I would file Granger in the second tier of country stars, alongside Justin Moore, Chris Janson and Kellie Pickler. All three preach to the south in a poppy, rocking manner and would impress a UK crowd if they were to come over here.
Granger is a Texan who has made inroads into Nashville with songs like If The Boot Fits and Back Road Song. The second of these was produced and written with Frank Rogers, who helped Brad Paisley on a path to success. In fact, as you will see, Granger has a good claim to be the Texan Brad Paisley.
His tenth LP is his first project since the death of his son at the start of 2019. As with several other acts such as Chase Rice and Maddie and Tae, fans received an album in instalments, with eight initial tracks being followed by a complete album just in time for Thanksgiving.
The key themes, as befitting the title, are love and life in the country. I called my project A Country Way of Life because country music can be a guide on living well. Granger agrees. Where I Get It From is a slight but fun three-chord chugger which tells stories of grandpa drinking beer and mama praying ‘every night and day’. Buy A Boy A Baseball is a father’s song to other fathers about how to raise a son or daughter which, even if you don’t know the story about his own tragedy, is poignant.
That’s What Love Looks Like encourages listeners to ‘look with our hearts and open up our eyes’ to life’s simpler things. There is a brief line about how ‘the color of skin doesn’t mean a thing’ when love conquers all, coupled with ‘John 3.16’ which is an explicit shout out to the Lord. I don’t want to assume it, since it is Granger’s story to tell, but after losing a loved one I imagine he would make a special effort to find some comfort in every little thing.
Man Made again opens with a banjo over a simple chord loop. Granger sings about things man makes, like ‘the telephone, the radio, footprints on the moon’, in order to get married and make their family proud. The payoff is that ‘a woman made that man’; after all, it was Mona Lisa who inspired the painting and made Da Vinci renowned. We’re in the Men Applaud Woman genre of country music and the middle of the dirt road musical track backs up the lyric. I can see this being a sleeper hit and fan favourite.
Being a Texan, Granger is aware of the proximity to Mexico, where he says he has never been but ‘laying with you is so damn close’. We’ve got tequila and sunlight, two things the country does well, and it’s a love song. 6 String Stories is literally life in a song as ‘all the smiles, all the scars’; verse two documents Granger proposing to his future wife and he loses his dad in the middle eight. Hate You Like I Love You is a break-up song by numbers, similar to the new hit Just About Over You by Priscilla Block.
The set opener Country Things, which I would place in the genre Country Bingo, checks off fireflies, polite phrases like ‘yes sir, no ma’am’ and the act of dying and going up to heaven over fiddle and banjo. Anything Like Me is another hymn to country kids: sunsets, backyards, porches, pretty girls, church on Sundays and being satisfied with your lot. This is delivered with contemporary production and some woahs.
Chevys and Hemis and Yotas and Fords lists the many ways to get by on dirt roads, music to listen to while cruising around on your truck. It definitely sounds like it, with crunchy guitars and processed drums. Ditto radio single That’s Why I Love Dirt Roads, a catchy rocking hymn to rural life with rivers and painted skies. There is also a bonus stripped version with Christian hiphop act Lathan Warlick offering a poignant set of bars about love and loss.
As with many Texan entertainers, Granger can do deep as well as fluffy. I Kill Spiders is in praise of Granger’s role as a dad guiding the way and getting rid of arachnids, while Heroes is one of those ‘here’s to the unsung heroes’ songs that every artist will release in the next few years. He seems genuine rather than pandering here, and serves up a good mix of material.
Granger’s friend (and comic alter ego) Earl Dibbles Jr appears on four tracks. He is relegated to rapping on Country & Ya Know It, which made me laugh out loud: instead of clapping your hands, the listener raises his beer if he really wants to show it. Tyler Hubbard from Florida Georgia Line is one of five writers on this fun ditty. The power-charged Holler, driven by layers of electric guitar, is a song that they or Jason Aldean would kill for.
Diesel, which documents the working week in a country workplace, is even harder. It’s the hillbilly equivalent of heavy metal with a solo that sounds like a power saw ‘making tree-huggers choke’. As for the vocal, it’s hard to tell where Granger ends and Earl Jr begins, which is rather the point.
Workaholic is sung entirely by Mr Dibbles. He enjoys working hard during the weekend too: working on his tan, working up a sweat on the beach and ‘putting in overtime’ at the creek while he fishes. Comedy and country have a long history together and Granger, or rather his pal Earl Jr, is keeping the flame going. Indeed, whereas Granger has 260,000 people following him on Twitter, Earl Jr has almost 450,000.
Granger knows where he stands, appeasing fans with Earl’s appearances, but it’s his name on the album and he knows country things too. 3/5
As Chris Molanphy points out in this month’s Hit Parade podcast, no Garth Brooks means no McGraw, no Shania, no Chesney and, I would add, no Country2Country jamborees. I’d love for Garth to headline a C2C of the future. Indeed, I find it tough to believe he hasn’t been in talks with the O2 for a multi-date run for his next tour. He’d probably be supported by Ashley McBryde – he covered Girl Goin Nowhere on tour – and one of his acolytes like Mitch Rossell or Randall King.
Troyal Garth Brooks remains the biggest country star in the world (just surpassing Dolly Parton) and has finally allowed Fun to be released into the world. I am delighted that I am able to review fun as it’s only on Amazon Music and I borrowed a friend’s login.
It has been in the works for years, and we’ve heard a lot of it before. In June 2018 the wild and loud All Day Long (with its ‘somebody’ repetition) hit radio, then he premiered the none-more-Garth ballad Stronger Than Me at the 2018 CMAs at which he won Entertainer of the Year. After a massive concert tour in 2019 he won the same award for a seventh time; in 2020, he recused himself and told the CMA voters to pick someone else.
Also last year he released a fun duet with Blake Shelton called Dive Bar into the world, which climbed to six at radio. I replayed it about eight times when I first heard it because it’s a fun tale of spending ‘the weekend in the deep end of a dive bar’. I still love the line ‘Crank that jukebox up and Hank it’. Blake and Garth sound great together, as befitting the Oklahoman master and one of his many heirs. The track’s rise was helped by the first music video Garth had made since 2013, where the pair and the band were immersed in a CGI fish tank.
Just before Fun came out, Garth and Miss Trisha Yearwood put out their popular take on Shallow, from A Star is Born. A shrewd move, this generation’s Big Karaoke Duet gets the Garth treatment, with some stellar vocals. Indeed, it’s a measure of how terrific Lady Gaga is that Trisha doesn’t outclass her original too much. Lukas Nelson, who wrote Shallow, will benefit from this version until the day he dies, much as Bob Dylan will from Garth’s superior version of Make You Feel My Love, which was the basis for Adele’s almighty pop version.
We know Garth’s many moods by now, because he was a human algorithm before algorithms were cool. Album opener The Road I’m On is Rock Star Garth, a chugger which paints a picture: ‘bluebirds’, ‘steel belts’ and ‘neon’. If anything, it sounds like Bruce Springsteen with a steel guitar, except it’s about Garth going out and being Garth. (A Hard Way To Make An) Easy Livin’ looks back to his early days as a performer, with ‘half-naked hotties’ and groupies popping up in verse two. First world problems, courtesy of one of the biggest singer-songwriter performers in the recorded music era.
Coincidentally, the Triple Live set with recordings from his stadium dates in recent years is reissued with three bonus tracks on the same day as Fun.
The Courage of Love is Global Messiah Garth and it’s better than his last one of these, People Loving People. Over bluesy guitar and an orchestra, he sings of how ‘anyone can start a fight but to love is so much bigger’. Veterans, farmers and ‘our children’ are the targets for a song which could be a charity single. There’s a proper middle eight too which will encourage the waving of mobile phones or lighters in Garth’s next stadium tour. Perhaps stadium tours will never take place again in our lifetime. (Did you know that Triple Live is available now?)
Message in a Bottle unites Rock Star Garth and Messiah Garth: love, ‘children laughing’, dancing and world peace over horns and keys. There is a key change which Westlife would stand up to sing and an ad-libbed outro.
Then we get Okie Garth, the singer who grew up in the country. That’s What Cowboys Do outlines that, ‘when it came to the leaving part’, a cowboy will always move town ‘chasing sunsets down’. This is a song I would expect a Texan star like Garth’s beloved apostle Randall King to write. Garth, even more than George Strait, brought the Texan-Oklahoma Red Dirt sound to Nashville, and ran away with the millions.
Amen is Gospel Garth, with an RnB groove that underlines how much he loves his life: ‘It feels too good to be a sin’. This sounds like five years of the Rolling Stones’ career condensed into one track, and proves he can reach beyond his core country constituency.
Like Dive Bar, Party Gras is a good time tune with plenty of Cajun fiddle, ‘gumbo’ and ‘jambalaya’; it might as well be subtitled ‘Visit New Orleans’. Like Stronger Than Me, I Can Be Me With You is Garth’s attempt at sending a love letter in song to his wife from ‘Prince Charmer, Knight in shining armour’. His listeners will both appreciate the lyric and the music, which is swaytastic. As a songwriter, I appreciate the tight structure of the song, which sounds like a smash.
As well as Party Garth and Gentleman Garth, he cannot resist bringing out Healer Garth. The album’s most emotional moment comes on Where The Cross Don’t Burn. Garth’s ‘only black friend’ is, rather hilariously, played by the surprise guest on the album, Charley Pride, who literally played the role of country music’s only black friend in the 1970s. Back in the 1960s ‘when change came slow’, Garth had a chat with the ‘black old man…walking hand in hand’: Charley imparts a lot of wisdom in the role of ‘wise old man’ that I am sure will get some pushback because this is a trope. It doesn’t make the song any less emotional and, released in a country music and American environment today, it sounds quaint and twee. Good on Garth for trying.
The album’s final track is (Sometimes You’ve Got To Die To) Live Again, which I think places Garth at Dolly level. We know Dolly likes to dispense wisdom to her listeners which is rooted in Bible teachings and Garth reaches, with the help of a falsetto chorus, to preaching the message of reconciliation with a loved one or, when necessary, leaving them behind. Relationship Counsellor Garth? Vicar Garth? Moneymaking Garth with an exclusive Amazon deal?
Nobody was crying out for Fun, Garth’s 14th studio album and only his fourth since he returned from a hiatus in 2014. He releases new product to keep the setlist fresh but, like his friend Billy Joel whose last non-instrumental material came out back in 1993, Garth doesn’t need to add to his catalogue, as his Triple Live album suggests. Still, there’s plenty of fun on this album – it fulfils the brief – but also a reminder of what a good interpreter of song Garth is.
He swallowed up the era thanks to his rock-inspired stadium shows and marketed himself outside the American South without abandoning them. Even his Chris Gaines project (aka Garth Goes Pop) sold 2m copies. Fun won’t sell anywhere near that, let alone his Diamond-sellers from the 1990s, but albums no longer give Garth a pension. Garth On Tour is the big earner but in an era where his live earnings will take a hit – will he produce televised concerts for Amazon? – this sets up Garth’s fourth decade in music very nicely. 4/5
Two EPs, a new album and a reissued favourite with bonus tracks round off this three-part celebration of this season’s new Christmas music
Last year, Sounds Like Nashville put together a list of the 12 essential country Christmas albums. Vince Gill, Martina McBride, Faith Hill, Chris Young, Kacey Musgraves, Brett Eldredge and his royal Garthness and Lady Trisha all made the list, edging out so many acts who have also plugged seasonal product. In the peloton are Kenny Chesney, Brad Paisley, Blake Shelton, Buck Owens, Loretta Lynn, George Strait, Brooks & Dunn, Rascal Flatts, Darius Rucker and even Merle Haggard. Some acts like Reba and Alan Jackson have multiple Christmas releases!!
Lady A – On This Winter’s Night (Deluxe)
The trio were called Lady Antebellum when they released their fourth album in 2012. Now on Big Machine and with no new album to promote this Christmas, they have decided to add four new tracks to the set.
The original collection included a softer version of All I Want For Christmas Is You and covers of old favourites: A Holly Jolly Christmas, Have Yourself A Merry Little Christmas, a cabaret version of Blue Christmas, Christmas (Baby Please Come Home), Donny Hathaway’s This Christmas and Let It Snow. For religious fans Hillary dragged Silent Night and The First Noel out of the hymn books.
The title track was an original composition with gentle strings and piano underscoring a lyric about stars, mistletoe, wrapping presents, snowflakes like frosting and people smiling. The melody is beautiful, with an assist from the great Tom Douglas and a children’s choir singing ‘we’ll count our blessings’. The song is among Lady A’s finest moments.
This album is really a four-track EP appended to something many people will already own. The song Christmas Through Your Eyes is the new offering, written by the band. Whereas they weren’t parents in 2012, now they will use the proceeds from this reissue to buy presents for their kids and partners which, would you believe it, is the theme of this song. Hillary takes the lead, singing of ‘reindeer jammies’ and watching old video footage and ‘how hard it was to fall asleep’. Lady A’s target audience of soccer moms will go wild for this.
Otherwise, three old favourites are updated with Dann Huff’s experienced production trickery: The Beach Boys’ Little Saint Nick (which ‘comes this time each year’); Ray Charles’ That Spirit of Christmas; and an orchestral version of Paul McCartney’s Wonderful Christmastime which is better than the original.
Maddie & Tae – We Need Christmas
Maddie & Tae are two pious girls who have kept religion mostly out of their music so far will surely pivot to Christian music when they can. We Need Christmas has six tracks produced by the team of Derek Wells and Jimmy Robbins.
There’s a glorious and simple arrangement of O Come All Ye Faithful which showcases those trademark harmonies, with the girls intoning a Bible verse as a coda. There are also three songs tackled by Lady A in 2012: Holly Jolly Christmas, This Christmas and a gentle acoustic version of Christmas (Baby Please Come Home) which initially threw me as I was hearing the song in a straight four when it’s in 12/8. You won’t have that problem because it’s a perennial. Phil Spector can never be cancelled.
There are two originals here too. Merry Married Christmas celebrates the girls’ newlywed status; indeed, Tae’s husband is in the writing credits. It made me go ‘ooh’ as the intro came in and I can check a lot of squares on my New Christmas Song bingo card: snow, cheers, holly, presents (though not necessary since the girls have their guy) and sleigh bells underneath the chorus. It’s irresistible and a beacon of joy. I love the line about wanting to start a new tradition.
