Wrestling with “Sad Girl Indie” and the Limits of Rawness

Photo Credit: Alysse Gafkjen

Earlier this year, in a March listening party following the release of her acclaimed third album Little Oblivions, Julien Baker sat down with NPR columnist and host Jewly Hight and Mackenzie Scott (who performs as Torres). Their conversation revealed an uncomfortable undercurrent of the way today’s booming female indie musicians are framed in popular media: the ever-present discourse of “rawness” and emotion that accompanies critical reception of their work.

“Sure, call it ‘raw’ because it was totally spontaneous,” Torres remarked sarcastically; the term hardly applies to Little Oblivions, Baker’s first release with a full studio band and released after a lengthy reckoning with her creative persona. “It’s just a journal entry. Right.”

Hight describes this “raw” characterization as a misplaced focus on “purging as opposed to craft,” and once identified, it’s easy to see how often that lens is focused on the performers who comprise the loose umbrella of contemporary “sad girl indie.” The term “raw” has not only been used for Phoebe Bridgers’ debut Stranger in the Alps, but also her 2020 release Punisher, which was praised by NME for its sonic experimentation and Stereogum for its “biting, hilarious” lyrics. It’s been bounced around to describe Lucy Dacus’ Home Video, featuring “Thumbs,” a track so layered and personal that Dacus spent years refining and reconsidering it in live show performances that she asked audience members not to record. Last month, she released another version of the song, too, with additional instrumentation.

“Raw” is an odd term for the intimate, candid work of these musicians. It implies a certain undoneness, a lack of artistic focus resulting from ecstatic emotional clarity. It also connotes an ancient, patriarchal idea that art created by women is taken directly from personal experience, rather than the filtration of creative vision and process. Conor Oberst, for instance, a longtime influence and current frequent collaborator of Phoebe Bridgers, has largely escaped seeing his music called “raw” — except when he’s specifically sought it out

“When people hear ‘sad boy music,’ they don’t assume it’s a heartbreak,” Audrey Neri, who releases music as Cherry Flavor, points out in Marissa Matozzo’s zine Sad Girl Indie: The Genre’s Relevance in 2021. In contrast to “rawness,” men like Oberst, Christian Lee Hutson, and King Krule – who create music on the same emo-folk-indie pop spectrum that “sad girl indie” comprises – are seen as philosophical troubadours, engaging with emotion on an abstract level. Héloïse Adelaïde Letissier, who lays claim as Christine and the Queens to unabashed, public female sadness in “People, I’ve Been Sad,” put it this way in a recent conversation with Crack magazine: “even in art, women are refused the apersonal.”

Linked to “raw,” the term “sad girl indie” occupies a complicated gendered space in contemporary pop culture. It’s been cited as a space of solace by New Yorker staff writer Jia Tolentino, and claimed as a moniker of feminist community and genre by fans and certain artists. But it’s also been lambasted by Dacus, who doesn’t even consider most of her songs to be sad — as well as Bridgers and Baker, her fellow members of supergroup boygenius, who joined forces after being relentlessly pigeonholed and compared to each other as members of the “sad girl” set. These recent criticisms have led some to argue for abolishing the categorization altogether.

The question of who gets to be in the “sad girl” club has also been raised. Though sad girl indie has been praised for its queer narratives, transfemme musicians like Ezra Furman and Ethel Cain are rarely included in the conversation, to say nothing of the “girl” moniker’s implicit exclusion of nonbinary musicians. Discussions of Black and Indigenous artists like Arlo Parks, FKA Twigs, Black Belt Eagle Scout, and Indigo de Souza are also rare, though de Souza recently offered a compelling perspective on “sad girl indie” hagiography in the Michigan Daily podcast Arts, Interrupted. As TN2 Magazine points out, the women of color who are included under the “sad girl indie” umbrella (typically Mitski, Jay Som, and Japanese Breakfast) have been tokenized and ascribed troublingly-racialized descriptions like “feral,” in addition to the old standby of “raw.”

Of course, effusive emotion has always been a double-edged sword for women in the public eye, dating back to Victorian diagnoses of hystericalism, or even the dismissal of medieval “madwoman” mystic Margery Kempe for her public, psychosexual devotion. Reclaiming this patriarchal notion and finding strength in intense, uncomfortable vulnerability has been a hallmark not only of contemporary “sad girl”-ism, but also the musical forebears who influenced it. 

Take Joni Mitchell for instance, who Brandi Carlile recalls dismissing for being “too soft” before listening to Blue at the behest of her wife, which forced her to “reconsider what ‘tough’ is.” Proto-“sad girls” like Mitchell, Joan Armatrading, and those that followed in the ‘90s feminist punk and singer-songwriter scenes used the aesthetics of emotion to construct artistic spaces in a world that refused to listen to them, giving voice to complex narratives ranging from unwanted pregnancy to systemic poverty, environmental anxiety, and queer desire. This is echoed in today’s “sad girls,” whose music reckons explicitly with abuse, addiction, and mental health concerns.

The potential strength of sad girl indie, however, is diluted by the critical presumption that its artists’ songs are “raw,” unprocessed “journal entries,” rather than artistic acts of ownership and cultivation. It’s also vastly diminished by the exclusion of trans and BIPOC artists, for whom the reclamation of the complicated, ruminative emotions so key to the subgenre’s success is even more urgent. 

There may be hope for “sad girl indie,” if it can escape the “raw” paradigm and be considered expansively as a springboard for artistic community. At the very least, moving on from “sad girl indie” may offer a chance for something new to rise from its ashes: an evolved understanding of the queer and feminist undercurrents of today’s musical landscape, one that appreciates the complexity and artistry of its performers outright.

RSVP HERE: Nihiloceros Livestreams via Radio Free Brooklyn + MORE

Photo Credit: Carlo Minchillo

Mike Borchardt, frontman of Brooklyn DIY punk outfit Nihiloceros, is a stellar show-goer. He is always stage-side, taking photos and promoting every show happening that week on his band’s social media accounts. From the looks of Instagram, he has taken the transition from IRL gigs to virtual shows in stride, continuing to post live stream schedules and Insta-live screen shots.

