Welcome to the Today I Heard End Of Year Roundup!
This special end of year post is where we take a look at the year that was in Country Music. Give a couple rankings, assign a few favorites, and give out some mostly tongue-in-cheek awards. But first, some short thoughts on the state of country music in 2023.
As I remarked in the introduction to last year's End Of Year Roundup, there has been a noticeable shift towards more organic textures occurring in the mainstream. Some of that was pressure pushed onto the mainstream from independent country. Some of it was simply the powers that be within mainstream country flexing their influence and changing trends. Thankfully these organic trends continued in 2023 and the sonic output of the mainstream scene as a whole is markedly improved.
One of the worries from a couple years ago, as the inklings of the consumer preference for organic textures slowly started to come into focus, was the fear of a schism. The theory was that if trends would continue apace, independent country would continue with its roots oriented organic “country" sound and Nashville would continue to try and push the post- Sam-Hunt cosmopolitan pop forward.
The data that led to that analysis is still there. There still are numerous pop forward acts being pushed heavily. However, it is clear something has shifted the calculus. I don’t claim to be an expert on TikTok,but the effects that it has had on the scene have been incredibly disruptive, although not entirely unique. Let me explain.
Social media has been a developing force for country music for close to ten years now. Artists like Luke Combs, and Kane Brown first came to the forefront on Vine and Facebook. That has developed further with country music acts embracing social media personalities.
The most overt manifestation of this has been with TikTok. It has given an avenue for artists to develop a following prior to being developed and signed by labels. It has also allowed labels to make more safe decisions and avoid risk when signing new artists, for they already have prior success. Combine that with the shifting nature of entertainment weakening the prior tried and true methods for building up a following- radio tours, headlining etc.- and you get a scene that is vastly more influenced by the power of the crowd then the power of the label.
Ergo, although the homegrown Nashville material often tends towards super pop forward, the sounds the majority of the acquired talent lean more organic. Since those artists are more buzzy, even Nashville is shifting gears. Albeit slowly.
Certainly there still are trends. The pop forward material that Nashville pushes still gets an audience. The Texas trad and east Nashville neo vintage are not doing well in the mainstream commercial world. The broad independent scene had a very strong year. These smaller trends still register a ripple underneath the surface, slowly changing the tenor of the airwaves. The result is more organics, and especially more sonic diversity.
Either we are in a transition period to another dominant sound- where everyone is trying everything to see if it sticks-, or we are in an age of pluralism and diversity in the country music world. Time will tell. Either if those two outcomes would most likely result in what I would consider better music.
However, there is something that remains a concern. The changes we have seen are all about the sound. It is less shapeless, a little bit more defined, a little bit more organic. All incremental change for the good. Compare that to the songwriting. It woefully lacks gains commensurate with the changes in sound. Many of the themes of music and the stylistic writing mechanism used to convey these ideas are bland and nondescript.
A specific culprit is the seemingly everywhere trend of writing to the hook. This is most manifest on Big Loud artists that heavily rely on Hardy and Ernest as songwriters. Writing to the hook often ends up being catchy, and it sticks in your head, but it doesn’t necessarily have the depth or storytelling acumen in the verses that’s needed.
The number of professional songwriters in Nashville have fallen by 80% in the last thirty years and it’s much more difficult for the middle class songwriter to exist. This formulaic hook-first thing has been a problem for a long while, but it is one that independent country does not struggle with as much.
I would’ve hoped the independent influence might be able to affect some sort of change. Maybe there are some inklings of change on the horizon with artists like Wyatt Flores signing mainstream deals, perhaps heralding a future of nuanced songwriting. An optimistic view says that this movement will affect change the same way that the signing of artists like Randall King and Cody Johnson showed advances in the sonic trends.
To be honest this is mildly educated speculation. Let's get things started on the end of year report.
The album adjectives. Usually in lieu of a top ten, but this year, view it as a companion to the top ten
Amanda Fields- What, When, and Without
Lonesome
Colter Wall- Little Songs
Weathered
Emily Ann Roberts- Can't Hide Country
Bubbly
Larry Fleet- Earned It
Relatable
Marty Stuart- Altitude
Energetic
Megan Maroney- Lucky
Personable
Molly Tuttle- City Of Gold
Masterful
Nickel Creek- Celebrants
Avant Garde
Stephen Wilson Jr- Son Of Dad
Striking
Theo Lawrence- Cherie
Elegant
Male Album Of The Year:
God Fearing Heathen- Dan Tyminski
Like Taylor Swift, I knew it from the start. No album touched the depth and breadth of this album. The mellifluous tone paired with razor sharp perspective. Endless range from sepia toned mythology to stricken seriousness all wrapped in a carefully calculated and calibrated package of bluegrass's finest work.
