Tag: Country

Ron Pope Chases His Dream On ‘American Man, American Music’

Posted on by Justin Hiltner

It may look rough around the edges, but Ron Pope’s journey through life encapsulates the American dream. He buffs out those spots, uncovering a hefty dose of humility, wisdom, and empowerment on his 11th studio record — American Man, American Music.

On it, the New Jersey-born, Georgia-raised singer uncovers moments from his childhood (like waking up before school to unload semi trucks) to the present day that have shaped him into the man he is and made his musical dreams a reality. But despite its title, the album is anything but exclusionary. Just like our nation’s diversity, American Man, American Music is a patchwork quilt of sounds, stories and experiences that serve to remind us that we’re all dealing with the same struggles and desires no matter what we look like or where we came from.

“I want to make music that other people can take and put into the moments in their lives,” says Pope. “The goal is that if I’m doing it right they’ll feel less alone. I want to put that back into the universe because I’ve taken so much of it out that it’s part of what buoyed me to get me to this point.”

This manifests itself in heartfelt vignettes centered around his family and recently discovered meaning of “home” on songs like the ode to his wife, “In The Morning With the Coffee On,” as well as “Mama Drove a Mustang,” an homage to his mom’s “let it ride” attitude that he wound up carrying into his own musical pursuits. But he’s also not afraid to get political on songs like “Klonopin Zombies,” a story about losing his grandmother that directly calls out the callousness of the pharmaceutical industry and sees him painfully pleading, “I swear there must be a heaven, ’cause where the hell else would someone like you go?”

Speaking by phone from his Nashville home between a mid-morning job and picking his daughter up from school, Pope spoke with BGS about home, family, platforming the next generation of artists and the experience that make up American Man, American Music.

You duet with Taylor Bickett on “I’m Not The Devil.” What spurred you to bring her aboard for it?

Ron Pope: Lately I’ve been finding so much inspiration in new artists. Growing up you tend to fetishize the stuff that came before you, almost like hero worship. Luckily I’ve come up in an era where so many of my contemporaries are masters, from Jason Isbell to John Moreland, which is really cool. But now I’m at a phase in my life where I’m getting more and more inspired by the artists coming in behind us. I remember first hearing Taylor’s songs, reading her lyrics, and seeing people making posts about sunsets and storms with her songs in them and was blown away. That’s what I love about music – you’re always finding new ways to be inspired.

What are your thoughts on the practice of platforming younger artists and what you stand to benefit from it as well?

If you make records your whole life, it’s going to be an ongoing challenge to find things that keep you engaged and excited about making music. It’s like a game that I’m always playing with myself. I want to find things about music that make me feel the way I did when I was a kid. Sometimes when people imagine an artist, they assume you’re only listening to people who sound like the same handful of songs that they know and that’s it, but I listen to all different sorts of music. Just the other night I was making pasta with my daughter in our kitchen listening to Dean Martin. On any given day I’ll move from that to some Tony Rice, Jason Isbell’s new song, Turnpike Troubadours, people like Taylor on Instagram, and then John Prine. I find inspiration everywhere and love that the music I make still feels fun and exciting because of it.

You just mentioned your daughter. I know family plays a big role on this record, from “In The Morning With the Coffee On,” to “Klonopin Zombies,” “Mama Drove a Mustang,” and others. Mind telling me about how that helps to serve as a through line on this project?

The central message is that we all share so many of the same sorts of experiences. For instance, in “Klonopin Zombies” I’m talking about this point in my life when my grandmother passed away eight days after my grandfather, leaving me wildly devastated. In life, we’re all going to experience powerful loss in that way; it’s just a matter of if it has happened to you yet or not. It’s the nature of living. My goal for doing that was to reach people on a more general level. If you are blessed enough to love people, then one day you will suffer because you lose people.

When I was first starting out, one of the complaints that music industry people would have about my music was that my songs were too specific and didn’t feel general enough, which was weird because for me those are the [kind of] songs that I always felt the most attached to.

Think about the Eagles’ – “Standing on the corner Winslow, Arizona/ Such a fine sight to see/ It’s a girl, my lord, and a flatbed Ford/ Slowin’ down to take a look at me…” or James Taylor’s – “Just yesterday morning, they let me know you were gone/ Suzanne, the plans they made put an end to you.” You’re in the room, but you don’t know who he’s talking to or why. It’s like, how many times in your life have you watched someone struggle with the expectations people put on them? Even though he’s telling a very personal and very specific story, you’re brought in and it reminds you that there’s a human being on the other end of this.

We got to go to all these places and meet a lot of people, and what I have found as I have done that is most people want the same things – they want opportunities for themselves and for their children. They want to know that they’re safe, and that their kids are safe and are going to get educated. We have a lot more in common than we do that separates us, which can be hard to see when you’re just watching videos of people yelling or complaining about how differently they believe your neighbor is.

How does that idea tie into the album’s title – American Man, American Music?

It’s inherently political to say “I am an American man and this is American music.” It’s inherently political, but I didn’t want to make something to bash people over the head, because it’s hard to write stories that are both protest songs that feel like they matter and are actually good songs. So I decided to, with the exception of “I Gotta Change (Or I’m Gonna Die)” – which is a pretty open rebuke of the pharmaceutical industry expresses my anger towards it about the opioid crisis – I try to speak in more sweeping terms and not focus in on the things that I was angry about, instead focusing more on humanity and openness.

I’m following myself from when I was a child in these stories all the way to this moment in my life. I’m singing about the car my mother drove when I was six years old in “Mama Drove a Mustang,” then I’m singing a little prayer for my family that I wrote while I was out on the road in “The Life In Your Years” or how my wife and I have been together for almost 18 years on “I Pray I’ll Be Seeing You Soon.” It makes me realize that I have lived the American dream.

I’m just a regular person from a blue-collar family born to very good-hearted, well-intentioned teenage parents who didn’t have a lot of resources and did their best with the opportunities that were in front of them. There was no reason to believe at the start of my story that I would end up in this place. All of that is in there because I am an American and I am an American man, and I am making American music, but I don’t mean any of that to be exclusionary. So many people that are using all of those words do so to exclude others and I have lived the American dream and want others to be able to do the same. On this album I wanted to focus on telling great stories that highlighted my journey and my humanity and what it took for me to get to this place where I got to as a way of showing that I don’t think it’s something that we should hold hostage. We should want other people to be able to reach these things in a nation built by immigrants on stolen land.

What does “home” mean to you – both as a physical place and as an idea – in relation to this album?

My mom loved us a lot, but we also moved often, which can be destabilizing. When I got to the point in my life where I was out on the road I almost felt engineered to do it, because I never had a real sense of home growing up. When I went on tour it felt like I was supposed to be there, which made it easy to wake up whether I was in Lincoln, Nebraska; Minneapolis, Milwaukee, Pittsburgh, or Pompano Beach. For a long time I thought you had to live that way to write songs.

At one point I was living in New York and hung out with my wife during a break from the road, who at that point I’d known since we were kids in Georgia, but had never dated. Suddenly everything changed and I started feeling her no matter where I was and yearned to be back in New York. I didn’t feel at ease unless I was with her, before realizing that she had become home for me. I’d never understood that homesick feeling that others get until then.

I feel that even more now with our little girl. It’s different, because my wife chose me and knew what I was and what I wasn’t, whereas we chose to bring our daughter into this world. Because of that I feel an even stronger pull from home than I have in the past because this little girl doesn’t care that I sing songs for people, and at the end of the day she doesn’t need that – she just needs me to be her father. It’s important that I’m able to make a living with my music, but it doesn’t make up for the fact that I wasn’t there to witness her losing her first tooth and other core memories. You have to grapple with that every day if you’re going to do this for a living. At the end of my life, if people say I’m a family man before they say I’m a musician, then I did it right.

