A wide array of folks spend a significant amount of their lives exploring and examining country music. Some work in several media, while others focus solely on writing or broadcasting. Many have published or are publishing books, or have taken on other projects like writing liner notes for historic reissues; some are also musicians. We’ve invited a handful of them to share their take on the present and future of country music in our survey. Read a sampling of their responses (along with some outlets where you’ve seen or heard their work in the past year) on topics from artists who deserve more recognition to the biggest challenges facing the industry in the year to come.
Respondents:
Jessica Blankenship: WFKY Froggy Kentucky Country, Kentucky Country Music
David Cantwell: Rolling Stone Country
Rachel Cholst: No Depression, The Boot, Country Queer, Rainbow Rodeo, Adobe & Teardrops
Kevin Coyne: Country Universe, Reelz
Alyssa Donyae: Country Queer, OffBeat, Nashville Scene
Steacy Easton: CBC, Slate, Parton and Pearl, Journal of Popular Music Studies
Holly G: Black Opry, Nashville Scene
Will Hermes: Rolling Stone, NPR, The New York Times, Pitchfork
Jewly Hight: 91.One WNXP, NPR Music
Lonnie Lee: Tennessee Lookout, Nashville Scene, Billboard
Charles L. Hughes: Slate
Edd Hurt: Nashville Scene
Hunter Kelly: Spin, CMA Close Up, Apple Music, Rolling Stone
Olivia Ladd: Nashville Scene
Kelly McCartney: Apple Music
Brittney McKenna: Nashville Scene, NPR Music, Apple Music
Rissi Palmer: Apple Music
Chris Parton: The Bluegrass Situation, Nashville Lifestyles, Sounds Like Nashville
Marissa R. Moss: Rolling Stone, Billboard, Nashville Scene
Ron Wynn: Nashville Scene, The Bluegrass Situation, The Tennessee Tribune
Mickey Guyton
Name your favorite country song and your favorite country album released in 2021.
The writing of Sierra Ferrell’s “In Dreams” is immaculate, and the main melody motif is exactly what I’d imagine a country siren’s song would sound like. Tony Evans Jr.’s self-titled EP is carefully produced, with a solid vocal performance and cinematic songwriting. Alyssa Donyae
Song: Adia Victoria, “Magnolia Blues”; album: Brandi Carlile, In These Silent Days. Kelly McCartney
Song: Walker Hayes, “Fancy Like”; album: Mickey Guyton, Remember Her Name. Steacy Easton
Song: Joshua Ray Walker, “Sexy After Dark”; album: Allison Russell, Outside Child. Holly G
Honestly, my favorite album is Morgan Wallen’s Dangerous: The Double Album. It’s damn good and a damn shame it will forever be tied to something so ugly. Chris Parton
Elvie Shane’s Backslider upends the standard objections many fans and tastemakers have made about mainstream country. The album’s “Saturday Night Me” is simultaneously commercial, progressive and heartfelt. Edd Hurt
Song: Emily Scott Robinson, “Hometown Hero”; album: Miranda Lambert, Jon Randall and Jack Ingram, The Marfa Tapes. Olivia Ladd
Song: Carly Pearce, “What He Didn’t Do”; albums: Charley Crockett, Music City USA, and Miko Marks, Our Country. Rissi Palmer
Song: Kane Brown, “One Mississippi”; album: Mickey Guyton, Remember Her Name. Ron Wynn
Song: Mickey Guyton, “Love My Hair”; album: Carly Pearce, 29: Written in Stone. Brittney McKenna
Song: Aaron Vance, “Five Bucks Says”; album: Miko Marks, Race Records. Rachel Cholst
I consider old-time and Appalachian folk to be part of country, so my favorite album is John Mailander’s Look Closer. Lonnie Lee
The Steel Woods’ All of Your Stones took on a new meaning after the passing of the band’s founder (and a dear friend of mine), Jason “Rowdy” Cope. Jessica Blankenship
My fave single was Nelly’s “High Horse,” off his rap-country Heartland, with a twangy opening sample from an old George Strait record. Miko Marks’ Our Country was titled not only to question who and what can be called “country” but to embody answers. David Cantwell
Allison Russell’s Outside Child isn’t just steeped in the dynamic sonic traditions that have always marked country and Americana at their best, but also engages with trauma, persistence and rebirth in ways that speak to the thematic honesty and sophistication that the music requires. Amid a larger confrontation with country’s tenacious politics of anti-Blackness and misogyny, Mickey Guyton’s Remember Her Name exemplifies a chorus of responses by Black artists — particularly Black women — who are forcing a conversation while demonstrating vibrant talents across country subgenres. Filled with great songs and sparkling production, Guyton’s album isn’t just important, it’s great. Charles L. Hughes
Mickey Guyton’s “All American” and Eric Church’s “Stick That in Your Country Song” made me most hopeful for country. Carly Pearce and Ashley McBryde’s “Never Wanted to Be That Girl” and Miranda Lambert’s “If I Was a Cowboy” reminded me why I love it. Will Hermes
“Younger Me” was the first song Brothers Osborne released after T.J. came out — a high-water mark of vulnerability for the celebrated duo. For Mickey Guyton to release her first full-length album Remember Her Name on her own terms is an inspiration for all artists showing up and being themselves. Hunter Kelly
Brandi Carlilie
What song or album was the biggest disappointment of 2021?