We Need Christmas namechecks Charlie Brown, hugs with family, winter coats, snow on the road (there is always snow, isn’t there?) and ‘a little healing’ and ‘joy (there is always joy, isn’t there?). The song is lightly religious, spiritual if anything, but I am sure there is some political commentary too. It’s also nice to see Salvation Army cans and carols in the second verse, which is apt for two lovely religious girls who have followed up their second album with an excellent holidays project. Marital bliss must make for good music for Maddie & Tae.
Runaway June – When I Think About Christmas
Almost mirroring Maddie & Tae, this EP gathers three covers and two originals. A pedal steel-assisted Sleigh Ride, O Holy Night and Let It Snow are present and correct, with all the three-part harmonies in the right places.
When I Think About Christmas itself mentions gifts, snow, tinsel, mistletoe and that ‘the only present I need’ is you. The pedal steel solo redeems the song but even that is slightly ruined by shouts to ‘take it home’. It’s traditional enough, though.
Christmas on the Radio was written by the guys behind High Hopes by Panic at the Disco and Yesterday’s Song by Hunter Hayes. It’s jaunty and mentions snow in the very first word of the song. Otherwise we have ‘Jingle Bells and mistletoe’, ‘chestnuts on the fire’, White Christmas, Let It Snow, Jack Frost and a request to ‘make my wish come true’. Again the song sounds like enormous fun, both to write and record, especially with new addition Natalie Stovall on fiddle.
Home Free – Warmest Winter
You know the a cappella group Pentatonix? Home Free are that but with boots on.
Opening with the Alvin & the Chipmunks ditty Christmas Don’t Be Late, there are several marvellous originals here, like the sentimental and nostalgic Warmest Winter and triple-time pop ballad Snow Globe (‘you shook me up…Maybe we should settle down’), which I do wish had acoustic instruments on it rather than lots of bass voices.
You can tell Home Free are experts at writing seasonal material, having put out albums of Christmas stuff in 2014 and 2016. Christmas Ain’t For The Lonely is a beautiful but melancholy song where there’s ‘nothing left but memories’ when you have broken up with someone. Christmas in LA and Cold Hard Cash (as a present) are a lot more fun, while What We Need Is Love is a carpe diem song which benefits from stripping the melody and harmony back to just the voice. It sounds gorgeous and ends the album terrifically.
Rachel Wammack pops up on Amy Grant’s song Tennessee Christmas and Striking Matches join them on Run Run Rudolph, which has a beatbox solo that makes Home Free an acquired taste. Alabama, meanwhile, appear on a version of their own tune Christmas In Dixie where Randy Owen’s fabled voice is enveloped by a five-part arrangement that reminds me of NSYNC. Home Free are a male vocal harmony group without the dance moves or the overt sex appeal.
I love the jaunty take on Stevie Wonder’s What Christmas Means To Me and Winter Song, written and sung originally by Ingrid Michaelson and Sara Bareilles, turns every note into a vocal sound, wrapping the listener in sound. Fans of the quintet, who won the NBC show The Sing Off, helped their online campaign for an online concert reach its target within a few hours. The total approached $250,000 and those who didn’t pledge for the show can buy tickets for it at HomeFreeVIP.com. Featuring skits and guest appearances from the album’s featured acts, it premieres on December 2 with six showings in total over the course of the week.
In the second of three pieces, I talk about three albums by three of country music’s most beloved female performers
Dolly Parton – A Holly Dolly Christmas
The big two albums are by Carrie and Dolly. Dolly first, as is always the case, country music’s beloved grandma.
After her Christmas duets album to plug a 1984 Christmas special with Kenny Rogers, A Holly Dolly Christmas sees the girl singer go solo. Seven are original Parton compositions and she delivers her vocals with so much character throughout. Christmas on the Square is a country Christmas song with fiddle, banjo and massed harmonies. There’s even a yee-haw thrown in for good measure. Comin’ Home For Christmas (‘Save a place for me’) is a domestic setting with candles, keys under mats and ‘sweet memories’.
Circle of Love is a different type of country song, wishing Jesus a happy birthday and praising the Lord who gives ‘salvation for all’ and ‘that gift from above’. Pretty Paper drafts in its writer, Willie Nelson, to sing about the wrapping of gifts like pencils with humble ribbons. You Are My Christmas is a duet with younger brother Randy, who make a good case for family being the true meaning of the season. It’s catchy as well (‘You you you!’) and it’s very country. You can never take the Tennessee out of the superstar.
There is plenty of Cyrus family representation here: Billy Ray is on Christmas Where We Are (another song about how ‘your love is the only gift I need’) and Miley is on Christmas Is. That song is a sweet ballad where godmother and goddaughter hymn about giving, sharing and ‘kindness, love and compassion’. It’s a secular religious song with a light dashing of ‘His Glory’ that may well pick up some traction this year, even though Miley literally phones in her performance.
Cuddle Up, Cozy Down Christmas drafts in Mr Christmas himself, Michael Buble, in a song which updates Baby It’s Cold Outside for the woke era. I like the image of Michael and Dolly curling up, and I would have hoped Kenny Rogers would have sung on this had he not passed away in March. The duet of All I Want For Christmas Is You repeats the Islands in the Stream trick of having the male vocalist, here Jimmy Fallon, singing in a different key to Dolly. It’s fun for them but the listener will be singing along and drowning the pair of them out.
The other evergreen numbers include Holly Jolly Christmas, I Saw Mommy Kissing Santa Claus and the deathless Mary Did You Know, which was once recorded by Kenny himself. I wish she had had a crack at Wizzard or Slade, as a bone to throw to her UK fans, but her audience will spin this with a great deal of regularity this December. A little bit of Dolly is always a good thing.
Carrie Underwood – My Gift
I have no idea whyCarrie Underwood has chosen 2020 to release her first Christmas album. Maybe the calendar has to work out so that her release is the tentpole one. Perhaps motherhood has taken her away from the studio in the last few years but the Oklahoma girl’s album My Gift will be the CD of choice for mums and aunts in middle America this year.
As you would expect from a pious religious girl, making music for pious religious girls, there’s a lot of God and Jesus on My Gift. It opens with the Ode to Joy-type melody of Joyful Joyful We Adore Thee, which is almost a cappella because the backing track is barely there. It’s as always fun to hear what beloved voices have done to beloved songs: Have Yourself A Merry Little Christmas and Away In A Manger, which bends the melody into new shapes, add orchestra or piano respectively to her Idol-winning voice. O Come All Ye Faithful, O Holy Night and Silent Night leap out of the hymn books, while Mary Did You Know is given the Carrie treatment just as Dolly had left her personal imprint on the song.
Little Drummer Boy features Carrie’s son Isaiah taking the second verse sounding like one of the Little Rascals. It will melt anyone’s heart even though I prefer Bing and David marrying the song with Peace On Earth.
There are a pair of original compositions by Carrie, David Garcia and Brett James. Let There Be Peace is a gospel tune which channels Aretha Franklin and Michael Jackson; rather than presents, she wants world peace (good luck!). There is a key change. Sweet Baby Jesus is a songwriting exercise which imagines the baby lying in the manger, with ‘tiny feet and tiny hands’. It’s inoffensive but decent.
Carrie has one foot in Christian music and I am sure there is a full-on Christian album that she must want to do at some point. As it is, this album is a good example of brand extension. It tries to appease all bases and the two originals will sound excellent at any Christmas With Carrie concerts that will make her money in the next decade.
Talking of money, John Legend (the African-American Buble or Groban) both gives her Hallelujah and appears on it, though it was left off his own Christmas album from last year. Well done to John for trying to match Carrie for vocal chops, and for writing a hymn-like contemporary song full of angels, choirs, ‘moonlit air’ and a wish to ‘hold on to hope’. If it’s pushed properly, this may go top 10 and become a Christmas staple, ensuring that Isaiah can be sent to some posh schools and get horse riding lessons in perpetuity.
Terri Clark – It’s Christmas…Cheers!!
To Canada! Terri Clark offers ten tracks including a waltz called Cowboy Christmas, co-written by Erin Enderlin and featuring the great Ricky Skaggs. Snow is like tinsel ‘in the Montana sky’ but there’s a melancholy in the second verse.
A very old song about Santa and his reindeer, Up On The Housetop, was written in 1864 and is updated with Terri’s terrific ‘ho ho ho’s and a brief accordion solo.
Away In A Manger and Silent Night are almost contractually obliged to be present, although Vince Gill and a fiddle solo are present on the latter and Pam Tillis, Suzy Bogguss and a fine string section adorn the former. There’s also Winter Wonderland and a big band treatment of Jingle Bells, a jazzy The Christmas Song and a hillbilly-tinged Silver Bells with the fulsome backing vocals of The Oak Ridge Boys.
As on most holiday albums, Terri has a crack at the ubiquitous pair of I’ll Be Home For Christmas and Let It Snow. The latter drafts in Dierks Bentley who, as far as I know, has not recorded a festive album. Maybe it’s his turn in 2021, although there’s a new album due shortly.
In the first of three pieces, which also deal in LPs and EPs, I look at individual songs released by country acts.
Florida Georgia Line want to get Lit This Year and I completely missed the drugs reference when I heard it initially. Lit can mean a Christmas tree decorated with lights and a party being on fire ie lit. Santa, mistletoe and eggnog all appear but I’m surprised how chirpy the song is. I’d expect stadium rock guitars but I like the light dashes of banjo.
Dan + Shay want you to Take Me Home for Christmas, in a song which needed six people to write and is produced by Dan himself. They encourage the lady to take them to their home town, maybe ‘do a little carolling’ and drinking with high school friends. The chorus is very strong indeed and there’s a key change and some of Shay’s renowned vocal gymnastics. I imagine this will get lots of spins this year.
Gary LeVox, who is now 50, has enlisted the help of composer Stephan Moccio (who worked on Earned It by The Weeknd) to write Christmas Will Be Different This Year, which also involved Natalie Hemby. Stephan’s album Winter Poems is full of piano arrangements of traditional tunes including, sweetly, Walking In The Air from the Snowman and the Francophone anthem Petit Papa Noel. This one, which isn’t on Stephan’s album, showcases Gary’s once in a generation voice (which Shay is copying all the way to the bank). He sings about snow ‘falling like angels’ but nobody can go to church or deck the halls and, significantly, Gary cannot be with the object of his song, perhaps a parent or a loved one. It’s simple and effective and will comfort those who lost family members this year. Rascal Flatts’s holiday album came out in 2016 and is called The Greatest Gift of All, so go listen if you want more of Gary singing silent nights and herald angels.
Olivia Lane has co-written Feeling Like Christmas, a toast in the form of a song which in its first 30 seconds quotes Little Drummer Boy’s rum-pa-pum-pum before adding sleigh bells and a very festive chorus with all the Christmassy cadences. Santa has granted her ‘someone to kiss’ and it’s the sort of song you can sway to with your loved ones this year, in a socially distanced way.
Kassi Ashton is having a Hard Candy Christmas, with strings surrounding her as she struggles through the holiday season. Her vocal is tremendous and Kassi is playing the long game. Maybe 2021 will be the year that everyone, in Nashville and outside it, knows of her obvious talent. There’s a key change too!
Darius Rucker’s band Hootie & The Blowfish Won’t Be Home For Christmas this year, assisted by Abigail Hodges, daughter of the great David who was in Evanescence. She’s writing to Santa who doesn’t want toys but wants her father, who is a soldier, to get home for the holidays. Darius, as the soldier, takes the second and third verses and even mentions ‘the birth of the King’ before a sha-la chorus is both joyous and sad, because it appears wars are more important than Santa. Sorry, Abigail.
In 2013, Kelly Clarkson put out her Christmas album, including the perennial Underneath The Tree which is a nice little earner for Kelly, as well as covers of White Christmas, Silent Night (with Reba and Trisha) and I’ll Be Home For Christmas, which is the American version of Wizzard or Slade. Reminding people of the album’s existence are two new songs.
Under the Mistletoe with Brett Eldredge, a song she wrote herself and captures the moment that a lady kisses a man. In a year where Kelly has split with her husband, this sounds bittersweet. Maybe she’s trying to tell us that Brett is her new beau, even though his vocals barely touch those of its composer. There’s help from RnB group Atlantic Holiday, too.
To kick off the covers section, there is a song called All I Want For Christmas Is You. It was a country one-hit wonder Christmas tune by Vince Vance and the Valiants which LeAnn Rimes covered on her 2004 Christmas album (see, everybody’s done one). It’s basically My Heart Belongs Only To You by Bobby Vinton with angels, mistletoe and Christmas trees. Kelly does what she does effortlessly. There is a key change.
I’ll Be Home for Christmas was made famous by Bing Crosby in 1943 before a plethora of country stars, including Pentatonix, Lady A, Reba and Rascal Flatts, have recorded it. Groban and Buble fans will know the song, which Chrissy Metz gives a jazzy treatment and sings with charm and panache. This was supposed to be the year Chrissy, from This Is Us, brought out an album but I imagine the pandemic has pushed it into 2021.
After Lady A’s success with Mariah’s million-dollar tune, Morgan Evans has given it a spin on an acoustic guitar and his Keith Urban-ish vocal. It sounds like a campfire singalong at an Australian beach over Christmastime and, even though it removes a lot of the original diminished chords, it does its job. But it’ll return your ears to Mariah’s song, which only topped the US chart last year for the first time and has never been a UK number one.
Brett Kissel, meanwhile, is hanging out with Frosty the Snowman at the honkytonk, giving the old standard a traditional country arrangement with plenty of Western swing, Canadian style. There is a key change and a magnificent ending.
Jimmie Allen has teamed up with the duo Louis York, aka Nashville writers Claude Kelly and Chuck Harmony, and the trio The Shindellas. Their tune What Does Christmas Mean updates the track which originally emerged in 2017. The bonhomie is evident from the off, with some neat doobie-doos from the trio and sleigh bells running quietly underneath the lead line.
