…because I hate using my best stuff at an away game, as Tamara might say…
I don’t really understand why Jerrod Niemann’s “Donkey” would reignite any kind of stereotype. After all, pretty much everyone anymore has been pushing the sonic and lyrical elements of that song as a natural evolution of country music, and radio programmers seemingly have been all too happy to go along with it. Why did “Donkey” cross the line but “Drink To That All Night” not cross the line? I mean, really. After Chase Rice and “getcha little fine ass on the step shimmy up inside,” I didn’t think there was anything “country” radio wouldn’t play, even if they did edit that particular line.
And yeah, Willie Nelson did indeed get airplay for years, as did George Strait, but it’s still disheartening to see them pushed aside for the flavor of the month — and even more so to see the likes of Jason Boland and Sturgill Simpson toil in relative obscurity while hacks like Niemann and Florida-Georgia Line get the recognition as the faces of the genre to the mainstream.
Speaking of Florida-Georgia Line, there was this comment a little bit further down:
Florida Georgia Line’s next single is supposed to be “not bro-country.” If that’s true, it is a smart move on their part to get out of the bubble before it deflates (if that is actually what’s happening.)
Is it, though? I mean, it seems to me those guys are nothing if not all about the image. You take that away and they have absolutely nothing to offer music fans of discerning taste. Even if they put out something ostensibly of substance (as was attempted with “Stay”), Tyler Hubbard is still a barely-serviceable vocalist, and probably not much better as a songwriter. Granted, I’m just going off what he’s mouthed off about in the country music press here, but I can’t see him or his partner coming up with something anywhere near the level of “Ain’t No God in Mexico,” “Mama Tried,” or even “The Chair.”