Country Update

BILLBOARD COUNTRY UPDATE NOVEMBER 7, 2016 | PAGE 2 OF 24
central. The industry’s creative community, which represents a sizeable portion
of the CMA voting musicianship, seemed to be making a statement for music
of greater depth. Eric Church’s layered Mr. Misunderstood claimed album of
the year, “Humble and Kind” worked as both a personal and social statement,
and even Cam’s “Burning House” — a song of the year nominee — challenged
country’s norms, using a 7/8 time signature in sections and dream imagery
to make a somewhat abstract statement.
If the chains have been removed from country, it only puts the format in a
league with many of the other genres vying for consumers’ attention.
“It feels that way across all music,” said “Burning House” co-writer Tyler
Johnson on the red carpet at the BMI Country Awards. “Right now, there’s
not a buzz sound, and the main thing is to just write something that inspires
you, that feels authentic. We still have to make it be country, otherwise you’re
making another genre. But I think in 2017 there’s a lot of flexibility in terms
of what that genre means.”
Not that every country fan is happy about stretching boundaries. Beyoncé’s
appearance with Dixie Chicks was panned by a number of fans who were
offended (among other reasons) that the CMA brought in a non-country act to
expand the audience. But it’s not like it’s a new thing. ’N Sync and Sting are
among the out-of-genre visitors who played the CMA show in the 1990s, and
even in 2015, Stapleton’s collaboration with Justin Timberlake was widely
regarded as the highlight of the night.
But during the 50th, it could be argued that the CMAs tipped a subtle hat
to Americana, the rootsy sister to country that’s a little less polished and a
little more likely, in 2016, to induce a tear. Stapleton and Dwight Yoakam,
who covered Willie Nelson and Ray Charles’ “Seven Spanish Angels” during
the telecast, have been nominated in the Americana Honors & Awards in
recent years. And the spirit of Americana — embracing and revising old-school
sounds — plays at least a minor role in the music of Brothers Osborne, Morris
and Church. Miranda Lambert’s forthcoming The Weight of These Wings
likewise has an Americana thread.
“I think that the most exciting stuff happening right now, what’s happening
in Americana, really bled into country music,” said Church in the CMA press
room. “You can start with Chris Stapleton. Last year, that was the heart of
Americana, and it’s been a big popular winner this past year. I think that it really
comes down to the spirit of making music and creativity, and not being boxed
in because of commercialism or what radio will play. I think that sometimes
you can get boxed in on what you think the rules are. [But] I think that that
spirit of freedom is what makes stuff work and sell.”
With 50 CMA ceremonies in the rear-view mirror, it’s tempting to look ahead
another 50 years, with this latest shift setting a tone. But as country cycles
through its trends faster, it’s tough to know what’s on the horizon.
“I couldn’t possibly know what country music’s doing 50 years from now,”
said Stapleton. “But I’m sure it’ll still be going.”
If the highlights of the music from years 51-100 is as good as the signposts
during the CMA’s first 50, it’ll still be generating tears. And a big “amen.”
Martina McBride was announced during a Nov. 1 showcase as the
headliner for CMT’s Next Women of Country Tour in 2017. From left:
Lauren Alaina, McBride and CMT senior vp music strategy Leslie Fram.
Gretchen Wilson was among the artists who participated in the
Country Music Association radio remotes in advance of the CMA
Awards. From left: Redneck promotion exec Bob Mitchell, Wilson and
KXLY Spokane, Wash., assistant PD/music director Tim Cotter.
Ricky Skaggs was the featured guest when the weekly concert series
Music City Pickers Live debuted Nov. 3 at the Factory in Franklin, Tenn.
From left: co-host Brady Seals, Skaggs and co-host Gordon Kennedy.
ALAINA: RICK DIAMOND/GETTY IMAGES; SKAGGS: MATT HUESMANN PRODUCTIONS