Gabby Barrett has had a good year and will hopefully celebrate the birth of her first child next year. The First Noel opens with an orchestral flourish and some sentimental piano, as Ross Copperman shapes the backing for Gabby’s voice to shine. The acoustic guitar in the first verse gives way to a warm, Grobanish second verse. Gabby sings the final chorus as if she is in the presence of the King of Israel himself.
Mackenzie had put The One on a shelf for a year while her hit These Days climbed the charts. There is echo on her voice and very sparse production to match how she is ‘lost in a champagne recollection’ at the wedding reception of her ex. I love the line ‘I was the pearl before the diamond’, not putting herself down but recognising that she couldn’t seal the deal.
Mackenzie’s brother Kalan won Canadian Idol in 2004 and she herself won the 2011 Nashville North Star, juggling a singing career with her acting. Her self-titled album emerged back in 2014, whereupon she was signed by Big Loud.
Rather than release it on its own, The One comes packaged as one of seven tracks on Drinking Songs: The Collection. Although Joey Moi produces all the tracks, there isn’t too much of his power-rock guitars that he made famous with Jake Owen, Nickelback and Florida Georgia Line, and indeed the type of guitar sound which TR’s new song imitates.
These Days appears in two forms: the majestic original and the poppier remix with extra snaps and whistles on the track which was a Top 10 all-genre hit on Canadian radio. It’s such a stunning pop song, with enough melancholy to give it depth, that has helped me through 2020 and Mackenzie sells it very well. Drive Thru, written with Natalie Hemby, sees Mackenzie rejecting a booty call because ‘you can’t roll up whenever you like…whenever you got an appetite’. Two chords and the truth, with a playground nyah-nyah chanted chorus. It came out in 2018 so Mackenzie has been patiently building her career.
About You, released in early 2019, was written with fellow Big Loud artist Hardy, who is so hot right now. The song was a number one on Canadian Radio and contains the magical Hardy ingredients of ‘breaking up and waking up’ and moving on from an old flame. The chorus, which soars and swoops, is well executed and it proves that Hardy has a knack of writing songs to fit female voices too.
Seeing Other People is a gentle song written by, among others, Matt McGinn. It’s sung with a sweet vocal but it’s a bit frothy and produced, as Mackenzie sings of wanting to only see other people with her former beloved. I imagine the narrator is the same one from The One, so it appears he has seen other people after all. It’s a relatable lyric, all the same, and I like the four-bar ‘middle four’. Drinkin Songs is a poppy tune which I liked when it came out earlier this year, with a very melodic shape and a hookiness in its production. I hope there’s a full album coming soon but patience, as Mackenzie well knows, is essential in country music. 4/5 for the Drinkin Songs project.
Jake Etheridge – Because I’m High
In real life Mackenzie got married in July to singer Jake Etheridge. Jake joined the Common Linnets post-Eurovision and replaced original singer Waylon, then went on to play Sean on the TV show Nashville. Mr Mackenzie Porter’s EP has six songs which are in the Josh Rouse, Daniel Tashian or Ruston Kelly arena, just the type of classic songwriting I adore. Jake has self-released this and more than mere Nashville fans should give the EP a listen. There is some mild swearing throughout, so maybe those who are Maddie and Daphne’s age should wait a while.
In My Head is mellifluous, as is I Should Know, an apology in song where Jake admits to hating parties (me too). Forget My Name and Kayla’s Party include some gorgeous chords and delicious strings to create a sublime mood, while the EP’s title track notes that ‘memory is such a fickle bitch’. Rock and Roll, with its electric guitar solo and acoustic guitar chug, sees Jake’s voice reach higher volumes than the rest of the EP. It’s locked in a quiet groove but there is a uniformity to the set. 4/5
Save The Roses is track five on Lee Brice’s new album. It’s the sound of smart contemporary country today. It sounds like a song Garth Brooks (whose album Fun emerged on the same day as Hey World) would have made one of many of his career songs, sung in the voice of a man whose body lies in church at his own funeral. ‘Save the roses, don’t waste ‘em on me’ is a quite remarkable lyric, perhaps a new twist on ‘smell the roses’ and ‘carpe diem’.
Listeners who have spent 2020 in mourning for loved ones will be reminded of this lesson. This year Lee has featured on two massive number one smashes: his own song One of Them Girls, a bit of four-chord fluff; and the goodbye song I Hope You’re Happy Now, a gift from Luke Combs in which Lee’s second verse elevated the song and complement Carly Pearce’s voice perfectly.
As album teasers, fans were also able to hear the sultry pair of Do Not Disturb – in which Lee and his beloved book a hotel room and hang a sign on the door – and Soul (‘You’re Mozart in the sheets!’). Lee also pre-released the tender Memory I Don’t Mess With and the song I would retitle Serious Chuggin’: More Beer, with its chant ‘we’re gonna need more beer!’ Half of the album is thus familiar on the day of release, including the title and closing track.
The song Hey World verges on the Disney soundtrack. Its second verse is sung by visually impaired Nigerian-born singer Blessing Offor, who rose to fame on The Voice. ‘Everything I need’s right here at home’ is a handy lyric which will be timely even when the world isn’t forced to stay home.
Lee, who turned 40 last year and has just fathered his third child, is best known for his ballads, including I Don’t Dance and the peerless I Drive Your Truck. His hit song Rumor led the interest in his self-titled album from 2017. Lee deserves to be talked about in the tones used for Tim McGraw, who used to be signed to Curb Records, which houses Lee to this day.
Of the unreleased songs on the album, Don’t Need No Reason is a triple-time Thomas Rhett-type tune in which Lee doesn’t need Valentine’s Day or an excuse to hug, kiss and dance with his beloved. ‘You’re the why!’ is a wonderful lyric. Though there’s lots of production on the studio version, Lee could sell this live with just a voice and guitar.
Likewise Lies, a very American song which starts with TV adverts for ‘some potion, some pill’, moves to drinks at the bar, a girl trying to make a living with her body and a couple who have fallen out of love. The initial chorus is full of putdowns but the final chorus is full of hope, how ‘it’s okay to struggle’. The song will help a lot of people but it’s very American in the way it tells you how to feel. The strings threaten to overpower the song, which again would work in an acoustic setting.
The second verse of Sons and Daughters can be summed up as ‘Think before you tweet’. Over very modern production, Lee sings about boys on tractors and female law enforcement officers. ‘Before you go and hurt someone,’ Lee counsels, remember the person’s family.
Country Knows, with its atmospheric pedal steel and heavily echoed voice, is a formulaic song setting the small-town scene. There’s probably one of these songs on a big release every month – tick off your laundry list of country things – but Lee adds a chorus which says ‘Country knows how I feel’.
For all the mid-tempo tunes, Lee (or Curb Records) knows when to crank it up. The opening track is called Atta Boy (great title) which sets the scene for the album. Over a chugging guitar line, Lee shouts out devoted fathers whose daughters can change a flat tyre, sons who help their mom bring in the groceries and one who is ‘pretty brave for eight’ and comes to someone’s aid on the playground. Unafraid to venture into peril on track one, the second verse is a thankyou to a friend who wouldn’t let a drunk guy drive home and risk his life. ‘We could use a few more like you’ is a good ol line.
Good Ol Boys, meanwhile, marries a hiphop-friendly beat and guitar loop to a lyric about respecting parents, partying on Saturday night and taking it ‘to the limit’. It’s simple but effective and proves that songs for the bros are good in moderation. The song If You continues the mood, with some chunky guitars and an unapologetic narrator who finds different ways to avoid saying the F word.
There are various themes and moods and production styles on this album, which gives it a welcome tonal palate. Lee’s European 2020 tour has been pushed back to summer 2021 and I hope to be there bellowing along, in a socially distanced way. His sensational new album offers well sung compositions which ought to win him a huge audience. 5/5
In the week that Starting Over dominated the conversation in town, the other big album came from Shenandoah, a group I know by name but I couldn’t hum any of their hits. They celebrated 35 years together last year, having formed in Muscle Shoals in 1984. The only original members left are vocalist Marty Raybon and drummer Mark McGuire (not the baseball player). They have hit the top five times and are probably best known for Two Dozen Roses, the third in a run of three chart-toppers in 1989 which began with The Church on Cumberland Road and continued with Sunday in the South. They were nominated five times for CMA Group of the Year but never won, in the days of Diamond Rio and The Mavericks (and the Kentucky Headhunters, whom I must look up).
The new album is called Every Road and copies the Brooks & Dunn trick by pairing them with contemporary artists: Zac Brown Band, Luke Bryan, Ashley McBryde, Dierks Bentley, Blake Shelton, Cody Johnson, Lady A, Brad Paisley and Carly Pearce. Special mention too for Willy Nelson’s mate Buddy Cannon who produces with all the country touches expected of a classic band who trade in traditional sounds.
Plenty of A-list songwriters have given the band some tunes. Two Bretts, Beavers and James, worked on I’d Take Another One of Those, a carpe diem song.
The punchy Make It Til Summertime has the fingerprints of Dallas Davidson and the voice of Dallas’ mate Luke Bryan. It opens with a lyric about ‘swinging this hammer’, continues through ‘Georgia pine’ and ‘Muscadine wine’ and is the honkiest-tonkiest thing Luke has ever recorded. More, please, as Luke moves into the Legacy category of act that houses Shenandoah.
Lori McKenna and Phil Barton give the band If Only, a reminiscin song full of mama and church and front porches and ice tea and that’s bingo. Every Road is a mellow and very contemporary track about finding yourself. Every Time I Look At You is a track which didn’t make any Lady A projects (they wrote it) but it finds a home here. It’s another wedding song about how great a lady looks set to a lovely, warm melody. I’ll Be Your Everything paints Marty as a shoulder to cry on, though it could also be about God and stuff. I hear a lot of Alison Krauss in Carly Pearce’s voice and a lot of Vince Gill in the vibe of the track. Again, Buddy Cannon frames the song excellently.
The Warren Brothers, Brad and Brett, give them Then A Girl Walks In, a song about the marvels of women with added Blake that sounds like a modern rock version of a ballad you’d get from 1989. It sounds like a radio smash but the band are on their own label, Foundry, and are more likely to drop this one into their live shows along with the hits of yesteryear.
The album’s second side begins with the chunky bassline of small-town anthem High Class Hillbillies, helped by Texan star Cody Johnson who also popped up on that Brooks & Dunn Reboot album. The Brad Paisley collaboration Life Would Be Perfect (‘If Walmart had a bar’ is the best line in the song) is similarly chirpy and releases plenty of endorphins. Fans of Mac McAnally will dig this album. It ends with the Austin Merrill song Boots on Broadway, a funky and melodic jam about working men who go ‘against the grain’ and go to do ‘the Nashville thing’, just as their dads did back home in their small town farming life. There’s a pedal steel solo in the middle of it too, for added trad vibes.
It is essential that youngish fans like me appreciate the stars of the pre-Garth era. It was delightful to see Charley Pride on primetime this week, and Brooks & Dunn nominated for a CMA Award after all these years. Shenandoah, still beloved by those who grew up with them, are in the old class of performer who can still gig and tour and, with a clever project, revitalise their sound. 4/5 for Every Road. Please give it a go and, CMA, please fund their trip to Britain for Country2Country.
Josh Abbott Band – The Highway Kind
Josh Abbott Band are from Lubbock Texas, Buddy Holly Country. There are country staples here: the title track, co-written by Jon Randall, is about being on the open road; Where I Wanna Be is the party song; The Luckiest (‘to be loved by you’) is the wedding song which as is almost obligatory for a Texan musician namechecks George Strait; One More Two Step is a raunchy love song which hints at some dancing in bed after closing time; Real Damn Good, which has Niko Moon among its credits, goes for Kiss T-shirts to imply how a woman is ‘real damn good at not giving a damn’.
The band have had five songs which have stalled in the 40s on country radio but Little More You sounds like a smash, should the label give it a push. It’s is a three-chord jam which uses the word ‘little’ a lot (cup needs whiskey, sky needs more blue) and it reminds me of some of Old Dominion’s work. Jon Pardi has gifted them the supercharged 24-7-365, which every country DJ should add to their setlist prontissimo.
There are no processed beats and plenty of fiddle and lots of atmosphere, as found on Settle Me Down and Women & Wishes (‘Lord knows I’ve missed this’).Eric Church’s pal Jeff Hyde writes the lovely Old Men & The Rain with Josh, about a men’s group who eschew politics and just shoot the breeze and ‘sit around and talk about the rain’.
It rounds off a quite superb album that is all the better for coming with no expectation from me. Unlike Stapleton’s album, which comes out on a major label with TV appearances and Tom Petty’s pals, Josh and his band have crafted a work they should be proud of. I’ve got plenty of catching up to do with their catalogue – they recorded with Kacey Musgraves way back in 2011 – and I have no hesitation in recommending The Highway Kind to you, on Pretty Damn Tough Records. 5/5
With Ramones-like speed, this EP contains five tracks and is over inside 15 minutes. The easy comparison is with Jason Aldean, both in delivery and thematics. Burnout Town has a powered-up chorus and an invitation to ‘kiss me baby’, while Born To Ride is more middle of the dirt road and very contemporary.
Both Ain’t Got You and Sink are excellent drinking songs which help Manny forget his ex. There’s funk and soul and great vocals, and an awesome solo in the middle of the former.
Old Money mentions ‘summer in the Hamptons’ and is a mid-tempo rock song where Manny sounds like Morgan Wallen. Morgan is a major-label star with a 30-track album on the way; Manny, an indie act, is just as good. 4/5
Kameron Marlowe – Kameron Marlowe
Kameron Marlowe’s EP is produced by Brad Hill, who helped Maren Morris find her sound. Kameron is another TV star who popped up on The Voice after he was spotted on Youtube. He sang a song by fellow North Carolina musician Luke Combs.
The EP begins with his smash Giving You Up, written in the aftermath of a bad breakup and which has 27m plays on Spotify. Listeners appreciate his country croon and his way with a melody. With a lyric about giving up a woman just like giving up whiskey or tobacco, it sounds like a number one hit and I expect more people will hear this song in 2021. Will he follow other Voice graduates Danielle Bradbery and Trent Harmon onto big stages?