Female Album Of The Year:
Can't Hide Country - Emily Ann Roberts
(Juuust managed to bump past Lori McKenna) Bubbly, positive, perspective, engaging. The heir apparent to a Dolly-esque, traditionally inclined pop country with overarching positivity as the ultimate goal. Clear, sweet but powerful tone masterfully manipulates each and every syllable for maximum efficacy of emotional conveyance.
Rounding out the Top Ten (in alphabetical order)
Brent Cobb- Southern Star
Luxurious, Mellow.
An ethos personified par excellence. A mastering of synthesis between message, medium, and artist.
CWG- Family Ties
Expansive, Vicarious.
A great step forward building on all that was present prior, but now with more of an expanded and personal touch.
Gabe Lee- Drink The River
Austere, Reflective.
Deep into the interplay of the complex human emotions that undergird our lives without being seen. By stripping down, Lee opens up this world to allow us to reflect and process.
Lukas Nelson - Sticks And Stones
Wry, Grand
No longer just the son of Willie, Nelson cracks the code for energetic country rock with personality, witty wordplay, and a tremendous amount of ideas to ponder.
Luke Combs - Getting Old
Robust, Narrative.
Expanded beyond the person into the whole world of storytelling. With this, Combs enters into new echelon of artistry.
Lori McKenna- 1988
Wise, Understanding.
She did it again. More introspective, penetrating, sympathetic, wise perspectives put into narrative and song.
Sundy Best- Feel Good Country
Upbeat, Cheerful.
A blast of post pandemic pep and vigor. Energetic and engaging atmospheric Appalachian folk, showcasing an entertaining glass half full look at the world. Inspiring. Also very fun to listen to.
The Wilder Blue- Super Natural
Idiosyncratic, Harmonic.
High bar easily vaulted without difficulty. This solidifies and continues the Wilder Blue sound and storytelling style.
I feel kinda basic with my top ten. Nowhere near as niche as in years past. Oh well. Between the top ten albums and the albums adjectives, I hope the heavy hitters got covered. My listening was much more album focused than it was in years past, so niche or up and coming artists that are building awareness of themselves solely via singles may not have crossed my radar. I think that is probably my biggest blind spot this year. Otherwise, I feel like I managed to get around to most of the big albums in the various country scenes
EP Of Year
Ward Davis- Day One
The master of the EP. Davis opens up the dark world of addiction in a way which demands somber respect. Not dissimilar to the topic of divorce and how it was treated on his 2018 EP Asunder. Each lyrical choice, vocal inflection, and guitar strum aids in creating and channeling this heartbreaking atmosphere.
Time for some categories!
Best Old Discovery
(Whisperin') Bill Anderson- Still (1963) and I Love You Drops (1966).
Two fantastic albums that I greatly enjoyed. The smooth precision of his vocal and careful enunciation brings forth depths contained within the apparent simplicity.
Best Old Song
T For Texas- Everly Brothers (1968)
A creative and yet true to the genre re-imagining of a country standard from the primordial world of country rock.
Strongest Region/Subgenre
Neovintage.
Stacked year. Plenty of others, but this year felt a tick above.
Song Of Year
Excuse Me- Wilder Blue
Obviously this is sort of a joke, but also, amazing.
Favorite Songwriting Line
“Because dust to dust, we are all just pushing dirt”- Sticks and Stones- Lukas Nelson and the POTR
Word Of The Year
Kudzu. It's everywhere now. Growing up like a weed....hey wait a second....
How Country Feels
You would have thought it would be Aldean. However, in the eleventh hour I discovered this incredible song. Presenting......I ain't Country- Jon Langston ft Travis Denning. It's as bad as you can imagine, but worse.
I Think He Likes His Family
Charles Wesley Godwin- Family Ties
He's Gone Country .....Look At Them Boots (or give a gander at that hat every female artist and Instagram influencer seems to love wearing nowadays)
Colbie Caillat- Along The Way
Jessica Simpson did it better. And that was terrible.
Comeback Player Of The Year
Dan and Shay
Even if the album wasn't a world beater, the dramatic shift in production philosophy and the willingness to try something new resulted in a compelling narrative and album.
