5 Times Black Artists Blew Reality Show Judges Away With Country Music

5 Times Black Artists Blew Reality Show Judges Away With Country Music

Milton Patton

Milton Patton wins judges over with his cover of “Whiskey Lullaby” on America’s Got Talent in 2013.

Wesley Mountain

Wesley Mountain overcomes a “creepy” first impression with a killer rendition of Hunter Hayes’ “Wanted” on The X-Factor in 2013.

Shaquira McGrath

Shaquira McGrath brings down the house with Gretchen Wilson’s “Redneck Woman” on season 15 of America’s Got Talent.

Kirk Jay

Kirk Jay induces goosebumps with his cover of “Bless The Broken Road” on The Voice in 2018.

Willie Jones

Willie Jones captures the heart of both judges and fans with a million dollar smile and a cover of Josh Turner’s “Your Man” on The X-Factor in 2012.

Curt Chambers

Curt Chambers

Curt Chambers is a Philadelphia-born musician who is just starting to make his mark on the country scene. With his fusion of rock, soul, country and hip hop, this singer-songwriter/producer/guitarist triple threat has toured with the likes of Eminem, Rihanna, Chris Young, Florida Georgia Line, and more. 


A 2018 Grammy Award winner, for his work on R&B artist Jaheim’s “Finding My Way Back”, Chambers  crosses genres by collaborating with powerhouses in both the pop and country worlds.  


Chambers’s independently-released 2018 single “Man Like Me” was his country debut, which was followed up by the ballads “Up In The Air” and “Roll With It”. 

Misty River Releases Music Video for ‘Walk Me To The River’

Misty River Releases New Single 'Walk Me To The River'

A big day (July 2) for UK Americana singer Misty River as she releases a new single, a music video, AND announces an upcoming album; and we couldn’t be more pleased.


“Walk Me To The River,” as well as the official music video for the song, was released July 2. Timeless and memorable, the single tackles the theme of overcoming adversity. 

Fans can expect River’s full length album, Promises, to be released on October 1. 

Promises Track List:

1. Promises
2. Walk Me To The River
3. Running On Empty
4. Wishing On The Wrong Star
5. Rain
6. With You Around
7. Four Walls
8. Take This Dance

Find Misty River Online

A Conversation With Evil

The Black movement in country music is not a monolithic notion. 


Yes, it is an attempt at proving that darker-skinned, square-jawed rhinestone cowboys deserve as much shine as their white, toothy-grinning counterparts. And yes, it’s formed by a desire to highlight that angelic, heaven-sent voices are just as worthy if they emerge from the bosoms and wombs of long-haired white women or those who wear coats of many colors. Finally, and most certainly, it’s a concept aimed at proving that the genre’s roots can yield a diversity of fruits that satisfy everyone’s hunger for three chords and the truth.


However, when a Black person who redefines their humanity creates music, a song becomes more than the sum of its crafting. Thus, in country music’s post-modern future where the circle, unbroken, is infinitely more representative than it could have ever imagined being, an artist like Evil — borne as much from Appalachia’s Shenandoah Valley as the streets of Washington, DC — becomes vital. Because they’re neither he nor she and urban nor suburban, celebrating Evil’s ability to exist between country music’s strict margins becomes essential to understanding how country music survives its evolution. Therefore, this interview yields not just answers but solutions, too. 


Enjoy XIANNE-XI’s conversation with self-described “depressed queer country singer” Evil.

Introduction from Marcus K. Dowling

Xianne-XI: In what ways have you been surrounded by the country music genre and its related genre’s such as blues, bluegrass, and early American folk?


Evil: I was born and raised in the Shenandoah Valley. I’ve always been surrounded by country music in one way or another, it’s always been apart of my life and my surroundings. From bluegrass bands playing on main street of my tiny Virginia town to singing Patsy Cline with my grandmother in the kitchen. It’s just something that’s been engrained in me from birth.

Xianne-XI:  Did growing up in a rural environment play big part in exposure to the lifestyle and the local acts in Virginia? 


Evil: I’d say so, as much as growing up anywhere would. I think in rural areas the act isn’t so much “exposure” to music but taking part in the community experience of listening to music together and enjoying it and where you come from.


Xianne-XI: Tell me about your first concert, and who did you get to see perform live that serves as  an inspiration now?