Sober as a Drunk is a very contemporary track with some fast-paced lyrics in the chorus where Kameron is ‘high as rock bottom’. The vocal is excellent, as you would expect from someone who turned the chairs of Kelly and Blake before he even got to the bridge of One Number Away.
Goin’ There Today opens with Kameron declining an invitation to a café because ‘I don’t feel like goin there today’. It turns out that he would see her former girlfriend there. Singing Marina Del Rey reminds him of her too. It’s a bit slender as a song but it sounds great.
Burn Em All is a slow chugger about going out and setting the night on fire. Hungover is the result of that entertainment, sung like a younger Chris Stapleton. Likewise Leavin To Me, which is the best song on the EP, with washes of steel guitar behind Kameron’s pained narrator pleading his beloved to break everything he has since she broke his heart too. 4/5
Easton Corbin – Didn’t Miss A Beat
I first heard Easton Corbin in 2015, when his song Yup was on the charts. I went back to the chirpy Loving You Is Fun from 2012 which followed a pair of number ones: A Little More Country Than That and Roll With It. The former was nominated for CMA Single of the Year in 2010 but lost out to Need You Now. Easton was one of those hot sexy guys who was and is very attractive. He also earned good money from allowing his song Are You With Me to be remixed by Lost Frequencies which went all the way to number one in Germany, the UK and Australia. That, and a tour with Carrie Underwood, didn’t stop him leaving Mercury Records in 2018 and he is now independent.
Turn Up, which namechecks Conway Twitty and is a goodtime jam, while the funky title track is a pretty good meet-cute. Back To Me is a lament which opens the door to a departed flame; conversely, the door is closed because Old Lovers Don’t Make Good Friends, which chugs along pleasantly in the middle of the dirt road accompanied by four bars of squealing guitar in the middle.
Before You Wish You Had is the obligatory carpe diem song that every artist must write once in their career, though Easton’s version is pretty and understated. The EP closes with Here’s to the Next One which may be a coded message to Mercury Records or just a self-effacing song about learning to fail better in love. Six fine songs which bring Easton back into the conversation. He’ll keep his old fans and may earn two or three with this. 3/5.
Chris Stapleton will one day be inducted into the Nashville Songwriters Hall of Fame. Bobbie Gentry, Steve Earle and the great Brett James are in the Class of 2020, along with Kent Blazy, writer of big hits for Garth Brooks like If Tomorrow Never Comes.
Chris’s 2015 album Traveller is still in the Top 5 of the country album chart. As new fans are turned on to country, they look at what is popular and listen to it and recommend it to new fans. This is why the UK album chart is full of acts like ABBA, Oasis, Arctic Monkeys, Fleetwood Mac, Queen and Eminem. By the way, Bob Marley’s Legend has just spent its 950th week on the UK chart.
Chris Stapleton has been on the country chart in the US for a measly 288 weeks. He was launched as an album act in a world of bros and superstars, although Nobody To Blame eventually clambered into the top ten and Chris had his moment at the CMA Awards in November performing with Justin Timberlake. Then a star was born and since then Chris has only been away on paternity or through injury. He has five Grammy awards (two for Best Country Album) seven ACMs and ten CMAs, including four Best Males in a row. Nine songs he has co-written are among ASCAP’s most performed of any given year, including his own Broken Halos, the Country Song of the Year at the 2018 GRAMMY Awards.
He is the most reluctant superstar in America, close only to Sam Hunt. I’d love to hear them duet. As it is, Starting Over arrives in an environment which Stapleton started. We would not have Luke Combs without Stapleton.
Back in May 2015, when Traveller was released and Luke Combs was still developing his chops, the two biggest songs in country music were Take Your Time by Sam Hunt and Girl Crush by Little Big Town. On radio, the likes of A Guy Walk Into A Bar, Raise Em Up, Don’t It, Smoke, Sippin On Fire, Wild Child and Kelsea Ballerini’s first number one Love Me Like You Mean it were on heavy rotation.
Nowhere to be seen are songs like Traveller, Whiskey and You (a song written by Chris and originally an album track from a mid-2000s Tim McGraw album) or, for the moment, Chris’ epochal cover of Tennessee Whiskey, which were gaining fans in the middle of 2015 but would gain more ears into 2016.
Starting Over was rolled out with three pre-released singles, the punchy Arkansas, the lovely title track with fluttering harmonies singing of lucky pennies and four-leaf clovers and Cold, which showcased the voice of his generation with a full orchestra and is smartly placed as track three. Expect it to be heard at major award shows in the coming year.
Starting Over, as with his previous three albums, is produced by Dave Cobb. The formula isn’t completely the same: the most interesting novelty on album four is that Chris is working with two of Tom Petty’s Heartbreakers, the great Mike Campbell and organ player Benmont Tench. Chris has plenty of rocking tunes in his catalogue so it’s no big surprise that he has picked these guys, who are short of a frontman since Tom Petty passed away.
As well as the pre-released tracks, the 11 Stapleton compositions on the album include Watch You Burn, Chris’ take on the Route 91 festival shooting, which was written with Campbell. ‘Only a coward would pick up a gun’, wails Chris over barely any backing at all, allowing his words to puncture the air and connecting him and the listener. The guitar work, when it comes, is dirty and punchy. I imagine Mother Mavis Staples, with whom Chris is out on tour in 2021, will join him on this protest song where the chorus ‘You’re gonna get your turn’ becomes a chanted message of defiance. The final minute is chilling and is testament to the work of Stapleton, Campbell and Cobb.
As on Traveller, there are plenty of bluesy pieces here. Devil Always Made Me Think Twice and Hillbilly Blood sound swampy, and the latter contains a rude word. Whiskey Sunrise, meanwhile, is a triple-time sad song written with the late Tim Krekel, also from Kentucky.
As the very poppy You Should Probably Leave started up, I was not surprised to see two huge A-Listers work with Chris on a soulful tune which may well become a radio smash. Ashley Gorley and Brad Paisley’s good friend Chris DuBois have helped him to write a song in the Muscle Shoals soul tradition, with Morgane providing top-notch harmonies.
Some tunes add to the pile of songs about Morgane, such as When I’m With You, written when Chris turned 40 a couple of years ago. Joy of My Life is a John Fogerty song which Chris delivers with gusto and panache in which he calls himself ‘the luckiest man alive’. I hope John gets Chris a nice gift for Christmas with the royalties.
Chris knows his heritage and opts to record two songs by the songwriter’s songwriter, Guy Clark, another Americana artist. At the Country Music Hall of Fame, there is a model of Guy’s workroom which attracted the likes of Rodney Crowell and Emmylou Harris. Worry B Gone and Old Friends are tucked together on the album’s second side. The former is a drinking song with a Status Quo-y, rockabilly feel, and sounds like a lot of fun. The latter is soft and tender and features Chris narrating verses over acoustic guitar and piano. If it turns his listeners on to Guy’s work, his work is done.
Maggie’s Song (‘Be as free as you are wild’) is the most majestic song I can think of about a dog. It contains a solo from Benmont Tench on the Hammond and the sort of rootsy shuffle that The Band were doing 50 years ago to invent Americana. Chris breaks up with Nashville, TN on the album’s final track, in character as a struggling songwriter who is finally giving up his dream. It’s a wonderful metaphor and will resonate with writers of country songs who could only have imagined Chris’ reluctant status as the critically acclaimed and commercially successful performer of his generation.
Next year Chris is to tour with Mavis Staples, as mentioned, giving fans two staples for the price of one. Also out on the road with him are The Highwomen, with one date pencilled in for Madison Square Garden and two at the Bridgestone Arena in Nashville. That’ll be one hell of a show, vaccine permitting. I’ve seen Stapleton twice at the O2 and his understated show is all about the tunes. The package is there: riffs, blues, rock, roots, soul, gospel, a dash of pop and above all American music. 5/5
Tyler Filmore is a great performer, as I saw when he came over to the UK to play at Buckle & Boots, mixing pop covers and a contemporary form of Nashville pop music that some call country. Fans of Jordan Davis and Russell Dickerson will enjoy Filmore, who is being pushed by Curb Records as another hot fella who can bring in money for a record label making music that is a little bit country and a lot more pop but who cares, people need something to dance to on a Saturday night.
There’s lots of production on opener New To This, with fingersnaps, processed backbeats, a Charlie Puth-type melody and lots of talk about roads and small towns and throwdowns. Closer is the correct choice of single, though Blue Skies (‘me and the boys miss seeing you around’) and the Nothing’s Better (‘thought it was something’) will also go down well.
Side A is almost a suite. Listened to in one go – something I doubt many listeners will do because Filmore’s audience make playlists – it becomes a celebration of his liberty. He’s tunefully keeping busy on Busy to distract him from the heartache for instance.
Sonically, as you can imagine over 18 tracks, it blends into one another but there is enough variety in subject matter to keep it interesting. W.I.L.D. is a weepie not a party song and takes the lyric When I Lay Down and makes it an acronym, while the digital hi-hat laden title track has digitised vocals matching Filmore’s while he sings of ‘ignoring your texts’ and moving on from a relationship. Although Heart’s Having a Hard Time gives lie to that; musically, it could be a banjo-mandolin song in a different arrangement.
Then Side B starts and it’s clear things have changed. On Love That About You, there’s a new girl who can ‘do no wrong’ and whose favourite drink and song changes daily. Craigslist gets a shoutout on the chirpy My Place (‘is your place’) and he seems to declare his loyalty on Other Girl (he doesn’t need one because the two of them are ‘one in six billion’). On Me Lately he says he is ‘loving me lately’ in a very contemporary style – lots of guys sing about how much they love their girlfriend – while the great Bob DiPiero has helped write Pictures on the Fridge, a motif also used recently by both Luke Combs and Lady A.
As a Londoner(ish), I applaud Filmore for using a trip to London – rooftop buses, Camden Town tourist tat and the Underground – as material for his song London, which makes him miss his beloved. Otherwise he is living easy, as he sings on the marvellously poppy Livin Easy, and living happily ever after on the showstopping final track Anyone But Me, where he uses jeeps and jeans to assess his memories. Filmore can sing and perform, and even though I don’t like what Curb Records did to Tim McGraw’s career, I applaud them for taking a chance on Filmore. 3/5 for State I’m In, a fine pop-country album. And congratulations on your recent wedding!
Cam – The Otherside
Cameron Ochs’s 2015 album Untamed impressed country fans. Big single Burning House became a top five smash thanks to the support of DJ Bobby Bones. It was nominated for a GRAMMY, ACM and CMA Award. Cam is very vocal about the blockage of female voices on country radio, which arguably cost her much of an audience. Now on Triple Tigers, which rejuvenated the career of Scotty McCreery, Cam told James Daykin of Lyric Magazine that life isn’t a Disney movie but at least there’s a happy ever after here.
There has been a five-year lead-up to the release of her second album. She recorded a session and conversation with Bob Harris back in spring 2018 which was only aired in October 2020. Label politics have really messed Cam around.
I saw Cam perform a few tracks up at Millport Country Festival last year while hiding a pregnancy which has led to the birth of a baby girl. I loved Til There’s Nothing Left and nostalgic Classic, the latter driven by a ukulele-type riff and which was written with Jack Antonoff (producer of fun, Lorde, Taylor Swift and recently the Dixie Chicks). I also caught her in Islington in 2018 when she encored with Diane, which received support from Radio 2 and comes in on the album’s second side.
Redwood Tree veers towards Dolly Parton (‘don’t you recognise me…sorry I had to leave’) and ends up sounding like Ward Thomas with the lyric ‘You’ll know what you had when it’s gone’. You can’t get more country than singing about your hometown or, in Cam’s case, her home state of California.
Changes uses Cam’s connection with Jeff Bhasker to unite her with young unknown singer-songwriters Lori McKenna and Harry Styles. I would love to hear their duet. Harry provides an uncredited whistle solo! The song is typically gorgeous, with a wide open chorus about love and stuff but with the patented Lori McKenna Melancholy about how when you’re young you don’t think anything will change.
Lori is also involved in the breakup ballad Forgetting You and Like A Movie, which sees Cam team up with The Love Junkies (Liz Rose, Lori and Hillary Lindsey) to write a song that brings back the idea of country music with an orchestra, much as Tim McGraw did with his recent album. As with Tim, Cam has used the in-demand arranger David Campbell, father of Beck. It’s an uplifting piece of music that veers on the Disney – ‘all the colours change when you say my name’ – which I think is what she was going for.
Another track with pristine production, Til There’s Nothing Left, involves Hillary Lindsey, while torch ballad closing track Girl Like Me was written with Natalie Hemby. That makes sense as it has shades of Kacey Musgraves, whose track Rainbow is also part of Hemby’s catalogue. Both Rainbow and Girl Like Me are pieces of advice to the listener, sealing the bond between Cam and fan.
It should not be forgotten that Cam has moved out of Nashville, both personally and professionally, so she will look to a wider range of people, as she did when she sang on Diplo’s Thomas Wesley project earlier this year.
Cam has one foot in pop and one foot in Nashville but her heart is set on a wide pop audience. Happier For You was written by Sam Smith, with whom Cam toured and coincidentally released an album on the same day. Both singers love their heartbreak songs and I can hear the Sam Smith influence in the song’s smooth chorus and off-kilter minor chords. What Goodbye Means has a rich 12-string guitar running through a song which sees Cam hope that the chap ‘might come back to me’.
The title track was written with Avicii and is driven by a woozy vocal riff and some jerky acoustic guitar. It is a high-end production and a fitting testament to the late producer and DJ. Who knows whether he would have become this generation’s Quincy Jones or Max Martin? Cam sings a folky melody in the verse which soars upwards in the chorus. It’s the best track on a very good album.
In the UK we seem to have adopted Cam as one of our own, so we’re all rooting for her to succeed. The album has enough pop moments to keep it varied – Classic and Diane both shine – but she has majored in ballads, which is sensible as Burning House is still her biggest smash. Plus, where else are you going to get Avicii, Harry Styles and the Love Junkies on one album? 5/5.
The headline act for Friday night was a superlative trio of ladies who have all done well on country radio. Ashley McBryde, Carly Pearce (another act to take over Country Hits Radio on Saturday) and Lindsay Ell beamed in from the Bluebird Café. All three ladies were beaming, chatting effortlessly and sharing the love they genuinely seem to have for one another.