What has the process of bringing American Man, American Music to life taught you about yourself?

There are points in the process of making any record where you look at yourself in the mirror and ask “Am I full of shit? Or can I actually land this thing?” The content on this album, what I’m talking about, it felt heavier and deeper than some of what I’ve done in the past. And I hate the idea of taking myself too seriously. At the end of the day, I’m an entertainer; everyone who makes music is supposed to be one, no matter how much they call themselves poets and stare at their expensive loafers oh-so-thoughtfully. Whether you’re Bob Dylan or Jackie Wilson or Tom Waits, at your core, you’re fundamentally the same as a clown or a breakdancer. Your job is to bring people joy, to entertain them. Walking around with this understanding has always made me sort of sick to my stomach whenever I find myself taking any of this noisemaking I do too seriously.

But on this album? I surprised myself. We are making music about serious things and I didn’t feel embarrassed or disgusted by it. It’s serious because it’s supposed to be serious; I’m not being a self-important asshole. Somebody needs to talk about the opioid epidemic and no one else was doing it in a way that I felt satisfied with. I did it because I felt like I had to, not to feed some inflated notion I had of myself as a capital A “artistè.” So I guess I learned that I’m not full of shit. Or at least, not entirely full of shit.

Photo Credit: Blair Clark

GC 5+5: HORSEBATH

Posted on by Justin Hiltner

Artist: HORSEBATH
Hometown: Montréal, Québec and Halifax, Nova Scotia
Latest Album: Another Farewell (released February 7)

What’s your favorite memory from being on stage?

One of our biggest highlights was definitely opening for Sierra Ferrell at Toronto’s legendary Massey Hall. A few of us are from rural Ontario and grew up going to show’s there, and so to have the opportunity to step on that stage in front of our family and friends was quite special. We are extremely grateful that Sierra trusted us and our music, and it’s a memory we will cherish forever. – Etienne Beausoleil

What other art forms – literature, film, dance, painting, etc. – inform your music?

We love to dance – especially swing and two-step. When we’re jamming and that heartbeat kicks in – the pulse, the groove that drives us – we know we’ve got a tune that’ll pull people onto the dance floor and keep them moving all night. – Daniel Connolly

How often do you hide behind a character in a song or use “you” when it’s actually “me”?

I think it’s easier to use a kind of veil, in a way, when it comes to writing a certain type of song. We often write about our own experiences and it’s always an exposing thing to share. A lot of our songs are quite personal. Maybe we focus on the sadder ones, but I’ve always felt they make for a more relatable story. The “character” can be the way you play or sing it. You can easily picture yourself living through all the same experiences but in another time, era or place. When it’s coming from personal experience, playing with those different imaginary versions we all have inside of us can create an entire mood that becomes the song. – Dagen Mutter

If you didn’t work in music, what would you do instead?

Make films. – DC

We’re all artistic people. It’s hard to say what we would be doing if it weren’t music and this band, but it’s safe to say that we would all be interested in the arts. Some of us have backgrounds in filmmaking and acting, so perhaps we would be involved somehow in the filmmaking industry. – EB

What’s one question you wish interviewers would stop asking you?

What colour we would be. – DM

The meaning of our name. – DC

It’s our best kept secret and only very few people in the world know the true meaning of the name. – EB

Photo Credit: Sophia Perras

Brendon Anthony & Jon Randall on Only Vans with Bri Bagwell

Posted on by Justin Hiltner

This is one of the more serious – and important – conversations I’ve had so far on Only Vans and I was lucky enough to get to have it with two good friends. Brendon Anthony is the newly named VP of Big Loud Texas and a brilliant fiddler. Jon Randall is a hit songwriter, producer, and co-founder of Big Loud Texas. We talk about things like the Texas music scene, the politics of live music, product versus legacy, and the impact of AI.

LISTEN: APPLE • SPOTIFY • AMAZON • MP3

Here is another Only Vans recording in front of a live audience at MusicFest at Steamboat in Colorado. Thank you so much to John Dickson and everyone at MusicFest for making this happen!

Today I am joined by two amazing human beings that I’ve known for over a decade (and a half…?), Brendon Anthony and Jon Randall. Brendon Anthony has recently been named the Vice President of Big Loud Texas, which is a record label that was founded by Randall and Miranda Lambert. It is a branch of the Big Loud record label that has artists such as Lambert, Hardy, and Hailey Whitters to name a few. Before that, Brendon was the director of the Texas Music Office and was instrumental in the creation of BMI Texas and the Texas Music Incubator rebate program, which supports music venues in Texas with over $20 million in tax rebates. We talk about a lot of other great things Brendon has done for Texas music and music-friendly communities, and even I was fascinated by it and learned something new. You can also find him playing fiddle on stages with people like Pat Green!

Jon Randall, co-founder of Big Loud Texas, has some hits you may know as a songwriter, including “Whiskey Lullaby,” “Tin Man,” and many of your favorite new Hold My Beer Volume II tracks by Wade Bowen and Randy Rogers. His producer credits are equally impressive: Dierks Bentley, Parker McCollum, Miranda, Jack Ingram, Pat Green – you get the picture.

These two guests are funny, down-to-earth, approachable, and they truly care about art in the midst of a time I’ve been referring to as “The Wild West” of music. When Jon also called it “the Wild West,” I almost fell off my chair with validation. Don’t forget to subscribe and share this episode!

Thank you so much again to Jon and Brendon and to Dirt Trail Entertainment for sponsoring these very special and very cold MusicFest episodes. Thanks to our show sponsors, Hand Drawn Pressing & CH Lonestar Promo, too!

Find our Only Vans episode archive here.

Celebrating Black History Month: Rhiannon Giddens, Linda Martell, Miko Marks, and More

Posted on by Justin Hiltner

To celebrate Black History Month – and the vital contributions of Black, Afro-, and African American artists and musicians to American roots music – BGS, Good Country, and our friends at Real Roots Radio in Southwestern Ohio have partnered once again. This time, we’ll be bringing you weekly collections of a variety of Black roots musicians who have been featured on Real Roots Radio’s airwaves. You can listen to Real Roots Radio online 24/7 or via their FREE app for smartphones or tablets. If you’re based in Ohio, tune in via 100.3 (Xenia, Dayton, Springfield), 106.7 (Wilmington), or 105.5 (Eaton).

American roots music – in any of its many forms – wouldn’t exist today without the culture, stories, skills, and experiences of Black folks. Each week throughout February, we’ll spotlight this simple yet profound fact by diving into the catalogs and careers of some of the most important figures in our genres. For week three of our celebration, RRR host Daniel Mullins shares songs and stories of Linda Martell, B.B. King, Miko Marks, Darius Rucker, and Rhiannon Giddens. Be sure to check out the first week and second week of the series, too.

We’ll return for one last edition next Friday to bring you even more music celebrating Black History and the songs and sounds we all hold dear. Plus, you can find a full playlist with more than 100 songs below from dozens and dozens of seminal artists, performers, songwriters, and instrumentalists from every corner of folk, country, bluegrass, old-time, blues, and beyond.

Black history is American roots music history; the two are inseparable. As we celebrate Black History Month and its legacy, we hope you’ll join us in holding up and appreciating the artists who make country, bluegrass, blues, folk, and Americana the incredible and impactful genres that they are today.

Linda Martell (b. 1941) 

She was a trailblazer, a pioneer, and a voice that country music wasn’t ready for – but she made sure they heard her anyway!