I’ll always miss the angst of Kacey Musgraves’ debut and will contentedly settle in for Golden Hour’s bougie country-pop. The heartbreak-to-hope arc of Star-Crossed, though, left me cold. It’s static and monochrome in delivery, oddly cool and distant in disposition. David Cantwell
Kacey Musgraves, Star-Crossed. Holly G, Steacy Easton, Olivia Ladd
This might be bending the rules a little, but I was disappointed by the reaction to Kacey Musgraves’ Star-Crossed. It was one of the year’s most ambitious albums and has several excellent country and roots moments. Brittney McKenna
Walker Hayes, “Fancy Like.” Alyssa Donyae, Jessica Blankenship
Old Dominion, Time, Tequila & Therapy. Chris Parton
Alan Jackson’s Where Have You Gone was a miserable listen. He was so intent on bemoaning the current state of country that he forgot to make some good music of his own. Kevin Coyne
Songs that pandered to fear, like Aaron Lewis’ “Am I the Only One.” Rissi Palmer
Eric Church effectively made one of 2021’s best single LPs; too bad it was diluted across three uneven releases. Will Hermes
I thought Brandi Carlile’s In These Silent Days was a big fat dud. As cool as Sturgill’s The Ballad of Dood and Juanita was, I also wasn’t impressed. If either of these albums had been released by other artists, I don’t think they’d be garnering the same praise. Rachel Cholst
Adeem the Artist
Who was your favorite country artist who flew under the radar in 2021?
On New Kind of Outlaw, D’orjay the Singing Shaman expertly blends country with R&B to create the kind of music I loved from Wynonna — who, it turns out, was a big influence on D’orjay. Plus, she has the style and stage presentation I long to see in country artists. Hunter Kelly
Aaron Vance is relatable, he’s hilarious, he can sing — you really can’t ask much else. Alyssa Donyae
Davis Raines is a compelling singer-songwriter who mostly performs to small audiences in Nashville. Caught live, he’s a master of unassuming stagecraft. Edd Hurt
Cody Jinks, Erin Enderlin, Sunny Sweeney. Jessica Blankenship
Tré Burt, Leah Blevins. Marissa R. Moss
Sunny War. Kelly McCartney
Shane Pendergast. Steacy Easton
Kolby Cooper. Chris Parton
Adeem the Artist. Rachel Cholst
Esther Rose, Morgan Wade, Charley Crockett. Will Hermes
Chapel Hart was named to CMT’s Women of Country class and released a full-length album, but they should be superstars right now. They are hilarious, beautiful, ridiculously talented, country as hell and can put on a live show that would put some current stars to shame. Also, that Valerie Ponzio hasn’t been signed is a crime. Rissi Palmer
Miko Marks started to get back on the national radar in 2021. She’d been quietly carrying on her regional performing career since experiencing rejection in Nashville in the 2000s. Her return to releasing albums was not only on her own terms, but also a rich display of how she’s deepened her expressive abilities and her understanding of the place she claims in musical lineage. Jewly Hight
That a queer woman like Lily Rose uses same-sex pronouns in her lyrics is exciting and refreshing, particularly given her spot on the mainstream Big Loud/Republic roster. Brittney McKenna
Despite being left off basically every Best Of list I saw, Fancy Hagood’s Southern Curiosity is intensely personal yet universal, and intimate while theatrically over-the-top. Hagood’s songwriting is as sharp and poignant as his hooks and bighearted voice. David Cantwell
Brittney Spencer
Who do you hope will make waves in 2022?