Evil: My first concert was Usher and Janet Jackson when I was 6 years old. Random I know lol. I think that it would be virtually impossible to not be inspired by Janet. I remember being so amazed and bewildered seeing her preform. Just taken back as a little kid seeing something so masterful. I’d like to have that impact on someone too, give someone something to remember forever.


Xianne-XI:  Country music showcases a lot of talent when it comes to storytelling in song writing, and a deep vulnerability of the woes and wins of life like acts such as the banjo player, Dock Boggs. Are you influenced by him or any other banjo player for composing original chord transitions for songs?


Evil: I loveeee Dock Boggs! Have been since I was a teenager. All my favorite country stuff is old stuff-from him to the Carter family to the Carolina Tar Heels and so on. I love the older stuff because it’s so simple and true, that’s my goal when creating anything. Authenticity. 


Xianne-XI:  What historical and traditional elements do you keep in your songwriting and composition? 


Evil: Honesty. That’s why I love country music, the truth it’s made with. I want to make sure everything I make is more honest than the last time and I think that’s the the only thing “traditional” about what I create.


Xianne-XI:  What elements do you leave behind in favor of experimenting to make country music your own?


 Evil: Many, I think for me creating something that bridges the gap between my identities is more important to me than anything else sonically. I want to create something for everyone that still sounds like me. I’m a country person, therefore anything I make is inherently country (to me). I want to always keep the essence of myself in the music while exploring sounds that make things more palatable for a wider audience. 


Xianne-XI: You give a lot insight on the internal and external battles of being accepted by God in your music, in the construct of society. Does making music to have that open conversation with God help self soothe from the evils that affected you and many other Queer and Transgender musicians?


Evil: I think so, I can only speak for myself of course, but it has been a great catharsis for me. Being able to write and listen back to my own conversations with God has been extremely helpful in understanding my own experiences in relation to him. I’m really thankful I’m able to do so. Talking about anything without the judgement of other humans is extremely helpful in accepting bad situations I think.

Xianne-XI:  Would you classify your music as a great launching pad for younger listeners who may enjoy other genres outside of country, to explore what the genre has to offer?


Evil:  I’d hope so! I wouldn’t give myself so much credit but that’s absolutely my personal goal. Country music has always been a safe haven for me, something that sounded like home. If my music sounds like that for other people, I’d be real happy. I am a product of my environment, I wouldn’t be making the music I am without the legacy country acts that I love. So I hope that my work would inspire others to dig deeper into the history and find things they relate to, because they exist.


Xianne-XI:  Last year, you did an artist takeover on rising country legend and gay icon Orville Peck’s instagram to educate his audience about the African origins of country music. Do you think more digital media collaborations like that is needed to help Black and Queer country musicians more awareness?


Evil: Yes! We live in a world that is controlled by the internet. It’s going to take using new technology to talk about old things to sway people into understanding things from a new perspective. I’m glad we live in a time where people are open to learning the true history of things that have so often been forgotten or pushed aside. The ease of access of the internet is a great help to that.


Xianne-XI: On your songs “Young American” and “ A Child Shamed” you express deep heartfelt emotions of not feeling good enough and tackles the gut wrenching feelings of what shame feels through sound. With your new single that is coming out Friday, you stated that its direction will be more happier. Have you found peace since your debut album?


Evil: Haha, I wouldn’t say that-no. But I think there is allowance for sorrow in peace. I’d say that’s what I’ve found. There is a moment in all sorrow where you sober up and realize maybe things aren’t so bad and this is the way they should be- through God’s will. Accepting what you can not change no matter how painful it is, can be peace within itself. I’m getting better at doing that these days.


Xianne-XI:  Name a few favorites from your playlists that are Black Country singers of recent years whom you are greatly motivated by to get going?


Evil: Valerie June, Yola aka Yola Carter, Kaia Kater, Amythyst Kiah, Lizzie No! I’m excited there are so many black women making amazing country music right now, it’s a gift we shouldn’t take for granted.

‘First Lady of Country Soul’ Returns To The Scene With New Album

'First Lady of Country Soul' Returns To The Scene With New Album

Country soul songstress Petrella has returned to the music scene with the release of her latest album Songs of Many Colors. 


