Tag Archives: Carrie Underwood

CMA Live Blog 2013

47th CMA AwardsThe festivities begin at 8 PM EST.  Refresh for updates and check for winners above the fold:

Winners:

Entertainer: George Strait

Male Vocalist: Blake Shelton

Female Vocalist: Miranda Lambert

Vocal Group: Little Big Town

Album: Blake Shelton, Based On a True Story…

New Artist: Kacey Musgraves

Vocal Duo: Florida Georgia Line

Song: “I Drive Your Truck” – Jessi Alexander, Connie Harrington, and Jimmy Yeary

Single: “Cruise” – Florida Georgia Line

Music Video:  “Highway Don’t Care” – Tim McGraw with Taylor Swift and Keith Urban; director: Shane Drake

Musical Event: “Highway Don’t Care” – Tim McGraw with Taylor Swift and Keith Urban

Live Blog (EST):

7:04  First two wins go to “Highway Don’t Care” for Music Video and Vocal Event.  First wavering of previously held sentiment: I totally want George Strait to win Entertainer of the Year for his farewell tour.  – KJC

8:01  It’s 8:01 and Luke Bryan is wearing a glittery shirt.  I’m already confused.  – KJC

8:03 And the show starts with two of the most insufferable songs of the year (to me). Where’s the money shot of Zac Brown’s face? -TS

8:06 Weird how we can go from such a horrible representation of the genre to such a charming one.  Carrie/Brad >>>Luke/FGL. – KJC

8:08 Brad and Carrie shining as always. This feud sketch is stellar. Thoughts on the Julianne Hough dig?  – TS

8:09 It would be nice if there was someone other than Darius Rucker to hand the name to. – KJC

8:10 A bunch of rich people with insurance making health care jokes.  Privilege goes down smooth with “Amarillo by Morning.” – KJC

8:10 “Cruise” is only one of the biggest crossovers of all time because they changed the chart rules.  Boo. – KJC

8:12 I thought that was Blake Shelton in a costume. Turns out it’s the real Duck Dynasty guys. Wow. – KJC

8:15 SINGLE OF THE YEAR:  “Cruise”  – Florida Georgia Line.   (That is not a typo.)

8:17 I can’t think of anything quippy, I’m so disgusted by this FGL win! – LW

8:20: CMA Awards 1992: The feud is Billy Ray Cyrus vs. Travis Tritt, and “Achy Breaky Heart” wins Single of the Year over “Maybe it Was Memphis”, “I Feel Lucky”, “Love, Me” and “Look at Us.”    The more things change… – KJC

8:23 Jason Aldean singing “Night Train” is the best actual performance so far.  We’re reaching a point where last year’s nadir is this year’s apex.  Where’s Kacey Musgraves? – KJC

8:25 There she is.  Singing a Brandy Clark co-write. Now we’re talking. -KJC

8:28 Can we take a moment to reflect on how awesome this chick’s mainstream success is? She’s looking and sounding fab here. Love this song.  – TS

8:30 Always nice to hear some actual audible steel guitar on the CMAs for a change. – BF

8:32 Check out the Engine 145 Live Blog, led by the incomparable Juli Thanki!

8:34 Who else feels like a giddy 14-year-old listening to this new Lady Antebellum song? I’m not sure if that’s a good or bad thing. – TS

8:35 Lady Antebellum with “Compass,” a song which is really growing on me. It sounds like it was made for a live setting. – BF

8:37 Song: “I Drive Your Truck” – Jessi Alexander, Connie Harrington, and Jimmy Yeary

8:38 Lee Brice wins Song of the Year with “I Drive Your Truck.” I’m not complaining. - TS

8:41 I feel like “I Drive Your Truck” is a surprise win…but maybe that just shows how much I’m out of the mainstream these days. – LW

8:42 As truck songs go, it’s not a bad one.  But wow, there was so much more compelling material to choose from this year. – KJC

8:44 “Sober.” YES. – BF

8:45 Every year, there’s at least one performance that makes it clear that it’s not the sound system’s fault that everyone sounds bad.  This year, it’s Little Big Town.  They sound fantastic. – KJC

8:46 I’ll say it again: I always love LBT live, even if I don’t love the recorded version of the same song. – LW

8:45 LBT nailing “Sober” with a sparse and spiritual performance. – TS

8:46 LBT sounding fantastic as usual. This is one of those performances that makes me glad I tuned in in spite of all the drivel. – BF

8:47 Vocal Duo: Florida Georgia Line

8:48 For one brief moment, I was clinging to a tiny shred of hope that The Civil Wars would get it. I don’t know why. – BF

8:53: Keith and Miranda with “We Were Us.” I actually think I’m liking this performance better than the studio version. It’s one of those songs that I like well enough, but would like better if it had a better production. – BF

9:00 Having Vince Gill and Alison Krauss onstage doesn’t exactly invite favorable comparison to Taylor Swift’s vocal abilities, but I am enjoying this performance. I love hearing the cheers for Vince and Alison.

9:02 Incidentally, I may be going crazy, but I actually think T-Swift is sounding quite decent tonight. – BF

9:02 The R-eh-eh-ed hook doesn’t work in this setting. – KJC

9:01 I feel like the TS collaboration with Vince and Alison could be good, but my sound must be messed up, because it’s not working for me… – LW

9:02 Even when Taylor isn’t sounding as bad as she usually does, it’s pretty daring of her to sing with two of the best voices in country music! – LW

9:04 Florida Georgia Line performing “Round Here.” – BF

9:10 Hunter Hayes and Jason Mraz with “Everybody’s Got Somebody But Me.” I’m actually enjoying this so far. – BF

9:12 Hunter Hayes channeling Gary LeVox with this messy live performance. This kid has so much potential, though. – TS

9:12 New Artist: Kacey Musgraves

9:13 Woohoo! I could not be happier for Kacey. This is one that the CMA got very, very right. – BF

9:14 I liked that Hayes/Mraz performance – LW

9:14 Eric Church performing “The Outsiders.” – BF

9:16 I don’t think Eric Church’s backup singers are actually making those sounds – KCJ

9:17 I wonder what the aforementioned Tom Petty thinks of this one. Me, I kinda dig it. TS

9:18 Does that bass breakdown in the Church song remind anyone else of “The Devil Went Down to Georgia”? – LW

9:19 It would be hilarious if this segued right into the George jones tribute. – KJC

9:23 The Band Perry performing “Don’t Let Me Be Lonely.” – BF

9:24 I’m half expecting Jennifer Nettles to walk out during this Sugar Land-lite tune. Really, though, that would be kind of awesome. – TS

9:28 Sheryl Crow presenting Album of the Year. – BF

9:29 Album: Blake Shelton, Based On a True Story…

9:29 Blech. So much for my optimism is predicting an LBT win here.

9:31 This is pretty much the worst slate of winners I can remember. – KJC

9:31 Tim McGraw performing “Southern Girl.” – BF

9:32 I’ve decided the CMA voters are just trolling now. – KJC

9:33 This song gets on my nerves so bad. I can’t believe the songwriters have the bad taste to rhyme “girl” with “rock my world.” – BF

9:35 And there’s glitter on Tim’s hat. – KJC

9:35 Nashville fans, do you get a 90s Rayna James vibe from this song? Have I lost my mind? – TS

9:35 What is with all the glitter? – KJC

9:40 Nice to hear some acknowledgement for Cowboy Jack Clement and Bobby Bare.

9:40 Blake Shelton performing “Mine Would Be You.” – BF

9:44 Not one part of me can get behind a Blake Shelton AOTY win, but this is a decent song and performance. – TS

9:47 Tim McGraw, Faith Hill, Keith Urban, George Strait, and Rascal Flatts presenting Taylor Swift with the CMA Pinnacle Award.

9:48 Leeann: I would like to hear George Strait do a Swift song. – LW

9:49 LOL to Keith Urban describing Taylor Swift’s contribution to country music while “22” plays in the background. – TS

9:50 LOL at Ellen’s “Pineapple Award” quip! – BF

9:51  “The Pinnacle Award?”  Okay ,they’re just making things up now.  No time for the Hall of Fame inductees, but time for this. And stop acting so shocked. They announced this beforehand. – KJC

9:54 This is like the first husband who knows his wife is leaving and tries to keep her by giving a really shiny piece of jewelry. – KJC

9:56 But it’s not on her. It’s on them.  We got a stupid award made up in 2005 for Garth Brooks, with Mick Jagger and Julia Roberts shout-outs, and nothing but a three-second wave for Bobby Bare.  Too much. – KJC

10:01 Carrie Underwood highlight reel from the past year leading up to her Entertainer of the Year award… Oh, wait – KJC

10:05 So Tim McGraw got a standing O but Carrie polite applause? Huh. – KJC

10:05 Disappointed in her team for taking the lazy route with this medley, but nonetheless proud of Carrie for, ahem, following her own arrow during this Blown Away era. My EOTY. – TS

10:05 So weird that Carrie’s doing a medley. It’s usually what people do when they’re not big anymore… – LW

10:05 I really enjoy Carrie’s voice these days. – LW

10:07 Vocal Group: Little Big Town

10:07 Can’t complain about LBT. Though they still look like ABBA to me. – KJC

10:08 Beautiful shout-out to Nancy Jones. – KJC

10:09 Loving the George Jones tribute with George Strait and Alan Jackson. I cannot think of two guys better qualified for this job. – BF

10:11 First time tonight I couldn’t take my eyes off the screen. Just lovely. – TS

10:12 So much history. So much love. – KJC

10:14 Kinda weird how the Opry can be just like a digital backdrop, given how many years the show was aired from the actual Opry. It feels sometimes like the arena has swallowed the CMA show like arena rock has swallowed country music. – KJC

10:14 The Jones tribute was wonderful. I felt a bit emotional during. I’m such a wimp. – LW

10:17 Zac Brown Band with Dave Grohl of The Foo Fighters debuting a new song, “Day of the Dead.” – BF

10:21 Between this and Eric Church’s “The Outsiders,” I’m all kinds of confused and happy. – TS

10:22 Brad Paisley performing “The Mona Lisa.” – BF

10:31 The Kenny Rogers tribute begins with Jennifer Nettles. – BF

10:32 Jennifer Nettles is certainly doing her best Dolly Parton impression. – KJC

10:32 Rascal Flatts singing “Just Dropped In (To See What Condition My Condition Was In).” – BF

10:33 Darius Rucker singing “The Gambler.” This I can take, but if given a choice, I would just as soon hear Kenny Rogers sing it himself. – BF

10:35 Kenny Rogers singing “Islands In the Stream.” I love this song. Unashamedly. – BF

10:35 The audience sing-along to these Kenny Rogers tunes is my favorite part of the night so far. – TS

10:35 I’m enjoying hearing Jennifer Nettles sing this, but I can only imagine the warm fuzzies I would be getting if Dolly were onstage singing it. – BF

10:36 Wow. Darius did a rough job on “The Gambler.” Nettles and Rogers doing “Islands in the Stream” works for me! – LW

10:39 Female Vocalist: Miranda Lambert

10:40 Eh. Not my choice this year, but she’s being classy as ever in her acceptance speech. – BF

10:42 Very sweet of Miranda to recognize the other females in the category. Don’t agree with it, but there are worse things than her fourth FVOTY trophy (see: basically every other award given out today). – TS

10:44 Miranda is always classy when she accepts these awards. – LW

10:44 Given how the night’s gone so far, can we just call Male and Entertainer for Blake now? – KJC

10:46 Luke Bryan performing “Drink a Beer” (“a very personal and meaningful song dedicated to the memory of his brother and sister”). – BF

10:49 Leeann: I’ll admit that as much as I hate Luke’s music these days, I soften when I think of how he lost two siblings within a short span. I’m just a sap that way, I guess. – LW

10:49 It’s so easy to forget what a good vocalist Luke Bryan is these days. Wish that weren’t the case. His voice deserves better material. – TS

10:50 It’s nice to hear Luke Bryan singing in a quieter setting. – BF

10:50 This is a great song that is being sung well…on the set of Once Upon a Time.  ABC sure is good with the corporate synergy. – KJC

10:50 Seriously? He even turns a song about his deceased siblings into a beer-drinking song? That takes…something. – LW

10:50 Male Vocalist: Blake Shelton

10:51 Can we just get over Blake Shelton already? – BF

10:51 Blake Shelton, however, is not in the same league as the other two men who won four of these at the time that they won. – KJC

10:53 Other two: Vince Gill and George Strait. – KJC

10:53 I can’t even. – TS

10:56 Blake Shelton, Vince Gill and George Strait: One of these things is not like the other. – TS

10:57 I’ve learned to accept that ABC is going to use the CMA Awards to shamelessly plug their programming. I just wish that they’d leave the Entertainer of the Year award out of it. – BF

10:57 Entertainer: George Strait

10:58 That just saved the whole night. – KJC

10:59 I share Kevin’s remorse for not picking George Strait for Entertainer. Was he on the top of his game this year? No. But he’s still the only nominee whom I can be genuinely happy for their winning. – BF

11:00 Keith Urban’s arms in the air is the best reaction to George Strait’s EOTY win. I had the privilege of seeing and reviewing his farewell concert earlier this year, and he is an entertainer indeed. – TS

11:01 Go King Gentleman George Strait!! I’m so, so happy for George Strait right now! Strait is so classy. – LW

10:03 Thanks so much for hanging with us, y’all. Not a bad show, in all honesty. All props to Ben for keeping this post alive in the midst of technical difficulties! – TS

10:03 That was almost worth the three hours. Almost! – KJC

10:04 I’m relieved that that didn’t wind up another Blake Shelton victory. – BF

10:04 Thanks, all! This was a blast. Rough show as usual, but we had a few great moments. – BF

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Filed under CMA Awards, Live Blog

2013 CMA Awards: Staff Picks & Predictions

CU

They’re as hope-dangling and ridiculous as they’ve ever been, those Country Music Association voters, and the CU staff has picked and predicted their 2013 awards below. Let us know what you think, and check back for our live blog on Wednesday at 7 p.m. CST!