Roberta Lea is the sweetest, most earnest songwriter I met in 2021, and every song on her new EP Just a Taste feels like catching up with your favorite big cousin. Alyssa Donyae
Roberta Lea. David Cantwell, Charles L. Hughes
Brittney Spencer. Holly G, Brittney McKenna
S.G. Goodman. Kelly McCartney
Adeem the Artist. Steacy Easton
Jett Holden. Rachel Cholst
Emily Scott Robinson. Edd Hurt
Morgan Wade, Kidd G. Chris Parton
Cole Chaney, Taylor Austin Dye, Rye Davis and Branden Martin are just a few Kentucky acts who are on the verge of getting onto bigger stages. Jessica Blankenship
Margo Cilker, Chapel Hart, Brittney Spencer, Reyna Roberts and Morgan Wade are my easy breakouts, but I’m also deliriously excited for new Maren Morris. Marissa R. Moss
Joe Troop is putting in the work to change the industry for the better and raise awareness in ways other artists are too shy to do. Lonnie Lee
Kane Brown can collaborate as authentically with blackbear as he does with Chris Young. And he’s been a powerful antidote to the toxicity surrounding the genre in recent years, and seems determined to lift country music up from within, as well as leverage his position to give opportunities to others. Kevin Coyne
Miko Marks, Camille Parker, Tony Evans Jr., Madeline Edwards. Rissi Palmer
Emily Nenni, Mya Byrne, Erin Rae, Breland, Izzy Heltai, Jett Holden. Olivia Ladd
Hopefully all the Black women singers who are getting rave reviews — Yola, Allison Russell, Valerie June, Adia Victoria, Amythyst Kiah, Mickey Guyton — will get to enjoy the same success as Jimmie Allen, Darius Rucker and Kane Brown. Ron Wynn
D’orjay the Singing Shaman, Jett Holden, Mya Byrne and Graham Scott Fleming have each bowled me over with their talent, point of view and ability to capture the listener. I will continue doing all I can to bring attention to them and others working to advance country music artistically and socially. Hunter Kelly
The lane-jumpers and genre-refuseniks who shuffle-mix country, R&B, indie rock, etc. Hat tip to Yola, Waxahatchee, Soccer Mommy (that aching “Wide Open Spaces” cover), Brittney Spencer and many more — as well as the mighty Chris Stapleton, whose Santana collab proved he’s even a convincing reggae singer. Will Hermes
Priscilla Renea — who recently had a viral R&B hit under the name Muni Long with “Hrs and Hrs” — was ahead of the curve when she dropped her culturally and commercially savvy country-pop as a Southern Black woman in 2018. Here’s hoping her next country efforts are truly heard and taken as seriously as they oughta be. Jewly Hight
What was the country music industry’s biggest mistake of 2021?
The biggest mistake of 2021 has been the biggest mistake for a while now: the rush to gloss over major issues and get straight to redemption and forgetting without any real change or growth. A lot of folks missed a really big opportunity to REALLY address racial inequity among the industry and fandom. Rissi Palmer
The country music industry seemed like it was stuck in a defensive posture throughout 2021, as though top priority was trying to maintain an image of unified respectability. Meanwhile, contrarian Morgan Wallen fans flouted his censure for being caught on video using a racist slur and a growing number of artists and advocates insisted on much-belated recognition of how the format marginalizes BIPOC and LGBTQIA folks on the basis of identity. That was hardly an atmosphere for adaptation of any kind, which is exactly why the leaders of the Black Opry, the Country Soul Songbook Summit and other grassroots efforts focused on building coalitions well outside of the traditional industry system. Jewly Hight
Talking about stylistic diversity and truly becoming a welcoming industry is a good start. But when commercial radio playlists are super tight and critically praised artists still can’t get their songs aired, the music’s appeal is being limited. Americana is increasingly becoming the place for lots of edgy, intriguing artists. Ron Wynn
Of the 10 most popular artists on country radio in 2021, nine were middle-aged white men. That is what the industry still thinks that the listener and performer of country music needs to be. Steacy Easton
The ACM named Luke Bryan — who donated thousands to Tennessee’s anti-LGBTQ Gov. Bill Lee — Entertainer of the Year, and the CMA allowed Morgan Wallen’s work to even be nominated. Lonnie Lee
The CMA gave noted reactionary Jason Aldean a prime slot on its 2021 awards show, which also gave the very idea of disinformation a leg up in a moment when it’s least needed. Edd Hurt
The country music tours that did happen could have been an amazing opportunity for public health messaging and getting people vaccinated. But since helping people avoid contracting a life-threatening disease is apparently political, I don’t know what hope Nashville has for being an agent for any kind of change. Rachel Cholst
What is the biggest issue facing country music in 2022?
