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.
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
While Americana is out there struggling to define itself and make itself viable as a format, Texas country and Red dirt remain oblivious, churning out new talent as frequently as Nashville and boasting their own charts and festivals, all while placing greater value on songwriting and giving more freedom to the artists. The result is that even the commercial side of the format is often smarter lyrically than the majority of what Nashville has to offer, and the more substantive songwriters find greater reception of and appreciation for their music as well. The other side to this is that the Texas scene often falls into a trap in which it doesn’t receive criticism because even if it’s not fantastic, the music is consistently better than in Nashville. But if Texas is to be considered a true alternative to Nashville, then its artists must be subject to the same criticism given to the mainstream. Indeed, the scene should welcome it as a form of validation, but we rarely see this with critics and reviewers in Texas and Red Dirt music because it’s hard to criticize something that was delivered with heart and sincerity and is the music the artist wanted to make.
Flatland Cavalry’s latest record perfectly represents this duplicity in the Texas scene, finding itself in a place where it’s miles ahead of much of Nashville but rather average in the place from which it originated. Its writing is strong, excellent in some places, offering smart lyrics and accessible melodies. It is an intelligently written album that will still be quite catchy live. But live is where it will have to shine because the production on so much of this is frankly a mess. The end result is a good album that is somewhat ruined by production, making it better than the mainstream but quite mediocre in the grand scheme of things.
But there are some truly great moments on this record. “Back to me,” though it is a little hampered by the previously mentioned production, is a lovely song about the ups and downs of long-distance relationships. It’s followed by “Living by Moonlight,” anchored by a healthy does of fiddle and speaking of spending the days in darkness, living in bars and trying to ignore the rest of the world. “Come Back Down,” the album opener, is another strong moment, as the narrator sings about finally coming back home after spending time away and taking his home and family for granted. “Pretty Women” is a well-written look at the way women try to hide their problems with fancy clothes and makeup, and this one also features a ton of fiddle. “Honeywine” is a catchy, infectious love song that stands out as well, helped along by the harmonies of Kaitlin Butts which appear frequently throughout the record and add some nice color.
But too often, the writing is overshadowed by bad production choices. This is by far the most obvious in “Other side Of Lonesome,” which would have been a fine song if it didn’t sound like Cleto Cordero was singing from inside the bottom of a barrel. It’s nothing short of terrible, and I really question how anyone in the band thought it actually sounded ready for distribution. I’ve seen it offered that Flatland Cavalry were attempting to go for a lonesome sound similar to that on Red Shahan’s and Marty Stuart’s latest albums, but if so, this was a lazy attempt, as none of the instruments were produced like this at all, only the vocals. So it was either a very poor attempt at pulling off that sound or the more likely instance of just plain awful production.
This is the worst instance, but production issues cloud much of the record. The drums are buried in the mix throughout most of the album, a notable exception being on “Pretty Women,” and Cordero’s vocals, though never as badly produced as on “Other Side of lonesome,” echo the same issues in various places throughout the album. He also sounds completely bored on “ashes,” rendering that song quite forgettable. The whole thing sounds very unfinished, and if they’d just taken the time to clean up this record some, it would have improved significantly. As it is, too much of it sounds like a well-written but badly produced demo, a first draft waiting to be mastered and perfected. It will probably be fantastic live because these songs are strong lyrically and melodically, but in album form, too many of these just didn’t work.
Fundamentally, this is a good album. It could have been and should have been a much better one. There are some truly standout moments, where the writing really shines. The lyrics and melodies are strong, and when the production doesn’t get in the way, these songs really stand out and show the potential of this record and of Flatland Cavalry. But so much of this album is a mess in terms of production, and unfortunately, it renders a good record very average and completely ruins a couple songs. Flatland cavalry are better than the album they’ve released, and overall, it’s a pretty disappointing effort given the level of talent they possess.
When it comes to the world of Texas country and Red dirt, Cody Johnson won’t be the first name you turn to when recommending worthy artists in the scene. The first band many will point to is Turnpike Troubadours. The best live show might again be the Troubadours, or perhaps Koe Wetzel, or, on the more commercial side of Texas country, Aaron Watson. Even the first Cody many are likely to name-check is Jinks, though it can be argued Cody Jinks is quite independent from any scene and just out there doing his own thing. Still, it’s Jinks that many independent fans would like to see given an opportunity in Nashville, although Jinks himself might refuse that particular distinction. Cody Johnson is not the best artist in the Texas scene, but he’s solid, and country, and an excellent choice to walk through the door of a major record label and come out winning. That’s what this cover symbolizes–Cody Johnson has walked through the door separating Texas and Nashville and lived to tell the tale. He’s done it without compromise because he has the fan base to back him up, a voice that would sound ridiculous singing anything but country songs, and enough polish to appeal to some of the more traditionally and lyrically minded mainstream listeners.