Linda Martell, the first commercially successful Black female country artist, broke barriers in the late 1960s with her soulful voice and undeniable talent. In 1969, she made history with her hit song “Color Him Father,” reaching the Top 25 on the country charts before the release of her debut album – Color Me Country on Plantation Records — resulting in two more charting singles. She became the first Black woman to perform on the Grand Ole Opry, making a dozen appearances on the historic radio program and appearing as a special guest on television programs like Hee Haw, proving country music is for everyone.

Despite her success, the industry wasn’t kind. Racism and label conflicts cut her career short, leaving her influence overlooked for decades. She would spend many of those decades settling into domestic life, working a variety jobs including as a school bus driver. Still, her legacy lives on, inspiring a new generation of Black country artists. She is an influence on many African American country artists today, including Mickey Guyton. When Rissi Palmer began her program on Apple Music Radio, it was intentionally named “Color Me Country” after Martell’s historic album. As she puts it, she was “paying homage to the foundation on which my house is built, and that is Linda Martell.”

In 2021, Martell was recognized with CMT’s Equal Play Award and has had an even greater spotlight shone on her groundbreaking work after she made guest appearances on Beyoncé’s Cowboy Carter album, resulting in Martell’s first GRAMMY nomination at age 83. Thankfully, Linda Martell is finally getting the recognition she deserves. Her story is one of resilience, talent, and breaking down barriers—one song at a time.

Suggested Listening:
“Color Him Father”
“Before the Next Teardrop Falls”

B.B. King (1925 – 2015)

Let’s talk about a blues icon who found inspiration in country music – B.B. King! Born on a Mississippi plantation in 1925, B.B. grew up listening to blues. But did you know he also had a love for country music? As a young man, he was inspired by the guitar playing of country stars and tried to emulate the sound of a crying steel in his bluesy pickin’ style with his guitar, Lucille. He would frequently collaborate with country music stars both on stage and in the recording studio, including on his album, Deuces Wild, which featured appearances from Willie Nelson and Marty Stuart.

He performed at Willie’s FarmAid, on the GRAMMYs with Keith Urban, and even appeared on the popular That Nashville Music TV Show with Jerry Reed. In the ’90s, the hit all-star album Rhythm, Country & Blues closed with a legendary collaboration between B.B. King and George Jones on the old story song, “Patches.”

B.B. King proved that great music knows no boundaries. Blues, country, rock and roll – it’s all about storytelling from the soul and letting the good times roll! B.B. King was inducted into the Rock & Roll Hall of Fame in 1987. He passed away in 2015 at the age of 89.

Suggested Listening:
“Patches” (featuring George Jones)
“Let the Good Times Roll” (featuring Brad Paisley)

Miko Marks (b. 1973)

She’s breaking barriers, blending genres, and bringing a fresh voice to country – meet Miko Marks. Born in Flint, Michigan, Marks has been redefining country since the early 2000s. She was named Best New Country Artist in 2006 by New Music Weekly and won several awards at the Independent Music Awards in the early aughts as well. With a voice that’s equal parts soul, blues, and traditional country, she has a compelling sound full of power and conviction.

After years of industry struggles, Marks focused on her role as a mother for the next decade-plus. She mounted a powerful comeback with her 2021 album, Our Country, earning critical acclaim and recognition from Rolling Stone and NPR. The equally impressive follow-up, Feel Like Going Home, was released in 2022. She was named one of CMT’s Next Women of Country that same year.

Miko’s music speaks of resilience, hope, and inclusivity, carving a space for new voices in country. Her release Race Records features her take on country classics from The Carter Family, Willie Nelson, and more. From performing at the Grand Ole Opry to rocking major festivals, Miko Marks is a name you need to know. If you haven’t heard her yet, now’s the time!

Suggested Listening:
“Tennessee Waltz”
“Freeway Bound”

Darius Rucker (b. 1966)

From Hootie & the Blowfish to country superstardom, Darius Rucker has done it all. This GRAMMY-winning artist first made waves in the ’90s by leading popular alt-rock band Hootie & The Blowfish, which he helped found while attending the University of South Carolina. They scored half a dozen Top 40 hits, including “Hold My Hand,” “Let Her Cry,” and “Only Wanna Be With You.” There were seeds even then of his future country success, especially with the band’s bluegrass-flavored “Desert Mountain Showdown” from their Musical Chairs album.

Rucker began pursuing a country career in 2008. His debut country single, “Don’t Think I Don’t Think About It,” made history as he became the first Black artist in over 25 years to top the country charts. He was named CMA’s New Artist of The Year in 2009, making him only the second African American artist to win a CMA award – the first being Charley Pride. He would join the Grand Ole Opry in 2012 as only the third Black member of country music’s oldest institution.

He has continued to release many country hits, including nine chart-toppers. In 2013, he released the biggest song of his career, his take on an Old Crow Medicine Show song, “Wagon Wheel.” This number one hit is only the fourth country song to be RIAA-certified Diamond (for 10 million units) and earned Darius Rucker a GRAMMY Award for Best Country Solo Vocal Performance, making him only the third Black artist to win a country vocal performance GRAMMY. With his distinctive voice, heartfelt lyrics, and undeniable charm, Darius Rucker continues to break barriers and bring fans together. Whether it’s rock, country, or beyond, one thing’s for sure – this guy’s got soul.

Suggested Listening:
“Don’t Think I Don’t Think About It”
“If I Told You”

Rhiannon Giddens (b. 1977)

From the rolling hills of North Carolina to the world stage, Rhiannon Giddens is a musical force re-centering American roots music. A singer, songwriter, multi-instrumentalist, and historian, Giddens brings the forgotten voices of history back to life one song at a time. After leading the GRAMMY-winning old-time band, the Carolina Chocolate Drops, she has focused on her solo career for now more than a decade.

Rhiannon blends folk, blues, gospel, country, Celtic influences, and more into her dazzling brand of American roots music, all while shining a light on Black contributions to the American musical landscape. Her voice? Soulful. Her banjo? Revolutionary, as she is a recipient of the Steve Martin Prize for Excellence in Banjo and Bluegrass. Giddens has also earned MacArthur Genius honors, collaborated with folks like Elvis Costello, Eric Church, and Gillian Welch, written ballet music, and even composed a Pulitzer Prize-winning opera! (She did study opera at Ohio’s Oberlin College after all.) She has even written several children’s books based off some of her original songs.

Recently, Giddens has partnered with fellow Carolina Chocolate Drops co-founder Justin Robinson to shine a light on fiddle & banjo music from North Carolina. Whatever she sets her sights on, Rhiannon Giddens tackles it head on, inspiring us all in the process.

Suggested Listening:
“Julie”
“Don’t Let it Trouble Your Mind”
“Hook and Line”

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Photo Credit: Rhiannon Giddens by Ebru Yildiz; Linda Martell courtesy of the artist; Miko Marks by Karen Santos.

You Gotta Hear This: New Music From Sister Sadie, Big Country Bluegrass, and More

Posted on by Justin Hiltner

Your weekly dose of brand new music is here! Check out this Friday’s roundup of track, song, and video premieres from bluegrass, Americana, country, folk, and beyond.

From the bluegrass camp, Southwest Virginia string band Big Country Bluegrass bring us their new track, “Heading for the Mountains,” which they pulled from the catalog of fellow Virginians, the Bluegrass Kinsmen, from just over the mountains. Plus, supergroup Sister Sadie return with another new single, “Do What You Want,” which was co-written by band members Dani Flowers and Deanie Richardson as well as Music Row songwriter and artist Erin Enderlin.