Ashley opened with One Night Standards, following it with the quirky Styrofoam (‘A drinking song and also an educational song’) and Shut Up Sheila, helped by solos from Lindsay. Martha Divine sounded just as terrific solo as it does on record: ‘It’s just like Jolene, except “You took him and I’m gonna break your face!”’ Ashley is an MC par excellence.
Then came A Moment. I was perturbed when Ashley ‘sprung a leak’(!) during new song Trust Yourself. She wrote it with Connie Harrington and Jessi Alexander, the power duo behind I Drive Your Truck. ‘I can’t think of a time when there was not a light on in the kitchen,’ Ashley said when introducing the song. Perhaps it was the Bluebird Café’s atmosphere that made her think of the family members who passed on pearls of wisdom. The 600-odd people watching the stream would have made streams of their own. It’s a magical song which falls about halfway through the 15-song concert available on the Bluebird Café’s Youtube channel.
Lindsay went with three chirpy love songs during her set: Want Me Back, Ready To Love and Hits Me. On the latter, she played rhythm and lead at the same time in the solo! In between them, she blindsided the audience with Make You, a song about surviving sexual assault, and the sombre I Don’t Love You with its winding verses.
Carly played her song about ‘guys who suck’ called Next Girl and another which turned the death of her friend busbee into the lyric Show Me Around. It’ll help a lot of people and Carly has the backing of Big Machine to hopefully do as she wishes. Busbee helped her write the smash hit Every Little Thing: ‘Butterflies like I’ve seen puppies!’ said Ashley, who compares her voice to that of Lee Ann Womack. She also played a new song, Heart First, whose demo was released this week: ‘When you fall, you fall heart first’ might well refer to her divorce from sleazy Michael Ray, and again it promises good things for her next project which she goes into with a number one at radio, I Hope You’re Happy Now which, in Lee Brice’s absence, was turned into a trio.
Saturday evening was equally packed and gave country fans a night-in to remember. The whole thing felt like a variety show, with chat, trivia, acoustic and amplified numbers from new and old friends.
At 6pm Haley & Michaels promoted their debut album Hail Mary, and the news of the birth of their daughter Keira, with the latest in their Drinking About YoUK series. These online gigs unite them with UK artists via their Facebook channel. Over Country Music Week, it was the turn of the mighty UK artist Kezia Gill, who sang Whiskey Drinkin Woman, I’m Here and House of Cards.
2020 has been a year of ups and downs for Kezia, who shortly after the death of her dad met Bob Harris when she appeared as part of the Radio 2 Country Festival along with Haley & Michaels. Kezia’s new single will come out at the end of November and it was a delight to see her chatting openly about music and life with two interested parties, who themselves performed Drinking About You and their wedding song Giving It All To You.
Until the computer crashed during the Country in the 2010s round, I was doing pretty well in the Destination Country Quiz, which tested a wide array of country music knowledge. Lauren Jenkins was an adept quiz MC and also performed a new song from her upcoming independent release. Dance in the Kitchen was a lot of fun, as was her interaction with over 50 quizzers from around the UK. Destination Country encourages fans to sign up to their Patreon page, giving them access to Happy Hour zoom chats. November will see Sunday night gigs by Darlingside, Steel Blossoms and Ward Thomas.
Following the conclusion of the quiz, I tuned in to watch a big event put on by Broken Bow Records and BMG, co-hosted by Lainey Wilson and her wonderful accent.
Elvie Shane, from Kentucky, sported a bushy beard and a voice which verged on the Kip Moore. I am sure he will find many fans over here, especially with a fun band behind him who pulled faces and played air guitar! My Mississippi was driven by a groove that got my foot tapping, which County Roads was a rocking song about the lessons learned as a kid: swearing on the schoolbus, for instance. He also played his radio smash My Boy, about being a stepdad, which since it was written five years ago has led him to many glorious events, including this showcase.
Granger Smith performed out in the open with a full band, giving a mini-greatest hits set: new single That’s Why I Love Dirt Roads, number one Back Road Song and the excellent pair of love songs Happens Like That and If The Boot Fits. Yee YEE! as the man himself says.
LOCASH sat around a campfire singing some of their big hits, also with a full band. They told a great story about eating Deer Jerky (with extra deer hair!!) as a gift from a fan. The camaraderie between Preston and Chris, who have been playing together for a long time, is evident in their stories, while the harmonies on I Love This Life (‘three minutes of feelgood’), It’s Only Midnight and new single Beers To Catch Up On are all delicious.
Track45 are so named because Highway 45 runs through Meridien, Mississippi, a town that houses a museum to its most famous son, Jimmie Rodgers. An introductory video shows how the Johnson siblings grew up as string players entertaining old folks who also sang around the table. KK was 14 when the three of them moved to Nashville and they finally have music out there.
If we’re calling them the new Hanson, then KK is Taylor, Ben is Zac and Jenna is a banjo-playing Isaac. Their voices came together on a fantastic two-verse version of Heartbreak Hotel, a hit for a fellow Mississippian. There’s star wattage here, especially in KK’s dynamic Swift-adjacent vocals and Ben’s musicality. One Life, which is not found on their three-track EP, is about enjoying the journey and seizing the moment, while they go heavier on the Little Big Townish Little Bit More. I want a lot more of Track45.
The showcase closed with UK duo The Shires, who sat in a living room (Ben has removed his dreadlocks, perhaps because his kids keep yanking them) and plugged their fourth album Good Years. Opening with their effortlessly melodic new single Lightning Strikes, they also played Day That I Die, About Last Night and New Year. There was a brief argument over popcorn choices but there is nothing to argue about in their sound and their place as market leader. In a few years when indigenous country music has grown still further, the pair will be viewed as trailblazers and elder statesmen in much the same way as Lady Antebellum and Taylor Swift have the same status in the USA.
Matt Spracklen had The Shires on his Country Hits Brits show on Sunday night talking about the new version of their song Lightning Strikes with Lauren Alaina. They teased another special guest (my guess is James Blunt) who will be popping up on another of their songs soon, as well as the ‘therapeutic’ performance they had recorded. Ben, however, felt ‘detached’ as no applause followed. After all, music is about the listener as well as the performer.
On Sunday, Country Hits Radio had a packed schedule while Chris Country hosted a familiar voice at noon. Charles Esten was due to play Country2Country this spring and, during a Sunday Lunch hour, fans heard his lovely song Sweet Summer Saturday Night, an acoustic version of A Road and a Radio and Eric Paslay’s song Nice Guy, whose video starred Charles going against type by playing a meshuggah. He also found room for music by his sometime tourmates The Adelaides and a duet he had recorded with Jillian Cardarelli called Strong, about the power of faith and overcoming obstacles.
Charles, whom Whose Line Is It Anyway fans will know as Chip, is one of the nicest men in music, the Dave Grohl figure perhaps. He is best known as Deacon from Nashville but he also played Buddy Holly on the West End stage in the early 1990s and lived in Kentish Town. He must be itching to get back to the UK.
Country Music Week Digital 2020 was a huge success. Radio programmers, fan-run sites, record labels and the artists themselves all came together to remind the audience of the variety, excellence and passion of country musicians and fans. Whether or not Country2Country goes ahead as planned – I think this was a pilot for a C2C Digital festival in 2021 – will surely be answered soon. It’s not the same thing as breathing the same air but it’ll do while that air is infected with a killer virus.
Saturday night offered Kip Moore, a rockstar in country clothing, who was joined by his band the Slow Hearts in Grimey’s record store in Nashville. On his own Kip tends to ramble, as he did in his CMA Songwriters set a few years ago, but his voice is electric and he has thousands of fans in the UK.
In a shirt which showed off his biceps – he knows his audience – Kip played with his band surrounding him close, just in front of a rack of vinyl. Janie Blu, Sweet Virginia, Wild World and Fire and Flame sounded excellent with three acoustic guitars, a double bass and a muted snare drum. It will make me return to his excellent album Wild World. I was one of 1000 people to watch the set as it was premiered.
If you are after more rock, you should catch the video of The Cadillac Three‘s contribution to CMW Digital. The band are Big Machine’s ‘big rock band’ and are led by super songwriter Jaren Johnston. They sat down with the lady who produces their own Big Machine Radio show for a chat which was aimed at a UK crowd.
TC3 opened with a giggle at their English accents, dislike of black pudding and love of a full English breakfast. The trio recalled their gigs at the Camden Barfly and in Manchester, and how Jaren got a tattoo of a Saltire, a Scottish flag, in Glasgow!
There was then a live performance played from the Country2Country show of three songs including their chantalong anthem The South, Slide and Peace Love & Dixie which was more rock than country and very energetic and loud. The trio were due to play on the Friday of C2C at the O2 in Greenwich, opening up for Eric Church, but the lockdown was announced on the Thursday. Next year, perhaps?
We love TC3 over here, and I particularly love the new album Tabasco & Sweet Tea, which is 11 slabs of Southern Funk. British fans apparently call them ‘MENTAL!’ and ‘LEGEND’. Go watch the video to see them tackle British slang – oh those hilarious Brits with their ‘palaver’ and ‘aubergines’ and ‘spotted dick’!!! TC3 are inviting fans to watch a concert which launches their new album this Tuesday (27th) at 6pm GMT, with access to a stream costing £15 for UK fans. (US fans get one on the same evening.)
Tyler Rich, Payton Smith and Danielle Bradbery are all signed to Big Machine too and all appeal to a young demographic (ie under 30s). Tyler talked about watching footie in a British pub and the atmosphere – ‘it felt so much like home’ – and wrote the song Feels Like Home about it. He also played his big lovey-dovey hit The Difference.
Danielle played her new single Never Have I Ever, one which ‘manifested’ her new relationship, as well as the lovely Sway and recent reminiscin’ song Girls In My Hometown. Her voice, which won her The Voice, sounds great and she has a fine set of songs and a great set of fans in the UK.
I can tell why Big Machine are trying to push Payton and why he is due his first UK visit very soon. He has a boyband-fresh voice, long flowing locks and a love of John Mayer that comes through in his guitar playing. Sat in a recording studio beside a mixing desk, he played three tunes including What It Meant To Lose You and the hyperkinetic streaming hit Like I Knew You Would.
He slowed it down with Daddy’s Boots when he made his debut at the Grand Ole Opry in February this year, aged 20; it’s his life in a song which namechecks his birthplace of Louisiana. There’s a lot of Eric Church and Keith Urban in him and, if his career is managed carefully, he could be the biggest star in country music in five years’ time, certainly as big as Chris Young, with whom he would have toured in 2020.
As well as looking at Song and Album of the Year before 2020 is out, I’ll put together a UK Country Top 40 of the year. I am aided in my task by Tim Prottey-Jones. He put together a two-hour A to Z of British country on his Homegrown show which went out on Wednesday evening. Usually he gets an hour so this is a welcome and chunky look at UK country that rounds up some of the top acts he has been rotating in recent months. Expect many of the following to feature in my Top 40 in December.
C is for Robbie Cavanagh, D is full-time busker Simeon Hammond Dallas, E is for Emma & Jolie, G for Gasoline & Matches, J for Tim’s pal Jake Morrell, K for Kezia Gill, M for Joe Martin, N for Nathan Carter with an Oirish cover of the folk song Games People Play, O is for both O&O and Laura Oakes (who have duetted together), Q for Gary Quinn, R for Remember Monday, S for The Shires and Tim’s musical theatre pal Steve Balsamo, U for Tim’s UK Country Collective, V for Vicki Manser, X was for Deeanne Dexeter (well done!), Y for Yola and Z for Zoee.
If we’re looking at UK country Blockbusters, I’d like to pick A, T and W please, Bob. A is for The Adelaides, who posted a little documentary onto their Facebook page on Wednesday. The Adelaides Bounce Back centres on their performance two weeks ago at Nash Nights UK in front of a paying crowd at Under The Bridge in West London. It’s their first gig in front of people since March. Since then they have had a tour and a Nashville trip cancelled and put out a fun video to their smash Seven Billion. To earn money they have worked in care homes or fish’n’chip shops, doing some relaxed livestreams when they could meet up in person.
We start in the dressing room as they discuss the harmonies of Head & Heart. The girls soundcheck and talk about being ‘excited but nervous’ in case the gig had to be pulled under government orders. There’s a very Spinal Tappy line from the drummer about being ‘further away but also closer’ to the girls. The barrier is set a long way back to be extra safe and the girls stride onto stage in personalised masks.
The band are unguarded, opening up to the camera and showcasing a side of themselves which fans might not see when they are performing. There’s a little bit of politics at the end: music is not a hobby for The Adelaides, who have been promising an album for years now. The footage of them performing Reckless and a boisterous Good Love, as well as their covers of Miss Me More and Nothing Breaks Like a Heart, is marvellous and very well edited together, with the trademarked three-part vocals silencing the room. Kudos to the camera team as well as the performers and venue.
W is for Ward Thomas. After Tim’s show, I tuned into the twins’ 20-minute session on Facebook in association with Chris Country. Having heard them a fortnight ago play three gorgeous tunes for Bob Harris’ Radio 2 show, I knew what to expect. After some faff setting up the phone, they played Cartwheels, new tunes Someday and Don’t Be A Stranger and their cover of Landslide. Their voices were in fine fettle and I am sure they drove people to stream their new album; by the way, Invitation landed at an impressive 29 on the album charts, though that may rise as the band continue to promote the album into 2021.
T is for Twinnie who has been very active this week on Instagram. You can still catch the Tea With Twinnie videos, which were broadcast live at 3pm every day: she had Lainey Wilson on Monday, a proselytising Jimmie Allen and the irrepressible Lauren Alaina on Tuesday, Andrew Farriss on Wednesday, Lindsay Ell on Thursday, the great Lucie Silvas on Friday and Willie Jones on Saturday.
On Sunday she was spotted on terrestrial TV, guesting on Channel 4’s Sunday Brunch in the morning. As a former Hollyoaks actress, I expect she talked about the Chester soap’s Silver Jubilee – did you know it started in 1995?? – as well as the release of the acoustic version of her debut album Hollywood Gypsy.