Entertainer of the Year

Should Win:

  • Jason Aldean
  • Luke Bryan
  • Blake Shelton
  • George Strait
  • Taylor Swift

Will Win:

  • Jason Aldean
  • Luke Bryan
  • Blake Shelton – Dan, Ben, Jonathan, Tara, Kevin
  • George Strait
  • Taylor Swift

Dan: Sadly, it’s become hard to care about the night’s biggest prize. Swift and Strait are the two I can stomach right now, and neither of them actually had much to do with the country scene this past year—the former because she was flexing her pop muscles, the latter because he’s winding down.

Ben: I want to care, but I really don’t. There’s only one artist whom I could have supported unequivocally, and she didn’t get a nomination.

Jonathan: The CMAs have a tendency to lag a few years behind peak commercial trends, so I think Bryan will have to wait another year or two before he takes this award. While Bryan, Aldean, and Shelton could split votes among the bro contingent (presumably, to the benefit of Strait), I think Shelton’s visibility will be enough to earn him another win here.

Tara: This was Carrie Underwood’s year. I’m angry, unsurprised and completely apathetic about the rest of these contenders.

Kevin: Shelton won last year and if anything, his star has only shone brighter this year.  That being said, if I was a CMA voter, I’d leave this category blank.  Carrie Underwood was this year’s Entertainer of the Year.

churchMale Vocalist of the Year

Should Win:

  • Jason Aldean
  • Luke Bryan – Kevin
  • Eric Church – Ben, Jonathan, Tara, Dan
  • Blake Shelton
  • Keith Urban

Will Win:

  • Jason Aldean
  • Luke Bryan – Dan, Ben, Jonathan, Tara
  • Eric Church
  • Blake Shelton – Kevin
  • Keith Urban

Dan: Again, pretty indifferent here.

Ben: Church was between albums this year, but he’s the one whom I feel has represented country music the best. With Urban being past his commercial peak, I’m going to give the edge to Luke Bryan for his current red-hot momentum, but I honestly couldn’t care less which of the three dudebros gets it.

Jonathan: I’d replace four-fifths of this lineup with Gary Allan, Dierks Bentley, Darius Rucker, and Chris Young. If Bryan won’t win Entertainer of the Year, this will be his consolation prize.

Tara: I feel a little guilty rewarding Church’s residual awesomeness from Chief over Aldean’s admittedly solid year, but I’m still one redeeming single away from getting over “She’s Country.” Like Jonathan said, though, I think this is where the voters will reward Bryan.

Kevin: I’d give it to Bryan simply because he’s had a good year and has a good voice.  Another Shelton win seems inevitable to me.

KMFemale Vocalist of the Year

Should Win:

  • Kelly Clarkson
  • Miranda Lambert
  • Kacey Musgraves
  • Taylor Swift
  • Carrie Underwood – Dan, Ben, Jonathan, Tara, Kevin

Will Win:

  • Kelly Clarkson
  • Miranda Lambert – Dan, Ben, Jonathan, Kevin
  • Kacey Musgraves – Tara
  • Taylor Swift
  • Carrie Underwood

Dan: Who knows? Voters could give Lambert a record-tying (with Reba McEntire) four-peat, or maybe give Underwood her fourth trophy instead, or maybe give Swift a second one just to be zany, or dismiss the stats entirely and make a surprise investment in Musgraves. I can imagine any of those scenarios playing out.

Ben: I’ll probably be 100% Team Kacey at next year’s ACMs, but right now I want to see Underwood recognized for her incredible Blown Away era. As Dan noted above, this category is difficult to predict this year. I’m going to play it safe and bet on Lambert, but Kelly Clarkson is the only one without a shot.

Jonathan: Since there are far stronger albums than Blown Away in contention for Album of the Year, this is where I’d prefer to see Underwood recognized for the artistic gains she’s made during her current era. Lambert basically told voters to do just that during her acceptance speech for Female Vocalist of the Year during the ACMs a few months back, but it seems doubtful that they will. She seems poised to repeat, even though she’s coming off the most poorly received and lowest selling run of her career. Based on the quality of what was released during the eligibility period, I would have preferred to see Brandy Clark, Ashley Monroe, Kellie Pickler, and LeAnn Rimes squaring off against Underwood.

Tara: Just going out on a limb here with Musgraves; it feels like this category is due for a change. Or maybe that change will be a throwback to Underwood? One can hope.

Kevin:  I think Lambert will win out of force of habit, with bonus votes for having the good taste to cover Musgraves and Clark before they both became breakout artists this year. Underwood made the best music and, as always, sang it better than the rest.

lbtVocal Group of the Year

Should Win:

  • The Band Perry
  • Eli Young Band
  • Lady Antebellum
  • Little Big Town – Ben, Jonathan, Tara
  • Zac Brown Band – Dan, Kevin

Will Win:

  • The Band Perry – Kevin
  • Eli Young Band
  • Lady Antebellum
  • Little Big Town – Dan, Ben, Jonathan, Tara
  • Zac Brown Band

Dan: I suppose that Little Big Town will repeat—but with “Your Side of the Bed” having doused their white-hot momentum, it’s hard to say for sure. Perhaps voters will finally throw Zac Brown Band the bone, if Brown’s Luke Bryan comments didn’t ruffle too many feathers. [Update: And ditto what Kevin says below.]

Ben: Little Big Town may have lost some steam with “Your Side of the Bed,” but they’re still going into the ring with a platinum album and two big hit singles, and they’re one of the only groups with multiple nominations this year. The trophy is theirs to lose.

Jonathan: Had The Band Perry scored more across-the-board support, I’d say they might have been able to pull off the upset here, but this remains Little Big Town’s to lose. Hopefully, a repeat victory will lend “Sober,” one of the year’s finest singles and arguably a new career-best for LBT, greater momentum at radio.

Tara: Cheers to that, Jonathan. Agreed.

Kevin: The Band Perry had a new album this year that was well-received.  My personal pick is Zac Brown Band, only because I want last year’s Little Big Town win to start a new era in this category of acknowledging the overdue.  Having the Dixie Chicks rack up four wins in five years is one thing.  Rascal Flatts and Lady Antebellum dominating in the same way robbed the award of its luster.  Last year, it got a little back. Let’s keep it going.

tcwVocal Duo of the Year

Should Win:

  • Big & Rich
  • The Civil Wars – Dan, Ben, Jonathan, Tara, Kevin
  • Florida Georgia Line
  • Love and Theft
  • Sugarland
  • Thompson Square

Will Win:

  • Big & Rich
  • The Civil Wars
  • Florida Georgia Line – Dan, Ben, Jonathan, Tara, Kevin
  • Love and Theft
  • Sugarland
  • Thompson Square

Dan: After years of sluggish Sugarland and shruggish Thompson Square, at least this year’s winning duo will have clear commercial heft behind them. Too bad I’m talking about Florida Georgia Line and not the also-quite-successful Civil Wars.

Ben: Whatever.

Jonathan: Same as it ever was: This category is years overdue to merge with Vocal Group. And the nomination for Sugarland is absurd.

Tara: I can’t decide what’s more amusing: Sugarland’s nomination or Florida Georgia Line’s inevitable win. (Although it does kind of feel like Sugarland is still haunting country radio with that new Band Perry single, no?)

Kevin:  The Civil Wars.  I swear they’re only nominating them so we can feel extra bad when they lose to Florida Georgia Line. (See: Rascal Flatts over Alison Krauss & Union Station, Martina McBride over Dolly Parton and Patty Loveless…)

2013 CMA Music Festival - Day 3New Artist of the Year

Should Win:

  • Lee Brice
  • Brett Eldredge
  • Florida Georgia Line
  • Kacey Musgraves – Dan, Ben, Jonathan, Tara, Kevin
  • Kip Moore

Will Win:

  • Lee Brice
  • Brett Eldredge
  • Florida Georgia Line – Dan, Ben
  • Kacey Musgraves – Jonathan, Tara, Kevin
  • Kip Moore

Dan: Musgraves is class valedictorian, and Moore’s a solid B+ student, but expect the boys of Florida Georgia Line to cruise in on baseball scholarship and come out on top.

Ben: Musgraves has a chance, but I don’t know if her critical clout will be enough to compete with the “Cruise” phenomenon.

Jonathan: That Musgraves is the night’s leading nominee gives me hope that she can overcome Florida Georgia Line’s commercial heft. That she had the balls to push “Follow Your Arrow” as a proper single puts me firmly in her corner.

Tara: Moore is my personal favorite here, but Musgraves outclasses them all. I’ll throw my optimism in with Jonathan and Kevin.

Kevin:  This is a defining moment for the CMA’s.  Musgraves will help restore their credibility. Florida Georgia Line will destroy what’s left of it.  FWIW, Ricky Skaggs beat Lee Greenwood and Mark Chesnutt beat John Michael Montgomery.  Then again, Rascal Flatts beat Nickel Creek and Terri Gibbs beat Rosanne Cash…

bsalbumAlbum of the Year

Should Win:

  • Little Big Town, TornadoJonathan
  • Kacey Musgraves, Same Trailer Different ParkDan, Ben
  • Blake Shelton, Based On a True Story…
  • Taylor Swift, Red
  • Carrie Underwood, Blown AwayTara, Kevin

Will Win:

  • Little Big Town, Tornado – Ben, Tara
  • Kacey Musgraves, Same Trailer Different Park – Jonathan
  • Blake Shelton, Based On a True Story…Dan
  • Taylor Swift, Red
  • Carrie Underwood, Blown Away –  Kevin

Dan: Tough call. In recent years, the CMA has coalesced around the album with the most “story” value, whether that story was total domination (Fearless, My Kinda Party) or a respected artist finally hitting pay dirt (Revolution, Chief). Tornado seems like a fit for that second grouping, except that Little Big Town’s pay dirt was already last year. So the field seems open.

Ben: Of the four albums that have any real business being nominated for country awards, I consider the Musgraves set to be the strongest, but my gut says that it’s going to come down to either Shelton or Little Big Town. I’m going to be optimistic and predict an LBT victory.

Jonathan: I’m not nearly as bullish on Musgraves’ album as many others are, but it seems like this is safest place for voters to recognize her distinctive, critically acclaimed work. Tornado is my pick for the most consistently excellent set of this line-up; Red hits some glorious highs, but it’s also wildly uneven and has little business being recognized as a country album.

Tara: Tornado has some really fantastic production, and Blown Away is a stand-out showcase of Underwood’s interpretive abilities. Personal investment puts me in Underwood’s camp, but based on momentum and the fact that Musgraves is new, I think Little Big Town will take this.

Kevin: Musgraves has the most critical support, but Underwood made a much better album, in my opinion. I’m going out on a limb here and saying Underwood will win.  My logic is that she had an incredible year and this is the best category to acknowledge that in.  Also, a debut album has never won this award. There’s always a first time, but Musgraves has a lot of history up against her here.

MirandaMamasBrokenHeartSingle of the Year

Should Win:

  • Florida Georgia Line, “Cruise”
  • Tim McGraw with Taylor Swift and Keith Urban, “Highway Don’t Care”
  • Miranda Lambert, “Mama’s Broken Heart” – Jonathan, Tara, Kevin
  • Kacey Musgraves, “Merry Go ‘Round” – Dan, Ben
  • Darius Rucker, “Wagon Wheel”

Will Win:

  • Florida Georgia Line, “Cruise” – Dan, Jonathan, Ben
  • Tim McGraw with Taylor Swift and Keith Urban, “Highway Don’t Care”
  • Miranda Lambert, “Mama’s Broken Heart”
  • Kacey Musgraves, “Merry Go ‘Round”
  • Darius Rucker, “Wagon Wheel” – Tara, Kevin

Dan: “Cruise” is the behemoth here, and behemoths tend to win Single.