Chicagoan Chris Walz debuts his new number, “Alabama Bound,” a solo blues outing that references a classic recording by Long Cleve Reed and Little Harvey Hull while still putting his own spin on it. From the country and honky-tonkin’ realms, Pug Johnson bemoans a “Hole in Me” with an acoustic performance of that new track that’s full of hurt and tinges of Texas. Plus Iowa-based Katie and the Honky Tonks give the direction to “Mind Your Business” – especially when it comes to social media. Check out a new video from The Mallett Brothers Band, too, featuring stunning views of their Maine home turf and cameos from their own “Dogs and Horses.”

From the genre-blending fringes of indie, folk, and Americana comes Anne Harris’ new artful video for “I Feel It Once Again,” a broad and lush track that centers on violin and is built around a haunting guitar riff. Also, singer-songwriter Luke Sital-Singh delivers a truly unique sound with “Little River,” a song about learning to ride the flow of life wrapped up in an indie-folk-pop package that defies categorization while still feeling down to earth and real.

There’s a little bit of something for roots music lovers of all stripes here. You know what we think… You Gotta Hear This!

Big Country Bluegrass, “Heading for the Mountains”

Artist: Big Country Bluegrass
Hometown: Independence, Virginia
Song: “Heading for the Mountains”
Album: Carry Me Back To The Bluegrass
Release Date: February 21, 2025 (single); March 28, 2025 (album)
Label: Rebel Records

In Their Words: “Back in 1989 when I heard the Bluegrass Kinsmen perform this song, I immediately loved it! When it came time to look for music for this album, I dusted off my recording and played it for the band. They loved it too and so here we are. ‘Heading for the Mountains,’ an upbeat song, is a great fit for Eddie Gills’ distinctive tenor and makes for a memorable duet when Teresa Sells joins him on the chorus. And like the chorus says, ‘the city life is not for me.'” – Tommy Sells

Track Credits:
Eddie Gill – Guitar, co-lead vocal
Teresa Sells – Guitar, co-lead vocal
Tommy Sells – Mandolin
Daniel Martin – Banjo
Billy Hawks – Fiddle
Tony King – Upright bass

Anne Harris, “I Feel It Once Again”

Artist: Anne Harris
Hometown: Chicago, Illinois
Song: “I Feel It Once Again”
Album: I Feel It Once Again
Release Date: February 21, 2025 (video); February 25, 2025 (single); May 9, 2025 (album)
Label: Rugged Road Records

In Their Words: “A while back I unearthed a guitar riff that my friend, blues artist/producer Dave Hererro, had sent me. It had been sitting in my inbox for a long time but I hadn’t got around to listening to it.

“One day I was sorting through my inbox and finally listened down to it and I was immediately swept up by that haunting riff; in one sitting I wrote the lyrics and arranged a song around Dave’s sketch. It was one of those rare instances for me where I felt as if I was channeling the song.

“The song is about the resurfacing of grief during the night, when the veil is thin. It reveals itself at a time when the mind begins ruminating over all that stays hidden during the light of day.” – Anne Harris

Track Credits:
Anne Harris – Vocals, violin
Colin Linden – Guitars
John Dymond – Bass
Jerry Roe – Drums

Video Credits: Stan Miskiewicz – Video producer, director, director of photography
Ara Krossovitch – Dancer

Pug Johnson, “Hole In Me”

Artist: Pug Johnson
Hometown: Beaumont, Texas
Song: “Hole in Me”
Album: El Cabron
Release Date: March 28, 2025
Label: Break Maiden Records / Thirty Tigers

In Their Words: “A simple honky-tonk hurting song with a Texas shuffle and fiddles to boot! I pulled from some past experience and tried to take the Willie approach by saying a lot with very little. I think it is the most country thing I’ve ever done, and it’s one of my favorites on the record.” – Pug Johnson

Track Credits:
Pug Johnson – Vocals, guitars
Paul “Sweet P” Walker – guitars
Jason Baczynski – Drums
Josh Hoag – Bass
Caleb Melo – Pedal steel
Jan Flemming – Keys
Patricia Badgett – Backup vocals
Cody Braun – Fiddle

Video Credits: Directed by David Allison and Joel Malizia.
Produced by Pilot Moon Films.

Katie and the Honky Tonks, “Mind Your Business”

Artist: Katie and the Honky Tonks
Hometown: Waterloo, IA
Song: Mind Your Business
Album: Ain’t No Shame
Release Date: February 28, 2025 (single); June 27, 2025 (album)

In Their Words: “‘Mind Your Business’ came into fruition after years of participating in the social media game. From witnessing one meaningless argument over the internet to the next. We all have opinions, but what entitles us to think our opinion is 1) correct, and 2) needs to be spoken publicly? Minding our own business is something we all could do a little more of, myself included. Like the song says, if it ain’t hurtin’ anyone then why don’t you just let me have my fun? I think that’s a mantra that we could all live by.” – Katie Jo

Track Credits:
Katie Jo – Vocals, acoustic guitar
Brian McCarty – Bass, backing vocals
Bryan Hendrickson – Lead guitar, lap steel, backing vocals
Luke Jerry – Drums
Danny Mitchell – Hammond B3

The Mallett Brothers Band, “Dogs and Horses”

Artist: The Mallett Brothers Band
Hometown: Portland, Maine
Song: “Dogs and Horses”
Album: Higher up in the Hills
Release Date: April 4, 2025

In Their Words: “‘Dogs and Horses’ is a song that came from my real life, trying to balance the drastically different lifestyles of a touring musician and a working farm. My wife runs a horse farm here in Maine, where we keep anywhere from 13-18 horses on the property. Hay needs to be put away every season, fences always break, water systems need maintenance, etc. Meanwhile, I spend over 100 days a year in a van traveling to gigs and have to play catch-up when I get home. The song is about supporting each other and building an unconventional life that suits us both. This music video was filmed at our farm; the dogs and horses are actually our dogs and horses and it was fun to capture a day in life when the grass was still green. The counterpoint to the farm shots was our annual show at the State Theatre here in Maine, which is one of the coolest shows we get to play. Our friend CC at Just One Look Media did a great job with the video, and it was a lot of fun to shoot

“This is the only track on the record to have a special guest, featuring the legendary Chuck Leavell of the Allman Brothers Band and Rolling Stones fame on keys. We were lucky to be a part of the Maine episode of his PBS show America’s Forests With Chuck Leavell, and we were very excited when he agreed to contribute to this song. His parts added the perfect finishing touch and really brought it to another level.” – Luke Mallett

Sister Sadie, “Do What You Want”

Artist: Sister Sadie
Hometown: Nashville, Tennessee
Song: “Do What You Want”
Release Date: February 21, 2025

In Their Words:  “‘Do What You Want’ came from Dani Flowers, Erin Enderlin, and myself sitting around talking about life. How hard it can be. How we have so many expectations put on us, especially being women. How we are all divided. No matter what you do, someone is going to have something good or bad to say about it. So don’t worry about what everyone thinks. ‘Just Do What You Want.’ This was a very fun and somewhat therapeutic song to write. Maddie Dalton, being the youngest in the band, was the perfect voice for this one.” – Deanie Richardson, fiddle

“I absolutely love this song and I’m super happy I’m the one that got to sing it. I relate to it as I’m sure so many other people do too. I’m just excited for the whole world to hear it.” – Maddie Dalton, bass and lead vocals

“’Do What You Want’ was a really fun song to write. We’re all just tiny dots on a planet, spinning around a sun, in a gigantic galaxy for a tiny blip of time. When I zoom out and look at it that way, it makes the things I spend so much time worrying about seem pretty silly. This song is about keeping that perspective.” – Erin Enderlin, co-writer