On Thursday, before Bob Harris’ Country Show, I tuned in to watch Brent Cobb who had sent over a five-song set for Destination Country which promoted his brand new album Keep Em On They Toes. Anyone professing ignorance to Brent’s talent will have been blown away and will head straight to the album after hearing new tunes played solo on an acoustic in front of an organ with plants upon it.
Soapbox remains my favourite though I also like Shut Up and Sing and This Side of the River (more songs should mention catfish). Brent also told the story about a gig in Manchester which was cancelled due to a power cut: ‘We drank a bunch of beer and got to know each other.’ He finished with the song Digging Holes.
On Sunday, Kyle Daniel did much the same thing, introducing himself to curious fans over here. He was due to pop over to the UK for Country2Country this March but his plans were scuppered. He had, however, come over last year for Country Music Week, opening for Brandy Clark and playing a showcase. A year on, Kyle posted a 25-minute set from his home in East Nashville which you can watch on his Facebook page ‘kyledaniel.music’.
That Somebody Ain’t Me is a brutal leavin’ song sung expertly, while Hollerin Hills cranked up the pace with a slide guitar that gave the song a Stapleton feel. As he would have done had he been over in the UK, Kyle previewed some tunes he was about to record in Muscle Shoals, Alabama: Running From Me was a typically rootsy tune about not drinking away your problems, which sounds like a Stapleton lyric; Wild, Free & Easy was a smooth reminiscin’ song about how ‘you can’t rewind the moment’; and Following The Rain makes the most of the ‘dark cloud’ over Kyle’s head as he tries to swerve the ‘hurricane’. I loved the swampy feel of Everybody’s Talking (‘Words ain’t worth a dime’) which worked well with the trio of guitars and voices.
Kyle’s set was one of the highlights of Country Music Week Digital 2020. Above all he shows the depth of the talent pool in town; if he were British he would be selling millions of records, while in Nashville he’s just another future superstar wondering when his day will come. He’ll be supporting The Cadillac Three for the American show to launch the trio’s album on Tuesday 27 October.
Willie Jones, who also took over Country Hits Radio on Saturday afternoon, played a short set for UK fans via his Facebook account. He had been due to play some big aftershow parties at C2C 2020 before he had to fly home. UK fans have heard sessions on Bob Harris Country, though, and in July he played for 20 fun-packed minutes for a Destination Country show. He reprised the set, live from Shreveport, Louisiana, with four soulful country songs with familiar chord progressions.
Windows Down is a I-V-VI-IV tune with a singalong post-chorus, while Back Porch is a VI-IV-I-V tune about chilling out (Willie shook an egg shaker). His vocals have the smoothness of Aloe Blacc or John Legend, but he has the hiphop cadences and ad-libs of a Drake. Despite being poor he has a Whole Lotta Love – ‘Look at yourself in the mirror and tell yourself you gotta whole lotta love!’ he encouraged his audience – while the groovy Down For It is a IV-I-V-VI tune whose vocals were partly lost because the guitar was very loud.
UK fans will lap this up and Willie’s slow climb will be rewarded in 2021, for sure.
As always in October, it’s Country Music Week in the UK, a showcase for plenty of US acts where they usually grip and grin and talk to the radio people. In 2020, it has gone digital!
On Thursday came the events with the widest reach, thanks to BBC Radio 2. Lady A and Morgan Wallen performed at opposite ends of the day and you can catch the sets via BBC Sounds and watch it on Youtube via the BBC Music channel. Ken Bruce told us they filmed ‘under the correct restrictions’ by sitting next to one another, and Lady A were a mid-morning treat at 11am on a station which has supported them since Need You Now crash-landed into the world a decade ago. Their acoustic version would have made many people in the 55+ demographic (ie Radio 2’s daytime audience) happy.
They also played one of my songs of the year, Champagne Night. They told the story of their Songland appearance and namechecking Madeline Merlo, whose song I’ll Drink To That was the foundation for a song about being broke but still getting ‘rhinestoned’. ‘The fans want new content’ and, despite it not being on their album they were promoting in 2020, it became a summer smash on country radio, where it’s at 15 and climbing.
Dave, who with his wife recorded the fun parody song Another Day In Quarantine, revealed that he has a home studio where he can work on the next Lady A record, which reminds him of the days before Need You Now. Hilary and Charles appreciate the UK fans, who love the album cuts as well as the singles. Now on Big Machine alongside Tim McGraw, Lady A will be the cash cows of the label.
Morgan Wallen has spent 2020 becoming a dad and having his dreams of performing on Saturday Night Live destroyed by his own petard (he was pictured without a mask at a social event). He is nonetheless readying his second album which features the woozy new single 7 Summers, which is finding its way to pop fans via canny playlist placements.
Initially, said Morgan, he had posted a demo of 7 Summers on Instagram then the song made the rounds on TikTok. Morgan will always be a country kid, especially with his mullet-and-drawl combo, and Bob Harris has been playing Chasing You and 7 Summers in recent months. Those songs and More Than My Hometown sounded super performed without studio trickery. He really does have a great voice and it looks like he’ll play the game on his terms – he famously walked out of The Voice after he saw through the format as a TV show. However, he could do with wearing a mask when he’s promoting a single that has got to number 6 on the Hot 100.
The final event of the week involved Bob himself. It was a Zoom event on Sunday with Destination Country to officially launch Stand By Me, the single with proceeds to charity which features a cast of important musicians. You can stream the song or, better still, buy it. After a great deal of illness in the past decade, including cancer treatment and heart trouble which forced him off air in 2019 – Bob sounds fitter than ever. That’s him on the triangle!
Aside from Radio 2, the three indigenous radio stations – Smooth Country, Country Hits Radio and Chris Country – have all welcomed the US acts, with Chris Young, Matt Stell and Dustin Lynch among those popping up for interviews.
On Monday, early afternoon Nashville time, the fabled Song Suffragettes team put on a show with plenty of panache and style. Lainey Wilson, Tenille Townes and Caylee Hammack played their well-known tunes, including Somebody’s Daughter (Tenille) and Family Tree (Caylee). Kalie Shorr MCed in a Nirvana t-shirt. She’s super cool and was in control of her material and the small crowd. I like her song Pity Party in particular.
Throughout the gig, Kalie threw over to the UK, where Twinnie sang her excellent Lie To Me, while Vic Allen and Emma & Jolie sang songs that matched the high standards of these major-label US acts. We also heard young Mia Morris try out her loop pedal, to varying degrees of success, but the magic of writers’ rounds is that nobody quite knows what’ll happen. The closing number was a phenomenal group cover of Wide Open Spaces so everyone left with a song in their hearts. A 90-minute argument for the Girl Singer.
Every Monday Niko Moon pops up on Facebook to hang out with his fans. This week he made an effort to connect with his UK and European fans, posting a 30-minute show on his Facebook page as his contribution to the Week. ‘Peter’s coming in from Belgium. I LOVE IT!’ he purred at one point. Niko and his wife got married in Pitlochry in Scotland, so there is an affinity with over here. He recently made his debut at the Opry, where he played Homegrown, a hit for his friends Zac Brown Band, and his single Good Time, which I have loved from the first time I heard it even though I can do without the digital drum pattern.
Niko played both of those songs here, as well as the funky Paradise To Me, which points to Niko’s USP: singing about the glory of small town life in a soulful manner. Way Back is impossible to keep quiet to, with its staccato riff and reminiscin’ lyric. Good At Loving You turns Niko’s lack of academic qualifications and inability to save money or learn Spanish into a positive. I hope his soulful voice gets an airing on his forthcoming album – there’s an EP which came out this year – and that he made some new fans in the UK with his special hangout this week.
On Tuesday Matt Stell performed his new EP Better Than That in full with a live band. There is a strong musicality to all eight songs, as my review made clear, and I especially love the mood of Everywhere But On and the stuttering Sadie. The major-label investment in him is justified and UK fans will love him much like they loved Brett Young and Thomas Rhett.
On a bluegrassier plain, Billy Strings picked four songs on a steel-string guitar on a Youtube show. Sitting on a high stool, Billy showcased his tremendous ability as a rootsy singer live from Nashville’s Station Inn. He reminds me of Charlie Worsham with his charming voice and pickin’ abilities and I would love to hear Billy and Charlie duel with guitars or banjos. His latest album, from which he played a couple of tunes, is called Home, released on the great Rounder Records. It came out in 2019 but is still flying in the Bluegrass Album chart, where it was knocked off the top by Nickel Creek the other week.
Billy also popped up on Baylen Leonard’s The Front Porch show at 1pm on Sunday on Country Hits Radio, which you can listen to on demand. It turns out Billy initially set bluegrass aside for Jimi Hendrix. ‘That screaming and stuff…This is terrible!!’ he recalled of his time as a heavy metal guitar player. Billy also namedropped Luke Combs, with whom he wrote two songs (Luke boasted of writing ten songs in 11 days before the two met!), and we heard Billy pick out a ditty before Baylen played the studio recording of Away From The Mire, the best representation of Billy’s cosmic Americana sound.
While we’re dealing in bluegrass-loving artists, Ashley Campbell was the next to be interviewed. I reckon she would be a tremendous radio host herself – she’s a great MC of her own gigs, as she proved in a UK set a few years ago in East London – and her album Something Lovely is just that. After a too brief chat, Baylen played If I Wasn’t, a duet which imagines what happens if Vince Gill adds guitar and harmonies to a Beautiful South lament.
As part of the salute to black country acts, having spoken to Jimmie Allen and Mickey Guyton already in Black History Month, Baylen spoke to Darius Rucker. ‘It was three guys that were Program Directors’ who told Darius that he couldn’t make it as a black artist in country music because the audience wouldn’t be accepting. They were all proved wrong. ‘Being a real player is my protest. Success is the best protest.’ Good black musicians won’t make it; ‘You have to be great.’
The busy afternoon also included artist takeovers from Runaway June (in advance of their new Christmas EP) and Cam, who is plugging her new album The Otherside. We heard Jolene and Diane side by side, and she mentioned the ‘humanity’ of the unnamed woman whom Cam calls Diane asking ‘please’ not to take her man.
The 8pm weeknight slot was also given over to US acts playing DJ. Old Dominion picked some music, including Alan Jackson, Scotty McCreery and their own hit One Man Band, on Tuesday evening. Scotty himself was DJ on Wednesday night, with Caylee Hammack following on Thursday and Jameson Rodgers on Friday. The shows took the form of three or four pre-recorded inserts but were otherwise a normal hour, but it’s still good to hear American voices (other than the mighty Baylen Leonard and the afternoon zoo show) on the network.
Originally scheduled for 7pm on Friday but going live after 10pm, Jameson Rodgers gave us a Facebook show of sorts. A touring buddy of Luke Combs, Jameson included mighty Luke on his song Cold Beer Calling My Name. His first single Some Girls, which he gave UK audiences a rendition of, has successfully been pushed to number one on radio this very week – MAX SPINS NOW screamed the ads in the trade press. The version above is from two years ago, so he must have played this song thousands of times.
Although I think Jameson is more Cole Swindell level than Luke Combs, I like what he does and he has that Mississippi Delta charm that country radio programmers will love. Some Girls is in heavy rotation on Chris Country. It’s written by Hardy, who is so hot right now.
Monday’s Country Hits Radio selector was Tenille Townes, whose introduction to the UK market was helped by radio pushes by the BBC, especially. In the same way, Tenille made some headway after she moved from Canada to Nashville. Although her high alto can be an acquired taste, her songwriting is high in quality, as she showed in the Song Suffragettes show.
Tenille popped up on Ricky Ross’s BBC Radio Scotland show Another Country, which goes out live on Tuesday evenings and is available all week on BBC Sounds. She talked about growing up listening to Dolly and Shania, and how the aim of her debut album The Lemonade Stand was to ‘help people feel less alone’. Go check out the album, which I adore. It’s in the running for Album of the Year, which I’ll look at in December as part of three shows recapping these odd 12 months. I wonder if the late runner, Hey World by Lee Brice, will make it onto the list.
On Wednesday Lee Brice appeared on Baylen’s mid-morning show to premiere Do Not Disturb. What a great chap to give a world premiere to fans in the UK. He’s great mates with American Young, who are arguably bigger in the UK than in the US, and I met his brother Lewis who wowed me at Buckle and Boots 2019.
Lee was the star attraction for the Curb Records Showcase on the Curb Records Youtube channel at 6pm on Sunday evening. He performed his chart-topping tune One of Them Girls and Rumor, another song which has been rotated on the UK radio stations. More people need to hear a voice with heft and a man who told us that he’s ‘always having fun’ when he’s holding a guitar.
American Young are guitarist Jon and violinist Kristi, who have already made many pilgrimages to the UK and convinced the Brice brothers to make the trip too. They played their recent single Some Girl, a very contemporary sounding breakup song which would fit neatly onto Magic FM, as well as Whiskey Don’t Work. The pair are happily married so are in character as people trying to drown their sorrow in drink. I really connected with both songs.
Tim Dugger opened with a song laying his country credentials on the table and how any potential lady is ‘gonna love me’, with the lyric ‘the Hag, the Flag, In God We Trust’. I also liked a gentle song about cold beer nights – ‘we kick the dirt and we go to work and we go to church’ – which is satisfyingly traditional. Tim is a country artist in the vein of Rodney Atkins who, helpfully, is also on Curb and was part of the showcase.
Joined by Rose Falcon who helped him fight off midges, Rodney sang the love song Figure Out You (‘you keep me beautifully confused’) which is full of contradictions. Love is a crazy thing. Caught Up in the Country, a song which has been rotated on Chris Country in the last few years, was aired as well, showing off Rodney’s deep voice that could only be country.
Jackson Michaelson wore a bandana around his neck and crooned a couple of songs. One Day was a future-reminiscin song where Jackson projects a future day when babies grow up to ‘want my keys’ or ‘have a diamond ring’, no longer sleeping next to mum and dad. ‘We can’t waste a single day’ is proper Tim McGraw-esque philosophy. I like the line ‘One day they walk…the next they run’. His other song was a peppy track about ‘tossing a 20 in the tipjar’ so the band in the bar can set the mood for a romantic liaison as he gets over a breakup. Bon Jovi and Tom Petty are potential requests which will ‘replace the memories’ they shared. The song was so good I had to play it again. It sounds like a hit.