Mike started what has become Brooklyn’s most supportive band in his hometown of Chicago. They were originally called Samantha, but changed their name to the much more Google-able Nihiloceros. The trash pop trio’s rhythm section is filled out by Alex Hoffman on bass and vocals, and German Sent on drums. They released a self-titled EP in 2017, and are putting the finishing touches on their follow-up EP in a socially distant manner. You can catch Mike of Nihiloceros doing a solo set this Tuesday,  June 2nd on Radio Free Brooklyn’s Instagram at 8pm. We chatted with Mike about commuting during lock down, creative livestreaming, and being quarantined with band mates.

AF: Has Nihiloceros been able to get together or collaborate remotely during lockdown?

MB:Luckily Alex lives right downstairs so he and I have been able to work on music a bit. We’ve built a little recording booth in the basement for a few finishing touches on the new Nihiloceros record. I’m still taking the subway into Manhattan every day for work, and Alex’s wife is pregnant, so we’ve been trying to socially distance the “upstairs people” from the “downstairs people” as much as possible. I’m definitely the black sheep pariah of Nihiloceros Castle.

German has been quarantined with his family in New Jersey. I haven’t seen him since our last show the first week of March, but we’ve been talking through musical concepts we are excited to start exploring. German drove back into Brooklyn a couple times to go play drums in isolation at our rehearsal space. Alex and German are both in the middle of home construction projects, so they’ve also been swapping notes on demolition and rehab. German and I have been workshopping prototypes for new merch, including Nihiloceros soap and Nihiloceros Chia Pets.

AF: What are some of the things you’ve done to support bands and venues in lieu of not being able to go to shows?

MB: It’s been really important to us to stay involved with the scene as we all navigate this crisis together. I’ve written a handful of songs for some quarantine compilations (Dim Things, Shred City, NYC Musicians for NYC) all to raise money for Artist Relief Tree, Food Bank for NYC, etc. We’ve done a series of video sessions and livestreams for a lot of the venues like Our Wicked Lady and The Footlight to help them pay their staff and hopefully keep their doors open on the other side of this. Everyone should check out the work NIVA [National Independent Venue Association] is doing through #SaveOurStages to drum up congressional support and secure funding on a national scale for all these stages that make up our DIY tour circuits.

Alex and I are both lucky to still be working, so we’ve been buying merch and music from bands as much as possible. And also obviously we’ve been catching and sharing as many artists’ livestreams as possible. From a photography standpoint, those screenshots on the phone aren’t as fun, but they’re much easier to edit.

AF: Do you have any creative tips on screen shooting live streams? What’s your approach to live streaming like?

MB: I think we are all still trying to figure that out. I remember the first week of the lockdown, we played a couple shows on the Left Bank Magazine Virtual Music Fest, and we all spent a lot of time looking to see if we had hit the right button, if we were live, if people were watching, and asking viewers if everything sounded okay. In the weeks and months since, I think we started to figure things out. I believe Ilithios was the first I saw who just shut up and put on a great show. Since then, I’ve tried to make our livestreams be more like a real performance and less like my dad trying to use the internet.

We also always try and partner a livestream with an organization or label/blog/venue (BandsDoBK, Ms. Understood Records, Songwriters Salon, etc.) as a vehicle to raise money or awareness for something we care about. Gillian Visco (Shadow Monster) and I came up with a super fun weekly music hangout stream idea called #TagnSplit that’s been touring around the community for a few weeks now. We got some stuff we are working on with Bloodless Management, Street Wannabes, as well as some live podcasts in Staten Island and Philadelphia and St.Louis. And this Tuesday night 6/2, Nihiloceros is going live on Radio Free Brooklyn to play some songs and talk about ways we can all help out.

AF: You’re an essential worker and still commute to your job everyday. How has navigating the city been during this time and has the experience changed your perspective of New York City?

MB: Taking the subway into the city everyday amidst the pandemic has definitely been an experience I won’t soon forget. It’s been a constantly evolving situation that I’ve witnessed ranging from terrifying to extremely heartwarming. On one side there’s the Mad Max post-apocalyptic Manhattan streets and the homeless camp territory wars on the subways. But at the same time I see a heightened sense of care and humanity as we reach out and help one another, and as we take responsibility to safely share our limited social spaces. The other day, a stranger pulled over and got out of her car to give me her canvas bag and helped me gather my groceries that had fallen, broken eggs all over the sidewalk, and humus that rolled into the street. This pandemic has had a real polarizing effect, but it has reaffirmed my perspective of NYC and everything that defines it. Everything great and everything awful about this city will still be here after this crisis is over. And that’s kind of comforting to me. Though hopefully we carry forward a little more of the good than we do the awful.

AF: What do you think life in NYC as a musician will be like post-lockdown?

MB: I think humans have a short memory and an amazing ability to adapt and pivot. That can be both a good and bad thing. We are extremely resilient, but we often don’t learn from missteps and end up repeating the same mistakes. I think our communities will make some adjustments as we ease back into our new normal. I don’t know exactly what that’s going to look like. It might be a little while before moshing, crowd-surfing, and hugs make a huge comeback. People are itching to get back out into our creative outlets and social circles, but we are also justifiably apprehensive. It will just take time.

I hope we learn to appreciate what matters a little more, both in and out of music. Maybe we won’t feel the need to scramble all over each other all the time. Maybe we can slow down and enjoy the process a little more. This has been a unique opportunity to reset who we are as artists and who we are as people. It’s an opportunity to rebuild the community the way we want it built. I really hope we continue to build each other up and come to appreciate the journey rather than the destination.

AF: Is Nihiloceros planning to release any new music in 2020?

MB: That’s the million dollar question right now, and I really don’t know the answer. Our new record was almost finished before the pandemic hit. Alex and I had been in the studio writing and recording and it with Chris Gilroy, who drummed with us on the record before German joined the band. We are super proud of it, and were already extremely eager to release it. But as a band that defines themselves so heavily on their live show, it just doesn’t feel right to put it out there without the ability to play and tour on it properly. We’ve had to push both our Summer and Fall 2020 tour plans, so we may hold off on releasing it until we have a better idea of what the future of live music looks like.

I’ve been losing a lot of sleep over this the past few months. We still have to get Stephanie Gunther (Desert Sharks) and Gillian Visco (Shadow Monster) into the studio to do some vocals on a couple songs once it’s safe. Maybe we’ll release a song later this year, and release two records in 2021 since we’ve already started writing new songs.

RSVP HERE for Mike of Nihiloceros livestream on Radio Free Brooklyn’s Instagram 8pm Tuesday 6/2.

