Have a Problem with Music Row? Do Something. Otherwise- Shut Up.
“Damn it, the fight isn’t in Austin, and it isn’t in LA. It’s right here in Nashville, two blocks from Music Row…and if we win, and if our winning is ever going to amount to anything, we have to beat them on their own turf.”
-Tompall Glaser
I’m not quite sure when it came to be that enough was enough in regards to independent and underground country artists voicing their anti-Nashville opinions but then refusing to take action. I do suppose social media has a lot to do with it. The easiest thing in the world for an artist to do is grab a phone or laptop and tweet something about the evils (of which, to be fair, there are many) of Music Row. In the same spirit, I’m guilty of it myself. When I first began publishing my writing and subsequently found people following me on social media, the tweets of mine that prompted the most engagement were anti-Music Row in nature. I get it. Music Row screws a lot of artists. Most of the music from the major labels is subpar at best. Women aren’t given a fair chance to succeed. Country music cut from a traditional vein is given even less of a chance. All valid, factually true criticisms. But what I’ve come to realize is far too many artists are willing to stand back and throw rocks at Music Row…but then refuse to do anything to change the system.
We’ll get this out of the way early. Nothing in this piece is meant to excuse or defend the behavior of Music Row. I’ll fight until I’m blue-in-the-face about the necessity of keeping traditional music alive- on both Music Rown and the radio.
Here’s, however, what this piece is about: if an artist makes statement after statement about the evils of Nashville, he or she has two choices. The first and preferred option is to take action. Go to award shows. Show up to receive awards. Sign with a major label if the chance is there and artistic integrity can be maintained. The second option, the option that many *true* alternative country and roots artists have taken, is to just make damn good music and not act bitter on social media and interviews by spewing venom and spitting fire. But if an artist isn’t willing to take those two options, well, shut up, to be frank.
As Tompall said in the quote at the beginning of the piece, the fight is in Nashville and on Music Row. That’s the battleground. If country music is to be taken back, it’ll be because artists beat Music Row on “their own turf,” as Tompall said.
Tompall Glaser and Waylon Jennings and all the characters at Hillbilly Central fought for artistic integrity on Music Row in the 1970s. It’s the example I turn to all the time. With the help of lawyer Neil Reshen, Waylon signed a contract that allowed the King of the Outlaws to record the type of music he wanted with his own band. He didn’t walk home whipped when he fought with Chet Atkins. Waylon stood up, drew a line in the sand, and became a country legend. On Music Row’s turf. Even Willie Nelson, Waylon’s legendary contemporary and peer, fought for years in Nashville for his own kind of songwriting. Despite leaving for Texas, Willie fulfilled his contract with Atlantic Records, stuck to his guns, and released Red Headed Stranger- the greatest concept record in music history. He did it on Music Row’s turf.
Longtime readers will know that I’ve written plenty of long-form historical pieces with plenty more to come. But this piece is about the present so I won’t expound on too many examples of artists keeping their artistic integrity while still venturing to Music Row and kicking doors down. And yet here’s a few.
Dwight Yoakam, Steve Earle, and Ricky Skaggs, during the Great Credibility Scare of the mid-1980s, each walked the hallowed streets of Nashville and became stars by bringing their own, authentic brand of country music to the masses.
Randy Travis, Alan Jackson, and Clint Black all took their neo-traditional style of country music down 16th Avenue while staying to true to themselves. Black set records as a debut artist. Travis and Jackson now reside in the Hall of Fame. A couple of blocks from Music Row.
Reba, Sara Evans, Faith Hill, Trisha Yearwood, Martina McBride, and Miranda and Carrie all redefined what it means to be a woman in country music. Every single one of them is unique. They’ve become inspirations to millions. On Music Row.
Montgomery Gentry, Eric Church, and Kip Moore each forged their own identities and fan-bases through a rocking brand of country music. A rocking brand of music on Music Row.
Jon Pardi and, to a lesser degree, Luke Combs, are both reigniting 90s country. On Music Row.
Get the idea?
Not every artist is born to go to Music Row and become a country star. Country is not synonymous with Americana is not synonymous with Alternative Country. Staying away from Nashville is a perfectly fine choice. Some artists choose to live a true troubadour lifestyle from show to show and not even concern themselves with what’s happening in the music world. That’s where, to be honest, anyone will find the best songwriting.
But in 2020, an artist has a choice. It’s easier than ever to get music out. If an artist spouts off about how bad mainstream country is, I want to see leadership. The common thread between every single artist I’ve mentioned in this piece is taking action. Recording in Nashville. Signing record deals, even for just an album or two. Getting the *authentic* music to the masses. Not everyone can afford to stream music or go to shows. Right or wrong, what many hear is what Music Row gives them. Going to Nashville and making a case gets people to hear more kinds of music. Not only are artists able to make a few more bucks, but the crowds of people are exposed to a better brand of country. Tyler Childers is using that approach, and I strongly commend him for it.
Childers realized he has a large platform and wants to be a country artist. He’s not yelling and shaking his fist at Nashville and then running to hide under the big, friendly tent of Americana. It’s a lesson a few artists with large soap-boxes would be wise to take. But that’s just my two cents.
