Wren Graves (Features Editor): Yeehaw! Or as the country music-lovers in my Wisconsin family might say, ah geez! Today’s Consequence Chat looks at country’s record-breaking run to the top of the Billboard charts — and what it reveals about the music industry.
The controversial superstar Morgan Wallen continues to perch atop both the Billboard Hot 100 and Billboard 200, which respectively track songs (“Last Night”) and albums (One Day at a Time). In the process, as Billboard reported, it became only the third album to dominate both charts at once for at least 11-weeks straight since Michael Jackson’s Thriller did it twice. Not only did his 2021 use of the N-word not hurt his career, Wallen is more popular than ever before.
At the same time, as of the July 8th chart, Luke Combs’ cover of Tracy Chapman’s “Fast Car” has rocketed up to No. 2 on the Billboard Hot 100, making this the first time in 42 years that the two most-popular songs are both country tunes. “Fast Car” has also taken the No. 1 spot on the Country Airwaves chart, so not only has Combs’ cover surpassed the original in airplay, it has made Chapman the first Black woman with a No. 1 country song writing credit.
That’s a lot to unpack! Luckily, joining me today are Associate Editor Mary Siroky and Editorial Coordinator Jonah Krueger. Folks, is country music just in a better place than other genres right now? Or is something else going on? Let’s start with Nashville’s own Mary.
Mary Siroky (Associate Editor): I love so much about country music as a genre, and living in Nashville for over a decade now has allowed me to have an interesting proximity to this specific industry. Obviously, there are so many great country artists creating fantastic work right now, but I don’t think that’s necessarily what’s driving the successes here.
Wren: Can I be honest? We’re all friends here, right? That Morgan Wallen song sucks.
Jonah Krueger (Editorial Coordinator): It is, indeed, a bit of a stinker.
Mary: It’s not good! It doesn’t even have the earworm catchiness of “Whiskey Glasses” or some of his earlier hits; it doesn’t have the edge of a country song of yesteryear.
Jonah: But if country music is truly better than other genres at anything, it’s being able to systematically push songs, sounds, and artists — and they get results.
Mary: The machine remains well-oiled; as Garth Brooks acknowledged in a recent interview with Billboard, labels and country radio are far more intertwined than many people realize. Once a label makes a choice about an artist, radio tends to rally behind them. Trends aren’t as organic in country music as they might be in other genres.
According to good ol’ Garth, “As long as the labels have you, then you’re on the radio. The second something happens and you’re not with that label, the career goes into some other stage.” Labels and radio have the power to make or break, in a way that’s unique to country music.
Jonah: Which is not to say you don’t see organic, grass-roots artists rise, even to astronomical heights. I’m thinking of someone like Zach Bryan, who dominated the streaming charts despite country radio dragging it’s feet when it came to airplay. But artists like Bryan remain the exception rather than the rule, even in the streaming age.
Wren: That’s a great point. What do we know about how country gatekeepers have wielded their power?
Mary: Consider the extra barriers that women and people of color face on top of that, when one kind of country singer has been the standard for so long. Folks like Maren Morris and Brittney Spencer are out here making some of the best country music right now, and it’s a battle to hear one of their songs between those from seven or eight white men.
Jonah: Nearly a decade after “tomato-gate” and the blinding white, maleness of the radio is still intact, as reports from this year continue to show. According to Mediabase, 80% of modern airplay still belongs to the men.