More great livestreams this week…

5/29 Ana Becker (of Catty, Fruit&Flowers, Habibi) and Vanessa Silberman via The Foolight Instagram. 8pm est, RSVP HERE

5/29 Dropkick Murphys and Bruce Springsteen via Fenway Park Facebook. 6pm est, RSVP HERE

5/30 Johanna Warren and SAD13 via Baby.TV. 7pm est, $5-50, RSVP HERE

5/30 Psychic Twin (dance party) via Instagram. 1am est, RSVP HERE

5/31 Courtney Marie Andrews via Pickathon Presents YouTube. 4pm est, RSVP HERE

6/1 Brandi Carlile performing By The Way, I Forgive You via Veeps. 9pm est, RSVP HERE

6/1 Elvis Costello, Anne Hathaway and more via YouTube (Public Theatre Benefit). 7:15pm est, RSVP HERE

6/1 Waxahatchee via Noonchorus. 9pm est, RSVP HERE

6/4 Whitney via Noonchorus. 8pm est, $15, RSVP HERE

Brandi Carlile Brings Nashville to New York in “Road to the Garden” Mini-Doc

Bradi Carlile plays Madison Square Garden

Brandi Carlile crossed a music threshold when she made her headlining debut at Madison Square Garden in 2019, the folk music visionary watching a seemingly out-of-reach dream come to life before her eyes.

The legendary venue chronicled Carlile’s journey to the stage with a two-part, four-minute series titled “Road to the Garden” that offers viewers a glimpse inside Carlile’s perspective as she prepares for the once-in-a-lifetime experience.

https://youtu.be/XItfsK4xo3Y

Ever the eloquent speaker, Carlile is introspective as she describes what this coveted opportunity means to her. “I am a visualizer and I’ve visualized some really big things in my life. But this might’ve actually been outside of my imagination,” she explains in a voice over that opens the mini-doc, capturing the final moments before she walks on stage. MSG completes the holy trinity of New York venues that artists dream of performing in, including Radio City Music Hall and Beacon Theatre. Carlile remarks that taking the stage at the pair of other iconic institutions felt like climbing to the top of the career ladder. But the only way she could see headlining the Garden was in an “abstract sense.”

“I just wanted us to be on a really monumental stage some day. But this feels really profound to me,” the Grammy Award winner reflects as her longtime collaborators Phil and Tim Hanseroth (known as “the twins”), sit nearby on the bus, making their way to the Garden. Shots of Carlile and the twins walking on a custom red carpet that boasts her logo, leading them into the venue are among the memorable moments featured, along with a photo of the marquee advertising the show, which Phil refers to as a “We Are the Champions” type moment.

https://youtu.be/aqEl4uHOSus

Part two of the video series shares footage from rehearsal, Carlile playing to an empty arena that will later be filled with thousands of fans, the singer laser-focused on giving them a high caliber show. She delivered on that promise and was clearly in her element on the massive stage as she proclaims to the capacity crowd “I am home,” a declaration that’s met with boisterous cheers of approval. Viewers listen in as she belts such signature songs as “The Joke,” her powerful voice soaring into the rafters. “There is not a nerdy little outcast with a guitar in the world that doesn’t dream of what I’m seeing right now,” she professes as the camera scans the packed house of roaring patrons, delighting in the set that included guest appearances by Mavis Staples and Carlile’s supergroup, The Highwomen.

While fans get to witness an awe-inspiring moment in Carlile’s life, they also watch her convey the humble mentality that got her there. “I would say love is my driving force. Love and forgiveness, radical positivity,” she manifests. “I hope that people leave here a little more willing to express themselves freely and believe that a stage like Madison Square Garden is not unattainable for any of us – because it wasn’t for me.”

Country Artists Use Music as Healing During the COVID-19 Pandemic

Nashville is known for being a giving community, a gift that’s often expressed through music. As the world grapples with the jarring reality of COVID-19, many artists continue to share music as a source of healing, including many of Nashville’s finest. Whether releasing original songs or delivering powerful covers that provide light during these dark times, here are some standout musical tributes from the country music community.

Ashley McBryde stuns with “Amazing Grace” at the Ryman Auditorium

The Ryman Auditorium has been a sacred place since its inception in 1892, but Ashley McBryde brought an especially harrowing energy to the venue with her performance of “Amazing Grace” in honor of those we’ve lost due to COVID-19. McBryde’s voice on its own is incredible, but pairing it with the spirit of the Ryman takes it to a whole other level. McBryde was so overcome with emotion that it took seven times to get the performance right – and that emotion pours through on screen. As she stands on the stage solo in the hallowed venue, her voice fills the room in a way that’s bound to bring a tear to one’s eye.

“Some things just can’t be healed. Some losses can’t be reconciled and some wounds will never heal. Sometimes we don’t get closure the way we want to. All we can do is honor our predecessors and hope that we touch the hem of heaven sometime in our lives. I wouldn’t normally sing this song but we all may need this right now and there isn’t a better place to sing it at than the Ryman,” she writes about the experience. “The mother church pulls things like that out of you and will tell you what to sing and when to sing it…even if you can’t.”

Brandi Carlile covers John Prine’s “Hello in There”

The music world lost a true pioneer when John Prine passed away due to complications from COVID-19 on April 7. Many artists paid tribute to the iconic folksmith in the wake of his passing, but Carlile’s cover of “Hello in There” on The Late Show With Stephen Colbert demonstrates a sense of empathy the world needs right now. Creating a simple stage on the staircase next to a fireplace, Carlile’s performance is touching, connecting Prine’s lyrics, penned in 1971, to modern day. Her voice soars over his poetic words that prompt us to truly see one another, especially in times of loneliness. But her introduction to the song is just as urgent, encouraging viewers to respect older generations and the impact they have on our lives. “This song refers to the people that we’re all staying home to protect and it reminds us that older people aren’t expendable, that they made us who we are and they’ve given us every single thing that we have,” she prefaced, offering a grounding perspective alongside the beautiful tribute.

Thomas Rhett is a “Light”

Thomas Rhett brings heartfelt meaning into his new song, “Be a Light.” Rhett originally wrote the song in 2019 as a response to the divisiveness he was witnessing in the world, but decided to release it now as a sign of encouragement during these trying times. Combining the soothing nature of a lullaby with the power of compassion, Rhett called on his friends and fellow superstars Reba McEntire, Keith Urban, Hillary Scott of Lady Antebellum and Chris Tomlin to help deliver the timely message. With such lyrics as “In a time full of war be peace/In a place that needs change make a difference/In a time full of noise just listen/In a world full of hate be a light,” he presents us with sobering advice that’s important to keep at heart even after the pandemic passes.