Track Credits:
Deanie Richardson – Fiddle, gang vocals
Gena Britt – Banjo, gang vocals
Maddie Dalton –Upright bass, lead vocals
Jaelee Roberts – Harmony vocals
Dani Flowers – Harmony vocals
Mary Meyer – Mandolin, piano
Seth Taylor – Acoustic guitar, electric guitar, gang vocals
Dave Racine – Drums, gang vocals, percussion
Jon Weisberger – gang vocals

Luke Sital-Singh, “Little River”

Artist: Luke Sital-Singh
Hometown: London, England, United Kingdom
Song: “Little River”
Album: Fool’s Spring
Release Date: February 21, 2025
Label: Nettwerk Music Group

In Their Words: “‘Little River’ is a song about learning to flow with life no matter what is happening to you. I was inspired by a quote from meditation teacher Stephan Bodian: ‘You’re not sitting on the bank of the river, waiting for a better moment to float past. You are the river itself – filled with being, filled with infinite potential.’ This idea became a guiding theme in my life as I was making this record.” – Luke Sital-Singh

Chris Walz, “Alabama Bound”

Artist: Chris Walz
Hometown: Chicago, Illinois (since 1988)
Song: “Alabama Bound”
Album: All I Got and Gone
Release Date: February 28, 2025 (single); March 14, 2025 (album)
Label: Chris Walz Music

In Their Words: “I’ve heard various versions of ‘Alabama Bound’ for years. The one I recorded is inspired by a version done by two guitar players and singers named Long Cleve Reed and Little Harvey Hull. The duet recording was put out on the box set The Rise and Fall of Paramount Records. I tried to make this two-guitar-and-vocal duet into a solo piece. There are so many versions of this song that the point of origin is hard to pin down, although Jelly Roll Morton claimed to have written it in 1905. The Kate Adams in the song was a Mississippi riverboat line. Jackson is in Central Mississippi and McComb is south of there about 80 miles. Half the time, the song title is ‘Don’t You Leave Me Here,’ taken from the recurring line that ends with, ‘Just leave a dime for a beer.’ Times have changed.” – Chris Walz

Photo Credit: Sister Sadie by Allister Ann; Big Country Bluegrass by Brenda Killon.

Roots Pop Quartet TopHouse Contrast ‘Theory’ With ‘Practice’ on New EP

Posted on by Justin Hiltner

With a self-made story spanning from their founding in Montana down to Nashville and beyond, roots pop quartet TopHouse know the difference between “theory” and “practice” all too well. But with their intriguing new two-part recording project, they might be some of the first to capture that difference in song.

Comprised of Joe Larson (lead vocals/guitar), Jesse Davis (guitar, mandolin), William Cook (violin) and Andy Lafave (piano), the band first released the hopeful, eminently uplifting Theory EP in 2024, and have now followed up with Practice, which dropped on Valentine’s Day (February 14). But what is the difference, really?

Both EPs fuse grass-roots simplicity with an experimental spirit – plus a rush of kinetic Celtic and Appalachian influence, just for good measure. With nearly 10 years behind them, the band have seen periods of unbridled optimism just to get a gritty reality check in the end; their songs live somewhere in the middle. Over 12 tracks in total, they cycle through warm, everyman vocals, spacious sounds, and live-in lyrics, and seem to conclude the concepts aren’t really opposites at all – more like two sides of the same coin

Where Theory is bold, bright and optimistic, Practice might be darker and a bit more reflective. Yet both are part of the broader truth – and both continually feed off of each other. Speaking with BGS ahead of Practice’s release, Larson and Davis explained where the new six-song set comes from and how it contrasts with its Theory companion.

This whole idea I think is pretty ambitious. Why don’t you tell me how the Theory and Practice EPs came about? Where’d that idea come to split this thing into two parts?

Joe Larson: Honestly, it was kind of an accident. I think Jesse and I were just hanging out one day. … We really wanted to do a full-length LP and we probably had, I don’t know, 14 or 15 songs and we were trying to find a common thread and get some idea of what this album might look like, what the concept of it might be. It just felt natural to split them into two lists. We’re like, “Alright, over here these songs are all about ideals and just optimistic worldview and all that. And then you’ve got these other songs about heartbreak and hardship and all that.” We just put ‘em into two lists and went back and forth for what felt like an eternity trying to decide what to do with this information. Eventually we were like, “Well, let’s just do a double thing.”

Do you see Practice as a more pessimistic kind of project? Or is it something different?

Jesse Davis: I wouldn’t say pessimistic. I’d say realistic. I think with Theory being sort of the ideals, maybe Practice is how they land in the real world, and it’s not pessimistic either in the sense that the EP ends with a tinge of hope. We’re big fans of hope here at TopHouse-the-band, LLC, and the EP ends with a little tinge of hope – in sort of a recognition of this cycle of striving for an ideal, falling a bit short, and maybe you fall quite a ways short. But then you pick yourself back up again and it’s almost like it’s a practice in itself.

I think also the two EPs are supposed to go together in the sense that it’s not like you listen to Theory and then you’re like, “All right, now I’m going to listen to what’s actually true and listen to Practice.” They’re supposed to kind of be combined in the sense, “Okay, there’s Practice, but the Theory is just as important to apply to the Practice.” It’s like, “Yeah, the realistic hard nature of the world is going to kick you in the teeth, but there’s a hope that you should bring to all of that, and ideals and standards that can be applied even in the hardest moments.”

JL: You might say that Theory is fake optimism, and Practice is real optimism. [Laughs]

How is the sound evolving on this one. Your fans really love that uplifting mix of rootsy, Celtic/Appalachian stuff. Has the vibe changed at all?

JD: I remember Joe and I had always had in the back of our minds writing a cowboy EP. We’re fans of artists like Colter Wall and I don’t know what you’d call it – maybe new country or underground country, whatever the term is. We just always had a little soft spot for that kind of a tone, I guess. So while we weren’t setting out to do that with this EP, I think it inevitably bled through a bit. It’s funny because sometimes the sound doesn’t line up with the lyrical message, if that makes sense. But when it doesn’t, I think I kind of enjoy that all the more.

Do you feel like your Montana roots still show up in the band? Maybe just in the willingness to think outside the box a little?

JD: I definitely think so, and for me, I think a lot of that has to do with what I’m visualizing. Maybe it’s not necessarily a musical thing so much as just a lyrical thing. But I think maybe the biggest factor with the Montana connection is that I just miss Montana, so a lot of songs point to this idea of going home or having a place. It kind of feels like we’re all wandering around right now, being away from our roots, which I think many people probably know that feeling.

The EP starts on “Meteor” and it’s got this simple, spacious sound. I just wonder, how does the image of a meteor fit in with the overall theme?

JD: It’s definitely metaphorical – or wait, sorry. Technically, it’s a simile, because it features “like” or “as.” [Laughs] It’s definitely the feeling of coming crashing down. It’s one I wrote, just sitting with my acoustic guitar and kind of strumming, and I remember feeling like it was pretty cheesy at the time I was writing it, because it was just catharsis. But sometimes either your tastes grow or things just develop into something a little bit more.

After that you get into a little bit more energy with tracks like “I Don’t Wanna Move On.” Where did that come from?

JD: “I Don’t Wanna Move On” and “Meteor” are almost sister songs in that those were two I wrote. They were written roughly around the same time and I was feeling some kind of way. “Meteor” is simile. There’s a picture to it. But “I Don’t Wanna Move On” is more of the incessant feeling of not wanting to move on. The chorus is not very ornate in its lyricism. It’s literally just that phrase repeated four times. And I feel like that fits the way sometimes an emotion just won’t leave you alone.

You guys mentioned finishing on a hopeful note, and “Falling” is definitely that. A really dreamy, beautiful song about being in awe over the ability to fall in love again, right?