Ben: Dan said it.

Jonathan: I’d like to think that a record-setting run atop Billboard’s ridiculous mongrel chart would be its own reward, but it probably won’t be.

Kevin:  There have been some goofy winners in the past.  “Elvira.” “Achy Breaky Heart.” “Bop.”  But there aren’t any in the recent past.  I think that “Wagon Wheel” allows the CMA to pick a big mainstream hit that has a bit of alt-country cred, should they decide against a Musgraves sweep.

Tara: I agree with Kevin that “Wagon Wheel” seems like a nice compromise for the voters. I’d be cool with any of the latter three winning, but to me, “Mama’s Broken Heart” has the most momentum from start to finish.

wwSong of the Year

Should Win:

  • “I Drive Your Truck” (Lee Brice) – Jessi Alexander, Connie Harrington and Jimmy Yeary
  • “Mama’s Broken Heart” (Miranda Lambert) – Brandy Clark, Shane McAnally and Kacey Musgraves – Kevin
  • “Merry Go ‘Round” (Kacey Musgraves) – Kacey Musgraves, Shane McAnally and Josh Osborne – Dan, Ben, Tara
  • “Pontoon” (Little Big Town) – Barry Dean, Natalie Hemby and Luke Laird
  • “Wagon Wheel” (Darius Rucker) – Bob Dylan and Ketch Secor – Dan, Jonathan

Will Win:

  • “I Drive Your Truck” (Lee Brice) – Jessi Alexander, Connie Harrington and Jimmy Yeary - Dan, Jonathan
  • “Mama’s Broken Heart” (Miranda Lambert) – Brandy Clark, Shane McAnally and Kacey Musgraves
  • “Merry Go ‘Round” (Kacey Musgraves) – Kacey Musgraves, Shane McAnally and Josh Osborne – Ben, Tara, Kevin
  • “Pontoon” (Little Big Town) – Barry Dean, Natalie Hemby and Luke Laird
  • “Wagon Wheel” (Darius Rucker) – Bob Dylan and Ketch Secor 

Dan: “Wagon Wheel” is a proven standard, but voters will probably want to go with something newer, and I guess I do, too. There’s a decent chance that Musgraves will get acknowledged here with “Merry Go ‘Round,” but with two co-writes in the pool, her danger is vote-splitting—and if that does happen, I defer to Jonathan’s logic below. Plus, frankly, CMA voters love songs about deceased loved ones.

Ben: It’s definitely possible that vote-splitting may be turn out to be Musgraves’ undoing in this category, but my guess is that “Merry Go ‘Round” will ultimately overshadow “Mama’s Broken Heart,” and that this will be where she gets her trip to the podium.

Jonathan: I’m all-in for the idea of recognizing brilliant songs that should have been hits a decade ago. Next year, can we get Drive-By Truckers’ “Outfit” or Neko Case’s “Deep Red Bells,” please? This year, I just can’t see the CMA giving an award to Bob Dylan, and, as much as I’d love to see Brandy Clark win, I think the Musgraves co-writes will split votes. Which leaves a frivolous holdover from last year to face off against the only “truck” song in years that’s worth even half a damn. I think the latter pulls off the night’s only real upset.

Tara: Lots of solid choices here; even “Pontoon” has a melody worth respecting. “Merry Go ‘Round” just edges out “Mama’s Broken Heart” for me, but I think the voters will be more pointed with their choice and reward Musgraves for her breakout song.

Kevin: “Merry Go ‘Round” fits in well with previous female writer wins. Distinct point of view, attention to details, and some quiet feminist commentary. My pick is “Mama’s Broken Heart”, which I think is just brilliant. “Line your lips and keep them closed.”  Wow.

blownawayMusic Video of the Year

Should Win:

  • Carrie Underwood, “Blown Away” – Ben, Kevin, Tara
  • Blake Shelton featuring Pistol Annies, “Boys ‘Round Here”
  • Lady Antebellum, “Downtown”
  • Tim McGraw with Taylor Swift and Keith Urban, “Highway Don’t Care”
  • Miranda Lambert, “Mama’s Broken Heart”
  • Little Big Town, “Tornado” – Dan, Jonathan

Will Win:

  • Carrie Underwood, “Blown Away” – Dan, Ben, Jonathan, Kevin, Tara
  • Blake Shelton featuring Pistol Annies, “Boys ‘Round Here”
  • Lady Antebellum, “Downtown”
  • Tim McGraw with Taylor Swift and Keith Urban, “Highway Don’t Care”
  • Miranda Lambert, “Mama’s Broken Heart”
  • Little Big Town, “Tornado” 

Dan: The Underwood clip was made to win this award, but I find it silly. Why does she have lie around all sexily on that bed in the tornado shelter?

Ben: Little Big Town’s “Tornado” is also a worthy contender, but Underwood’s “Blown Away” video is an absolute tour de force.

Jonathan: The idea that this could be how the Pistol Annies win a CMA award just makes my teeth hurt. As big a fan of hers as I may be, Miranda’s mugging in the video for “Mama’s Broken Heart” makes her laughable acting gig on Law & Order: Perverts Unit seem measured and subtle by comparison.

Kevin:  Because why shouldn’t there be two winners in this category that give homage to Oz?

Tara: Tornadoes scares the crap out of me.

highwaydon'tcareMusical Event of the Year

Should Win:

  • Blake Shelton featuring Pistol Annies, “Boys ‘Round Here”
  • Florida Georgia Line featuring Nelly, “Cruise” (Remix)
  • Kelly Clarkson featuring Vince Gill, “Don’t Rush” – Jonathan, Ben, Tara
  • Tim McGraw with Taylor Swift and Keith Urban, “Highway Don’t Care” – Dan, Kevin
  • Jason Aldean with Luke Bryan and Eric Church, “The Only Way I Know”

Will Win:

  • Blake Shelton featuring Pistol Annies, “Boys ‘Round Here”
  • Florida Georgia Line featuring Nelly, “Cruise”
  • Kelly Clarkson featuring Vince Gill, “Don’t Rush”
  • Tim McGraw with Taylor Swift and Keith Urban, “Highway Don’t Care” – Jonathan, Ben, Dan, Kevin, Tara
  • Jason Aldean with Luke Bryan and Eric Church, “The Only Way I Know” 

Ben: Clarkson and Gill made the best record of the lot, but it doesn’t have the commercial muscle to pull off a victory, so I’m giving the edge to McGraw and Company.

Jonathan: Cosigning Ben’s comment, word for word.

Dan: “Highway Don’t Care” is kinda weird and meh, but it’s not “Boys ‘Round Here” and “The Only Way I Know”. For this, I am grateful.

Tara: I swear I’m not throwing this to Clarkson and Gill just because they’re Clarkson and Gill – I can stomach not one of these other songs. Part of me thinks Aldean and co. might take this, but McGraw and co. seems more likely.

Kevin:  “Highway Don’t Care” made me enjoy both McGraw and Swift as singers, not just song pickers/songwriters.  For that alone, the win.

Musician of the Year

Should Win:

  • Sam Bush (Mandolin) – Jonathan, Ben
  • Paul Franklin (Steel Guitar) – Kevin
  • Dann Huff (Guitar)
  • Brent Mason (Guitar)
  • Mac McAnally (Guitar)

Will Win:

  • Sam Bush (Mandolin)
  • Paul Franklin (Steel Guitar) – Jonathan, Ben, Kevin
  • Dann Huff (Guitar)
  • Brent Mason (Guitar)
  • Mac McAnally (Guitar)

Ben: I’ll be all for Paul Franklin next year thanks to Bakersfield, but this year I would like to see Sam Bush get his due.

Jonathan: Bush may not have a MacArthur fellowship like Chris Thile, but his progressive mandolin work is certainly overdue for recognition. Hard to begrudge Franklin, though, as Bakersfield is one of the year’s best albums.

Kevin: Until he wins. I will pick him until he wins. 

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Single Review: Carrie Underwood, “See You Again”

carrie see you againYou’d be forgiven if Carrie Underwood’s current hit left you a little underwhelmed. After the one-two murderoo of “Blown Away” and “Two Black Cadillacs,” the releases that announced Underwood’s ascension from superstar singer to potentially cool artist, the Narnia-inspired “See You Again” may feel like a retreat back to simpler days. Actually, with its mechanical piano, bloated chorus production, and vague celestial imagery, it almost sounds like a descendant of “Inside Your Heaven,” Underwood’s sappy American Idol single. Uh oh!

But if you can accept that songs of this flavor will probably always be part of the Carrie Underwood experience, you may find that she’s improved the recipe a good bit over time.

It helps that “See You Again” is a decent composition on its own merits, with a stirring – if safe – theme of reconnecting with the loved ones we’ve lost or been separated from, plus some enjoyable – if gratuitous – “woah”s and “oh”s.

But the crucial difference is in the performance. For all the hosannas Underwood’s huge voice received early on, tracks like this demonstrate how much she’s still progressing both technically and interpretively. Early cuts like “Inside Your Heaven” or “Lessons Learned” were occasionally mired by reedy tones, robotic vibrato, or impassive phrasing; you had the sense of a singer finding her way around her instrument. Not so for the muscular, dynamic presence who drives this song. She’s gradually growing into her preordained destiny as a country-pop diva, confidently weaving runs and slurs into the fabric of the melody, and creating fun, little Carrie-isms like her quirky pronunciation of “again,” her whips into head-voice whenever she hits the title phrase, or her impassioned (if unintentional) belting of her own name. (“I will carry!”)

Does that sound like teasing? It’s praise. You can fall in love with a singer’s voice, but you stay in love because of the distinct ways they use it. It’s my opinion that Carrie Underwood still needs a new producer, someone who will encourage her more ambitious instincts and stop putting so much bland noise behind her, drowning out potential nuances. But I’m finally enjoying the Carrie we have at this moment in time, too. There’s something there.

Written by Carrie Underwood, Hillary Lindsey & David Hodges

Grade: B+

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Single Review: Kelly Clarkson, “Tie it Up”

Kelly Clarkson Tie it UpThere’s such an obvious trend of genre-hopping between pop, rock, and country right now that I can totally understand the enthusiasm surrounding Kelly Clarkson dabbling with a switch to country music.

After all, if we’re going to have pop and rock stars crossing over anyway, we might as well get one of the best ones, right?  She’s got a strong knowledge of and affinity for, at the very least, the past two generations of country music.   Her pipes are pretty darn good, too.  I prefer the purity of Carrie Underwood’s voice, but there are many who feel the first Idol is still the best.

There’s only one problem, and it’s a big one.  “Tie it Up” is not a country song.  Not by any stretch of the imagination, and my imagination is pretty stretched out at this point.  It sounds like some Globe Sessions-era Sheryl Crow album filler, honestly.  There’s some banjo, but come on.  You can find that on a Kid Rock record.

I know, I know.  Kid Rock had a country hit, too.   It wasn’t country either.  We’ve reached a point where there’s so much distance between the country music radio format and country music itself that the former has very little to do with the latter.  It doesn’t even matter if the country format is the home base.  Lady Antebellum is an Adult Contemporary band that happened to get its start on country radio.   Jason Aldean is a southern rocker who was born thirty years too late for rock radio, so we’ll just call him country.

I have no doubt that Kelly Clarkson could do an actual country record, but this isn’t one.  It’s a pretty bland song anyway, notable only for the fact that it’s her first solo single being sent primarily to country radio.  It’d be pretty unremarkable if not for that fact, which is destined to be little more than a piece of trivia anyway.

So, welcome to country radio, Kelly. You’ll find it’s not that different from the Adult Top 40 stations you’re used to dominating and you won’t have to change a thing to fit in.

Written by Ashley Arrison, Shane McAnally, and Josh Osborne

 Grade:  (not) C (ountry)

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Grammy Pre-Telecast Winners

55th Grammy Awards

Grammy Pre-Telecast Winners

Here are the winners in country and country-related categories, including all-genre categories that include a

country-related nominee:

Best Long Form Music Video: Mumford & Sons, Edward Sharpe & The Magnetic Zeros & Old Crow Medicine Show, Big Easy Express

Song Written for Visual Media:  T Bone Burnett, Taylor Swift, John Paul White & Joy Williams, “Safe and Sound”

Americana Album:  Bonnie Raitt, Slipstream

Bluegrass Album: Steep Canyon Rangers, Nobody Knows You

Folk Album: Yo-Yo Ma, Stuart Duncan, Edgar Meyer & Chris Thile,  The Goat Rodeo Sessions

Country Duo/Group Vocal Performance: Little Big Town, “Pontoon”

Country Song: Josh Kear & Chris Tompkins, “Blown Away”

 

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Album Review: Katie Armiger, Fall Into Me

katie armiger fall into me

Katie Armiger
Fall Into Me

stars-312

By now, Katie Armiger’s country music career comprises six years, four studio albums, and still zero bona fide radio hits.  Her label Cold River Records has nonetheless stuck with her since 2007, with her previous outing, 2010’s Confessions of a Nice Girl, producing her first chart singles in the #55 “Kiss Me Now” and the #42 “Best Song Ever.”  Her new album Fall Into Me has yet to reverse her fortunes at radio – Lead single “Better In a Black Dress” topped out at #42 on Billboard Country Airplay – but it no doubt contains more than enough tasteful, likeable pop-country material to keep current fans interested.