“We are in the middle of a world-wide pandemic affecting every single human on earth, all while our town of Nashville is still healing from devastating tornadoes that destroyed so much of our city less than one month ago. But, among the wreckage, I see us come together in ways I never dreamed possible,” Rhett expressed about the uplifting track upon its release. “I hope this song serves as a reminder that we are all in this together.”

He also dedicated “Be a Light” to a new program called Gratitunes that sees artists and fans donating songs to a playlist streamed to the medical professionals at Vanderbilt University Medical Center as they work tirelessly to save lives.

Keith Urban’s live streams

Keith Urban is one of the many artists who has hosted virtual concerts during this era of social distancing, but it’s the heart of his shows that make them stand out. Urban has delivered two sets performing many of his biggest hits, and one of the best aspects about them is his wife Nicole Kidman. Between serving as his guitar tech and sole audience member who dances around the room thoroughly enjoying life, there’s a sense of joy that shines through with Kidman’s presence. Additionally, Urban always makes a point to recognize healthcare workers in his broadcasts. “All of you first responders out there, all of the families of all of you and your friends that are supporting you through this time, we are right here with you, and we thank you from the bottom of our hearts,” he vows. “Our whole family thanks you for everything that you are sacrificing and doing right now.”

Brad Paisley keeps the laughter flowing on Instagram

Since the quarantine began, Brad Paisley’s Instagram has become a holy ground of humorous musings. Between recording virtual duets with Carrie Underwood, Tim McGraw and Darius Rucker and posting cover videos, scrolling through Paisley’s Instagram is likely to put a smile on your face during these somber days. Paisley has also contributed to the Gratitunes program with an acoustic version of his hit “Southern Comfort Zone” that he used to thank all of the healthcare workers on the front lines during the pandemic. But perhaps his most noteworthy effort is that he and wife Kimberly Williams-Paisley have set up a special grocery delivery service for the elderly and those in need through their nonprofit, The Store – one of the many ways the Nashville community continues to give back.

Country music will also be represented in the upcoming global virtual event, “One World: Together at Home” in support of healthcare workers around the world. Urban, Kacey Musgraves, Maren Morris and Lady Antebellum will perform during the online broadcast that benefits the World Health Organization’s COVID-19 Solidarity Response Fund. It will air on major TV networks and stream online on April 18.

Brandi Carlile Builds on Lasting Legacy With Headlining Ryman Run

Photo by Chris Wood

Brandi Carlile’s multi-night headlining debut at the Ryman Auditorium on Tuesday (Jan. 14) was as much a display of empathy and forgiveness as it was about Carlile’s storied catalog.

The beloved star set this tone by opening with a song that turns sadness into forgiveness with “Every Time I Hear That Song” off her 2019 Grammy nominated album By the Way, I Forgive You, setting the pace for the self-proclaimed “six life-changing, dream realizing nights,” in regard to her half dozen sold-out shows at the Mother Church of Country Music. Carlile shared that she listened to the Grand Ole Opry with her parents growing up on the opposite end of the country in Seattle, citing the famed radio show as “the place of my dreams” that embodied the “selfless traditional art of entertainment,” a quality that Carlile carries into her own work.

These reverent comments lead into her breakthrough hit that solidified her as an icon in the making, “the song that got me here,” she noted (using the phrase that’s often advised to those performing on the Opry) with the harrowing “The Story.” Yet one could hear a pin drop when Carlile and longtime band members and songwriting collaborators Phil and Tim Hanseroth shared the magic of the three-part harmonies they felt 20 years ago on the a capella “The Eye,” soon followed by the poetry that is “The Mother.”

Throughout the night that included a 90-minute set and nearly half an hour encore, Carlile’s devoted fans filled the Ryman to capacity with their faithful support, whether it be in the form of enduring applause or multiple standing ovations that lasted long after she sang the final note. Perhaps one of the reasons why Carlile is able to capture audiences in such a pure, honest way is that she’s willing to offer a glance into her soul, something she did with aplomb throughout her Ryman set, particularly as she spoke about the concept of forgiveness. “I write about it so I know how to do it,” she analyzed, describing forgiveness as “radical,” “filthy” and “dirty.” She shared that through raising daughters Evangeline and Elijah, she’s learned how to see others from a more empathetic view, which inspired a performance of “Sugartooth” about a person living with a drug addiction. This notion of acceptance translated to the audience as Carlile observed, “it’s nice seeing the rainbow flag at the Ryman” as she introduced the Highwomen’s gay country anthem she “loves to sing live,” “If Ever She Ever Leaves Me.” In the midst of these potent messages was a mesmerizing cover of Joni Mitchell’s “A Case of You” that flexed the impeccable range and mellifluous tone Carlile’s long been revered for.

After inviting surprise guest Tanya Tucker to roaring applause for a performance of Tucker’s Grammy nominated song co-written by the pair, “Bring My Flowers Now,” the superstar ended the set with the song whose message she admits she needs to hear as much as she sings it. With a voice that was straight power, like an electric shot coursing through one’s veins, Carlile brought the monumental show to a stunning close through “The Joke.” But she didn’t leave the stage long, soon returning for a multi-song encore that began with a passionate dedication to one of her musical heroes, Kim Richey, before bringing the acclaimed singer-songwriter on stage to perform a peaceful and pristine rendition of Richey’s “A Place Called Home.”

But Carlile truly left the audience with their souls stirring as she officially ended the night on piano with the haunting “Party of One,” the piercing words made even more powerful with her gripping voice and the emotion behind it. With her incomparable voice and beautiful tapestry of words that pour from her soul, Carlile proved with the dreamlike show that she’s a gift that keeps on giving.

Tanya Tucker’s Revival on Full Display at Sold-Out Ryman Show

Photo by Derrek Kupish / dkupish productions

“Nobody logical in life ever gave me a shot. They were always a little left of center.”

This wasn’t just a proclamation made by Tanya Tucker during her headlining show at the Ryman Auditorium on Sunday (Jan. 12), but a defining factor of who she is as an artist. The 61-year-old country legend achieved one of her prodigious dreams when she headlined a sold-out show at the historic Nashville venue, serving as the kick off for the 2020 CMT Next Women of Country Tour that she’ll helm through June.