That’s the cool thing about this album; this is now the record you can recommend to your friends when they ask why you don’t listen to the mainstream and why you enjoy traditional country. It’s a record for the country radio listeners who aren’t out there seeking the depth or sound of someone like Jason Isbell but who miss the sound of a fiddle and good country storytelling. It’s the album for George Strait and Alan Jackson fans who crave that traditional flavor in their music while also enjoying pragmatic lyrics and some modern sensibilities. It’s not the staunch throwback sound of Joshua Hedley or the typical outlaw country fare offered by so many these days, but a true example of how traditional-sounding country can still exist in the modern context. And perhaps most important of all, it’s a door through which other similar artists might be able to walk and find success now that Johnson has made a way for them.
As for the songs themselves, they’re solid and steady like Johnson himself. Cody hasn’t compromised his sound and style, and that’s one of the best attributes of the whole album, that every note and lyric still represent the Johnson his fans have come to know and love. There’s no running theme tying this record together, but most of these songs are good selections and earn their place on the album. “Dear Rodeo” is the highlight, with its heartfelt lyrics about his love/hate relationship with the rodeo and how much he misses it. The title track is another standout moment, as a father gives advice to his son on how to make love and marriage work. On the other side of the spectrum, there’s “Understand Why,” a clever breakup song detailing all the places he’d like to go to avoid his ex. Also, as a lover of the original and a skeptic about this version, I must say that the cover of “Long Haired Country boy” was a pleasant surprise. Johnson really pulls this off and makes it his own without taking anything away from the original. And if you can keep from singing along to “Honky Tonk Mood,” I really question your ability to have fun.
Even the lighter material is delivered with an infectious passion and energy. This element is so often lost in independent music, and it’s great to see this brought to the mainstream as proof that traditional country isn’t always dull or unhappy. The aforementioned “Honky Tonk Mood” is anchored by a healthy does of fiddle, a sound nearly forsaken by the majority of mainstream country artists. “Doubt Me Now” is admittedly cringe-worthy in some places lyrically, but I’d be lying if I said I didn’t enjoy this song. It’s because of the heart, passion, and personality Cody Johnson brings to each track, breathing life and vitality into every word. This will be very cool in a live setting. “Y’all People,” dedicated to Johnson’s fans, feels like a pandering misstep and could have been left off a fifteen-track record, but again, it will probably be great live, and it’s these kinds of songs that make Johnson the right person to bridge the gap between Texas and Nashville, mainstream and independent. Although the album does feel a bit long, this is the only track that really comes across as needless, and it’s harmless filler rather than a truly bad offering.
Cody Johnson is having success with this record for good reason. It’s traditional in sound and style while still offering modern textures and pragmatic songwriting. It’s the perfect balance between Texas and Nashville, offering enough substance and country instrumentation for independent fans while still being accessible and a fun listen. The lyrics are smart, and the melodies are engaging. Most importantly, this record is a significant step for independent artists, and hopefully, Cody Johnson’s success will pave the way for other artists to be given opportunities by major labels. Time will tell on that front, but for now, this is a great record and a solid bridge between the two worlds.
In a just world, Bri Bagwell would be a mainstream country star, and this album would be certified gold. It probably could have done that in 2004. It’s firmly country, but laced with elements of pop and rock so that it would fit well on mainstream radio. It’s hook-driven and catchy, yet it doesn’t insult the intelligence of the listener. It’s at once thoughtful and accessible, personal and universal, authentically country but still commercial enough to appeal to a wider audience. And yet, Bri Bagwell remains fiercely independent and unfairly obscure, fighting to be heard in a Texas scene where success for women is arguably harder to come by than in Nashville.
This album is a great case for the value of pop country, for the fact that commercial appeal doesn’t necessarily mean a drop in quality, and perhaps most of all for the care for song craft in Texas music. Now, there’s some truly awful music coming out of Texas and Oklahoma; don’t be one of those people who just thinks music sounds better when it’s not made in Nashville and is no longer a discriminating listener. But generally, much of the more commercial side of Texas country does tend to be more substantive than mainstream Nashville, and this record is a great example of that. It’s not trying to reinvent the wheel, and you won’t get something groundbreaking lyrically, but the hooks are strong and clever, and this is exactly what you want from an artist like Bri Bagwell.
As mentioned, the hooks are the strongest asset of the record, and none is more interesting than in “Cheat on Me,” where Bagwell opens the song with the immediately intriguing line, “I wish you would cheat on me.” She goes on to reveal that basically, she knows she doesn’t love this man, but he hasn’t done her wrong, so she feels bad hurting him. If he would just cheat on her or lie to her, she could leave without breaking his heart or feeling guilty. It’s a really blunt way of putting things, but if we’re honest, I think many of us have probably felt similarly at one point, dreading having to hurt someone for whom we care deeply, or wishing we loved someone back but knowing it will never happen.