The determined singer has been making her mark on the music industry since she released her first album back in 1988, blending influences from different genres to create a unique sound.


Her latest album contains 11 tracks which do a great job covering the scope of her talent as well as the variety of her sound. 


Though Petrella has already has a lengthy body of work under her belt, she notes on her website “there’s still a great deal she wants to accomplish in the world of music.”

Songs Of Many Colors

Find Petrella Online

Brittany Howard

Brittany Howard

Brittany Howard first hit the scene in the early 2010s, as a member of the rock band Alabama Shakes. As their lead singer, guitarist, and songwriter, Howard’s soulful delivery can be heard on hit songs like “Hold On”, “Don’t Wanna Fight”, and “Gimme Your Love”.


Born in Athens, Alabama, Howard grew up immersed in ‘70s Rock, which greatly influenced her unique
brand of Southern Rock.


After nine years and two studio albums together, the Grammy Award-winning Shakes went on hiatus. That didn’t stop Howard, who had already formed the bands Thunderbitch and Bermuda Triangle. In 2019, she released her solo debut album, Jaime, featuring the hit single “Stay High”. The album would go on to earn seven Grammy nominations, with “Stay High” winning the award for Best Rock Song at the
63rd annual award ceremony.

Honoring Linda Martell

Honoring Linda Martell

At the 2021 CMT Awards, industry pioneer Linda Martell will receive the 2021 CMT Equal Play Award. It is a long overdue acknowledgement of Martell’s historical importance. The award comes soon after the announcement by Martell’s granddaughter, Marquia Thompson, that a documentary about Martell’s career and experience in Nashville is in the works. We recently spoke with Thompson about how the documentary came about and what it meants to Thompson, Martell, and her family. 

Trailor For The Upcoming Documentary, "The Story of Linda Martell"

A Conversation With Marquia Thompson

Holly G: Tell me about what led to you deciding to create a documentary about your grandmother, Linda Martell.


Marquia Thompson: It started just as something that’s been happening in my family since my mom interviewed my great grandmother, her grandmother. Just to kind of know more about them coming up. They would tell stories that were really inspiring to us. My mom started filming my great-grandmother, who’s still living. She’s 103 this year. It kind of started that way. Then, you know, just a few years ago I just started thinking about the whole “woke movement “ and you know grandma, my grandmother Linda, she’s always got a lot of fan mail and journalists reaching out here and there. Not the way it’s been lately but consistently over the years. Just a few years ago it kind of ticked up a little bit. So, I started thinking maybe I could turn it into something more. Then the idea that typically an outside source would do something like this, which is fine but that outside source benefits from that. My grandmother is 80 so it’s not like her doing interviews is going to put her name out there in a way that she can go tour or anything. I just thought maybe I could do something that would turn into her having something of her own. The documentary is hers, its her story. That’s what triggered it, and we got a lot of support.


Holly G: I love that the story will be told by you, someone with a close relationship to the story. Do you remember how old you were when you first realized that your grandmother had an important history within the music history?


Marquia Thompson: I don’t know that I remember how old I was, I just feel like I’ve always known. Even outside of country music, just locally where we grew up, she couldn’t walk in the store without people coming after her. Outside of Nashville, as a singer, as a person; people have always gravitated to her. I guess it didn’t really hit us when we realized she was singing in Nashville in the late 60s and 70s, because we were so used to people being crazy about her.


Holly G: Do you have a favorite story of yours that she tells.


Marquia Thompson: Usually my favorite stories, I don’t know that there’s a specific one, my favorites are just those that she talks about with them growing up with my great-grandparents. We come from a really big family and they were always so festive. There was always music. They all sang. Anything involving that, whether it was a story about her being scared to sing in church and her dad pushing her to do it, or just anything involving them coming up. They used to win concerts her and her siblings when they were coming up.


Holly G: So the whole family is musical then?


Marquia Thompson: Oh yeah. It kind of stopped at their generation. I’m probably musically inclined in other areas. I know good music when I hear it, but I could never sing.


Holly G: What is the one thing you’d like people to take away from this project about your grandmother when it’s completed?