At its best, Fall Into Me combines effective melodies with clever lyrical turns of phrase and colorful vocal readings.  By such rights, “Man I Thought You Were” is arguably the album’s finest track, casting Armiger as a jilted young woman who’s had her heart broken by a man who didn’t fulfill expectations.  She turns the song’s concept on its head in the second verse, musing that she wishes she could hate the woman she lost her love to, but can’t because she knows that the same outcome awaits her successor.  The song’s story is enhanced by a compelling melody, and a performance that exudes vulnerability.  A similar interplay of elements is heard on “Merry Go Round,” in which a frantic melody and performance pulse in a way that mirrors the tumult of the relationship chronicled by the lyric.

The album is produced by Chad Carlson, who also produced Confessions of a Nice Girl.  Though the musical stylings often skew heavily toward the pop side of the country-pop spectrum, the album largely steers clear of the over-audacious pop arrangements that at times pervaded Confessions (with the noisy “So Long” being the glaring exception).  The project boasts several standout instrumental hooks and clever production touches, as well as some increased stylistic variety.  A brisk tempo and hand-clap section underscores the sense of urgency in album opener “He’s Gonna Change,” in which Armiger warns a woman not to hang her hopes on a man who will never grow to fully appreciate and respect her.  A prominent bazouki and harmonica imbue a swampy feel to the single woman anthem “Better In a Black Dress.”  Though “Merry Go Round” has the misfortune of sharing a title with one of the best songs currently on country radio, it boasts a catchy guitar hook anchoring a crisp, lightly infectious pop-country arrangement.

While Armiger has often shown herself to be a gifted vocalist worthy of rubbing shoulders with Miranda Lambert and Carrie Underwood on country radio, Fall Into Me finds the 21-year-old continuing to make artistic strides as a songwriter.  The themes of empowerment and belief in self recur throughout the album, evident in the cautious optimism of “Okay Alone,” and in the straight-up swagger of “Better In a Black Dress.”  Unfortunately, though the album serves up a generous fourteen songs, it doesn’t quite fill them out with fourteen songs’ worth of content.  Armiger appears as a co-writer on every track, but some benefit might have been derived by interspersing her own cuts with some quality outside material.  Though the figurative “A” side is fairly solid, the album loses steam around the tenth track, and starts serving up some filler.  The rather bland love song “Baby You’re Everything” hardly warrants explanation, while the forced thematic concept of “Stealing Hearts” comes off as something like the poor woman’s “Hell On Heels.”  There are also moments when she creates a solid foundation for a great song, but doesn’t quite tie it together with an effective hook.  A biting line such as “Look down on me and criticize/ It’s easy to do from up on high” seems to call for a greater payoff than “I’m free, free/ Like a raging wildfire through the trees,” and a refrain of “I’ll find a way to be okay alone” doesn’t quite match the potency of Armiger’s nuanced, falsetto-enhanced delivery.

Even though Katie Armiger has three albums already behind her, one doesn’t generally become a fully realized country artist by age 21.  At this point, she sounds like she’s flexing her creative muscles and having fun doing so.  Fall Into Me continues to hint at Armiger’s lofty potential as a creative force – at times wanting for consistency, but not for lack of heart.  Furthermore, it finds Armiger continuing to develop her own point of view as a songwriter, acting as a voice for strong, independent young women, which may very well blossom further with future releases.  Without a doubt, there is much that Fall Into Me gets right, even if it does feel like a fourteen track album that should have been a ten track album.

Top Tracks:  “Man I Thought You Were,” “Better In a Black Dress,” “Merry Go Round”

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CU's Top Albums of 2012

As reflected by the title of our web site, our choices for Top 40 Albums of 2012 span the farthest reaches of the country music universe.  In previous years, the Country Universe staff has counted down twenty albums and forty singles, but this year our album picks included such a wide variety that we were able to stretch our Top Albums countdown to a full forty slots.  What did we miss?  That’s where you, our readers, come in.  Please join in the discussion, and share which albums you had in heavy rotation over the past year.

 

#40
The Garden of Love – Songs of William Blake

Martha Redbone Roots Project

Individual rankings:  Sam – #12

The combination of a modern soul singer, an 18th-century Romantic poet and bluegrass music shouldn’t work, at least on paper.  However, when there are talented people like Martha Redbone and John McEuen of the Nitty Gritty Dirt Band involved, the results can be fantastic.  Redbone and collaborator Aaron Whitby drew from the works of William Blake and McEuen and a host of talented musicians helped recast the poems as bluegrass songs.  The resulting songs sound more like Harlan County than Blake’s native London, and Redbone’s vocals are gorgeous throughout.  For music lovers, discovering hidden gems like this album is the equivalent of finding a winning lottery ticket on the street. - Sam Gazdziak

Top Tracks:  “I Rose Up at the Dawn of Day,” “The Garden of Love,” “Sleep Sleep Beauty Bright”

#39
Morning Comes
 
Cuff the Duke

Individual rankings:  Sam #11

A 2011 release in Canada, this batch of jangly-rock goodness finally made it over to the U.S. this year.  Cuff the Duke shares some similarities with fellow Canadian alt-country stalwarts Blue Rodeo, so it should come as no surprise that Greg Keelor of Blue Rodeo produced the album.  There are bits and pieces of other bands here and there – harmonies like The Jayhawks, a near-eight minute guitar-heavy epic that could have come from a Sadies album – but singer Wayne Petti and his cohorts combined all the elements into one of the band’s best albums. - Sam Gazdziak

Top Tracks:  “Count on Me,” “Time Is Right,” “Bound to Your Own Vices”

#38
New Wild Everywhere

Great Lake Swimmers

Individual rankings:  Sam – #9

Great Lake Swimmers has evolved from a largely one-man project recording albums in an abandoned grain silo to a full-fledged folk group recording in a studio.  Tony Dekker’s songs have a lovely, ethereal quality to them, and they lose nothing from being backed with a full ensemble of violins, banjos, and the occasional fluegelhorn or accordion.  “Easy Come Easy Go” was the band’s first charting single in its native Canada, but with songs like the sweeping title track, there should be many more to come. - Sam Gazdziak

Top Tracks:  “New Wild Everywhere,” “Think That You Might Be Wrong,” “The Knife”

#37
That’s Just Me
Teea Goans

Individual rankings:  Ben – #8

With a rich, emotive vocal style that echoes Pam Tillis, traditionalist Teea Goans nimbly tackles a collection of killer country tunes from the past and present alike.  She lovingly covers classic hits of yore such as “Misty Blue” and “Nobody Wins” alongside solid originals such as the lively “Pour a Little Love On It” and the luscious Jamie Daley duet “That’s Just Me Loving You.”  Nothing over-the-top – simply a collection of quality material well-written, thoughtfully produced, and sung with flair.  What more could a country music lover ask for? - Ben Foster

Top Tracks:  “Pour a Little Love On It, “Misty Blue,” “That’s Just Me Loving You”

#36
Fear Fun
Father John Misty

Individual rankings:  Jonathan – #7

Singer-songwriter Joshua Tillman’s first solo outing since leaving indie-rock outfit Fleet Foxes and his first album under the moniker of Father John Misty, Fear Fun is a throwback to the late 90s era before “alt-country” turned into Americana.  To that end, the album’s title is misleading:  What makes the album so refreshing is its sense of irreverence – Tillman’s refusal to take himself too seriously. - Jonathan Keefe

Top Tracks:  “I’m Writing a Novel,” “Only Son of the Ladies’ Man,” “Nancy from Now On”

#35
Voice of Ages

The Chieftains

Individual rankings:  Sam – #7

To celebrate the band’s 50th anniversary, The Chieftains team up with notables from the indie/folk/Americana sector, including the Pistol Annies, The Decemberists and The Carolina Chocolate Drops. The result is a bouncy, high-energy set that shows that Paddy Moloney and company have plenty of fuel left in the tank. - Sam Gazdziak

Top Tracks:  “Lily Love” (with The Civil Wars), “School Days Over” (with The Low Anthem), “When the Ship Comes In” (with The Decemberists)

#34
Restless
Sweethearts of the Rodeo

Individual rankings:  Leeann – #7

It’s hard to believe that it’s been sixteen years between albums for Sweethearts of the Rodeo.  Their late 2012 release Restless will go largely unnoticed by commercial standards, but not because it doesn’t deserve high praise and recognition. A mix of a throwback to the country sounds of their heyday, and sounding like an extension of 1996’s Beautiful Lies, Restless manages to feel both nostalgic and refreshing, not to mention that the sister duo sounds as good as ever. - Leeann Ward

Top Tracks: “You Can’t Hold Me Back,” “Restless,” “Hopeless Rose”

#33
Home
Dierks Bentley

Individual rankings:  Leeann – #11;  Sam #20

Amidst the bravado party anthems and the tongue-in-cheek, Dierks Bentley continues to display his penchant for performing heartfelt love songs and thoughtful reflections. His signature ragged voice comfortably wraps around songs like the reflective “Home” and sensitive “Thinking of You” with ease and sensitivity. Likewise, he sounds just as comfortable letting loose on frivolities such as “Diamonds Make Babies” and “Gonna Die Young.” - Leeann Ward

Top Tracks:  “Home,” “When You Gonna Come Around,” “Thinking of You”

#32
Derelict
John Kraus and the Goers

Individual rankings:  Sam – #5

When he’s

not playing guitar and banjo for the excellent Los Angeles-based bluegrass/Celtic/rock band Rose’s Pawn Shop, Capt. John Kraus sails tall ships. When he’s not doing that, he’s combining his passions by recording an album of sea shanties. Half the songs are traditional sailing songs, and half are new, though it’s hard to tell them apart without looking through the liner notes. The old songs have been given fresh, contemporary arrangements, and the new songs are so spot-on that it’s easy to picture sailers from the 1700s or 1800s singing them. - Sam Gazdziak

Top Tracks:  “Cold in the Ocean,” “Bonny Ship the Diamond,” “Siren”

avett brothers carpenter

#31
The Carpenter

The Avett Brothers

Individual rankings:  Sam – #4

The Carpenter is about as close as you can get to mixing the major-label polish found on the Avetts’s 2009 release I and Love and You, and the reckless abandon found on their independent releases. The Carpenter is again produced by Rick Rubin, but Scott Avett’s banjo returns to prominence, and there is another addition to the “Pretty Girl from…” series (Michigan, in this case). Catchy, sweet songs like “Live and Die” should give the Avetts the same kind of mainstream crossover success like rootsy brethren The Lumineers and Mumford & Sons have enjoyed. - Sam Gazdziak

Top Tracks:  “The Once and Future Carpenter,” “Live and Die,” “A Father’s First Spring”

#30
Unfinished Business
Wanda Jackson

Individual rankings:  Ben – #10;  Jonathan – #15

On 2011’s The Party Ain’t Over, Wanda Jackson too often found herself overshadowed by producer Jack White’s impressive, if show-offy, blend of rockabilly and modern blues. Justin Townes Earle, in producing Unfinished Business, wisely keeps the focus on Jackson, whose feistiness and inimitable presence on record are undiminished by her 60-plus years as a recording artist. - Jonathan Keefe

Top Tracks:  “Tore Down,” “Am I Even a Memory,” “California Stars”

#29
Nashville, Volume 1:  Tear the Woodpile Down
Marty Stuart

Individual rankings:  Sam – #6;  Ben – #19

Featuring a raucous roadhouse jam one moment (“Tear the Woodpile Down,” “Truck Driver’s Blue”), and a straight-up steel weeper the next (“A Matter of Time,” “The Lonely Kind”), Nashville, Volume 1 offers an entertaining fusion of country music past and present from one the genre’s most staunch advocates of tradition.  A solid set of songs along with some unexpected collaboration (Hank Williams III, Buck Trent, Lorrie Carter Bennett) ensure that there is never a dull moment.  - Ben Foster

Top Tracks:  “A Matter of Time,” “Truck Driver’s Blues,” “Picture from Life’s Other Side”