JD: I think a lot of us struggle with periods of – maybe even if it’s not a full-on depression, just like a numbness to the world or just struggling with feeling anything at all. I mean, I know I definitely go through these phases. …“Falling” is about that. You wake up one morning and you’re like, “Oh, I feel my heartbeat again.” I think I wrote that one coming out of one of those seasons and just being just so grateful to get to feel joy or hope. It was funny because it was supposed to be a depressing song and then I finished it and I was like, “Huh, it’s hopeful.” But that’s probably a good thing. [Laughs]

With it being so uplifting, why did you include it on Practice and not Theory?

JD: That was definitely very intentional, because at least to me I think viewing the real-life things in just a doom-and-gloom view is pretty detrimental. And I don’t think that that’s realistic either. I mean, I know we said that Practice is sort of the realistic album where things go wrong, but I think that realism also includes the Theory. Realism includes the things that we strive towards because that is just as much a part of our life as the breakup or the loss or the addiction. The good things in life are just as real as the bad things.

Also, I think fits with the cyclical nature of the two EPs. If you go back to what Theory ends with, it’s a song that kind of descends into questioning things about life and maybe has a bit of a somber attitude to it. And if you were to go straight from that song into Practice, I think the feeling would continue. Then, as you get through Practice, you get to “Falling” and there’s a tinge of hope. If you go back to Theory from there, it begins with a song called “Better is the End,” which is maybe the most forward-thinking, hopeful tune in the whole collection. So maybe I’m connecting dots that aren’t necessarily there, but honestly, the song order sort of fits with the idea of it being cyclical.

JL: Yeah. We’re just trying to get people to listen to the EPs on repeat forever. [Laughs]

Don’t miss TopHouse performing on the BGS Stage at Bourbon & Beyond in Louisville, KY this September.

Photo Credit: Electric Peak Creative

Authenticity & Collaboration: We’re All Invited to be The War and Treaty’s ‘Plus One’

Posted on by Justin Hiltner

The mercurial husband/wife duo The War and Treaty are now riding a wave of success with an outstanding new LP, Plus One. Their fourth album, it’s out today, Valentine’s Day, on Mercury Nashville. They are also about to embark on a 30-city tour in March.

Two words recur throughout any conversation with Michael and Tanya Trotter, as they did during our extensive phone interview: Authenticity and collaboration.

“We titled it Plus One, because it’s really all about collaboration,” Michael said, getting things started. “That’s really been the key for us, especially since we came to Nashville and began working with the country community. They have been so open and willing to work with us, to listen and to hear what we have to say when we’re writing or when we’re in the studio.”

“For us, it’s really always important that we be true to who we are and what we do,” added Tanya. “That’s really been what we strive to do and the audiences really seem to enjoy it.”

Indeed, the pair earned multiple standing ovations during the opening night of a recent three-night engagement at the Schermerhorn Symphony Center in Nashville. Backed by the Nashville Symphony Orchestra, they went through a powerhouse nearly 90-minute performance, doing both fresh material from Plus One along with tunes from their earlier LPs such as the masterful “Blank Page,” as well as the glorious “Can I Get an Amen,” and a host of other numbers. They even performed a trio of Ashford & Simpson compositions, among them “Ain’t No Mountain High Enough” and “Ain’t Nothing Like the Real Thing.”

“Working with the Symphony was really inspiring, but it was also different for us,” Michael said. “They were so great and we just had to make sure that we were on pace in terms of timing and keeping things going.”

“They were really fantastic,” added Tanya. “They really give you a lot of energy and they were so great playing behind us.”

It’s been quite a ride for the Trotters ever since their debut album, Love Affair, was released. Prior to that, from 2003 to 2007, Michael was in the United States Army. He was a Private First Class assigned to the 1st Battalion, 6th Infantry Regiment, 2nd Brigade, 1st Armored Division and served in Iraq and Germany. During his deployment, his unit was encamped in one of Saddam Hussein’s private palaces, which had a piano in its basement. Michael learned how to play the instrument when his company commander, Captain Robert Scheetz, encouraged him to toy around with the piano knowing he had a passion for singing. Scheetz was killed on a mission shortly after, and Michael wrote his first song in Scheetz’s honor and sang it at his memorial. He then began performing at the services of other fallen soldiers.

When they began working together the couple were initially known as Trotter & Blount. A year later, with their new name the War and Treaty, they released an EP, Down to the River, which was a superb combination of multiple idiomatic references. It had blues and soul feeling in the lead vocals and harmonies, the intensity of gospel in the performances, and the storytelling charm and acumen of country in its lyrical treatments.

Yet, it also identified the one characteristic about the War and Treaty’s music that has proven perplexing. Because they are so naturally eclectic in terms of musical choice and performance style, they were immediately embraced by the Americana audience. Later they were subsequently welcomed by the country market. But they’ve never been able to generate much momentum or traction within the urban contemporary (what was once termed the soul or Black) market. Despite having a sound as soulful as it gets, and being deeply entrenched in traditional Black music (both popular and secular), that market has been slow, at best, to recognize and welcome their music.

“Well, we know who our tribe is and we accept that,” Tanya said. “Certainly we want to reach as many people as we can, and we clearly want to have our songs played on those stations. But we also understand how the industry and marketplace work, and those are things we have no control over.”

“I’ll say this, when we go to our concerts, we have all types of fans,” Michael added. “They’re across the board, old, young, Black, White, Latino, just people who love good music. We really stress being authentic and staying true to what we do and love. That’s all you can do. But I will add that if these stations would play our songs – [and] play songs by people like Kane Brown, Mickey Guyton, Jimmie Allen – I think they’d find a receptive audience, because there’s an authenticity and feeling there that transcends things, yet also is very much a part of the Black experience.”

That’s been the mission since their 2018 debut release, Healing Tide. They quickly became a sensation in Nashville with their second LP, 2020’s Hearts Town, which included a dynamic collaboration with the great Emmylou Harris on the single “Five More Minutes.”

Two years later they were signed to UMG Nashville. Their first effort for the label, Lover’s Game, was in 2023. That same year, they graced a Top 20 hit, “Hey Driver,” a collaboration with Zach Bryan. It led to them being the first Black duo to be nominated for both the Country Music Association and Academy of Country Music’s Duo of the Year awards. It was also an indication that they had been accepted into country’s inner circle, something that hasn’t always been the case with Black performers.

“From the beginning we’ve never received anything other than respect, kindness, and first-class treatment from the country community,” Michael said. “I know that there are some other acts out there who can’t say that, but that’s really been true for how we’ve been treated.”

“Oh yes, everyone’s been so wonderful,” adds Tanya. “I can’t say enough about how great we’ve been treated and what a thrill it’s been working with people like Emmylou Harris, Chris Stapleton, Zach Bryan.”

That theme of joining forces and working together permeates the War and Treaty’s latest, Plus One.

It’s an 18-song masterpiece recorded at the legendary FAME studios in Muscle Shoals and co-produced by the Trotters along with A-list names like John Shanks, Jesse Frasure, and Jonathan Singleton. There’s a host of notable numbers, among them the poetic and inspirational “Love Like Whiskey,” co-written with Miranda Lambert; “Drink From Me” which also spotlights guitarist Billy Strings; as well as the aforementioned “Can I Get an Amen,” “Called You By Your Name,” and “Carried Away.”

Frasure, Strings, and Jonathan Singleton are among the other contributing writers, but much of the material was co-penned by the Trotters. “Some of these go back a ways, while others are recent,” Michael explained. “We really had about 50 songs by the time we finished and we had to cut it down.”

“I think we’ve got the best of the ones,” added Tanya.

With a biopic now in the works that chronicles their storybook rise to fame, the War and Treaty are looking ahead to the tour and future projects. There’s actually one thing they haven’t done yet that they’d like to do.