Marquia Thompson: That outside of country music, she was somebody. I think people are starting to get it but I never heard her speak fondly of her experience in Nashville, So I kind of want them to see,  get a first-hand look at what exactly it was I know. She’s an inspiration to many and I think that’s so great. Rissi is amazing and I love that she always makes mention of her. I think I told her, watching her talking about her sometimes is like watching my cousins or my sisters talk about my grandma. I know my grandmother has inspired a lot of people I just want them to take a more truthful look at what it was like for her outside of her being a pioneer.


Holly G: Is she aware of the fact that now so many of us are rallying around Black people getting more visibility in country music and that she is kind of in the center of that movement?


Marquia Thompson: The way you just put it, I don’t know that she’s aware in that way but I share with her all the time stuff about Rissi. We have conversations where I tell her that there are people like Andrea Williams who’ve been advocating and writing about how still not much has changed and trying to make Black folks more visible in those spaces. When I talk to her its definitely enlightening, but I don’t think she quite has a grasp on it yet. In her mind based on her experiences and then at her age, I think its still kind of raw for her. The difference in treatment.


Holly G: It makes me sad that all this time has passed and she can’t go back and experience the things that we’re fighting for. I’m hoping that once the documentary comes out, maybe she can see and feel a little bit of the celebration that she should’ve felt back then. Hopefully that will get to her some way.


Marquia Thompson: That would be great. Its definitely part of the plan in terms of hope

Jett Holden Tells Story Behind His Journey To His Debut Single

Jett Holden Releases Debut Single "Taxidermy"

A few we weeks ago, we introduced you all to an artist we were over the moon excited about, Jett Holden. Today, just a short time later, Jett has released his debut single, “Taxidermy”, which we are excited to share with you. We spoke with Jett about the journey to “Taxidermy” and also dove into what the song means. Our interview, conducted by Holly G, is below. 

Holly G interviews Jett Holden

"Taxidermy" is out now on Spotify and Apple Music, Listen below.

Taxidermy Lyrics

I’ll believe that my life matters to you
When I’m more than taxidermy for your Facebook wall
They say the best songs are three chords and the truth
Until that truth requires you to heed the call


I’m not a martyr
I’m not a headline for your morning news report
Or a political debate you can retort
I’m a man who had some dreams that got cut short
A casualty among far too many to sort
But they’ll argue I deserved it in the courts
And the mission will get tough, so you’ll abort
And leave me a mangled mess that they’ll distort
Until I’m nothing more
Than taxidermy on your Facebook wall
Taxidermy on your Facebook wall


I’ll believe that my life matters to you
When the bible’s not a tool you use to crucify
They say the best songs are three chords and the truth
Until that truth and your belief systems don’t quite align


I was a believer
Until the blade became my only sanctuary
And led me to the unmarked grave where I was buried
With the truth you were too cowardly to hear
When you were deafened by your Xenophobic fears
So don’t tell that you’re sorry when I’m gone
When you could have tried to help me soldier on
Its a shame a body lying on the floor
Could result in nothing more
Than taxidermy for Facebook wall


You are
far too bright a soul to extinguish
So hold on, hold on because you have
A power far too strong to relinquish
So hold on, hold on
Because you are
Too bright a soul to extinguish
So hold on, hold on because you have
A power far too strong to relinquish
So hold on, hold on, hold on

Race and Country Music: A Conversation with Will Hoge

Race and Country Music: A Conversation With Will Hoge

Let’s talk a little bit about your career overall, you’ve been making music since the 1990s. Is there a moment you remember realizing that this was something you would make a career out of?

My  dad had grown up here and been in bands so I was always aware of the concept. My dad and my uncle snuck me into a bar when I was probably 13 or 14 to see Bo Diddly play. It was a shit hole bar out on like highway 100 and that was pretty life changing.


Especially looking back. It wasn’t like I all of a sudden quit middle school and went out on the road, but I do remember feeling different. I was always a music fan but there was something about that, that was just sort of revelatory. Then I got a guitar in high school and tried to write songs pretty quickly after that.


Do you remember the first song you learned on the guitar?


There was a guy in my high school History class and he wrote out the three chords for “Sweet Home Alabama”. I learned D, C and G and I’ve gotten a lot of mileage out of those three chords over the years.


I played in bands throughout high school, knocking around in the garage or playing a show here and there. Then in college, I joined my first real band. It was pretty downhill from there. School and studying went away. Within a couple years I had left school and was back here in Nashville, really pursuing it full time.