#28
Original Soundtrack:  The Hunger Games –  Songs from District 12 and Beyond
Various Artists

Individual rankings:  Dan – #8;  Jonathan – #11

A truly weird effort: bleak, rootsy…and tied to a blockbuster movie based on a Young Adult novel. How do you wind up with that combo? Well, get T-Bone Burnett on the job. In truth, Burnett’s vision captures the tone of Suzanne Collins’s tense, disturbing death-match better than the serviceable film does, with songs that explore the heroine’s psyche in complement to the way Collins’s first-person narrative did. - Dan Milliken

Top Tracks: “Abraham’s Daughter,” “Nothing to Remember,” “Just a Game”

#27
Hello Cruel World
Gretchen Peters

Ben – #5;  Jonathan – #16

Dense, poetic, and uninhibited, modern songwriting legend Gretchen Peters turns her inner emotions outward on this deeply absorbing set, ripe with clever yet accessible metaphors (“St. Francis,” “Paradise Found,” “Natural Disaster”) and intriguing character sketches (“Camille,” “Five Minutes”).  Her songwriting chops are formidable enough, but she also brings the goods as a singer with lived-in performances that are layered, expressive, and authoritative. - Ben Foster

Top Tracks:  “Hello Cruel World,” “St. Francis,” “Five Minutes”

#26
Mindy Smith
Mindy Smith

Leeann – #6;  Dan – #10

Five albums into her career, Mindy Smith revisits the organic feel of her first album, which, thankfully, mostly abandons the pop trappings of her previous project.  This isn’t to say that she has lost any sense of creativity.  In fact, the album hosts a diverse mix of  straight-up country, alt-country, gentle jazz, and soft acoustic songs.  As a result, her stellar self-titled album proves quite worthy of her immense talent.  Three songs are specifically recommended here, but the album as a whole is worth recommendation. - Leeann Ward

Top Tracks:  “Take Me Back,” “Everything Here Will Be Fine,” “Cure for Love”

#25
The Time Jumpers
The Time Jumpers

Individual rankings:  Ben – #2;  Leeann – #17

From the warm familiar tenor of Vince Gill to the whine of veteran Paul Franklin’s steel guitar to the Connie Smith-esque vocals of Dawn Sears, it’s a wonder this eleven-piece traditional country outfit even manages to fit so much talent into one room.  On the band’s first proper studio effort, twangy toe-tappers like “On the Outskirts of Town” and “Texas On a Saturday Night” will make you want to get up and dance, but ballads such as the sorrowful “So Far Apart” and the introspective “Three Sides to Every Story” demonstrate that there’s plenty of substance to go along with all the fun.  Simply delightful. - Ben Foster

Top Tracks:  “Texas On a Saturday Night,” “On the Outskirts of Town,” “Three Sides to Every Story”

#24
And So It Goes
Don Williams

Individual rankings:  Kevin – #10;  Ben – #11;  Dan – #16

Seemingly the very personification of country sincerity, Hall of Fame member Don Williams ably sells material that might scan as maudlin if delivered by a vocalist lacking his restraint and age-earned wisdom.  Williams delivers songs of love and heartache with a recurring theme of optimism on his first studio outing since 2004, with songs like “Better Than Today,” “She’s With Me,” and “Imagine That” seeming like could’ve-been classic hits had they been released a few decades earlier.  A pairing with the exquisite vocals of Alison Krauss on “I Just Come Here for the Music” supplies what is arguably the album’s finest moment. - Ben Foster

Top Tracks:  “She’s With Me,” “I Just Come Here for the Music,” “Imagine That”

#23
Carry Me Back
Old Crow Medicine Show

Individual rankings:  Jonathan – #6;  Dan – #11;  Leeann – #20

A significant rebound from the dreary Tennessee PusherCarry Me Back finds Old Crow Medicine Show delving further into their old-timey stringband persona while still retaining a contemporary, relevant point-of-view. Taking a light-handed but still perceptive approach to matters of war and economic hardship but also cutting loose for a bit of pure escapism every now and then, OCMS prove that they’re not just a band who thought they’d dress like bootleggers and pick up a banjo to mask the fact that they don’t have anything more substantive to say. - Jonathan Keefe

Top Tracks:  “Carry Me Back to Virginia,” “Levi”

#22
Agnostic Hymns & Stoner Fables
Todd Snider

Individual rankings:  Jonathan – #3;   Dan – #9

It’s his most quintessentially Todd Snider-ish album title yet, and in some ways, it does feel like his signature piece: loopy-sharp commentary on religion and socioeconomic issues, down-on-their-luck protagonists with hearts of gold or darkness or both. It’s impossible to always agree with Snider the man or even Snider the fable-teller, probably; he puts it all out there so brazenly, with such bold detail, that some of it is bound to repel. But as country-folk troubadours go, there’s hardly a finer craftsman. - Dan Milliken

Top Tracks: “New York Banker,” “In Between Jobs,” “Brenda”

#21
I Like to Keep Myself In Pain
Kelly Hogan

Individual rankings:  Jonathan – #2;  Dan – #6

Armed with a voice of extraordinary power and versatility and, perhaps more importantly, with a better ear for quality material than just about anyone recording in any genre, Kelly Hogan is simply one of the finest interpretive singers in contemporary music.  On I Like to Keep Myself in Pain, she tackles heady, complicated songs that hinge on deep emotional conflicts and surprising narrative turns, and she wraps those songs into a take on country music that’s both quirky and genuinely progressive. - Jonathan Keefe

Top Tracks:  “Plant White Roses,” “Haunted,” “I Like to Keep Myself in Pain”

#20
AM Country Heaven
Jason Eady

Individual rankings:  Leeann – #5;  Dan – #12;  Ben – #12

Good, pure country music is not dead! The solid proof is in AM Country Heaven. With fiddle, steel guitar, bass and honky tonk piano aplenty, this album is unadulterated country music that maintains the perfect balance of classic and freshness. Just like any good country album, the songs and melodies are memorable without being covered with a sickening shine, but rather, allowing each song and vocal to stand on its own with the support of tasteful instrumentation that works together to enrich the listening experience. - Leeann Ward

Top Tracks:  “Tomorrow Morning,” “Man on a Mountain” (with Patty Loveless), “Lying to Myself”

#19
Edens Edge
Edens Edge

Individual rankings:  Tara – #6;  Kevin – #9;  Dan – #14

Edens Edge teased us with “Amen” in 2011, an adorably written gem with the kind of spirit that’s been missing from country radio since the 90s.  The trio’s debut album is equally charming, built on strong storylines and engaging performances.  Perhaps most impressively, they understand the power of a full-bodied melody, skillfully using its dips, crescendos, and color to convey a range of emotions. - Tara Seetharam

Top Tracks:  “Amen,” “Feels So Real,” “Swingin’ Door”

#18
Sun Midnight Sun
Sara Watkins

Individual rankings:  Dan – #2;  Jonathan – #17;  Leeann – #18

It’s fitting that the cover features Watkins posed like some kind of dark angel, or maybe an ancient Egyptian goddess, big yellow star-glow encircling her head. After a promising debut, Sun Midnight Sun is her moment of almighty ascension as a solo artist, a helping of fiddly folk-pop that is accessible but smart, cute but cutting, steady but adventurous. She duets with Fiona Apple on “You’re the One I Love”; she covers Willie Nelson on “I’m a Memory”; and on the timeless “Take Up Your Spade,” she suggests she might be able to hang with either as a songwriter. - Dan Milliken

Top Tracks: “When It Pleases You,” “I’m a Memory,” “Take Up Your Spade”

#17
Bear Creek
Brandi Carlile

Individual rankings:  Leeann – #2;  Dan – #3

While Brandi Carlile may not particularly consider herself a country artist, it’s obvious that she can aptly play the part when she has a mind to. Not only did she write “Same Old You,” one of the best and most country songs on Miranda Lambert’s latest album, but Carlile turns in a sturdy album with strong country elements in the heart of its songs. From the first addictive riff of “Hard Way Home” to the straight-up twang of “Keep Your Heart Young” to the final notes of the ethereal “Just Kids” and all points in between, Bear Creek is a powerfully sensational experience. - Leeann Ward

Top Tracks:  “Hard Way Home,” “Keep Your Heart Young,” “Heart’s Content”

#16
Cabin Fever
Corb Lund

Individual rankings:  Sam – #1;  Jonathan – #4

Songs about gravediggers, cowboys, killers, cows and goth chicks? Must be a Corb Lund album. Lund has never been a predictable songwriter, and the songs on his latest album are no exception. “Pour ‘em Kinda Strong” and “Dig Gravedigger Dig” are more outlaw than any wannabe with a ballcap and a wallet chain can hope to sing. “September” and “One Left in the Chamber” display Lund’s chops as a serious songwriter. And for those who favor the bizarre, there’s “The Gothest Girl I Can” and “Cows Around.” They’re all good, and Lund is one of the few who can combine them all into one cohesive, excellent album. - Sam Gazdziak

Top Tracks:  Dig Gravedigger Dig,” “One Left in the Chamber,” “Bible on the Dash” (with Hayes Carll)

#15
Leaving Eden

Carolina Chocolate Drops

Individual rankings:  Sam – #2;  Leeann – #10;  Dan – #15

The Carolina Chocolate Drops are so steeped in tradition that it’s hard to fathom how they can sound so classic and modern all at once.  Listening to them, it’s easy to think that it’s all effortless, but the fact is that they’ve trained extensively and know just what they’re doing as a result.  Leaving Eden is an extension of Genuine Negro Jig inasmuch as it ingeniously incorporates commonly utilized instruments with the not-so-common.  In addition to traditional fiddle, cello, and banjo, you can also hear bones, jugs and quills, along with impressive beat-boxing.  Above the impressive, warm and crisp instruments, however, are the wildly soulful vocals of Rhiannon Giddens, particularly on the a cappella “Pretty Bird” and the slow-burning title track.  Moreover, the Chocolate Drops’ energy and passion for what they’re doing is what we are ultimately hearing in this generous offering of energetic and thoughtful string-band music. - Leeann Ward

Top Tracks:  “West End Blues,” “Leaving Eden,” “Pretty Bird”

#14
For the Good Times
The Little Willies

Individual rankings:  Kevin – #4;  Jonathan – #12;  Leeann – #13;  Ben – #20

By recasting classic country songs into a jazz house style, the Little Willies prove a powerful truth that genre aficionados have known all along.  The songwriters showcased on For the Good Times – Willie Nelson, Dolly Parton, Lefty Frizzell, Kris Kristofferson, Loretta Lynn, Ralph Stanley, Scotty Wiseman – are craftsmen and craftswomen that rival and often topple the legendary writers of Tin Pan Alley and the Brill Building. - Kevin John Coyne

Top Tracks:  “Remember Me,” “Permanently Lonely,” “Jolene”

#13
Tornado
Little Big Town

Individual rankings:  Tara – #2;  Jonathan – #5;  Ben – #17

On its fifth album, Little Big Town isn’t interested in making a foot-stamping creative statement.  Instead, the group dives into a diverse but thoughtful stylistic grab bag, from the backwoods swamp of “Front Porch Thing” to the shameless accessibility of “On Fire Tonight” to the celestial lullaby of “Night Owl.”  With its shifting spotlight, Tornado reminds us that all four vocalists are skilled in their own right, but never strays too far from the quartet’s defining harmonies, underscored by the album’s a cappella pockets.  While “Pontoon” may be the album’s claim to fame, its signature is “Sober,” an exquisite, arms-raised surrender that pierces like no other song in Little Big Town’s catalogue. - Tara Seetharam

Top Tracks:  “Sober,” “Front Porch Thing,” “Leavin’ In Your Eyes”

#12
High, Wide & Handsome
The Trishas

Individual rankings:  Dan – #4;  Kevin – #6; Sam – #7

Miss the Dixie Chicks and getting antsy waiting for the next Pistol Annies installment? Wish either of those groups would do some good, old-fashioned heartbreak and settle down with all that pill-takin’ and Lubbock-hatin’? Say howdy to The Trishas. This fresh-faced quartet fills their first LP with tasty neo-trad of all different flavors, from the hooky shuffles of “Mother of Invention” and “Strangers” to the lounge-in-Texas aesthetic of “Cold Blooded Love” and “Rainin’ Inside.” But the common theme is love gone bad, and they do it oh so good. It helps that they’ve got Natalie Hemby, Jason Eady and Turnpike Troubadour Evan Felker writing with them. But the knockout punch is their harmonies, which call to mind what a “Cool Younger Daughters of the Pioneers” group might have sounded like. - Dan Milliken

Top Tracks: “Mother of Invention,” “Little Sweet Cigars,” “Liars & Fools”