“As Soon as You” is also really well-written, with lines like “as soon as you try to fence me in, I’m breaking loose” and “as soon as you bring up a ring, I’m nowhere to be found” explaining that she’s just not ready to settle down. Then we get the chorus, where she admits that “if you wait patiently, eventually I’ll wanna say I do, I just won’t get there as soon as you.” In a complete antithesis of this song, we have “Feel Like Home,” in which she’s the one trying to convince the man to settle down, saying, “if you don’t slow down you’ll never know if a house could ever feel like home.” I enjoy both of these songs, but they are a bit troubling in light of each other; the former feels more personal to Bri, and she has said the whole album is quite personal to her, so it makes the latter song feel slightly out of place. Individually, however, they hold up as two of the strongest tracks on the record.
Most of these songs are upbeat, but it’s nice to see a softer, more tender side to Bagwell toward the end of the album. In “Ring a Bell,” she’s singing from the perspective of the other woman, lamenting their choices to commit adultery and ruin three lives. There’s a really cool little nugget of songwriting here in the line, “you took the ring off your hand, put it in the one nightstand, next to the King James.” The album closer, “Empty Chairs,” finds Bri at her most vulnerable, as she sings of the ups and downs of being in the spotlight and asks God to be there with her even on the nights when she sees empty chairs from the stage. This is her pouring out her soul, even going so far as to admit to finding her worth in the number of tickets she’s sold. It’s just a deeply personal confession, and it’s a privilege to the listener to be let into her delicate head space here.
Bri Bagwell’s vocals are definitely a strength here. She displays a pretty extensive range and shows both technical skill and the ability to interpret a lyric. Here’s one more artist in the independent scene proving vocal ability still matters as much as a good piece of songwriting. That said, she lacks something distinctive about her voice to really make her stand out. It comes out in flashes, like in the slight rasp in “If You were a cowboy” and “Cheat on Me,” but I’d like to see her develop it more. That quality in her voice is really unique and would serve her well if she used it to her full advantage.
There isn’t a bad moment on the album, and nothing feels like filler, but the weakest point does come in the heart of the album, with “I Can’t be Lonely” and “Graffiti.” These are both breakup songs, and both are fine, but neither really has a strong hook like the rest of the tracks. Bri Bagwell’s vocals make these songs better, but neither of them are very memorable. You won’t skip them, but they won’t be the ones you keep getting stuck in your head either.
This is just a really solid, well-written, wonderfully sung album. The hooks are smart, the melodies are memorable and engaging, and Bri Bagwell is a strong vocalist with range and power. This is exactly the kind of record I would love to see in the mainstream in 2018. A nice slice of modern country for those who appreciate a good lyric but still like a more contemporary sound. Go check this album out, and get to know Bri Bagwell.
The EP will inevitably, for better or worse, be the redheaded stepchild of all music releases. The mainstream thrives on the hype behind big singles, and the independent world revolves around full-length albums. EP’s get lost in the shuffle so often; it’s understandable, especially for independent artists, why releasing an EP can be more feasible and make more financial sense, but to the listening public, EP’s rarely find themselves being remembered and replayed, getting lost in the endless release cycle and ever-crowded musical marketplace. WE review EP’s here on a very limited basis, yet the highest volume of pitches I receive is for these releases. But EP’s are just often too short and leave the listener wanting more. In 2018, I have not heard a single EP worth commenting on before now–and yet, by that same token, when a rare one does rise above the rest, it’s all the more important to pay attention and not let it get overlooked.
It was an Internet comment that led me to Robynn Shayne, the comment that her latest release might be the EP of the year. And indeed, this one does manage to stand out, and even though it’s only six songs and twenty minutes, there’s a lot here, and it doesn’t feel incomplete.
Crying steel guitar introduces “Whiskey and Bad decisions,” the lively opener about the reasons Shayne has found herself behind bars. Openers can make or break an album, and on an EP, they become even more vital since there’s only so much time to get to know the artist. This is the perfect song to introduce a new listener to Robynn Shayne’s style and twang, somewhere between Erin Enderlin and Tanya Tucker. “Nothin’ crazy About You, But Me” is a fun little duet with Jordan Lee in the vein of Shinyribs’ “I Don’t Give a Shit,” or maybe a more lighthearted take on Ashley McBryde’s “Andy (I Can’t Live Without You.)” The point is they don’t mind each other’s quirks and faults because they know they are made for each other. And then there’s the antithesis of this, in “Two Words one finger,” wherein these are at first the words “I do” and the finger the narrator was wrapped around, but now they represent something entirely different after she has caught him cheating on her.
Then, sadly, our twenty minutes is over. It only leaves me wanting more from Shayne, but not in the unsatisfying way of most EP’s, rather it’s because all these songs are so infectious and well-written, and Robynn Shayne has a presence as a vocalist. This little EP is more lively and fun than many of the full-length albums I’ve heard in the past year, especially among 2017 releases, and nothing here is filler. I just want to hear more from her. I can’t wait till we get a full album, but for now, go check this out, as well as Shayne’s other music. Really cool discovery, and Robynn Shayne is a name you should keep your eye on.