“We want to do a bluegrass album some day,” Michael says, in conclusion. “We think there’s a lot of material in those old mountain songs, both the gospel and the secular, and we’d like to try our hands at doing them our way. ”

“I think our fans would be delighted,” added Tanya. “They really enjoy some of the other older type material we do, and I think there’s a lot of good material there that really fits what the War and Treaty’s all about, doing strong and good songs our way.”

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Photo Credit: Sophia Matinazad

Cheatin’, Betrayal, and Heartbreak – Our Playlist of Anything But Love Songs

Posted on by Justin Hiltner

It’s Valentine’s Day again, which means we’re all wading through a saccharine sea of pink-and-red grocery store displays, sentimental commercials for overpriced jewelry, and unsolicited reminders of how dreamy love is supposed to feel. But country doesn’t shy away from the gritty, painful sides of love – and neither do we. So, if you need an escape from the nausea-inducing love parade this year, we’ve got you covered.

From classic pleas like Dolly Parton’s “Jolene” to rage-filled revenge ballads like Miranda Lambert’s “Gunpowder & Lead,” this Good Country playlist is packed full of songs about betrayal, heartbreak, regret, and unfaithful partners. Whether you’re recovering from a recent stab in the back or staving off memories of a long-lost love, these songs will ride with you through the pain and see you to the other side of another gruelling Valentine’s Day season.

Check out a few of our favorites and below you’ll find over four hours of cheatin’ songs on our Good Country playlist on Spotify.

“Does My Ring Hurt Your Finger” – Charley Pride

Jerry Crutchfield and Don Robertson mastered the art of the gentle-yet-cutting callout when they wrote this song for Charley Pride back in 1967. Released on Pride’s third album, The Country Way, “Does My Ring Hurt Your Finger” tells the story of a kind and understanding husband whose wife just can’t seem to keep her wedding ring on when she goes out on the town.

Unlike a lot of cheating songs that devolve (understandably) into anger and spite, this one holds a certain gentleness that we can really appreciate. Pride’s voice is booming and rich, but it’s also tender and emotive as he essentially says, “Hey, not to step on any toes here, but would you mind not pretending you’re single every time you go out? Thanks.”

“Whispering Waltz” – Sierra Ferrell

Sierra Ferrell’s “Whispering Waltz” is an earnest and sorrowful song of surrender. Showcasing the clear, subtle qualities of Ferrell’s voice, this short and sweet waltz holds no anger or contempt – just simple sadness and the acceptance of having been betrayed.

While much of Ferrell’s music highlights her skill as a belter and larger-than-life performer, this tune underlines her talent as a songwriter. But the recent four-time GRAMMY winner is no stranger to writing mic-drop-worthy cheating songs. One of her earliest hits, “Rosemary” (which originally garnered attention as a Gems on VHS field recording on YouTube) tells a time-tested and brutal tale of a woman who murders her disloyal partner’s mistress and buries her under a flower bush.

While of course we absolutely do not condone this kind of unhinged behavior, both “Rosemary” and “Whispering Waltz” are some of the best country songs about cheating and betrayal penned and performed in recent decades. And murder ballads, after all, have been a country tradition since time immemorial.

“Your Cheatin’ Heart” – Hank Williams

It may seem like too obvious a choice, but this list just wouldn’t feel complete without a nod to one of Hank Williams’ most famous songs – and one of the most well-known country cheatin’ songs ever recorded.

Written nearly 75 years ago, “Your Cheatin’ Heart” has been resonating with scorned lovers everywhere since its release in 1952. A great example of Williams’ knack for timeless storytelling and a brilliantly simple song structure, this country classic won’t make your heartbreak go away, but it might make it just a little easier to bear (at least for two minutes and 41 seconds).

“Gaslighter” – The Chicks

This fiery 2020 release from country superstars The Chicks is electrifying from its first belted notes to its last. An extremely personal song written by the band’s longtime frontperson, Natalie Maines, “Gaslighter” is direct, confronting, and does not mince words. We won’t name any names, but we wouldn’t have wanted to be in Maines’s ex-husband’s shoes when this banger first dropped.

For anyone out there who’s ever been cheated on, lied to, or misled by a long-term partner, “Gaslighter” offers an empowering boost of righteous redemption and brutal-yet-necessary honesty. In the words of one anonymous commenter on YouTube, “If you can’t afford therapy, listening to this song about 20 times on repeat works.”

“I’m Gonna Sleep with One Eye Open” – Dolly Parton

Written by Lester Flatt and first recorded by Flatt & Scruggs in 1955, “I’m Gonna Sleep With One Eye Open” is an irresistible bluegrass take on the classic cheatin’ song. Dolly Parton’s version, recorded for her 1999 album, The Grass Is Blue, might help cheer you up if you’re feeling down and out this Valentine’s Day. (Because really, who can be in a bad mood while listening to Dolly Parton?)

Of course, Dolly’s better known for a different song about jealousy and the risk of betrayal – her 1973 megahit, “Jolene,” which is quite possibly the most well-loved and well-known country song to ever hit the airwaves. In 2024, Rolling Stone named “Jolene” the greatest country song of all time, calling it “the ultimate country heartbreak song” – and we won’t dare disagree.

“Fist City” – Loretta Lynn

Before Dolly Parton’s “Jolene” there was Loretta Lynn’s “Fist City.” With both dukes up, Lynn wrote this iconic country diss track in 1968, allegedly inspired by her real-life husband’s habit of cavorting with other women. But while the song quickly reached number one on the Billboard Hot Country Singles chart after its release, it was soon banned by most major radio stations for its controversial theme. (That is, Lynn threatening to beat people up for hitting on her husband).

Lynn went on to have upwards of a dozen songs banned from various radio stations throughout her career, because they often addressed feminist themes (though Lynn herself didn’t identify as a feminist). In fact, some radio stations still won’t play Lynn’s song “The Pill,” a single released in 1975 about birth control and sexual freedom. This Valentine’s Day, we’ll be blasting “Fist City” in honor of Lynn, who passed in 2022, and in honor of everyone else who’s ever been wronged by someone who made promises they weren’t prepared to keep.

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Lead Image: Audrey & Hank Williams by Henry Schofield (1951), courtesy of the Country Music Hall of Fame.

Empowered Love Songs: Finding Strength Across Martina McBride’s Discography

Posted on by Justin Hiltner

Consult the comments section of any Martina McBride music video and you will find paragraph-length, highly personal expressions of adversity and triumph. These entries are varied, but often take the form of earnest tributes to lost loved ones, painful confessions of romantic loneliness or haunting stories of abuse and neglect. It’s a testament to the power of McBride’s voice – that inimitable instrument that arguably did more than anyone else’s to popularize the wide, throaty belt style now common among female country singers – that her songs still provoke such intensely emotional reactions.

It also speaks to her choice of material. Many of McBride’s best-loved songs operate on a grand emotional scale, and she has singularly foregrounded issues of domestic violence and child abuse in her work. But even as social issues songs largely define her legacy, she has most often recorded love songs, approaching them with the same shrewdness and self-assurance that colors her most celebrated work.

Take, for example, “Safe in the Arms of Love,” a number four hit from 1995’s Wild Angels. Written by female songwriting trio Mary Ann Kennedy, Pam Rose and Pat Bunch, “Safe in the Arms of Love” was originally released in 1986 by Wild Choir, a short-lived country-rock outfit fronted by Gail Davies. More new wave than country, the Wild Choir version features a prominent bassline, heavy drums and synths, and little of the warmth or joy that McBride’s would bring to the song years later. McBride’s version is twangier and more streamlined, trading the original’s raw energy for country-pop polish and sunny bursts of fiddle and mandolin.