#11
Blown Away

Carrie Underwood 

Individual rankings:  Kevin – #1;  Tara – #5;  Ben – #16

The hardest-working woman in country music.  She could’ve coasted on the material of others, but she’s put the work in to develop into a great songwriter in her own right, with a distinctive point of view that is becoming just as essential to her artistry as those powerful pipes that made her a star in the first place.  She’s said that “Blown Away,” one of the few songs she didn’t write, set the tone for the album.  What a blessed discovery that song was then, as it challenged Underwood to be bolder than she ever dared before.  She consistently sings about and writes about strong women who refuse to be defined by their relationships with men and who ultimately triumph over the ones who compromise their physical or emotional well-being.  “Good Girl” might be the most obvious cautionary tale to the young girls that make up a good chunk of her audience, but here’s hoping they also hear her calls to reject the media’s narrow definitions of beauty (“Nobody Ever Told You”) and the judgment-free reminiscence of first-time love on “Do You Think About Me.”  Leave it to Carrie Underwood to kill off two men and still preserve her distinctive position as country music’s best role model. - Kevin John Coyne

Top Tracks:  “Blown Away,” “Do You Think About Me,” “See You Again”

#10
Up All Night
Kip Moore

Individual rankings:  Kevin – #3;  Dan – #5;  Tara – #7

Kip Moore is blatantly derivative, über-conventional, and possibly the best thing to happen to FM country in 2012. (Well, aside from that other K.M. sitting atop our singles list.) How’s that work, now? He makes the old feel new again. The magic is two-pronged: first, an excellent tune-sense that fortifies even staid phrases and ideas with infectious melodic power; and second, a sandy-sweet rasp, effortlessly sexy and tender and…well, those are pretty much his two modes so far. But he makes ‘em work like few singers can, resulting in a set of songs that often sound the same, but all in a rather likable way. More risks in songwriting and production could take him to the next level, but even now, he’s the Springsteen tribute we never knew we wanted. Dan Milliken

Top Tracks: “Beer Money,” “Where You Are Tonight,” “Hey Pretty Girl”

 

#9
Long Ride Home
Darrell Scott

Individual rankings:  Kevin – #2;  Leeann – #7;  Dan – #7

It’s naïve to suggest that there are many quick fixes to the mind-boggling banality of contemporary country music.  But pitching the Darrell Scott songbook around town is one of them.  A great songwriter can elevate an entire genre when given the chance, like Kris Kristofferson did in the late sixties and early seventies, and Matraca Berg did in the mid-nineties.  Scott’s latest set is as strong a collection of songs as I’ve heard in the past few years.  His delivery is rough but authentic. We write so often about the great singers we wish could just record better material.  Imagine Blake Shelton singing, “When first I took the ring off, I was surprised to see another ring just underneath, as white as snow can be.”  Or perhaps Sugarland’s Jennifer Nettles singing, “I am grounded, oh but I have wings to fly.  I don’t use them, I just look up in the sky.”  Or perhaps some unknown, third-string act just waiting for their chance to prove themselves, walking into a studio armed with a set of songs stronger than anything being pushed by the Music Row publishing houses or our generally overrated “singer-songwriters” on the radio.  Fingers crossed. - Kevin John Coyne

Top Tracks:  “Someday,” “Too Close to Comfort,” “No Love In Arkansas (The Ring)”

#8
Uncaged
Zac Brown Band

Individual rankings:  Jonathan – #8;  Tara – #9;  Leeann – #12;  Ben – #15;  Sam – #19

Having secured their spot on the genre’s A-list, Zac Brown Band used their third studio album, Uncaged, as an opportunity to see what they could really get away with.  Even beyond its just spectacular cover art, Uncaged finds the band tackling styles from contemporary bluegrass to Jimmy Buffett-inspired isle rock to campy Quiet Storm soul balladry, all without losing their distinct identity or straying too far from their genuinely good-natured aesthetic.  In the process, they prove that it’s possible to sound authentically “Southern” (if not always “country”) without ever relying on the cheapest, emptiest of signifiers. - Jonathan Keefe

Top Tracks:  “Goodbye in Her Eyes,” “Sweet Annie,” “The Wind”

#7
KIN:  Songs By Mary Karr & Rodney Crowell
Various Artists

Individual rankings:  Leeann – #1;  Ben – #4;  Kevin – #7

As the story goes, Rodney Crowell mentioned poet Mary Karr in his song “Earthbound” on the album Fate’s Right Hand.  After reading her book The Liars’ Club, he had an inkling that Karr might possess the heart of a songwriter – and it turns out that his premonition was right on.  Due to their similar backgrounds, which consisted of hard-scrabble living, they were able to relate in a way that pushed them to create one of the most intriguing albums of the year.  While Karr isn’t a singer, Crowell certainly is.  However, with the exception of four excellent songs on which Crowell sings, they opted to enlist a brilliant cast of known artists to play the roles found within their songs.  Not only do these guest artists play the parts perfectly; in some cases, they even turn in performances that are among their best recordings. - Leeann Ward

Top Tracks:  “Momma’s on a Roll” (Lee Ann Womack), “My Father’s Advice” (Rodney Crowell/Kris Kristofferson), “Just Pleasing You” (Vince Gill)

#6
100 Proof
Kellie Pickler

Individual rankings:  Tara – #4;  Ben – #7;  Leeann – #15;  Jonathan – #18

Gone is the glitzy, polished pop-country princess from the American Idol stage. In her place is a poised, sincere interpretive vocalist with a palpable love for traditional country music, as well as a gifted songwriter with a willingness to get personal.  With “Where’s Tammy Wynette” and “Stop Cheatin’ On Me,” Pickler nods to the classic country passed on to her by her grandparents, while addressing her troubled past with “Mother’s Day” and “The Letter (To Daddy),” and channeling her present-day marital contentment with the title track and the broadly charming “Rockaway (The Rockin’ Chair Song).”  With the artistic leaps evident on this project, Kellie Pickler finally comes into her own as an artistic force, while hinting that the best is yet to come. - Ben Foster

 Top Tracks:  “Where’s Tammy Wynette,” “Long As I Never See You Again,” “Mother’s Day”

#5
Thirty Miles West
Alan Jackson

Individual rankings:  Tara – #4;  Kevin – #5;  Ben – #14;  Leeann – #19;  Jonathan – #19

Thirty Miles West is just another solid Alan Jackson album – and there’s nothing wrong with that.  At 54 years old, Jackson is still the most effortless every-man in country music, able to tap into the foundation of human emotion with breezy precision.  From his astute perspective in “So You Don’t Have To Love Me Anymore” to his delightful open-mindedness in “Her Life’s a Song,” Jackson makes honest, relatable storytelling look easy.  Amidst the shuffle of mainstream country artists struggling to do the same, Jackson, thankfully, remains the trusted friend we can turn to when we need to be understood. – Tara Seetharam

Top Tracks:  “So You Don’t Have to Love Me Anymore,” “Her Life’s a Song,” “You Go Your Way”

#4
Wreck & Ruin
Kasey Chambers & Shane Nicholson

Individual rankings:  Sam – #3;  Leeann – #9;  Ben – #9;  Tara – #10;  Jonathan – #10

Singers/songwriters/spouses Chambers and Nicholson set a pretty high standard for duet albums with 2008’s Rattlin’ Bones, but Wreck & Ruin more than lives up to its predecessor. Backed by fiddles and banjos galore, their voices blend beautifully, from the whimsical “Flat Nail Joe” to the tender “The Quiet Life.” Too many “event duets” (Jason/Kelly, Brad/Carrie) turn into a vocal competition, as the two singers try their best to outshout each other. Wreck & Ruin is a much more low-key affair, but it demonstrates the subtle beauty of a man and woman singing together. - Sam Gazdziak

Top Tracks:  “Adam and Eve,” “The Quiet Life,” “Familiar Strangers”

#3
Calling Me Home
Kathy Mattea

Individual rankings:  Ben – #1;  Leeann – #4;  Kevin – #8;  Tara – #8;  Jonathan – #13

Kathy Mattea may be the one standing behind the microphone, but she allows her home state of West Virginia to be the star of this stellar roots project.  Through deeply heartfelt vocal renderings backed by gorgeous Appalachian instrumentation, Mattea allows us to feel the heartbreak of the bereaved household in “West Virginia Mine Disaster,” as well as the frustration of a rural dweller watching his land overrun by “Black Waters,” even causing us to empathize with entities as simple as a wood thrush and a maple tree.  By turning to her own roots for inspiration, Kathy Mattea creates a career-best album that absolutely soars from beginning to end. - Ben Foster

Top Tracks:  “West Virginia Mine Disaster,” “The Maple’s Lament,” “Black Waters,” “Now Is the Cool of the Day”


#2
Sing the Delta
Iris DeMent

Individual rankings:  Dan – #1;  Jonathan – #1;   Leeann – #3;  Ben – #6

She sings of the vital importance of “telling [her] truth” on a heartfelt tribute to her mother that’s tucked away near the end of Sing the Delta, and Iris DeMent spends the duration of her extraordinary fifth album doing precisely that. She structures her songs like traditional Southern gospel hymns, but DeMent isn’t one to adhere blindly to conventions, as she weaves intimate autobiographical details into songs of profound personal and spiritual questioning and insight. Sing the Delta captures, in DeMent’s wondrously plain-spoken way, how faith and love, whatever their forms, are the most rewarding of struggles. It’s the gospel according to Iris, and it should be shouted from the rooftops. - Jonathan Keefe

Top Tracks:  “Mama Was Always Telling Her Truth,” “The Night I Learned How Not to Pray,” “There’s a Whole Lotta Heaven,” “Out of the Fire”

#1
Living for a Song – A Tribute to Hank Cochran
Jamey Johnson

Individual rankings:  Tara – #1;  Ben – #3;  Leeann – #8;  Jonathan – #9;  Sam – #10

Since he quietly rose to fame in 2008 with “In Color,” Jamey Johnson has played the part of our dependable, unbending 21st-century outlaw – sometimes to a fault.  His brand has often felt airtight, his expressiveness always one step behind his authenticity.  Living for a Song, then, does something momentous:  It deconstructs Johnson’s persona and paints him in a sweeter, more accessible light.

Maybe it’s the late Hank Cochran’s exceptional touch: graceful, disarming and frank all at once.  Maybe it’s the pairing of Johnson with a stellar cross-generational cast of characters, who deliver the 16 songs with zest and reverence.  Or maybe it’s simply Johnson’s surprising versatility, drawn from his genuine, careful appreciation of his former mentor.

Does it matter?  The sum of these parts isn’t just an album that pumps depth into one of our generation’s definitive artists, or that pays tribute to one of our finest composers.  Living for a Song did what we sorely needed something to do in 2012:  It took us back to the basics of country music – simple, straightforward and, at its best, achingly vulnerable. - Tara Seetharam

Top Tracks:  “Make the World Go Away,” “This Ain’t My First Rodeo,” “She’ll Be Back”

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Filed under Best of 2012

CU's Top Singles of 2012

2012Something you probably already know about us here at Country Universe:  We love country music.  A lot.  While truly great country music has become scarce on country radio, we are fortunate to live in an age in which modern technology has made great music more accessible than ever, regardless of whether Top 40 radio dares touch it.

At the close of each year we separate the grain from the chaff, and share the music we discovered over the past year that made us glad that we stuck with our genre of choice.  We at Country Universe have put our heads together to create the following lists of favorite singles and albums of 2012.

Seven writers – Kevin Coyne, Leeann Ward, Dan Milliken, Tara Seetharam, Jonathan Keefe, Sam Gazdziak, and myself –  individually listed our twenty favorite albums and singles of 2012, and used a points system to combine our individual lists into collective lists.  Our Best of 2012 feature will include countdowns of forty albums and forty singles.  Today we reveal our Top 40 Singles, with our Top 40 Albums countdown to follow shortly thereafter.  Enjoy, and please be sure to share your own favorites in the comments section.  Thank you to all for being a part of the Country Universe family in 2012.  We look forward to sharing more great music in 2013.