Mo Pitney was joined by his brother and sister to sing two songs from the Bluebird Café. The title track of his recent album Ain’t Looking Back and Mattress on the Floor, about ‘how you got it all when you got nothin’.
Ruthie Collins showed off a gorgeous vocal tone which has impressed Bob Harris. Joshua Tree is a reminiscin song full of mystery, perhaps about a friend who has died, inspired by the mystical nature of the Californian desert. Also from her album Cold Comfort, closing track Beg Steal Borrow sees her ask a man to hold her hand and ‘be satisfied with the faded disguise of your heart’. Her lonely narrator won’t give up hope of love from a man who might not want the same from her.
I am sure she made some fans in the UK, and not just me, with her short set.
Sturgill Simpson’s 2019 album Sound & Fury was full of rock music which was accompanied by an animated movie. Born in Kentucky, Sturgill has gone back to his roots and picked up some acoustic instruments. I’ve never found my way into his catalogue properly, though I do love what I’ve heard. He has also gone independent, making him a sort of Radiohead figure of country music.
He composed a mailing-list essay to coincide with the release of Cuttin Grass – Volume 1, whose songs are arranged in alphabetical order as if it’s a file dump rather than a carefully considered album. Bluegrass music, to Sturgill, ‘sounded like home…healing…It is made from ancient, organic tones’. Indeed, if songs don’t work with just a voice and guitar, ‘it’s probably not a very good song’.
He initially moved to Nashville to play bluegrass but could not make a living from it. I agree with Trigger at Saving Country Music: Sturgill has had to hide his true status as a bluegrass act in order to make a living as a country singer. All you do is change the production, getting some Dave Cobb dust sprinkled over your tunes, and you’re no longer a bluegrass struggler but a country outlaw.
With the Sound & Fury tour cancelled, and Sturgill’s body crying out for a rest (‘I was in the ER with pre-stroke blood pressure levels’) he slowed down in 2020, treating his fans to a livestream and this album which ‘might make some people forget about their pain and troubles for 55 minutes’. He’s right.
I Don’t Mind was written in the mid-2000s, and Sturgill wrote it is his wife’s favourite song. He leaves his woman and carries a ‘lonely feeling’, thinking of all the things left unsaid. ‘All I find is a world without light’ is his sad, suicidal conclusion. Why, then, does he ask to be loved again? Maybe it’s a deity, not a woman, he walked out on.
Sierra Hull is one of the many talented musicians who appear on the album, adding her echoed harmonies to songs like the new version of Breakers Roar. Turtles All The Way Down was my introduction to the ‘meta-modern sounds’ of Sturgill; the bluegrass version removes the orchestra and adds traditional fiddle to reshape the song. That fiddle, by Stuart Duncan, is brilliant throughout; he played with Marty Stuart at the Grand Ole Orpy the other week and was called the best in town. I trust Marty’s judgement.
This is a good way for me to look back on Sturgill’s catalogue. I like the gentle Time After All and the peppy tenor of Life Ain’t Fair and The World is Mean, which in its rewritten form namechecks the time Sturgill busked outside the venue for the CMAs: ‘You ain’t gotta read between the lines, you just gotta turn the page’. The original, from an album of 2014, is more of a Waylon Jennings-type tune while this new version is pure bluegrass.
The quick tunes like Railroad of Sin find a place alongside ballads like Old King Coal, both from his 2014 album High Top Mountain. The latter is a waltz that swaps pedal steel for human voices, describing the demise of the raw material that funds much of the livelihoods in Kentucky, but now ‘the rivers run muddy and the mountains are bare’.
As a gift for his supporters this is superb. As a catch-up service-cum-greatest hits it is invaluable. Everyone needs to slow down and, in the great pandemic, Sturgill slows everyone down from the panic and pain. 4/5
Jeremy Ivey – Waiting Out The Storm
As Morgan Evans said of Kelsea Ballerini, Jeremy Ivey may not even be the best songwriter in his kitchen. Along with his band the Extraterrestrials, Jeremy’s new album Waiting Out The Storm opens with Jeremy’s Dylanesque nasal whine asking ‘How’s your nuclear threat? How good is the virtual sex? Do your dreams have commercials?’ on a song called Tomorrow People. It’s co-written with Margo Price, the lady he eats his toast with in that kitchen.
This is another album steeped in classic singer/songwriter sounds like Gram Parsons, Dylan and The Band. Movies (‘They don’t make those stories anymore’) calls back to those days in a very meta song which features a harmonica solo while Loser Town is 100% Neil Young heartland rock, sung in a less whiny voice which, like the Canadian’s, won’t be to everyone’s taste.
Someone Else’s Problem is a sadly timely song about homelessness (‘the city should clean up all this trash’), slave labour, war and charity, even the original sin, set to a loping rhythm. It’s like a tribute to John Lennon’s political era but it still seems genuine. Hands Down In Your Pockets stays in the pocket of a groove as Jeremy talks though a similarly apocalyptic message. There are some cute backing vocals from Margo on Things Could Get Much Worse, which follows the gloomy White Shadow.
How It Has To Be is similarly pessimistic, even with a killer guitar solo in the middle of it and some Hammond organ throughout. The first line mentions Neil Armstrong and Tinder, while Oprah and Susan B Anthony appear in the third verse. The song bookends the album after the time-shifting opening track. Fun fact: two tracks mention rust. Go and listen to the album to see which ones! 4/5
Everette – Kings of the Dairy Queen Parking Lot Side A
Everette are two guys from Kentucky (one of them has the most amazing beard) whose album Kings of the Dairy Queen Parking Lot is coming out in two parts. Produced by Luke Laird, there are seven tracks on Side A which introduce the band to market. Is there space for them? Well it helps them that there aren’t many duos around, and it helps that the music is top quality.
Can’t Say No is a funky opener driven by a twanging riff. ‘Quitting you ain’t easy’ introduces a chorus full of pleasures – dancing, drinking, and you – which made me sway and sing. It’s as if someone has told Florida Georgia Line to stop posturing and grow up. It sounds authentically southern but very poppy and I can see Everette winning over many Luke Combs fanatics. Check out the brief key change and the wigout solo too! Note to the band: segue into Harry Nilsson’s Coconut when you perform it live.
Two more songs go long on the rock. Break It To Me is a song about waiting for a ‘big FU’, anticipating the very moment of a breakup but wondering how the woman will do it. It’s so hooky and effervescent. Dang The Whiskey is a tempo tune where the guys are getting ‘loose’ at the bar. It has hints of both Eric Church and The Cadillac 3 – it’s loud and contains the lyric ‘SOB’ – and it’ll sound great at a tailgate party, or when covered by Backwoods Creek, who would be a perfect support act should Everette be able to play huge venues in the UK next year.
The title track includes the line ‘being young ain’t never getting old’ – come on!! – and it makes me think how teenagers today can’t fumble around or muck about in a parking lot because of the virus. Way Back is a middle of the dirt road love song in the modern style: guy meets girl and have a ‘hands in pocket conversation’ but it seems like they’ve known each other since they were swapping mixtapes back in the day. Love Me Like I Am, about accepting a partner’s perfect imperfections, begins with a catchy wordless hook and a Church-like strum and vocal. ‘My straight and narrow’s crooked’ is a great line – they can sing, write and ensure good production from maestro Luke Laird – and it’s got a lovely melody.
Momma I’ll Be OK is a down home country song in which the vocalists tell their mum that they ought to call more and read books. Momma songs are coming back – Luke Combs has released Without You – and thank goodness for that. Some lovely whistling too. If Side B is as good as Side A, this band will be enormous. 5/5 and I trust Luke Laird’s taste (and the money from Broken Bow Records) on Everette. Remember the name.
The Cadillac Three – Tabasco & Sweet Tea
TC3, as they are known to all, were due to play Country2Country this spring before events intervened, while promoting their Country Fuzz album. I felt that record would have benefitted from being a little shorter and more varied tonally. The 11 tracks here, surprising fans in October, are a funky bunch. The fuzz pedals have stayed in the box and TC3 are experimenting a little.
Tabasco & Sweet Tea kicks off with the title track, which compares a lady to things that are hot yet gorgeous. I love the chorus about ‘that bartender upstairs making a concoction’ that led to this woman. The riff is slinky and the melody is, as ever, excellent. Road Soda is even better, even if it’s 99% Uptown Funk.
It’s an album about girls and vehicles. Case in point: Stop That Girl, Head Over Wheels (‘that vroom vroom vroom gives me a heart attack’) and Sweet Southern Spirit, which namechecks Lynyrd Skynyrd. It makes a change from the dirty blues of previous albums and reminds me of Red Hot Chili Peppers more than anyone else. I hope some of these songs make it to their live set as it will give them the tonal variety that I wanted from their last album.
Bridges (‘we learn which ones to cross, which ones to burn’) is a two-chord tune which could also work as blues rock but it’s more gentle in this arrangement. It’s co-written with Frank Rogers, who has worked extensively with Brad Paisley. Money Ain’t Shit (‘if you ain’t got love’) has some nifty production while Turn The Radio On is potty-mouthed southern funk. Stoner jam Devil’s Lettuce is spoke-sung by Jaren and the lyric namechecks Dazed & Confused and ‘the munchies’. It reminds me of Beck.
The album ends with Sabbath On Cornbread, a piece of braggadocio which also looks at the gentrification of Nashville. ‘Three long-hairs gonna keep on changing the game’ is the takehome point and I think TC3 have earned the right to brag a bit. Well done to Big Machine for putting out something that looks like a very skilled passion project. Tabasco & Sweet Tea is a fully realised album and I look forward to seeing where TC3 go next, even if they may have to wait to come to London. 4/5
Crashing in at number one on the Billboard Bluegrass Album chart, this is Nickel Creek with a show from 2014 at Oakland’s Fox Theatre, their first show ever in the Californian city documented on their first ever live album. It’s available via Bandcamp for $10 or as a double vinyl set. This means I get to talk about the pride of Carlsbad, California, where I’ve been lucky to spend some weeks with family in the last 20 years. Guitarist Sean and fiddler Sara Watkins met gangly mandolin prodigy Chris Thile in the 1990s and as children the trio played folk clubs and festivals while building an original set of songs.
After the success of O Brother Where Art Thou’s folksy bluegrass soundtrack, Nickel Creek slid into the slipstream. I first heard of them in the 2000s when their song When In Rome was played on UK radio; their third album Why Should The Fire Die was produced by a guy who had worked with Good Charlotte, topping the Bluegrass Album chart and made number 17 on the overall album chart in the US.
This Side, produced by my other favourite Bluegrass artist Alison Krauss, included songs written by Stephen Malkmus of Pavement (Spit on a Stranger) and the mighty duo Gordon Kennedy and Wayne Kirkpatrick (Hanging by a Thread), as well as some Chris Thile instrumentals like Smoothie Song and Sean Watkins’ fine tune This Side, which has a majestic middle section.
The band then went off to pursue other projects – The Watkins Family Hour and The Punch Brothers notably, as well as Chris’ mandolin transcriptions of Bach pieces – before reuniting for 2014’s A Dotted Line, which is the album they were promoting at the Fox Theatre. It made the album top 10, topped the folk and bluegrass charts and spawned the magnificent song Destination and the apocalyptic anthem 21st of May. I fondly remember hearing their set from the Newport Folk Festival.
Their live show includes 22 tracks including wedding song Rest of My Life, farewell song Somebody More Like You, eerie Lighthouse’s Tale and, of course, When In Rome, Reasons Why, This Side, the pulsating You Don’t Know What’s Going On and the wonderful arrangement of the trad. arr. banger The Fox. Non-vocal instrumentals Elephant in the Corn, Scotch & Chocolate and Ode to a Butterfly are also present and correct here.
The set ends with a gorgeous cover of a song called Where Is Love Now, which the trio also performed as part of Live From Here, the now extinct show on US public radio which Chris hosted for a few years. Check out the Youtube video to be spellbound.
I like that the band are a sort of supergroup, who all sing, take solos and harmonise. Their original songs are rich in melody and vocal variation. I am a Creek Freak and I hope you will be too. 4/5
Billy Strings – Home
The album which Nickel Creek displaced at number one on the Bluegrass Chart is by a Michigan-born virtuoso who has been critically and commercially successful. Willian Apostol aka Billy Strings introduced himself to UK audiences over Country Music Week with a four-song performance live from the Station Inn in Nashville. Sitting on a high stool, Billy showcased his tremendous ability as a rootsy performer steeped in American music. He reminded me of Charlie Worsham with his charming voice and pickin’ abilities and I would love to hear Billy and Charlie duel with guitars or banjos.
Billy, who was nominated for Emerging Act of the Year at the postponed Americana Music Awards 2020, released his second full-length album Home in September 2019, on which he wrote and produced all 14 tracks. Hours before the release, the International Bluegrass Music Association named him New Artist and Guitar Player of the year, on the strength of his debut album Turmoil & Tinfoil. It was his third solo release after an EP and an album. He must be irked that the festival season has been wiped out, meaning he wouldn’t play the folk and bluegrass crowds who would love this new slant on a genre as old as the Appalachian hills.
The album opens with an atmospheric thirty seconds before banjo and guitar come in with something that, as always to my ears, sounds like Nickel Creek. Taking Water has all the elements of a bluegrass song: stomping 4/4 beat, fiddle and harmonies on the chorus which has the lyric ‘this ole boy’s taking water’.
Running (‘as fast as I can go…from all the things I know’) is aptly titled, whizzing by a breakneck pace and making me think how much prep goes into making the fingers dextrous enough to play semiquavers on a mandolin. Hollow Heart is another toe-tapper with some double-stopped mandolin solos, and you will be amazed by the solo near the end of Everything’s The Same.
Rather than any genre, Billy Strings sounds like Billy Strings. At the album’s centre are two seven-minute songs which give rise to the label ‘psychedelic bluegrass’. Away From the Mire’s first part is traditionally acoustic, but the instrumental second half includes an electric guitar solo slathered in production, which marry well with the acoustic banjo, mandolin, fiddle and acoustic guitar. I hope rock fans give this track a try. It is followed by the title track, which is a meditation on how ‘home is a heartache’ set to tabla drums and chromatic harmonies.