Days before the show, Tucker reflected on how her father brought her to the Grand Ole Opry, whose original home was at the Ryman, from their native Willcox, Arizona when she was 9 years old. Tucker made history in 1972 at just thirteen years of age, when she became the youngest artist to have a major country with “Delta Dawn” reaching the top ten. Tucker would later become one of the few female acts included in the outlaw country movement led by the likes of Johnny Cash, Willie Nelson and Merle Haggard in the 1970s, and judging by the crowd’s reaction, she’s just as beloved now as she was nearly five decades ago.

Tanya Tucker performs with Billy Ray Cyrus during her headlining show at the Ryman Auditorium in Nashville. Photo by Derrek Kupish / dkupish productions

She received multiple standing ovations throughout the opening trio of beloved favorites “Blood Red and Goin’ Down,” “Jamestown Ferry” and “What’s Your Mama’s Name Child.” “You remember!” she observed after a performance of “Lizzie And The Rainman” that inspired the crowd to sing along, a notion that continued as she powered through her storied catalog of hits, several of which she racked up before she was eligible to vote.

With a voice of endurance and consistency, Tucker’s spirit is perhaps more youthful than ever, with her wispy blonde hair dipped in hot pink tips, doing her best Elvis impression by swiveling her hips throughout multiple numbers in the set. The night was also jam-packed with surprise guest stars who were sprinkled in like precious gems, allowing Tucker to not only perform alongside her friends and fans, but soak in their affinity for her, as she did when Jamey Johnson came out and nailed “Don’t Believe My Heart Can Stand Another You,” vowing that he knew every one of Tucker’s songs.

“Strong Enough to Bend” got a particularly warm reception, as did “Love Me Like You Used To,” with the presence of Margo Price adding a nice touch. Billy Joe Shaver, Lee Ann Womack and actor Dennis Quaid – who unbeknownst to most is also a songwriter – were all pleasant surprises, but perhaps the most rewarding appearance was Billy Ray Cyrus. The two dueted on his famous “Achy Breaky Heart” before Tucker requested they sing his massive hit with Lil Nas X, “Old Town Road.” And try as she might, the trailblazing star didn’t exactly know all the words, but was clearly in the spirit of the song as she danced her way across the stage and struck as many poses as possible. The performance wasn’t merely a reunion among two friends, but a symbol of how courage, artistic vision and aligning with the right visionaries can revitalize one’s career in a meaningful way.

Tanya Tucker and friends perform during her headlining show at the Ryman Auditorium in Nashville. Photo by Derrek Kupish / dkupish productions

For Tucker, those visionaries are Brandi Carlile and Shooter Jennings, who co-produced her new album, While I’m Livin,’  her first in 17 years. Tucker treated the audience to several numbers from the album, including the spirited “The Wheels of Laredo,” “Hard Luck” and “High Ridin’ Horses.” Tucker remarked how Jennings called her one day to remind her that she once told him she’d do anything for him – he decided to play that card early by encouraging her to make an album, knowing her talent needed to be re-showcased to the world. “The biggest song you’ll have is the one you’ll write yourself,” she added, recalling a sage piece of advice she received years prior that served as an introduction to “Bring My Flowers Now,” the somber, reflective ballad she co-wrote that’s since scored her three nominations at the 2020 Grammy Awards. The moment proved to be one of the best of the night, with Tucker perched on a stool with just a piano, her husky voice and the song’s potent lyrics about cherishing other’s appreciation and love while you’re still able to do so.

The evening came to a fulfilling close with the edgy “Texas (When I Die),” a duet with Quaid on his original number “On My Way to Heaven” and an all-star sing-along to the hit that started it all for Tucker, “Delta Dawn,” bringing the audience to its feet. “I think they’ve figured out, I’m not going anywhere,” Tucker remarked about her friends, a statement that not only applies to her revitalized career, but the loyal fans who continue to support her in days past and present.

AF 2019 IN REVIEW: A Year in Country Music

With the end of the year comes a time of reflection. Looking back on this year in country music, the firestorm of conversation about the lack of women on country radio spilled into 2019, while new artists like Lil Nas X and Blanco Brown broke down barriers, and names including Billy Ray Cyrus and Tanya Tucker saw a resurgence in their careers.

Renaissance Moment

 In 2019, country fans saw two legends experience an unexpected, but celebrated resurgence in Billy Ray Cyrus and Tanya Tucker.

Though known as ’90s country star with the breakthrough hit “Achy Breaky Heart” and as the father of Miley Cyrus, his name is now synonymous with the global hit that is “Old Town Road.” While the Nine Inch Nails-sampling Lil Nas X penned rap gained traction as a viral favorite on Tik Tok, it was a remix version featuring Billy Ray Cyrus that came to define the newish genre of “country rap.” Kicked off the Billboard Hot Country Songs chart based on the claim that it “does not embrace enough elements of today’s country music to chart in its current version,” “Old Town Road” quickly grew into a smash hit that broke the record as the longest running No. 1 Billboard Hot 100 – and Cyrus was a significant part of this. Though the song was already a jam in its original state, the unlikely pairing of the millennial rapper and baby boomer country star made for an important moment in pop culture. The song feels complete with both on the track, and Cyrus’ affinity for the song and ability to see how it connects to the history of country music is part of what gave him a second life in the genre.

Billy Ray Cyrus and Lil Nas X. Photo by Derrek Kupish/ dkupish productions

Tucker enjoyed her own renaissance moment in 2019; the 61-year-old icon, who had her first hit single at age 13 with “Delta Dawn,” released her first album in 10 years, While I’m Livin,’ produced by Brandi Carlile and Shooter Jennings. Partnering with a new generation of talent gave Tucker an edge and refreshed identity while still delivering a strong body of work, and earned her four 2020 Grammy nominations. It was gratifying to see two iconic stars rise like phoenixes for a new phase in their lives.

Diversity

 It’s disappointing to think that even in 2019, you can count the number of mainstream African American country artists on one hand. Over the past few years, we’ve seen acts like Kane Brown become rising superstars, while Jimmie Allen reached No. 1 with his debut single “Best Shot” last year. But with Lil Nas X breaking down the walls for artists creating country trap, it feels like the beginning of a tidal wave of diverse artists who we’ll see breaking through in the next few years.