Unfortunately, it’s the same practices of racist, misogynist, queerphobic exclusion that has marked it for too long. I am hopeful about all the incredible artists who have entered the conversation so powerfully — from mainstream to underground — and I’m heartened by the creation of spaces outside the mainstream in which these voices can flourish. But I’m keenly aware that, on a mainstream level, we are likely to see continued exclusion and potentially a pernicious “anti-woke” backlash that will cloak its toxicity in the disguise of redemption, free speech and “keeping politics out of it.” Charles L. Hughes
Artists are getting more and more outspoken on social media, but those divisive stances rarely make it into the paint-by-numbers lyrics and tired melodies that make up most of the country radio chart. Mainstream country hits seem to convey less and less emotional truth with each passing year. The format needs — and needs to support — more artists who want to grow creatively over time. Hunter Kelly
Expanding beyond the white male singer — we rarely hear of Native Americans, Latinos and other cultures within country music on the radio. Jessica Blankenship
Does country want to stick to the narrative it’s been following for years, that it’s “white man’s blues”? Or does it want to embody what it’s always said it is, the music of the people? Rissi Palmer
While there appears to be some room being made for performing artists who represent marginalized groups, it still feels as if there’s a “there can only be one” paradigm for everyone not under the spotlight. Alyssa Donyae
There’s a lack of equity and diversity across the board: on artist rosters and radio playlists, in industry leadership positions (and entry and mid-level positions, for that matter), in backing bands, in studio roles. Change will be slow and frustrating until representation exists in every corner of the industry. Brittney McKenna
Jason Aldean moved across the spectrum from sort of conservative to fascist-adjacent and still had a single (“If I Didn’t Love You,” a duet with Carrie Underwood) go to No. 1 on the Country Airplay chart and earn a Grammy nomination, making it feel like the kind of soft oppression represented by the Morgan Wallen debacle will never go away. Seeing RaeLynn, Brantley Gilbert, Dustin Lynch and other country stars on the bill for the AmericaFest event in December — which also welcomed Kyle Rittenhouse after his acquittal — shows that the mainstream isn’t reaching as wide as it could. Steacy Easton
What is the biggest hurdle to making important changes in the industry in 2022?
We have to get over the grandeur of the progress made in 2021. This year was a great year for Black and queer artists, absolutely. But we’ve still got a ways to go, and we eventually have to stop marveling at the minimal progress we’ve made and push forward with the momentum — not only for performing artists but for everyone in the industry, from journalists to venue owners. Alyssa Donyae
The system works really well for the straight white men at the top of the ladder, so it’s tough convincing them that there is any reason to change anything to help the industry better serve anyone else. That’s an issue that they have to tackle ethically and morally in order for there to be any significant, structural change, because they are the ones with the money and making the decisions. It’s an uphill battle. Holly G
I think people are scared to talk about diversity, mostly because they think they’ll say the “wrong” thing. I also think white industry members, myself included, want to confront our white guilt. This is not unique to country music, and is for sure the biggest hurdle to making important changes in any part of our society. Pertinent to the music industry in Nashville, though, is that ideas about what diversity means are about 15 years behind everywhere else. Putting people onstage at awards ceremonies is a fantastic start, but it’s not the same thing as equity. Rachel Cholst
COVID remains an issue. How do artists keep fans engaged and interested in their music when they have to limit interactions for the sake of safety? Jessica Blankenship
Bullshit genre litmus tests. Tradition should be cherished, but only insofar as it serves how we live, all together, now, in the real world. Otherwise, junk it with those damned war statues. Will Hermes
For all the progress in visibility for queer and BIPOC artists in 2021, the centering of the straight-cis-white narrative still dominates songs across the board. It’s even rare for a white male artist to have a hit that tells a different narrative taking place outside of generic bars or backroads. The incessant research and testing of songs at terrestrial country radio forces the sounds and subject matter covered in songs to be so narrow. The result is mostly bland background noise that most folks working on Music Row don’t listen to in their free time. Hunter Kelly
The state of country music now and in the year ahead