What were you studying?


I thought I was going to be a History teacher and high school basketball coach. So yeah, studying history.


Well your wife is a teacher so you kind of got close to it, you could still do the basketball coach thing.


My kids play so I get to still piddle with it. My kids make fun because my wife came to Belmont to do music, then she ended up an educator and I went to school to be an educator and ended up doing music. So we kinda’ just swapped roles along the way.


Is there anyone who has not recorded a song of yours that you would like to?


That’s really and truly one that is flattering every single time. There’s nobody I’d like to not see. Wait, that’s not true. There’s definitely some people that I would not want to record my songs. But I don’t know if there’s any dream list. I just hope that people will keep wanting to do it.


I think they will. You’ve got a pretty good track record.


I hope so, thank you.


Have you always been focused on writing music that delivers a message or is that something that came along later in your career?


I wanted to from the get go. I was always intrigued by that in any genre. The Clash was always a band that did that. Growin’ up I had Public Enemy doing that in a very different space but then you also had Johnny Cash that was doin that in the country world. So I was always really fascinated by it. Dylan did it for years. Sam Cooke was doing it in the later part of his career. I was always drawn to those artists because to me that was real art.


When you were reflecting, not just love songs but also not just political songs. Really covering the gamut of what people feel and talk about, so I think I always wanted to do it. I don’t think I was prepared to do it. When I first started writing songs, I was certainly not in a place where was. I was probably not educated enough certainly not worldly enough.


I had spent a lot of my years in about a 250 mile radius of where I’m talking to you from right now. So I was pretty unworldly and unlearned for a long time but early on, even when I was first starting out, I was tryin’ to write those songs or work those things into songs. About 2003 I had put out two records I had put my major label stuff with Atlantic and that’s when I first recorded with the election, my first sort of political and topical music at that point and have done it fairly consistently ever since. It’s been a commitment, I think.


How would you say that you have been able to position yourself so well in the country music industry even having a consistent history of making music that often takes a very political stance?


I’m a really shitty businessman, is one of the things. Really and truly, I think there’s probably more people that feel that way than you realize or even that I realize. I mean, I probably lose work because of it. I know that there are people that are not interested in hearing those kinds of songs and ultimately don’t want to reward the asshole with those opinions. I’m not willing to not say those things to have more commercial success.


I feel really fortunate that I have been able to support myself doing this now for 30 years. I’m more interested in my kids growing up and knowing that I had a voice and whatever size platform, I was willing to use it to try to make our little world, or our little corner of the world a more fair and equitable place. So some of it is just I guess as much as anything, my willingness to not be liked by everyone.  Probably if there’s any secret formula, that’s what that would be.


So you just can’t have friends then, that’s it.


Yea you just have to be willing to lose folks. You know, are those the people you want around? I don’t think so. I can have fewer of those people in my life. That’s ok.


I recently came across your song, “Still A Southern Man”, which I can’t believe I’m just hearing. It came out in 2016.


I wrote it originally the night of the Charleston Baptist Church shooting. It got written and played the first time that night. Then we did a kinda stand alone version not long after that then finally got it put on a record through the “My American Dream” album.


One of the reasons I think that “Still A Southern Man” is so impactful and surprising is because you don’t just speak from the perspective of knowing better, you also talk about your journey getting there. That’s a part of the story many people leave out in these conversations. They want you to believe they’ve just always been on the right side of things. What was it for you that made you realize that there was something more insidious about the confederate flag?


We moved from Nashville to Franklin when I was a kid. We moved when I was six or seven probably. My first friend, it was a really small town, his dad was the high school basketball coach and they were the Franklin Rebels. You just grew up with that and I wanted to be apart of that team and that culture. It didn’t really have anything to do with the civil war as a kid. If it was the bobcats, I would’ve wanted to be a bobcat.


I didn’t think about that as a kid. That’s how instilled that racism is. I think that white folks have a hard time admitting that we just have done racist shit. Even as individuals. It’s hard to delineate a lot of times that you can not ‘be a racist’ and also have done something that is racist. I think that that was the big realization for me.