Failed Comeback Player Of The Year
Shania Twain
Back to back winner! I mean have you heard the album?
IYKYK
Harmonica Sam
Best Thing The French Did Ever Since They Figured Out How To Slice And Fry Potatoes
Cherie- Theo Lawrence
Best European Country Music Region
Sweden. Easily. See: IYKYK
This. Is. Way. Too. Long.
Morgan Wallen.
When your album is double the length of Zach Bryan's, you know you done messed up
90% Love Songs (but it doesn't matter)
Chris Stapleton- Higher
This man could sing the phonebook and it would be amazing.
90% Breakup Songs (and it does matter)
Bailey Zimmerman- Religiously (The Album)
Honestly, therapy would probably help him recover from this breakup more then repeatedly recycling his hurt feelings into song ad naseum
Way Too Long (but it was interesting along the way)
Ashley Cooke- Shot In The Dark
Larry Fleet- Earned It
Stephen Wilson Jr- Son Of Dad
Ernest- Flower Shops (The Album): The Deluxe Edition: Two Dozen Roses: Dead Reckoning: Part One.
The Grower
Kip Moore- Damn Love
I had a mixed reaction to the album upon release, but throughout the year it grew higher in my esteem for it. Aside from a couple clear label manipulations, Kip delivered a thoughtful and powerful rock album that hews closely to the character growth and perspective evolutions that he has demonstrated all throughout his career.
The Firmest Ground
Luke Combs- Getting Old
Rock solid top to bottom
The Sherlock Holmes
Summer Dean
Sherlock Holmes said that most see, but do not observe. Dean observes, and then manages to beautifully communicate what she observed to open the eyes of us that merely see
No It Isn't
Different Round Here- Riley Green ft. Luke Combs
If it features a new artist but has nothing new to say, is it new?
Biggest Disappointment
Morgan Wade- Psychopath
Really was hoping for Wade, who has strong potential to be the next great female country rocker, to take a massive step forward. Instead we got airbushed and glossy pop rock.
The (Hot 100) Number Ones, ranked:
Luke Combs Fast Car
Zach Bryan- I Remember Everything (ft. Kacey Musgraves)
.
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.
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Oliver Anthony Music- Rich Men North Of Richmond
.
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Jason Aldean- Try That In A Small Town
Save Me (From Hearing This On The Radio Three Dozen Times A Day)
Jelly Roll- Save Me (ft. Lainey wilson)
Man, Chris Stapleton Will Really Feature On Anything (although the Bruno Mars and Ed Sheeran song should have taught us that by now)
Alana Springsteen- Ghost In The Guitar (ft. Chris Stapleton)
Chat-GPT Album Of The Year
Jason Aldean- Highway Desperate
Favorite New Discovery
Meg McRee- Mary Jane and Chardonnay
Others may have heard of her beforehand, but 2023 was my first introduction and I greatly enjoyed this song.
Best "New Artist" (to come over from pop)
Elle King
Looking to be the best get from the transfer portal since probably Darius Rucker.
I Guess He's From Texas?
Cody Johnson- That's Texas
Look, I Tried:
Robert Ellis
Jason Isbell
Tyler Childers
Zach Bryan
There's just something about these records that left me hollow. Capable of appreciating the technical skills demonstrated but not anything more then that. Ellis was surprising to me because I've enjoyed his music in the past. Isbell has always been hit and miss for me. Childers has been swinging and missing for half a decade now. Bryan is getting better, but I think he's just tapped into this this faux Kerouac zeitgeist that doesn't personally resonate with me. It seems his fans mostly connect on a deep emotional level. Strip that away and you have solid music, but nothing that gets me excited.
Brought To You By Draft Kings
Bet You Break My Heart - MacKenzie Porter
The Best Nostalgia Kick
Teenage Dixie (the song)
Muscadine sure knows their way around a hook. So long as you can understand them through that thick and gravely accented vocal.
Now THIS Is Country Music
Just Jonesin- Zach Top
Over the top excessive honky tonk has a special place in my heart.
Where Did He Go?
Elvie Shane.
Went from a great number one hit to absolute irrelevance. Also Keith Urban, who had a great 2022, didn't really follow up with anything in 2023. Weird.
You Want Personality In Your Music?
The Panhandlers
You Want Too Much Personality In Your Music?
Ian Munsick
Hope you enjoyed!
Happy New Year!
Joe out.