Yola is one of the many artists blazing this path. The elegant British country singer had a banner year with her debut record Walk Through Fire. Her spell-binding voice and awe-inspiring songwriting solidified her as a major breakthrough act this year, so much so that Kacey Musgraves invited her to be one of the opening acts at her first arena headlining show in Nashville and Elton John declared himself a fan after hearing her cover of “Goodbye Yellow Brick Road.” She’ll embark on her own headlining Walk Through Fire Tour in 2020.

Blanco Brown also took country by storm with his original “Cotton Eyed Joe” style dance song, “The Git Up,” which was the longest running No. 1 on the Billboard Hot Country Songs chart and spent 13 weeks as the top selling country single in the U.S. Meanwhile, former X Factor contestant Willie Jones spent the year building momentum with songs that range from the sweet (“Down For It”) to playfully observing the influx of bachelorette parties in downtown Nashville with “Bachelorettes on Broadway,” while up-and-coming singer-songwriter Tiera was named to CMT’s Next Women of Country class of 2020.

Jimmie Allen also joined forces with dynamic duo Louis York for a poetic number titled “Teach Me a Song” on the twosome’s American Griots album, and when they all performed on the Grand Ole Opry, it marked the first time three African American artists have appeared on the Opry stage at one time. With Louis York set to make their own Opry debut in February, it feels like we’re at the start of a revolution of multi-racial artists finally becoming a mainstay in a genre that has been sorely lacking in diversity.

Women in country

 The conversation surrounding the lack of women on country radio was a dominant theme in 2018, with the likes of Carrie Underwood, Kacey Musgraves, Maren Morris, Miranda Lambert and countless others speaking out. At 2018’s end, there were no women in the top 20 on the Billboard Country Airplay chart for the first time in the chart’s near 30-year history, and they didn’t fare too much better in 2019, as there are no solo female artists on the year-end list of Billboard Country Airplay songs. With the conversation being so loud, it instilled a false sense of hope that radio would take action and begin to move toward more balanced playlist.

But where radio faltered, women united in the form of all-female tours in 2019. Underwood set this precedent by inviting duo Maddie & Tae and trio Runaway June as her opening acts on the Cry Pretty 360 Tour, proving that a troupe of half a dozen women can sell out arenas across the country. Lambert followed suit, as her Roadside Bars & Pink Guitars Tour featured a massive all-female bill with openers including Maren Morris and CMA New Artist of the Year Ashley McBryde, along with newcomers like Tenille Townes, Kassi Ashton and many more.

https://youtu.be/zPacGAykVQg

Morris also set a standard by joining forces with Carlile, Amanda Shires and Natalie Hemby to form The Highwomen, whose debut album serves as one of the year’s best (and their surprise performance with Dolly Parton at 2019 Newport Folk Festival is arguably one of the highlights of the year in music). Morris continued with her support for women by bringing a mix of five female friends and rising artists in country on her aptly titled Girl: The World Tour named after her CMA Album of the Year. Even legends like Trisha Yearwood stepped up, taking an all-female bill out on the road with her for the Every Girl on Tour.

In addition, several new female artists not only made an impact on fans and the industry alike, but brought a distinct element with them: empathy. It’s the foundation of Townes’ “Somebody’s Daughter,” a compelling narrative inspired by a woman she saw on the side of the road who was homeless that should have been a No. 1 hit, but just barely made the top 30 on the country charts. Meanwhile, Ingrid Andress broke hearts in the best way with her powerful debut single “More Hearts Than Mine” that made her the only female artist to have a debut single reach the top 20 in 2019.

Though the fact that Carrie Underwood lost Entertainer of the Year to seven-time winner Garth Brooks during a year where she put on an impeccable production that led to growth as an artist while supporting deserving young women felt like another major blow to the cause, it was inspiring to see so many women uniting in the face of adversity – there is something truly special about seeing a group of gifted women lifting one another up in a bold way.

But in order to see real change, there needs to be integration, and there seems to be signs of that going into the new year. Dan + Shay, the country duo behind the wildly successful, Grammy winning crossover hit “Tequila,” recently announced that Andress will be joining them as an opening act on their 2020 Arena Tour. Jordan Davis, who has two country hits to his name, is bringing a pair of compelling singer-songwriters, Ashton and Hailey Whitters, as his openers on the 2020 Trouble Town Tour. I hope this is a trend that turns into a movement in 2020.

CMT Next Women of Country Proves There’s a Sisterhood in Nashville

Each year in Nashville, the women of country music gather to celebrate one another and provide an important platform for the new artists working to break ground in the genre through CMT Next Women of Country.

Founded by CMT Senior Vice President of Music Strategy & Talent Leslie Fram in 2013, CMT Next Women of Country shines a spotlight on nearly a dozen promising new female acts in Nashville, providing them with tools and resources to be successful in a male-dominated industry, with past inductees including Kacey Musgraves, Maren Morris and Kelsea Ballerini. During the 2019 CMT Next Women of Country event co-hosted by Fram and Martina McBride at the Country Music Hall of Fame in Nashville, the 2020 CMT Next Women of Country class was unveiled, comprised of Gabby Barrett, Caylee Hammack, Hailey Whitters, Madison Kozak, Walker County, Avenue Beat, Abbey Cone, Kylie Morgan, Sykamore, Tiera and Renee Blair.

A consistent theme carried throughout the annual event is empowerment, whether the artists are championing one another or singing introspective and thought-provoking songs they’ve penned. The 2019 event reflected the variety of the music these women are creating through an acoustic songwriters round that invites each of the new inductees to perform an original song. Caylee Hammack delivered a stirring performance of “Small Town Hypocrite,” a song inspired by the ex-boyfriend she gave up a scholarship for who ended up cheating on her, while Hailey Whitters also proved to be a compelling songwriter with her depiction of a fictional character named Janice, an 80-year-old woman who offers sage life advice like “stay off the pills, but get on the pill if you ain’t ready to start a family,” the line calling to mind Loretta Lynn’s 1975 feminist anthem, “The Pill.” Madison Kozak, the first artist signed to Nashville’s new all-female label Songs & Daughters led by groundbreaking songwriter Nicolle Galyon (Camilla Cabello’s “Consquences,” Dan + Shay’s “Tequila”), held every heart in the room like it was made of glass with “Household,” touching on the universal feeling of wanting to leave home, but longing for that very place when you’re finally gone.