 

#40
“Southern Comfort Zone”
Brad Paisley

Individual rankings:  Jonathan – #13;  Leeann – #20

Brad Paisley has never been one for subtlety, and “Southern Comfort Zone,” with its tacky gospel-choir-singing-“Dixie” coda and Kings of Leon arena-rock chorus, is perhaps his most graceless and didactic effort.  But sometimes it takes the subtlety and precision of a sledgehammer to get one’s point across, especially when your point is a thoughtful and sincere charge to consider how unfamiliar experiences can both reinforce and challenge your core beliefs (a point Paisley makes, it’s worth mentioning, while straying significantly from his trademark aesthetic), and when that point has to be made while trying to shout over a bunch of Ed Hardy-dressed hacks whose entire “artistry” hinges on perpetuating ugly rural-versus-urban class conflicts over music that sounds like a Metallica cover band.  No, it isn’t a single I particularly like listening to, but it’s one I fundamentally respect for challenging what became country’s status quo in 2012. - Jonathan Keefe


#39
“Every Storm (Runs Out of Rain)”
Gary Allan

Individual rankings:  Sam – #8

The title is a little trite and sounds like something that Dr. Phil might say, but Allan’s vocal performance and a moody arrangement make this song a winner. - Sam Gazdziak

#38
Goodbye In Her Eyes”
Zac Brown Band

Individual rankings:  Sam – #14;  Leeann – #18

“Goodbye in Her Eyes” is, hands down, the coolest-sounding sad song on the radio in 2012. – Leeann Ward

#37
“In Between Jobs”
Todd Snider

Individual rankings:  Jonathan – #6

An update of “Working Man’s Blues” for the modern economic crisis, Todd Snider’s “In Between Jobs” glides along the sleaziest of blues riffs and slowly reveals his frustrated, unemployed narrator’s intentions. Spoiler alert: He doesn’t plan on staging a “We Are the 99%” protest outside the home of the wealthy man he’s addressing. - Jonathan Keefe

#36
“You Go Your Way”
Alan Jackson

Individual rankings:  Kevin – #13;  Sam – #18

“You go your way, and I’ll go crazy,” Jackson sings.  It’s too bad that Jackson has fallen out of radio’s good graces, because this beautiful heartbreaker deserved to be another of his #1 singles. - Sam Gazdziak

#35
“Born to Be Blue”
The Mavericks

Individual rankings:  Ben – #17;  Dan – #18;  Tara – #20

A slice of throwback 50’s pop that reminds us how blissfully therapeutic it feels to pair heartache with a sweet, simple melody. - Tara Seetharam

#34
“Closer”
Mindy Smith

Individual rankings:  Leeann – #12;  Dan – #14

Much like Alison Krauss, to whom Mindy Smith is often compared, you’ll rarely hear Smith’s pretty voice singing upbeat, frivolous songs.  Instead, she tends toward the introspective and even melancholy.  The Swampy “Closer” showcases both tones, but it’s blended with some hopeful optimism as well. - Leeann Ward

#33
“Drunk On You”
Luke Bryan

Individual rankings:  Dan – #12;  Kevin – #14

In reality, I don’t think any woman could take a guy seriously if he told her that “you make my speakers go boom-boom.”  Funny how the best country music is far more forgiving than reality. - Kevin John Coyne

#32
“Cruise”
Florida Georgia Line

Individual rankings:  Dan – #3

Sorry, people with taste; there’s (I mean – there’z) a reason this abomination is riding high. It’s the catchiest country sing-along since “Wagon Wheel.” - Dan Milliken

#31
“When I’m Gone”
Joey + Rory

Individual rankings:  Kevin – #12;  Ben – #12

A pensive meditation on the process of grief, delivered through one of Joey Martin Feek’s most deeply moving performances on record.  While it obviously had no chance at country radio, “When I’m Gone” is nonetheless a standout career achievement for this exceptionally talented husband-and-wife duo.  - Ben Foster

#30
“Postcard from Paris”
The Band Perry

Individual rankings:  Ben – #11;  Sam – #13

In spite of their occasional misfires, “Postcard from Paris” is a moment in which the Perry siblings are able to effectively marry their lovably quirky nature to a lyrical concept that actually works – and works beautifully, with a titular analogy that’s both clever and effective, and a refrain that bites subtly but sharply (“The meanest thing you ever did is come around…and now I’m ruined”).  Finish it off with an arrangement that sounds like something off of the Dixie Chicks’ Fly, and everybody wins.  - Ben Foster

#29
“When It Pleases You”
Sara Watkins

Individual rankings:  Dan – #10;  Leeann – #17

With slow, seething ire, Watkins faces the truth that she’s giving her whole heart to a relationship and getting jack back.  “I call you when I want to hear –,” she sighs, “– my voice whisper…in your voicemail’s ear.” - Dan Milliken

#28
“Live and Die”

The Avett Brothers

Individual rankings:  Sam – #2

The lead single from The Avetts Brothers’ new album was the perfect middle ground between their charmingly rough-around-the-edges independent albums and their more polished I and Love and You release from 2010.  There is something about the Avetts singing sentimental, romantic lyrics over the strumming of a banjo that’s just so right- Sam Gazdziak

#27
“Is It Already Time?”
Wade Hayes

Individual rankings:  Kevin – #10;  Dan – #15

A to-the-point account of getting a diagnosis out of nowhere and suddenly having to stare down one’s own mortality. - Dan Milliken

#26
“Safe & Sound”
Taylor Swift featuring The Civil Wars

Individual rankings:  Leeann – #10;  Jonathan – #14

The soft production and gentle melody of “Safe & Sound” compliment Taylor Swift’s wispy voice rather than competing against it, as is prone to happen in many of Swift’s recordings.  The addition of The Civil Wars’ sublime vocal support greatly elevates a recording that would have been pretty good without them, but turns out to be even better with them. - Leeann Ward

#25
“I Like Girls That Drink Beer”
Toby Keith

Individual rankings:  Kevin – #9;  Leeann – #16

Keith revisits the classic uptown girl/downtown boy pairing that’s resulted in so many great country records in years gone by. - Kevin John Coyne

#24
“Plant White Roses”
Kelly Hogan

Individual rankings:  Jonathan – #1

Stephin Merritt of the Magnetic Fields is one of pop music’s most sardonic, morose songwriters, prone to declarations like, “Plant white roses, and plan to cry/If I can’t spend my life with you, I want to die.” But Kelly

Hogan, best known for her work singing back-up with Neko Case, is a such a gifted interpretive singer that she’s able to find the humanity in Merritt’s sad-sack narrators, and it’s her multifaceted, nuanced reading of “Plant White Roses” that ropes the song into the country genre. - Jonathan Keefe

#23
“Good Girl”
Carrie Underwood

Individual rankings:  Kevin – #6;  Dan – #16

A rockin’ little record that exudes Underwood’s growing confidence as a singer and a songwriter.  A much-needed shot of adrenaline into the arm of country radio. - Kevin John Coyne

#22
“Hello Cruel World”
Gretchen Peters

Individual rankings:  Ben – #8;  Sam – #12

An insightful, slyly self-deprecating take on middle age and mortality, with the narrator musing “I’m not dead, but I’m damaged goods, and it’s getting late.”  A clever pun of a title hook reflects the narrator’s resolve to make peace with the past, and to keep moving forward.  - Ben Foster

#21
“Dig Gravedigger Dig”
Corb Lund

Individual rankings:  Sam – #4;  Jonathan – #18

Lund gives a little love to the gravedigging profession with this bluesy stomper.  It’s perhaps a little twisted, but more country songs could stand to reference rigor mortis these days. - Sam Gazdziak

#20
“I’m a Mess”
Rodney Crowell

Individual rankings:  Leeann – #4;  Kevin – #16

From his collaborative project with Mary Karr that includes many esteemed guest artists, this Rodney Crowell-performed cut emerges as one of the strongest.  With a production that would neatly fit on one of his albums of the 2000’s, the lyric suits the chaos that its title suggests. - Leeann Ward

#19
“Fly Over States”
Jason Aldean

Individual rankings:  Tara – #7;  Dan – #9

Aldean relaxes his badass-hicktown-pride muscles for a moment and reveals the beating heart beneath.  It’s like a heartland-rock “Colors of the Wind” – and what could be more badass than that- Dan Milliken

#18
“Even If It Breaks Your Heart”
Eli Young Band

Individual rankings:  Sam – #5;  Tara – #16;  Jonathan – #16;  Dan – #20

The song was written by Will Hoge and Eric Paslay, but the Eli Young Band made this tale about preservation and hope their own.  Given the ups and downs and should’ve-been-hits that the Texas group has seen in its career, they’ve lived this song. - Sam Gazdziak

#17
“Two Black Cadillacs”
Carrie Underwood

Individual rankings:  Kevin – #4;  Tara – #4;  Ben – #18

A haunting Southern Gothic tale of revenge, heavy on the catharsis and light on the narrative.  Underwood fills in the gaps with a spot-on performance – imbuing it with chilling fury, sinister joy, and just enough poise to suggest she knows tantalizingly more than we do. - Tara Seetharam

#16
“Beer Money”
Kip Moore

Individual rankings:  Dan – #8;  Tara – #9;  Kevin – #11  Ben – #19

The year’s finest blue-collar drinkin’ song, crackling with desperation and sexual friction. - Dan Milliken

#15
“Better Dig Two”
The Band Perry

Individual rankings:  Jonathan – #7;  Leeann – #9;  Dan – #11;  Tara – #19

The second most surprising moment in country music in 2012 was that The Band Perry’s “Better Dig Two” finds producer Dann Huff, known for his heavy hand at the mixing board and his affinity for maudlin arrangements, doing an on-point impression of Rick Rubin.  But the most surprising moment in country music in 2012 has to be the casual reference to crystal meth in the single’s second verse.  Artists like Drive-By Truckers and Hank III have addressed rural America’s drug of choice for years now, but who would’ve ever expected that the exceedingly polite, ridiculously coiffed Perry siblings – and not, say, Eric Church in full “outlaw” drag – would’ve been the ones to bring a parallel between one of the nastiest, most damaging of vices and the addictive powers of love to country radio?  Or that they’d pull off such a thing with the kind of authority and conviction that make “Better Dig Two” so searing?  This isn’t a wistful fantasy about what happens if the narrator dies young; it’s an open threat of how things very likely will end. – Jonathan Keefe

#14
“I Just Come Here for the Music”
Don Williams featuring Alison Krauss

Individual rankings:  Ben – #6;  Sam – #7;  Dan – #17;  Kevin – #20

Don Williams’ return from retirement was a nice surprise in and of itself.  And So It Goes found Williams still at the top of his game, and this duet with Krauss is one of the many highlights.  His deep baritone and her angelic harmonies blend beautifully. - Sam Gazdziak

#13
“The Dreaming Fields”
Matraca Berg

Individual rankings:  Ben – #2;  Leeann – #6;  Jonathan – #10

In one of the finest songs by one of country music’s finest songwriters, Matraca Berg lays bare her feelings of wistfulness over the loss of a family farm embodying scores of memories.  “The Dreaming Fields” boasts a deeply compelling melody, a chillingly effective arrangement, and a gut-wrenching vocal performance.  I may not know the first thing about farming, but one thing I do understand is the meaning of a memory.  This song rips my heart out. - Ben Foster

#12
“Springsteen”
Eric Church

Individual rankings:  Dan – #6;  Tara – #6;  Leeann – #15;  Jonathan – #17;  Ben – #20

The song was a pretty piece of nostalgia to begin with. But Jay Joyce’s hypnotic groove lifts the record to a higher ground, giving it the same sort of spiritual beauty often attributed to its namesake’s best work. - Dan Milliken

#11
“Blown Away”
Carrie Underwood

Individual rankings:  Kevin – #2;  Dan – #7;  Tara – #14;  Ben – #15

An epic single with both a theme and a production big enough to contain the overwhelming vocal powerhouse that is Carrie Underwood.  Give her points for being courageous enough to tackle this topic on record, but get down on your knees and offer praise and gratitude for being talented enough to pull it off. - Kevin John Coyne

#10
“The Wind”

Zac Brown Band

Individual rankings:  Jonathan – #2;  Tara – #11;  Leeann – #13;  Ben – #14;  Sam – #19

With an impressive string of Top 2 hits and a couple of platinum-plus albums to their credit, Zac Brown Band had earned the opportunity to take a risk leading up to the release of their third studio album.  While Uncaged had no shortage of obvious radio hits, the band, who have always been more of a “Southern” band than a proper “country” outfit, chose to prove their genre bona fides by releasing “The Wind.”  A fast-picking, freewheeling romp, “The Wind” sets the ideal stage for a “hoedown” vs. “hootenanny” debate. The song’s breakneck speed and clever turns-of-phrase may have proved too much for radio, where it became the band’s first single to miss the Top 10, but it’s a single that highlighted the real breadth of Zac Brown Band’s range. - Jonathan Keefe

#9
“The Sound of a Million Dreams”
David Nail

Individual rankings:  Tara – #1;  Kevin – #8;  Ben – #9;  Dan – #19

With an arrangement as rich as its sentiment, “The Sound of a Million Dreams” is an elegant tribute to songs, punctuated by a searing second verse.  Billy Joel could have mastered this piano ballad, but he wouldn’t have delivered it with such painfully earnest hope.  And in an era where too many artists have the audacity to present us with career-low music, Nail’s unapologetic faith in the power of his craft is deeply, depressingly refreshing. - Tara Seetharam

