In some aspects, Chris Young’s hook-heavy new single may come off as a calculated bid to regain the airplay he unjustly lost from country radio’s tepid response to the excellent but underappreciated “Neon.” Unfortunately, it’s hard to call him out for peddling safe material when I can’t get my toe to stop tapping.
Sonically, newcomer Greg Bates’ debut hit is a pleasant, infectious slice of nineties-esque contemporary country with a moderate traditionalist bent. It’s the kind of song that country star Chris Young has made his calling card.
The list of nominees for the 46th annual Country Music Association Awards has been released. Eric Church had a big breakthrough this past year, and such is reflected in the nominee list – Church leads the pack with five nominations. Current favorite power couple Blake Shelton and Miranda Lambert follow with four each, including a shared Song of the Year nod for their co-write “Over You.”
It’s easy to compare this title track to Brooks & Dunn’s dance hall classic, for example, but Young’s ode to a bar has legs all its own. “Neon” puts a different spin on melancholy – less aching and more content in defeat. If there’s a broken heart in the mix, Young’s too deep into his sweet escape (on the rocks) to care.
Throw on your bedazzled boots – the 47th annual Academy of Country Music Awards air live from Las Vegas this Sunday at 8 p.m. EST. The show promises to be a melting pot of performances, with oddball duets like Rascal Flatts and Steve Martin – and no, that’s not an April Fools joke. The CU staff picked and predicted the awards below. Tell us your thoughts, and check back for our live blog on Sunday night!
- Jason Aldean
- Kenny Chesney
- Brad Paisley
- Blake Shelton
- Taylor Swift – Jonathan, Dan, Tara, Leeann, Kevin, Ben, Sam
As the title suggests, Clay Walker’s latest single plays out like the alternate ending to Faith Hill and Tim McGraw’s fiery “Like We Never Loved At All.” Whereas the latter finds the woman agonizing over her ex moving on, “Like We Never Said Goodbye” tackles a smaller, more predictable range of emotions as its characters rekindle their relationship over wine. On paper, it’s the less interesting road taken.
Today, a single could be any one of the following: a CD sent to radio for airplay; a digital download released in advance of an album; a music video released to online websites and dwindling television outlets; and in a lovely throwback, a seven inch vinyl single sold in the indie record stores that have managed to outlast the chain stores that once threatened their existence.
It’s that time of year again! The time when we all dutifully tune in to the CMA Awards show, raise our eyebrows at the “What the heck are they doing here?” award presenters, and afterwards complain about how totally un-country the whole show was. I don’t know about the rest of you, but I can’t wait.
We’re pleased to share the Country Universe staff picks for this year’s CMA Awards, as well as our predictions of who the winners will be. This year we have some highly competitive categories in which predicting the winners is quite difficult, leading to some significantly divergent picks among our writing staff. Agree? Disagree? Join in the discussion in the comment thread below, and let us know.
This is going to be a really important show, you guys.
Entertainer of the Year: Taylor Swift
Top Female Vocalist: Miranda Lambert
Top Male Vocalist: Brad Paisley
Top Still-Deciding Vocalist:
Album of the Year: Lady Antebellum, Need You Now
Song of the Year: “The House That Built Me”
Single of the Year: “The House That Built Me”
Couple of the Year:
(^ Not to be confused with) Top Vocal Duo: Sugarland
Top Vocal Group: Lady Antebellum
Top New Artist: The Band Perry
Top Till You Drop:
Vocal Event of the Year: Zac Brown Band & Alan Jackson, “As She’s Walking Away”
Music Video of the Year: Miranda Lambert, “The House That Built Me”
How to put it? I would listen to this man sing about IBS. I would listen to him sing a long-form denunciation of my inherent value as a human being – possibly my mother’s and little sister’s, too. Chris Young’s baritone is like the aural incarnation of warm fuzzies, and most everything it touches/fuzzes goes down easy – even those lame, creaky-hinged Music Row assembly songs scattered across Young’s first two albums.
So, granted: This single was probably going to sound all sexy-cool no matter what. Happily, though, we can all enjoy with a little less cognitive dissonance this time, because “Tomorrow” makes a serious play at substance. Young is finally a radio star now, and he’s using his powers to inject some actual psychological complication back into the format.