Photo by Rick Diamond/Getty Images for CMT)

The talent displayed in the room reflected country radio’s glaring lack of inclusion for such artists. In December of 2018, it was reported that for the first time in the 28 years since the Billboard Country Airplay chart launched, there were no women in the Top 20. However, up-and-coming artists are slowly fighting their way out of these alarming statistics, as Hammack’s debut single “Family Tree” has cracked the Top 40 on the country charts, Ingrid Andress is in the Top 20 with “More Hearts Than Mine” and Runaway June became the first all-female trio since the Dixie Chicks to have a Top 5 hit with “Buy My Own Drinks.”

But the conversation surrounding the lack of women on country radio still lingers, with Mickey Guyton remarking on “the elephant in the room” the moment she took the stage to open the show. “There is without question an injustice happening to women in country music. There are a lot of great songs that are not getting a shot,” Guyton professed before performing her new song “Sister” with her country music “sisters” Tenille Townes, Clare Dunn, Rachel Wammack and Leah Turner. “But one thing is for certain: it is going to take us women to lift each other up out of these trenches.”

A burgeoning superstar who has gone above and beyond to support her female contemporaries is Brandi Carlile, who was honored with the Next Women of Country Impact Award. Carlile, who scooped up three Grammy Awards in 2019 for her acclaimed album By the Way, I Forgive You, has made it an integral part of her mission to elevate the women around her, curating the all-female stage at the 2019 Newport Folk Festival that featured her supergroup The Highwomen and a surprise performance by Dolly Parton, in addition to creating the women-centric festival Girls Just Wanna Weekend. She’s also pivoting her support for women into a behind-the-scenes role, serving as co-producer of Tanya Tucker’s new album While I’m Livin’ with Shooter Jennings.

Photo by Rick Diamond/Getty Images for CMT)

Rather than point a finger at country radio, Carlile encouraged radio employees in attendance to be intentional about the songs they’re sharing through the format while expressing the reverence she has for the genre that raised her. “If country music is the story of rural America, then what is the story that we’re telling to our young girls?” she questioned. “What we’re hoping, and what we’re inviting country radio to do is to catch up with the way that we all understand. I would urge anybody that’s involved in country radio…ask yourself the question every morning before you go to work ‘what do I want my job to say to my daughter today?’ Because she’s an American girl, she’s in love with a boy, she needs wide open spaces, she’s a wild one,” she continued, referencing iconic songs by Trisha Yearwood, the Dixie Chicks and Faith Hill. “She’s more than a pair of blue jeans in a cab of a truck.”

Additionally, a handful of behind-the-scenes movers and shakers were present at the ceremony, including Cindy Mabe, president of Universal Music Group Nashville, who made it a point to continue to call for change in the industry regarding support for women. “We can all keep moving through and thinking that things have changed at the rate that they need to change, and they haven’t,” she stated. “This is about how we give a voice and a perspective to half the world.”

She encouraged emerging artists to explore other methods of promoting their music outside of radio, pointing to artists like Musgraves, who received little attention from radio for her Grammy winning Album of the Year Golden Hour, instead reaching listeners through other formats like social media. “Women are bringing more adventurous, interesting, state of the art, cutting edge music and it doesn’t go and fit in a box. We will spend the next years figuring out how we get it exposed, one foot in front of the other,  because great music should always rise and it’s not about fitting into a box,” she said, actively taking Carlile’s words to heart. “I have to get out of bed every day and make a movement towards making women’s voices matter again.”

The program continues with the CMT Next Women of Country Tour, headlined by Tanya Tucker, in early 2020, with supporting acts and dates to be announced in the coming weeks.

AF 2018 IN REVIEW: Our Favorite Albums and Singles of the Year

Here we are again! As the new year approaches, it’s time to look back and take stock of the albums and singles that defined this moment in music history. 2018 was an eclectic year, to say the least, and there are a lot of new names on the list: Tirzah, Snail Mail, Soccer Mommy, Noname, King Princess, and Kali Uchis all had phenomenal debuts this year, not to mention the inimitable Cardi B, who made good on the promise of last year’s smash hit “Bodak Yellow” with Invasion of Privacy in April. There were established artists who still managed to surprise us, whether in the form of unearthed Prince demos, The Arctic Monkeys’ loungey sci-fi concept album, Tim Hecker introducing us to ancient Japanese court music, Dev Hynes making his most personal Blood Orange record yet, or Lil Wayne finally dropping Tha Carter V. And then there are those artists who fall somewhere in between, their ascendant careers a thrill to watch as 2018 saw them finally hit their stride. US Girls. Yves Tumor. serpentwithfeet. And perhaps most spectacularly, Mitski and Janelle Monáe.

As each of our writers (and editors, too) created their own mini-lists, those were two names that kept cropping up, and there’s no doubt you’ve seen them on just about every year-end list on the interwebs. If there’s any chance you haven’t heard Be The Cowboy or Dirty Computer, by all means, fire up that Spotify Premium post haste. But the recommendations here are as diverse as our writers themselves, so we hope you’ll take time to explore some of the lesser-known, hardly hyped artists we’ve highlighted, too – and keep your eyes peeled for more year-end coverage as we cruise in to 2019.

EDITOR LISTS

  • Marianne White (Executive Director)

    Top 10 Albums:
    1) boygenuis – boygenius
    2) Soccer Mommy – Clean
    3) Nenah Cherry – Broken Politics
    4) Mitski – Be the Cowboy
    5) serpentwithfeet – soil
    6) CupcakKE – Ephorize
    7) Blood Orange – Negro Swan
    8) Autechre – NTS Sessions 1-4
    9) Snail Mail – Lush
    10) Cardi B – Invasion of Privacy
    Top 5 Singles:
    1) Let’s Eat Grandma – “Hot Pink”
    2) Jon Hopkins – “Emerald Rush”
    3) The Internet – “Look What You Started”
    4) Cardi B, Bad Bunny, J Balvin – “I Like It”
    5) boygenius – “Bite The Hand”

  • Lindsey Rhoades (Editor-in-Chief)