My mother is Jewish and so for years growing up in Nashville, their family couldn’t live certain places, couldn’t join certain country clubs, there were all sorts of things that anti-Semitically, that they dealt with when she married my father who is not Jewish. I grew up with this weird, bastardized mix of religion and really seeing culturally what that was like.


My maternal grandfather on that side also had a lot of interracial business relationships. From the 1940s on he owned businesses up and down Jefferson street. He would travel every year to go on a trip, it would be 3 white guys and 3 black guys, they would went to the NCAA basketball tournament every year. We grew up in a fairly, especially for the time, interracial thing.


It wasn’t strange for there to be folks of color in and out of the house as friends and acquaintances and all those different things. That was the same for me. My friends growing up, there was lots of color around. We saw it. Its not one of those “we don’t see color” kinda things. You know, there have never been racist jokes allowed, none of those kinds of things. The racism is so rampant lots of folks think that as long as you’re not the worst at it, then its not racist.


I think culturally growing up, I loved the idea of the flag. I was the guy at the football game. There weren’t hundreds of people carrying rebel flags. There was one and it was me. I did that on my own because I thought I was supporting our school and all of our friends . I’m sure at the time as an uneducated 16 and 17 year old I would have said ‘I’m not racist so this isn’t racist.’


I remember a conversation with my friend, when we were juniors or seniors in high school, and we were going to Memphis for a football game and she said ‘please don’t bring that rebel flag to Memphis.’ I remember thinking at the time ‘well of course I wont bring the rebel flag to Memphis because that would be racist.’ I think back on that. How understanding I was of what that meant because of what had happened in Memphis with Dr. King and all of the things that had gone on. I was smart enough to see how that could be racist but wasn’t empathetic and smart enough to understand that all my friends that I’d grown up with since I was 6, were also sick of it because it’s fucking racist.


I think it was the years when I went to college. My roommate was Black and he had been there for a year. The six or eight guys that he was closest with became my friends in college. So it was six or eight Black guys and me. I remember at that point having a conversation. I had a shirt with a rebel flag on it that we had printed for shit in high school. I remember having a conversation with my friend about it, making whatever feeble sort of defense that I could of why this wasn’t racist. At one point somebody pointed out about the Nazi flag and what if it was a swastika.


It was truly one of those moments that was like a light bulb for me. It was like Holy shit, I’d never be okay with that. Flying a Nazi flag wouldn’t have been cool. And it was truly that moment, well this is just the same fucking thing. To me it wasn’t the heritage, it wasn’t the South was great. It was ‘We’re rebels and nobody’s gonna tell us what to do.’ It was more that and it was this personal statement and then I just realized, its not.


It doesn’t matter if that’s what I think it is when someone else sees this and what it has stood for. Why am I trying to defend it? It was pretty eye opening. It was like well shit, I don’t want to be a part of that. Why would I want to be a part of that? Its just wrong. I was just wrong. Admitting that and then moving on from it is just not that hard to do.


You’d think it’s like losing a limb.


There are people that just get so fucking worked up about it and I don’t get it. I truly don’t. I don’t understand the defense of it, that’s why I wrote the song.


When I wrote that song my hope was that there’s another 15, 16, 17-year-old small town kid that is really not on the ‘wrong’ side of things and isn’t a racist but is doing this stupid shit because you just don’t know the world well enough to see it. I think we’re all so afraid of that, there’s this shame.


I say all of that and you’ll get these defenders that’ll go ‘well now you’re ashamed of it.’ I’m not ashamed of it. I was just too stupid to see it in a worldly enough sense . I don’t think we have to be ashamed of those things. We just have to admit it and be better.


After you put the song out, did that lead to you having the conversation about it with anyone that was close to you?


I mean most of anybody that’s really close to me by that point, there’s no tolerance for that kinda shit in our circle. I’m a loud mouth about that kinda shit. Any family members, they run the other way when I show up with that shit.


Then lots of my family, my cousin Tim Wise is a public speaker and racial activist and is well published on that stuff. I’m really surrounded more by people that are on the left side of that argument, fortunately. Our family, we’re not just packed with the good old-fashioned racists that lots of folks around here are.


What do you think that the industry can do to change? Because right now, from where we’re sitting, it’s not for us. It’s for the people that defend the confederate flag. What do you think the industry can do to open itself up to more Black artists?