#8
“Creepin'”
Eric Church

Individual rankings:  Sam – #1;  Dan – #2;  Leeann – #8;  Tara – #15

With an ominous vibe and distorted vocals, Church manages to come up with a unique song in an increasingly cookie-cutter genre.  From the opening “bom bom bom bah-dom” to its searing guitar solos, “Creepin’” is one of the year’s most distinctive singles in any genre.  When all to many “country-rock” songs are really just rock songs about country things, “Creepin’” really does manage to blend the two elements into something new and exciting. - Sam Gazdziak

#7
“Neon”
Chris Young

Individual rankings:  Tara – #3;  Dan – #5;  Leeann – #7;  Jonathan – #8;  Ben – #13

Young’s ode to a bar gracefully treads the line between vintage and current, packed with clever imagery and backed by a sturdy neotraditional arrangement.  But don’t pity the patron a la “Neon Moon” – Young trades Ronnie Dunn’s loneliness for sweet, boozy contentment.  Note by note, he melts the entire song into a sublime pool of resignation, a near-perfect encapsulation of those hazy, memory-drowning nights. - Tara Seetharam

#6
“Takin’ Pills”
Pistol Annies

Individual rankings:  Jonathan – #3;  Leeann – #5;  Sam – #9;  Tara – #10;  Ben – #10

Miranda Lambert’s critical clout took a considerable hit in 2012 as a result of back-to-back career-worst singles, but the second proper single from the Pistol Annies was plenty strong enough to keep Lambert associated with some of the smartest, most self-aware songwriting in modern country.  “Takin’ Pills” finds the Annies having an absolute ball in playing dress-up, and the song is all the better because they give their audience credit for knowing exactly what they’re doing and why they’re doing it.  During a year when so many acts were preoccupied with misguided notions of authenticity, to hear the Annies flaunt their artifice so brazenly made for a welcome change of pace.  It’s a shame — albeit an unsurprising one — that country radio still won’t give them the time of day. - Jonathan Keefe

#5
“Like a Rose”
Ashley Monroe

Individual rankings:  Leeann – #1;  Ben – #5;  Jonathan – #9;  Sam – #10;  Tara – #13

Hearing a new country song from Ashley Monroe, as a solo artist, has been a long time coming.  While the wait has been tough, the payoff has certainly been worth it.  “Like A Rose”, the first song that the public has been able to hear from her upcoming 2013 album, is a crisply produced, sharply written and exquisitely sung gem.  High praise for a song that may unfortunately ultimately slip under the radar, but such praise is easily warranted here. - Leeann Ward

#4
“Drinkin’ Man”
George Strait

Individual rankings:  Kevin – #3;  Ben – #3;  Tara – #5;  Jonathan – #5;  Leeann – #11

There are few bright spots that come with the knowledge that Strait is in the twilight of his career, with retirement seeming more likely with each passing year.  One particularly shiny one is that Strait’s become something of a vanguard in these final years.  “Drinkin’ Man” is challenging, compelling, and subtly powerful, not adjectives typically associated with his remarkable thirty years of hits.  He’s always been good, but he’s rarely been this interesting. - Kevin John Coyne

#3
“What Have I Done”
LeAnn Rimes

Individual rankings:  Tara – #2;  Leeann – #3;  Dan – #4;  Ben – #4;  Kevin – #5

Music’s finest quality is its ability to express the intangible – the smallest trace of thought, the slightest nuance of emotion.  “What Have I Done” is a striking example of this, a quiet shuffle of pain, regret and reflection that, if only for a few minutes, elevates a well-known story to a three-dimensional reality.  The lyrics are sharp and unadorned, but the song’s soul is Rimes’ layered performance, easily the most compelling of the year. - Tara Seetharam

#2
“So You Don’t Have to Love Me Anymore”
Alan Jackson

Individual rankings:  Kevin – #1;  Ben – #1;  Jonathan – #4;  Tara – #8;  Sam – #11

Had it been released fifteen or twenty years ago, “So You Don’t Have to Love Me Anymore” would stand a much greater chance at being remembered as the classic it is.  Shameful #25 chart peak aside, this is an achingly beautiful, finely detailed story of a man who is willing to let his reputation fall into ruins for the sake of allowing his former lover to move on without him, resigning himself to a despondent, heartbroken existence in which nothing matters to him at all except the happiness of the one he loves.  A steel guitar, a nakedly sincere vocal, and the dark, bitter, aching truth – It’s everything a great country record should be.  A timeless career highlight from a true country music legend. - Ben Foster

#1
“Merry Go ‘Round”
Kacey Musgraves

Individual rankings:  Dan – #1;  Leeann – #2;  Sam – #3;  Kevin – #7;  Ben – #7;  Tara – #12

In a single masterful stroke, Musgraves cuts to the fearful, defeated heart of countless small-towners – countless any-towners, really.  The nursery-rhyme chorus is country poetry of the highest order, illustrating in a few simple lines how we compromise ourselves rather than face the unknown, turning to one distraction or another until we almost don’t notice the years rolling by, our dreams collecting dust.

It would have been a standout single in most any era of country music.  That it’s managed to go Top 20 in this era – in which the mainstream anxiously evades things that are smart, challenging, new, and female – feels like a small miracle, and speaks to the timeless power of great music to transcend meaningless boundaries.  It’s the most impressive debut country single in recent memory, and an enticing challenge to an ever-reductive Music Row:  Truth and creativity can still win out in 2012. - Dan Milliken

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Single Review: Miranda Lambert, "Mama's Broken Heart"

After three weak singles from Four the Record, ranging from mediocre to flat-out dud, the Miranda we know and love is back.

Ever since her “Kerosene” days, Miranda Lambert cialis buy has built a calculated image as country music pistol-packing bad girl, but that image works best when it’s not beating us over the head a la “Fastest Girl In Town.”  When she’s able to further her chosen persona without sacrificing her art, and to enhance it with a sense of underlying vulnerability, that side of Miranda can be the driving force behind some truly great music.

Songwriters Brandy Clark, Shane McAnally, and Kasey Musgraves give Lambert a most striking character to work with in the verses of “Mama’s Broken Heart.”  Right from the angst-ridden sigh with which she begins her delivery, Lambert inhabits said character with style and spunk, turning in one of her most dynamic interpretive performances to date.  Ripe with clever lines such as “I numbed the pain at the expense of my liver,” the lyric details this scorned woman’s self-destructive means of catharsis, while wisely leaving her ultimate revenge for the listener to imagine.

Nowhere does “Mama’s Broken Heart” indulge in empty audacity.  It even manages to weave in subtext commentary touching on generational gaps – with the narrator’s mother coming from a “softer generation where you get a grip and bite your lip just to save a little face” - as well as the sexual double-standard seen in society’s tendency to tolerate rage in men, while expecting the woman to “Powder your nose, paint your toes, line your lips and keep ‘em closed.”

Alongside the song’s deceptively deep lyrics, the off-beat arrangement is an engaging listen in itself, with light drum tapping and clipped, sneaky-sounding guitar licks leading up to an explosive chorus.  On one of my grumpy days, I might have called out the chorus for being too loud, but on a song that already amounts to a musical hissy-fit, even that aspect feels darkly appropriate.

“Mama’s Broken Heart” playing alongside Carrie Underwood’s “Two Black Cadillacs” will no doubt impart a much-welcome blast of drama to country radio in the new year.  Miranda Lambert thus sets the musical bar high for 2013, and delivers her best single since “The House That Built Me.”

Written by Brandy Clark, Shane McAnally, and Kacey Musgraves

Grade:  A

Listen:  Mama’s Broken Heart

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Concert Review: Carrie Underwood with Hunter Hayes

Carrie Underwood with Hunter Hayes
The Blown Away Tour
Prudential Center
Newark, NJ
December 1, 2012

There’s a desirable sweet spot in every big performer’s career where they finally have a large number of hits to fill out a two-hour show, a compelling enough current album to sustain audience interest between the hits, and the appropriate level of earned confidence to take some bold risks in staging and presentation.

Carrie Underwood just hit that sweet spot.  Her Blown Away Tour hit Newark on Saturday, playing to an arena packed with fans of all ages.  It’s an arena show, too, filled with pyrotechnics and

special effects and a backing band that shook the cheap seats on the more rocking numbers.  Opening with “Good Girl”, Underwood tore through an opening section which included a healthy mix of hits from all four of her studio albums.

But the show didn’t hit its stride until the second section, when she surprised the audience with the appearance of a choir from local elementary school P.S. 22.   They supported her in a touching rendition of “So Small” that lived up to its name, stripping the bombast from the studio recording and letting the lyric shine over the sweet harmonies that only bewilderingly talented tots can produce in unison.    The arena felt as intimate as a sitting room as she sang “Temporary Home”, which seemed to have her on the verge of tears by the third verse.

After a few more hits, the show peaked with an ingenious third act that had Underwood floating above the audience on a moving platform.   Why was it ingenious?  It solved a few arena show dilemmas at once, keeping the entire audience riveted while the artist sang unfamiliar album cuts.   At the point of the set list usually designed for bathroom breaks, Underwood had the entire arena on their feet, cheekily waving to and interacting with the audience members all around her, and even those directly under her.  These are the benefits of a clear plexiglass floor, you see.

At times, the staging was a bit too ambitious.  The video screens that were used so effectively for visual songs like “Two Black Cadillacs” were a glaring distraction for much of the show, with random patterns that looked more like late nineties Windows screen savers than anything else.  Transitional interludes featured some interesting animation, but it was interrupted by glamour shots of Underwood, as if they were afraid we’d forget about her while she was changing costumes backstage.   But the opening and closing projections centered around “Blown Away” were executed brilliantly, among the best I’ve seen in an arena show.

Vocally, Underwood was nearly flawless, never missing a note but occasionally losing her breath while she enthusiastically engaged the audience.  At times, she seemed a little overwhelmed by her band, most notably during a painfully loud cover of Aerosmith’s “Sweet Emotion.”  When the arrangements were slower or simpler, with her voice accompanied by only a handful of instruments, she sounded better than I’ve ever heard a powerhouse vocalist sound in concert.

When you combine her precision with the very few liberties the band took with the studio arrangements, and you could be forgiven for thinking you were listening to an actual studio recording.  She really is that good.  She somehow elevated the fan favorite “I Know You Won’t” to staggering new heights, and that’s a song that seemed superhuman even as a studio recording.  I repeat, she really is that good.  But most impressive was when she revisited older tracks like “Jesus, Take the Wheel” and “Wasted”, and actually improved on them, showing how much she has grown in interpretive skill and vocal nuance since the beginning of her career.

Those hits from the first album, along with the pre-encore closer “Before He Cheats”, where absolutely the biggest crowd-pleasers, giving anecdotal evidence to the theory that Underwood’s greatest competition has been herself.  Those early hits have overshadowed everything she’s done since, successful as she’s been.  But I discovered something when she closed the show with “Blown Away.”  The audience roared at the opening notes, after having been teased mercilessly with clips from the video all night.   There was more energy and excitement during that performance than at any other moment.  It’s her first career record in years.

Underwood was classy and thoroughly charming throughout.  That light shines through even when her material’s at its darkest.   It was a minor annoyance for me that I was surrounded by tweens, teens, and twenty-somethings that stood for the whole show and sang along with far too many songs.   But seeing a whole row of those tweens in Carrie Underwood t-shirts, clearly at their first big concert and hanging on every word that their idol sang, I was struck with a deep appreciation for this artist.   I’ve always been grateful that she respected the genre’s traditions and institutions, but I’m always worried about preserving the genre’s past.  She’s also securing its future, as perhaps the only artist in country music history who can pack an arena that is equal parts tween, young adult, and the rest of us.  In that sense, she just might be the most significant country artist of her time, in addition to being the flat-out best singer.

I missed the first couple of songs by opening act Hunter Hayes, but judging by the piercing adolescent screams that permeated the arena, he won’t be an opening act for much longer.  I must say that he’s remarkably talented.  I expected the country arrangements and the solid vocals, but his prowess with both the guitar and the piano took me by surprise.  He’s somewhere between Keith Urban without the gravitas and Gary LeVox without the nasal drip.   Hopefully, he’ll keep honing his songwriting skills and his audience will stick around as he develops.  He’s got more promise than most of his contemporaries.

Carrie Underwood Set list:

Good Girl
Undo It
Wasted
I Told You So
Two Black Cadillacs
Last Name
So Small (with P.S. 22 Student Choir)
Temporary Home
Jesus, Take the Wheel
Cowboy Casanova
Get Out of This Town
Nobody Ever Told You
Thank God for Hometowns
Crazy Dreams
Do You Think About Me
One Way Ticket
Flat on the Floor
Leave Love Alone (with Hunter Hayes)
Sweet Emotion
Remind Me (with Brad Paisley via Video Screen)
Cupid’s Got a Shotgun
Before He Cheats
I Know You Won’t
Blown Away

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