    Top 10 Albums:
    1) Low – Double Negative
    2) US Girls – In A Poem Unlimited
    3) Madeline Kenney – Perfect Shapes 
    4) Yves Tumor – Safe In The Hands of Love
    5) DJ Koze – Knock Knock
    6) Caroline Rose – Loner
    7) Tim Hecker – Konoyo
    8) Virginia Wing – Ecstatic Arrow
    9) Frigs – Basic Behaviour
    10) bedbug – i’ll count to heaven in years without seasons
    Top 10 Singles:
    1) Janelle Monáe – “Make Me Feel”
    2) Loma – “Black Willow”
    3) The Breeders – “All Nerve”
    4) SOPHIE – “Is It Cold In The Water?”
    5) Jonathan Wilson – “Loving You”
    6) Empath – “The Eye”
    7) Sibile Attar – “Paloma”
    8) Jono Ma & Dreems – “Can’t Stop My Dreaming (Of You)”
    9) Shopping – “Discover”
    10) Ed Schrader’s Music Beat – “Dunce”

  • Mandy Brownholtz (Social Media)

    Top 5 Albums:
    1) Miserable – Lover Boy/Dog Days
    2) Snail Mail – Lush
    3) Mitski – Be The Cowboy
    4) Teyana Taylor – K.T.S.E.
    5) Janelle Monáe – Dirty Computer
    Top 3 Singles:
    1) Nothing – “Blue Line Baby”
    2) Hinds – “The Club”
    3) Mitski – “Nobody”

  • Lauren Zambri (Events)

    Top 5 Albums:
    1) Amen Dunes – Freedom
    2) US Girls – In A Poem Unlimited
    3) Beach House – 7
    4) Iceage – Beyondless
    5) Tirzah – Devotion
    Top 5 Singles:
    1) Jenny Hval – “Spells”
    2) US Girls – “Velvet 4 Sale”
    3) Yves Tumor – “Licking An Orchid”
    4) Amen Dunes – “Believe”
    5) Low – “Always Trying to Work it Out”

STAFF LISTS

  • Ashley Prillaman (Premieres, AudioMama)

    Top 5 Albums:
    1) Alice Ivy – I’m Dreaming
    2) Sudan Archives – Sink
    3) Marlon Williams – Make Way For Love
    4) Earth Girl Helen Brown – Venus
    5) Rüfüs Du Sol – Solace
    Top 3 Singles:
    1) Rhye – “Taste”
    2) Alice Ivy – “Chasing Stars”
    3) Sudan Archives – “Nont For Sale”

  • Tarra Thiessen (Check the Spreadsheet)

    Top 5 Albums:
    1) DRINKS – Hippo Lite
    2) Shannon & the Clams – Onion
    3) Lost Boy ? – Paranoid Fiction
    4) Prince – Piano & a Microphone 1983 
    5) Sloppy Jane – Willow
    Top 3 Singles:
    1) Public Practice – “Fate/Glory”
    2) The Nude Party – “Chevrolet Van”
    3) Big Bliss – “Surface”

  • Natalie Kirch (Pet Politics)

    Top 10 Releases Out of the Brooklyn DIY Scene (in Chronological Order):
    1) THICK — Would You Rather? (Self-Released)
    2) BODEGA — Endless Scroll (What’s Your Rupture?)
    3) Baked — II (Exploding In Sound)
    4) Pecas — After Dark (Broken Circles)
    5) Big Bliss – At Middle Distance (Exit Stencil Recordings)
    6) Kevin Hairs — Freak In The Streets (GP Stripes)
    7) PILL – Soft Hell (Mexican Summer)
    8) Stove – ‘s Favorite Friend (Exploding In Sound)
    9) Lost Boy ? – Paranoid Fiction (Little Dickman Records/ Rich Moms)
    10) Janet LaBelle – I Only See You (Loantaka Records)

  • Sara Barron (Playing Detroit)

    Top 5 Albums:
    1) Kali Uchis – Isolation
    2) Blood Orange – Negro Swan
    3) Cardi B – Invasion of Privacy
    4) Mitski – Be the Cowboy
    5) Noname – Room 25
    Top 3 Singles:
    1) Ama Lou – “Tried Up”
    2) Britney Stoney – “OD”
    3) Janelle Monáe – “PYNK”

  • Luci Turner (Playing Atlanta)

    Top 5 Albums:
    1) The Arctic Monkeys – Tranquility Base Hotel & Casino
    2) The 1975 – A Brief Inquiry Into Online Relationships
    3) Charles Bradley – Black Velvet
    4) Brandi Carlile – By The Way, I Forgive You
    5) Jack White – Boarding House Reach
    Top 3 Singles:
    1) The Raconteurs – “Now That You’re Gone”
    2) Mac Miller – “2009”
    3) Dead Naked Hippies – “Rare”

  • Victoria Moorwood (Playing Cincy)

    Top 5 Albums:
    1) Cardi B – Invasion of Privacy
    2) Lil Wayne – Tha Carter V
    3) J. Cole – KOD
    4) Preme – Light of Day
    5) Jazz Cartier – Fleurever
    Top 3 Singles:
    1) Lil Wayne feat. Reginae Carter – “Famous”
    2) Cardi B – “Thru Your Phone”
    3) J. Cole – “Brackets”

  • Desdemona Dallas

    Top 5 Albums:
    1) Noname – Room 25
    2) Flatbush Zombies – Vacation In Hell
    3) Mountain Man – Magic Ship
    4) Lucy Dacus – Historian
    5) Nao – Saturn
    Top 3 Singles:
    1)  Janelle Monáe – “Make Me Feel”
    2) Twin Shadow – “Saturdays”
    3) Sudan Archives – “Nont For Sale”

  • Erin Rose O’Brien

    Top 5 Albums:
    1) Mitski — Be The Cowboy
    2) Antarctigo Vespucci — Love in the Time of E-mail
    3) Car Seat Headrest — Twin Fantasy
    4) Soccer Mommy — Clean
    5) Janelle Monáe — Dirty Computer
    Top 3 Singles:
    1) Bad Moves — “Cool Generator”
    2) The Beths — “Future Me Hates Me”
    3) Miya Folick — “Stop Talking”

  • Ysabella Monton

    Top 5 Albums:
    1) Mitski – Be The Cowboy
    2) Janelle Monáe – Dirty Computer
    3) Brockhampton – Iridescence
    4) Soccer Mommy – Clean
    5) Cardi B – Invasion of Privacy
    Top 3 Singles:
    1) King Princess – “1950”
    2) Childish Gambino – “This is America”
    3) Pusha T – “If You Know You Know”