That’s a hard one. There’s a difference between the industry and the audience. What the industry can do is continue, well I don’t want to say continue because there not really doing it. What they’re doing now, it’s dangerously close to this sort of token appeasement shit. Its like ‘hey look we’ve got a Black girl now, we’re not racist!’ I don’t wanna sound like, you know… Progress is always good…


No its exactly what you’re saying. After last summer they knew they were going to get called out so they said “Oh here’s Darius to host an award show, and Reba too. A Black man and a woman, so be  quiet.”


Yea “Here’s Rissi Palmer, everything’s fine, we’ve got a Black!” yea that’s… tough. Within the country music industry, it’s the music industry as a whole but you know we deal with the country world here, you go in those board rooms and its still a white boys club. So what can the industry do?


I mean its more than just the artists. Some of it is even from a journalistic standpoint, like talking to you. It’s such an asinine idea that the industry thinks that this is an industry that is just dominated, the only people that are interested in this are white males and occasionally white females is how the whole industry looks at what they do. It’s so myopic.


If you take the other end of that spectrum and you think about the hip hop world, I think you look at that there are white hip hop executives. They are willing to sign and market talent. That’s what labels here should be doing. Who are the women, folks of color, whatever your gender identity- are you good at this job and do you have a passion for it? If so, there needs to be a place for these folks.


That will start to change it. Part of it is also, you gotta market great artists. If you put a great, Black country singer out and release a record, newsflash racist motherfuckers aren’t gonna buy that record. There’s no label that’s gonna change that. That’s a whole cultural conversation, then we get into public school debates. How do you educate people out of that shit? A whole other conversation. I don’t think record labels need to be worried about that. If you’ve got an artist that is Black or Latino or whatever it is, that you think makes great music that the world should hear, you need to be putting those records out.


If Less racists buy the records, I don’t know that that’s a bad thing. There’s a way to scale your Marketing and the money that you spend to help those artists see success. I think there’s just, opening the tent up to have more representation of what the country at large looks like will start to change that. Unfortunately, I don’t think, well I know, its not really a paradigm shift.


I’d love for us to hang up from this conversation and John Esposito at Warner Brothers has suddenly changed everything about the way Warner works. That isn’t gonna happen. This is not gonna be something that changes this calendar year or next.


No, but what will happen is that because you took the time out to talk to me, it might help at least one person take our site more seriously, considering you are such a force in the industry.


I think that’s what we’ve all gotta do. I say this laying on my bed of white privilege which I totally understand. I don’t know that I have big steps, all I can do is try to help little steps. Its easy for me to say it’ll happen or we’ll do what we can. That’s not enough.


Sitting in your seat, I’m sure is a very different experience than mine and it ain’t gonna happen fast enough is the thing that sucks. But we can’t not do anything right? We have to do this, its important. Its important for what you’re doing, for what I’m doing, for all of us. I just think that people have to stop being afraid of conversations and differences of how we grew up and opinions and things like that. There’s a way through this.


What Black artists do you want to work with or enjoy listening to?


I’ve had Black members of my band and that’s been great and eye opening.


I grew up listening to tons of Jackie Wilson. My dad used to go and see Jackie Wilson, that was my dads favorite singer. I remember when Jackie was sick in the hospital, I was a little kid. My dad somehow, through music business connections, found a phone number to where Jackie Wilson was in the hospital and was able to get him on the phone. This was in like the early 80s. There was no Facebook. Somehow my dad was tracking that man down just to let him know what his music meant to him.


I really grew up with this adoration of what Motown was doing and what Ray Charles was doing. “Modern Sounds in Western and Country Music” is still my favorite country record of all time and always will be. I think that there’s just more and I’m so excited about what you’re doing with your site to really shine a light on new artists.


I can sit here and say that, but “Modern Sounds in Western and Country Music” came out in 1967. There are Black roots records that have come out more recently that that. Even the business we’re in, its still something that isn’t easy for me to find.


That’s a lot of the reason why I started the site. You look for Black country artists and all that comes up are lists of the same 5 artists.


Right and they’re great. But I can take that into my own world. It would suck for me if the only people you ever heard that were white singer songwriters were just Jason Isbell and Sturgill Simpson. Its like fuck, there’s a whole lot more of us out here doing that. And people know that but again there’s this whole, all of a sudden the melanin gets different and people only talk about the same four people. I just feel like there’s a light that hasn’t been shone on those artists and I think tis really important.


