearl Snaps,” “Boys From Oklahoma”
Since we’re both fans of Jason Boland & the Stragglers and have each written about them here before, it seemed only natural that we should come together to discuss their newest album, Hard Times are Relative.
Conversation
Megan: First off, and we haven’t talked about this actually, but I want to bring it up since I actually reviewed Squelch here when it came out…I actually really liked Squelch, in fact I like it overall better than this one, but there’s no doubt that it was very political, it had something to say, and the audience for it was limited. There were those like me that loved it, but that’s probably a minority opinion. That was also in 2015, and we’ve become a lot more politically divided even since then, and I don’t know how you felt about that album, but I think for Jason Boland fans in general, this record will be like a breath of fresh air after that one, more a return to his roots and what made him popular in the first place.
Brianna: I love Jason Boland & the Stragglers, so it’d be hard for them to put out something I don’t like. In regards to Squelch, I really liked it, and I believe that album has some of their best songs. Still, I agree with you that this album is a much-needed break from the more political topics covered on their previous album. I like this one for its variety in subjects and tempos.
Megan: Yeah, like a lot of albums this year and unlike in 2017, it does have variety in the tempos. This one has really gone back to their traditional side that they went away from slightly on Squelch, and instrumentally, it’s probably my favorite 2018 album so far. And not just because it’s traditional, but because of the variety. The more traditional albums I’ve heard this year have almost been too minimalist. This one has variety, from fiddle to dobro to steel to some rock guitars.
Brianna: Yes, exactly! It’s both traditional and energetic.
Megan: Right, and that’s such a hard thing to come by these days. It doesn’t have to be sleepy just because it leans traditional.
We disagree pretty strongly on our favorites lyrically with this record, but let’s first talk about the title track, which you pointed out to me on your first listen–honestly, this has become my favorite song of the year and without any serious competition.
Brianna: Oh yeah. It’s my favorite song of the year, too. It’ll be hard to beat it, I think. The story revolves around a seventeen-year-old boy and his sister, taking care of their parents’ homestead, because said parents died in a mill fire. All they have is each other, a dog, and some land. The boy goes out hunting, and on his way back home, he falls into a cavern. The great part of this song is when he’s saved by his sister and the dog, and on the way home, they stop to dress the buck she shot along the way. Though I’ve just told everyone the whole story, it’s something that should be listened to. Really, it’s incredible. A song about family sticking together, saving each other. I love it!
Megan: Well, and then there’s the fact his sister who saves him is only ten. Yeah, that’s basically the whole story, but still. There’s more to it than that, as the title suggests. Hard times are relative…when you think your life sucks, it could always be worse. But Jason Boland is not that kind of songwriter. Instead, he’d rather give you a six-minute dissertation on people who had it far worse than you.
Brianna: Yep, and that’s why Jason Boland is one of the best writers in country today. I mean, I know I said I love the energy here, but Jason Boland and a slow, lyric-driven story song like this is pretty much perfection, from my point of view.
I guess that’s why “Do You Remember When” is my second-favorite track. It’s slower, super traditional in its instrumentation, and the lyrics are all about the past. Starting with how the outskirts of town have become the city. Definitely makes this a song I was into right away.
Megan: He’s definitely one of the most interesting songwriters around, if not one of the best.
To that end, “Do You Remember When” is actually one of my least favorites because it’s too direct for me. I feel like he pulls off this theme of looking back on the past better in “Grandfather’s Theme,” wherein he’s lamenting the fact that the progress since his grandfather’s time hasn’t all been forward and questioning what advice he’d even have to give his own grandson. I get the appeal for “Do You Remember When,” but I feel like Jason Boland tells a story better this way, where he’s putting a fresh spin on it. The song is really moody and dissonant as well, which is a really cool reflection of his state of mind. We’ve had lots of songs like “Do You Remember When,” but not many like this, that actually look back on the past while also speculating about the future, like saying he’ll tell his grandson about the days of the automobile and such. Anyway, that was kind of a tangent, I really like this song, lol.
Brianna: I don’t think it was a tangent, because the songs really are similar. To my way of thinking, the songs are from two different people’s point of view. One’s very traditional, just looking back on the past. The other is legitimately worried about the future. At least, that’s my interpretation.
Megan: This is what makes the collaborations cool, though, because I could honestly do without “Do You Remember When” and love “Grandfather’s Theme,” while for you, it’s pretty much the opposite.
Brianna: Oh yeah, “Grandfather’s Theme,” while insightful, is definitely not one of my favorites. I get what they’re trying to do with all the production on that song, but…it just doesn’t quite work for me. And yes. I love how with these collaborations, you get different opinions like this.
Megan: “Bulbs” is another one I really enjoy that I remember you didn’t. As for other standouts, “Right Where I Began” is really infectious and my favorite of the more lighthearted stuff. And “Going, Going, Gone” is a really interesting song wherein he uses baseball metaphors to explain that on a full count pitch, he finally overcomes the struggle in his life and hits a home run. The rest is all pleasant and enjoyable, and I absolutely love the instrumentation all over this, but none of it stands out especially. I thought “I Don’t Deserve You” with Sunny Sweeney would be an early favorite, but it hasn’t been. But “Do You Remember When” is really the only one I dislike.
Brianna: Oh yes. I’m not a fan of “Bulbs.” It’s probably my least favorite lyrically. Instrumentally, I like “Grandfather’s Theme” the least. As for “I Don’t Deserve You,” it’s not one of my favorites, either. Like you, the faster song I enjoy the most is “Right Where I Began.” It’s just so upbeat and fun! The rest of the album isn’t bad by any means, it just doesn’t stand out like the other songs do.
Brianna: For a rating, I’d give it a 7.5. It’s not my favorite album by these guys, but it’s fun, real country. Everyone knows I’m always into that by now. What about you?
Megan: I’d give it a light 7. I do think it will grow on me, though, because it’s an album I just want to play for the sound. I love how country it is without being one, extremely minimalist or two, too trapped in the past for its own good. It’s country because of course it is, it’s Jason freaking Boland, as opposed to being country because it tried its hardest to be. The title track is fantastic, definitely listen to that if you only pick one. Solid, fun, refreshingly country album. 7 with a chance of growth.
