The Resurgence of Outlaw Country

Let the record show that I have no aversion to country music. Johnny, Willie, Waylon, Merle – drop the needle. Play it loud. I do, however, take issue with this Top 40 shit and the recipe that so many artists follow in order to be considered successful by today’s standards. That is the bit I find hard to stomach. In a world ruled by ‘truck yeah,’ and ‘long tan legs,’ it’s no wonder that we are captivated by artists who don’t aspire to fit this cut-and-dry mold. In recent times, there has been a real emergence of country artists looking to revolutionize the genre by giving new life to outlaw country, and I’ve gotta say, it’s looking pretty damn promising.

In Waylon Jennings’ 1976 classic, Ladies Love Outlaws, he declares that ‘outlaws touch the ladies somewhere deep down in their soul.’ The same could perhaps be said about outlaw country as a genre, penetrating listeners on a level that mainstream country can’t touch. Having begun in attempts to buck the refined Nashville sound in the early 70s, it appears that we are entering a similar period of protest in country music. So who are these musical desperados looking to once again turn the country world on its ear?

If you’ve been following Scorsese’s Vinyl at all, you’re probably already familiar with Sturgill Simpson, whose song Sugar Daddy was featured on the show. Not only does this guy have a classic country voice, but he really holds his own on guitar, proclaiming, in the true spirit of outlaw country, that his Martin and his voice are all he needs. Known for taking more than a few risks with his music, Simpson’s musical style, is, as described by Indiewire, “a mesmerizing and sometimes bewildering mix of traditional country sounds, contemporary philosophy, and psychedelic recording-studio wizardry.” This dude is cool as hell and really shows us that profound lyrics and twang can go together like whiskey and bad decisions.

Speaking of which, these themes also feature heavily in much of Chris Stapleton’s musical repertoire. Rocking a beard rivaling that of Billy Gibbons, Stapleton certainly looks the part of the 1970s outlaws. Beard aside, this brother has a serious set of pipes – so serious that he won both ACM Male Vocalist of the Year and New Male Vocalist of the Year…this year, alone. While you’re picking your jaw up from off the floor, check out his rendition of Josh Turner’s, Your Man. Totally saturated in emotion, Stapleton’s gritty vocals seem to emanate from the very depths of his soul.

Last but not least on my list of outlaw country badasses is Whitey Morgan. This fella is just the kind of hard-livin’, whiskey-drinkin’, ass-kickin’ bastard that would have defined the outlaw movement in the 1970s. His 2015 adaptation of Townes Van Zandt’s Waiting ‘Round to Die is a dark, heavy ode to the outlaw, conjuring up imagery of robbery, prison, and death. While his own material features similar themes, it never once ventures into the territory of cliché. Bonus cool points: this guy recorded with his band, The 78’s at Levon Helm Studios in Woodstock, NY.

Mark my words, ladies and gentlemen: real country will rise again.

Until next time, stay groovy.

-A

Willie and Waylon getting cozy.