One of our goals also is to get Black people everywhere in the industry. Something that I hear from people who are getting some work in the industry is that being the only black person in the room can be a barrier to success. They’re not getting to put their best self forward because they’re the only person in the room that has lived their experience. That’s something white people never have to think about.


That’s one of the things my wife and I talk about all the time. It’s the “band aid” conversation. You finally get there and you walk into the awards show and there’s 400 people backstage doing make up and you’re the one Black girl. You think white lady’s gonna know what to do with hair and make up?


I mean holy shit. That’s a reality show I would watch. I mean, holy hell, it’d be awful. So now you’ve made it and you’re still by yourself. Its terrible.


You’ve been inside for a year now. What’s the weirdest thing you’ve done during quarantine?


Hell, just being inside for a year is fucking weird. I put out a record with the anticipation of touring like we always do and supporting the record. Putting out a record that you can’t go and play for people is pretty fucking weird.


 Did you write at all?


I’ve written a bunch. I’m really excited about that part of it. I spent a lot of time just at a desk with a guitar and paper, really just writing again. That’s been really positive.


What’s your favorite lyric you’ve written while holed up inside?


There’s a song that I think were going to record for this new record called “The Last One To Go.” It’s really more the whole lyric. Its about a guy, it’s a really sweet love song. I tend to write sadder shit. This one is sad, but sweet.


When is the new record coming?


We’re going to try to record in late June and then whether or not that comes out this fall or first quarter of next year, I’ll know more once we get the record done. Within the next 12 months, for sure.


You recently announced dates for an upcoming tour, “Anywhere But My Couch”. Are you excited to get back on the road?


I’m nervous about it. I’ve just gotten really used to being at home. My kids are 14 and 10, so I think the leaving will be harder than its probably ever been. I’ve gotten really used to being a civilian at this point.


I’m excited though. I really miss the band, the camaraderie that comes along with that. And playing music together with people, for people. Yes, I’m excited about it.


I saw on your Facebook that you wrote a song that’s 12 verses long, what the hell is it about?


It started as a journal entry, one thing I started to do as quarantine really started to kick my ass. I heard from a friend that’s a writer- I started trying to study writers- that he does a thing called morning pages. You just wake up every morning and write. So I started doing that, making myself write at least two pages of shit.


One day I wrote this long thing about people making a deal with the mob. It’s a short story but a long song. I didn’t plan on it being a song then one day I was piddling with this chord progression thing and I thought I wonder if there’s anything in this book. I looked through and it kinda became a song.


I wrote a chorus for it. I think I ended up cutting it down, it’s only 10 verses now. Much more palatable. I tend to operate much more in thinking of songs for the radio, I look at three and a half minutes as the dream. But then I’ve got a few that are the longer things over the years. This one would certainly be the longest

Wake Up Kids, We Got The Dreamer’s Disease

This is an open letter to you, the reason why Black Opry exists. You are doing your best to exist in a space where you’re being told you shouldn’t. You’re makin or lovin or writin about music that’s country or something close to it and you’re still trying to figure out how to fit.


“First we run and then we laugh til’ we cry.”


There is so much work to be done. Every room in this Home needs building, every outside needs sprucing up, every place we visit needs redecorating. But we are doing the work. So many people are coming together and we are off to a hell of a start. There’ll be quite a long time until we can say we’re done, but one day soon we’ll be able to rest. We’ll get the chance to come together in love and enjoy how far we’ve come.


“When the night is falling, you can’t find the light. You feel your dreams are dying, hold tight. You got the music in you.”


Keep going, we’re right by your side, dreaming with you. Here’s a place you can call home and a community to keep you lifted.  Whatever drew you to the music still lives within you and we are here to help you keep that alive. All around us dreams are realizing, love is growing, magic is happening.


“One dance left, this world is gonna pull through.”

Images via Brittney Spencer, Twitter

Last week we saw Brittney Spencer make her Opry debut. What better fuel could we need to keep going? This was such a huge win for Brittney and for anybody that is watching and wondering if this world will give them the space they deserve. 


“Don’t give up, you’ve got the music in you.”