Long Forgotten Dream puts echo on Billy’s vocal, while Highway Hypnosis gets very Sgt Pepper-era Beatles in the mid-section before recapping with some fine harmonies with Ronnie McCoury, son of the mighty bluegrass legend Del.
Enough To Leave slows the pace and even a simple tune is laden with backing vocal harmonies from the band. This would be an arms-around-shoulders festival moment, and it’s a good way into Billy’s album if the tablas have put you off. Ditto Love Like Me, a bluegrass love song with ringing guitars in dropped tunings, and Guitar Peace, which is pure atmosphere and should be picked up by a movie soundtrack supervisor.
The album ends with Freedom, where male backing vocals accompany Billy’s high tenor. ‘I want the road, I want the crown,’ Billy sings. Critics have given him a crown and it’s up to audiences to remember their love of bluegrass around 2000 to include Billy in their musical diet. 4/5 for Home.
Parker McCollum has put out two albums independently but his Hollywood Gold EP is his first project on a major label. It’s produced by Jon Randall, still best known for writing Whiskey Lullaby and for having married two songwriters, Lonnie Morgan and Jessi Alexander.
Parker is doing well at country radio with his debut single Pretty Heart and on Texas radio with Like a Cowboy. What a great two-pronged strategy, following Cody Johnson and indeed Aaron Watson, helping Parker to cross over from Texas to Nashville and make money from two markets. His voice is typically Texan, with soul and grit in equal measure, and I am sold on Pretty Heart with its lyrical and melodic hooks including holding the word heart for five beats which mirror the act of heartbreak Parker has inflicted on a poor lady.
Like A Cowboy is the best track on the EP, a sad piano-driven waltz which Parker sings brilliantly. The lyrics are thoroughly Texan, full of fenceposts and sunsets and ‘God made me this way’. It sounds timeless and a cut above a lot of pop pap that makes money in Nashville. Expect to hear more of this sort of thing as the market turns to very good songs in the next few years (would that it were so simple…).
Aside from the two singles, there are four other tracks which introduce Parker to an audience beyond Texas. It will not surprise you to learn that it sounds like Luke Combs and Morgan Wallen, since that’s where the money is. Since he is Texan, there is plenty of self-reflection, as on the opening track Young Man’s Blues. This takes the Texan ennui and marries it to a huge Nashville chorus. Hallie Ray Light, meanwhile, is equally punchy though the lyric is full of ‘raining’ and ‘leaving’ and ‘rear view’ and ‘goodnight Hallie Ray’. It’ll sound great live, especially with the slide guitar that runs through the song.
Hold Me Back is the weepie ballad where Parker wants someone to prevent him from ‘spinning these wheels’ and sinking to the bottom of a pit of despair. I love the production from Jon Randall, and it runs nicely into the understated Love You Like That. ‘I’ll be trying like hell…but I don’t know if I can love you like that’ once again proves that Texas does it differently from Nashville. However much Parker wants to be faithful and true, his inner nature means it’ll make it tough.
4/5 for a set of songs which do not let the listener down. Let’s have the album soon.
Matt Stell – Better Than That
Matt Stell had a big hit called Prayed For You, the latest song to bring God back into God-honest country. He kept his faith in that old King James Bible, as the chorus goes, using the familiar four-chord progression IV-I-VI-V and had a number one hit. I am sure he has many pious fans in the American south.
Rather than release an album Matt has put out an eight-track EP which includes his number one smash and opens with his recent single Everywhere But On, which is a gorgeous tune about trying to shake off an ex from his mind. Both songs, by the way, were on his 2019 collection Everywhere But On.
We have also heard the more secular and punchy If I Was a Bar: ‘I’d have a little buzz in my neon light’ and there would be a cover band too, plus he ‘wouldn’t be falling this apart’. Better Than That is actually set in a bar. I like the groove of both songs, sung well in Matt’s tenor.
I Love You Too is a middle of the dirt road song which sees Matt feel sorry for a girl who wants to hear ‘I love you’ more than when she demands it. Matt is going for the Brett Young market, the sensitive and handsome soul with a smooth voice. Sadie is another song about a lonely girl who has been ‘hurt lately’ but Matt, the sensitive guy, is there for her. The best part of the song is the hook ‘s-s-s-Sadie!!’
Chase It Down encourages her to leave her momma’s house and get going on the open road with Matt. The production is aggressively middle of the dirt road, suiting the subject matter and it’ll appeal to 20somethings looking to chase freedom down. The EP closes with a wedding song – can a bloke be a country newcomer without a wedding song?! – called Look At Me Now. It’s basically I Don’t Dance by Lee Brice crossed with In Case You Didn’t Know by Brett Young, so if you like the sound of that, flock to sensitive soul Matt Stell. 3/5
Trace Adkins – Ain’t That Kind of Cowboy
Trace Adkins has been in country music for 25 years, helping his fellow TV star Blake Shelton have hits, but he is best known culturally for winning the All Star Celebrity Apprentice (I forget who crowned him but he was last seen campaigning for a second term as President). Trace’s memoir offered opinions ‘from a free-thinking roughneck’ who survived being shot by his ex-wife before he became a country star, where being a redneck sold records in the era of Garth.
I still love the smooth Better Off, written by two of the Love Junkies and produced by Jon Pardi’s chum Bart Butler. Trace has his Mind on Fishin’ while sitting in church listening to the preacher, which is about as country as you can get in a sentence. Just The Way We Do It is a two-chord, rifftastic old-fashioned song which has the same preacher eating pie at a Sunday gathering. One guest, Jenny, is having a lot of fun letting her hair down. ‘Ain’t nobody getting hurt!’ Trace assures the listener.
Ain’t That Kind of Cowboy has Trace differentiating himself from John Wayne’s portrait of frontiersmen. The Brothers Osborne have given Trace the song Big which is smart given that TJ and Trace have very similar voices. I chuckled when he sang ‘all this abbreviation is a bunch of BS’ and Dolly Parton’s…’WIG!’, while he also laments the passing of phone cords and how you can’t have sex in small cars.
The EP’s best line is on the piano ballad Running Into You: ‘I can’t walk down memory lane without running into you’. It’s the sort of song Blake Shelton can turn into a number one but doesn’t fit with Blake’s new happy-with-Gwen persona. The writer James T Slater also wrote Guys Named Captain which Kenny Chesney put on his album this year; more people should know James.
I like this EP a lot and will investigate Trace’s catalogue. 5/5 for Ain’t That Kind of Cowboy, which I hope is part of a full album.
Something Lovely is the follow-up to the album Remembering. Missing from that album was the track of the same name, which finds a home in an acoustic form on this album. Ashley’s dad Glen passed away from Alzheimer’s and in the song she sings: ‘Daddy don’t you worry, I’ll do the remembering.’ Bring tissues.
She pays homage to dad with a cover of Good Vibrations – I expect she asked for Brian Wilson’s blessing – on which Glen played as a member of the Wrecking Crew studio and live band.
The opening track Good to Let Go, written by brother Shannon, uses some spiky guitar, rolling drums and an upwardly mobile melody to accompany Ashley’s voyage outta here with ‘your picture in the wind’. Yet on Diggin’ Deep (which has a terrific key change), she sings of ‘the hole you left behind’ and on Moonlight she ‘can’t sleep you off of my mind’.
Throughout the album, the string arrangements and acoustics are glorious, particularly on Moonlight and Suitcase Heart, where she sings in a majestic chorus of being ‘always gone before it even starts’.
Like her fellow regal daughter Rosanne Cash, Ashley knows her country music. Forever’s Not That Long could have come out in 1961 thanks to its rich fiddles, pedal steel and Steinway piano, while her instrumental Moustache Man could have emerged in the 1920s as it’s her and her godfather Carl Jackson pickin’ on banjos. If I Wasn’t sounds like The Beautiful South going noir, with Ashley’s voice floating on top of a delicious arrangement.
There’s a great pair of tracks, one on each side of the album. On the elegant title track, Ashley is a single woman in a bar asking a ‘lonely guy’ for mutual companionship set to some mellifluous nylon-stringed acoustic guitar. It is stunning and is worth the price of admission. By contrast, Walk On By has her ignoring the catcalls with a ukulele and steel guitar thrumming away as she sings ‘nothing to see here’. The rhyme of ‘victim/ symptoms’ is inspired.
Alice, meanwhile, sees her picking up the banjo again and finding her ‘Wonderland’ and not wanting ‘this dream to end’. Aww. 4/5 for a fine album which is as lovely as the title suggests.
Shannon Hynes – Country Words EP
With a similar high alto voice and tone, Shannon do a good job with many songs on Something Lovely.
From Welsh Wales, she is a regular at events for UK country fans so has plenty of friends and contacts. She has been played on Country Hits Radio by Matt Spracklen, who DJs or MCs at these events, and has been steadily building her recorded output since she released I’m Not Pretty in 2018.
Shannon has collected her singles on the Country Words EP which is only available in physical form at ShannonHynes.com, priced £7. I’ve always liked I’m Not Pretty, especially the mention of how ‘blusher keeps the cheeks pink’, while Country Words impressed me from the first time I heard it when Shannon and I were writing and jamming together.
The variety of the seven tracks are impressive. Comfort uses some pedal steel to underscore that mood. Off Guard is a shiny pop song and Someone To Drink With is a sombre tune about wanting to ‘drown the silence out’. Shannon has included the unplugged version of Mother on the EP, on which she plays piano and sings of how important maternal love is to a daughter and vice versa. There is an additional track, Fear Blinds Me, a plea to a loved one.
4/5 for the EP, which shows immense potential and also the depth of talent in the UK’s country movement.
It took me a while to appreciate Ward Thomas’ third album Restless Minds, which was all about social media anxiety and being young, but once I did I learned what excellent songwriters the twins are. In advance of Invitation’s release Ward Thomas fans heard Meant To Be Me, a reminiscin’ song with fingersnaps and past relationships; chirpy Hold Space, which picks up on themes from the third album and sounds like some tracks off the Taylor Swift album Lover; and Painted Legacy, one of those break-up ballads that Ward Thomas do so well.
Don’t Be A Stranger has contemporary production, handclaps on the offbeat and a sweet melody in a minor key. A similar mood is struck on My Favourite Poison, which the girls worked on with Ed Harcourt, a supremely underrated songwriter. The swoop of the arrangement, with piano and orchestra, is the winning ingredient here.
Someday, a waltz about the fear of commitment with some fine chords, has been getting some radio airplay on Chris Country and Radio 2, the latter station slapping it on the B List. It will be on their Greatest Hits whenever it emerges. Talking of Radio 2, Ward Thomas played a session for Bob Harris’ Country Show. They played a stunning acoustic version of Sweet Time, which opens the album mellifluously and in a well-produced manner.
Open Your Mind’s opening line is ‘closed like a coffee shop no one likes’ and continues to list doors, theme parks and worlds which are closed before the girls invite the audience to open their mind to ‘love your neighbour as yourself’. It’s very middle of the dirt road and charming, with a great chorus and a proper middle eight. Little Mix would do a good job with this too. Wait Up gallops along with purpose, as the girls ask the guy to hold off from sleeping. The banjo loops in the background give it a country flavour.
Dear Me is a You Go Girl a cappella song in the form of a letter, set to some sweet oohs and aahs with a suitably hortatory lyric. ‘You don’t need to carry this alone,’ the girls sing. If There Were Words is another pretty love song which recalls their song This Too Will Pass. It’s a song about dealing with grief that will comfort many listeners, especially in this pandemic era.
They were due to play acoustic shows in the spring; when I saw them in Blackpool last autumn they shone when their voices took centre stage. As with album three, my complaint here is that sometimes the production gets in the way of the voices, but the production will ensure they are played on Radio 2 and drive listeners to their albums. I still think the twins are ‘Radio 2 pop’, which Americans call Adult Contemporary, rather than country.
If you need to know where the twins’ market is, look at the last three tracks: a duet with James Blunt called Halfway, which was rotated on Radio 2; a live version of Human by The Killers with their tourmate Jack Savoretti, himself a darling of Radio 2; and a cover of Fleetwood Mac’s Landslide, which became a country music standard through the Dixie Chicks’ version.
UK country music, at the elite level where The Shires dwell, is pop music with a bit of emotion and plays-on-words. In the US, Kelsea Ballerini, Carrie Underwood and Maren Morris are doing the same thing, and you can see why Ward Thomas are being sold as country in the way James Blunt and Jack Savoretti can’t be. I think it’s their most fully realised album and you can tell they are in control of their career. I think this’ll crash in at 1 or 2; if it’s 1, it’ll be well deserved. 4/5 for Invitation. I accept!
Ferris & Sylvester – I Should Be On A Train EP
Bob Harris likes Ferris & Sylvester so much that he named them his Emerging Artist at the 2020 UK Americana Music Awards. I caught the duo live in Norwich 18 months ago and chatted to them about future writing plans. They have followed up their Made In Streatham EP from 2018 – some of whose tracks have over a million Spotify streams – with a five-track EP titled after recent single I Should Be On a Train.
I heard that song, which mixes rock, blues and roots, on their session for Ricky Ross’ Another Country show on BBC Scotland. Ricky is a fan too, as is Baylen Leonard from Country Hits Radio. As well as talking about their time as a regular performing act at Camden Town’s Spiritual Bar (Jade Bird is a good friend), the pair played Knock You Down, the poppiest track on an EP which includes a lockdown cover the pair did of Joe Cocker’s version of With A Little Help from my Friends.
Everyone Is Home sets lockdown blues to an egg shaker and some mellow organ chords. Birds chirp to accompany the pair on the outro which quotes the Queen (via Vera Lynn) telling us ‘we’ll meet again’. Good Man is menacing, weird and demands repeated listens to lock into the rhythm and mood of the song, which is full of chromatic progressions and bolshy riffs. There are even a few bars of sitar. It’s about the lessons imparted to kids but the sound overwhelms the lyrics.
Ferris & Sylvester have received funding from PRS for Music to travel to Austin, Texas for South by South West and I think this decade will see millions more falling for two talented musicians with a grasp on several styles of music. A full album beckons and, with any luck, it’ll be in association with a major label who can promote their talent. 5/5