The first line of “Safe in the Arms of Love” is bracing, almost a cliche but not quite: “My heart’s not ready for the rocking chair.” It’s an off-kilter choice of words, immediately followed by a clarification: “I need somebody who really cares.” This first couplet sets the rules for the rest of the song, which moves between metaphor and straight-ahead, conversational lyricism as McBride voices her desire for a stabilizing partnership.

An avowed hater of “wimpy woman” and “doormat” songs, McBride brings a resolve that makes clear she isn’t looking to be rescued. Rather, like the narrator of Lucinda Williams’ “Passionate Kisses” – a number four country hit for Mary Chapin Carpenter in 1992 — she’s simply voicing her desires. (It’s no accident that the song’s chorus begins with the words I want.) McBride’s delivery is confident, never beseeching or desperate. Do we ever doubt she’ll achieve her romantic goals?

The song’s music video takes place in a circus-themed fantasy world inhabited by Cirque du Soleil performers dressed as children’s entertainers. There is, notably, no love interest in sight. In fact, men rarely figure in McBride’s videos, at least not as love objects. The men in her videos tend to appear only in glimpses, as with the abusive husband and father figures in “Independence Day” and “Concrete Angel,” flashes of motion that connote menace. In the videos for her love songs, she is more often than not alone, less a protagonist than a guide figure.

Consider the video for “Wild Angels” – filmed for whatever reason in a black and white, vérité style – which locates Martina on the roof of the Clock Tower Building in downtown Manhattan. The song is ostensibly about a couple whose bond prevails through thick and thin, but the video instead captures a group of citydwellers being visited by a mystical being. Then there’s the video for “My Baby Loves Me,” which features a barefoot Martina twirling in a floral dress as various, smiling couples pose behind an empty picture frame. (John McBride, Martina’s husband and long-time business partner, has a split-second cameo at the end of the video.)

Both “Wild Angels” and “My Baby Loves Me” continue the theme of the empowered love song. The rootsier “Wild Angels” presents a smartly egalitarian vision of love, with McBride expressing disbelief at her good fortune in finding such balance. “Somehow we wake up in each other’s arms,” she shrugs in the second verse before chalking it up to divine intervention in the song’s lofty, joyous chorus. The title track and opening song on McBride’s third album, “Wild Angels” also features the sound of McBride’s then-infant daughter Delaney giggling, a nod to the McBrides’ real-life love story and an indicator of how McBride would continue to foreground motherhood in her work.

Where “Safe in the Arms of Love” finds McBride searching for unconditional love, “My Baby Loves Me” takes the perspective of a woman who already has it. The song offers a typically country approach to beauty: fashion magazines, high heels, fancy clothes… who needs ‘em! It’s less feminist-presenting than, say, Shania Twain’s “Any Man of Mine,” but sets up a similar dynamic: This man is totally enthralled by me. In this country-pop version of the world, women run the show and men are their biggest cheerleaders.

Such was the utopian impulse of ‘90s country, particularly in the latter half of the decade, when a handful of female stars topped the charts nearly as often as their male peers and frequently sold more records. McBride was central to this moment and though she never quite reached the crossover heights of Twain or Faith Hill, she remained a steady presence on country radio even as the format purged female voices in the aughts and the wake of 9/11. She was in fact the only female country artist to notch a solo No. 1 during the entirety of 2002, a feat that wouldn’t be repeated until Gretchen Wilson took “Redneck Woman” to the top of the charts three years later. (This fact has depressing echoes of today’s hyper-masculine radio environment, in which it is nearly impossible for a woman to hit No. 1, even with the help of a male duet partner.)

To her detractors, McBride’s great sin at the turn of the millennium was her shift toward the smooth sounds of Adult Contemporary. She found great success in this format with “This One’s for the Girls” and “In My Daughter’s Eyes,” two hits from 2003’s Martina that reached No. 1 and No. 3, respectively. Critics have accused her of making “music for soccer moms,” an elitist term that equates suburban women with unrefined taste.

It’s true that McBride has at times leaned into inoffensive pop balladry, most successfully on “Valentine,” her hyper-smooth collaboration with pianist Jim Brickman that was her first brush with Adult Contemporary success in 1997. But to dismiss McBride’s music — which, yes, includes her honeyed love songs — as frothily unserious is to do a disservice to one of country’s great risk-takers. “Valentine” may not be hard-shell honky-tonk (for that, see cuts like “Cheap Whiskey” or her 2005 classic-country covers album, Timeless) but its softness isn’t a reason to reject it outright. It’s a symptom of country music’s eternal, exhausting authenticity debate that pop-leaning love songs, often the exact songs that allow women to break through country radio’s gender barrier and find commercial success, continue to be written off as superficial.

To be fair, not all of McBride’s more commercial instincts are brilliantly rendered; “I Love You” still smacks of a “This Kiss” retread, while “There You Are” is bland even as piano ballads go. But for every “I Love You” or “There You Are,” there’s an “I’m Gonna Love You Through It,” a 2011 cut about a breast cancer survivor who finds strength in the selfless love of her husband.

With its sweeping, string-laden sound, “I’m Gonna Love You Through It” risks being the kind of “soccer mom” fodder that McBride and her female peers have long been dinged for. But it’s also lyrically sober and undeniably moving, the kind of serious story song that has all but disappeared from the format. The song gave McBride her last top ten country hit and final GRAMMY nomination to date, for Best Country Solo Performance. (In one of the music industry’s great injustices, McBride has 14 GRAMMY nominations and zero wins.)

“Just take my hand, together we can do it,” McBride sings in the chorus, returning to the egalitarian vision of love that made her ‘90s work so disarming. Here, as in “Wild Angels,” McBride sees love not as a negation of self but rather as a mutual source of empowerment. Is it any wonder that her songs endure?

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Photo Credit: Martina McBride courtesy of Red Light Management.

Ed’s Picks – Country to Love

Posted on by Justin Hiltner

Editor’s Note: Each issue of Good Country, our co-founder Ed Helms will share a handful of good country artists, albums, and songs direct from his own earphones in Ed’s Picks.

Sabrina Carpenter

Stop everything!! Sabrina Carpenter’s deluxe edition of Short n’ Sweet released today, featuring Dolly Parton herself on a new version of “Please Please Please” – and, thank you!

Olivia Ellen Lloyd

An honest, down to earth country singer-songwriter from West Virginia, the self-sufficient Olivia Ellen Lloyd will release her lovely new honky-tonkin’ album, Do It Myself, in March.

Kacey Musgraves

“The Architect” as Best Country Song? Another one the GRAMMYs got right this year. Even if you never stopped listening, it’s the perfect time to return to this Good Country track.

Find more Kacey Musgraves on Good Country here.

TopHouse

Indie folk with string band bones from Montana (via Nashville), we’re excited for TopHouse’s new EP, Practice – and that they’ll play our stage at Bourbon & Beyond later this year.

Cristina Vane

Hundreds of thousands of fans adore the blues, bluegrass, Americana, and country combinations of Cristina Vane and her slide guitar. Her latest, Hear My Call, is out next week.

Sunny War

Our BGS Artist of the Month, Sunny War brings together fingerpicking, blues, punk – and so much more. Her newest, Armageddon in a Summer Dress, is timely, fierce, and excellent.

Dive into our Artist of the Month coverage on BGS.

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Photo Credits: Sabrina Carpenter, Short n’ Sweet; Olivia Ellen Lloyd by Aaron May; Kacey Musgraves by Kelly Christine Sutton; TopHouse courtesy of the artist; Cristina Vane courtesy of the artist; Sunny War by Joshua Black Wilkins.