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David Remnick: The country singer Jason Aldean, released a song called Try That in a Small Town, and at first, it didn't get any particular attention.

[MUSIC - Jason Aldean: Try That in a Small Town]

Got a gun that my granddad gave me

They say one day they're gonna round up

David Remnick: But last month a music video for the song came out produced by a company called Tackle Box Films.

[MUSIC - Jason Aldean: Try That in a Small Town]

Try that in a small town

See how far ya make it down the road

David Remnick: The video put Aldean's song in a very different light. It featured footage of protests that followed the killing of George Floyd, and it was filmed at a county courthouse where a lynching ones took place. Lyrics like try that in a small town, see how far you make it down the road, well, it seemed to be celebrating vigilantism and violence. Some have even said that the song is pro-lynching. Aldean's defenders, and there are many, say the song praises, small town values and respect for the law.

A few seconds of the protest footage were later removed, and the controversy helped push the song to number one on Billboard's Hot 100 chart. Staff writer Emily Nussbaum, a huge fan of country music, has been in Nashville over the last few months reporting on the very complicated politics of country music right now. On the one hand, there's a culture war, like the battle surrounding the Aldean song. On the other hand, there's a music that's actually diversifying with more women, more black artists, more LGBT performers claiming country music as their own. Now Emily, you described Nashville as a town midway through a bloody metamorphosis. What did you mean by that?

Emily Nussbaum: Well, when I first went down to Nashville, I was primarily going down there because there was a bunch of different artists who I was interested in. I was interested in all this Americana, and I mainly wanted to write about the rise of outsider artists and the kind of a new outlaw in country music.

David Remnick: In Nashville terms, what does that mean?

Emily Nussbaum: What I mean is the kinds of musicians both because of their identity and the kind of music they play and their politics are outside the mainstream of what's on country radio.

[MUSIC - Reba McEntire: Turn on the Radio]

You can hear me on the radio

You wanna turn me on, turn on your stereo

You can sing along, while they're playin' my song. How you done me wrong

Baby crank it up

Emily Nussbaum: A lot of them women, Black queer country artists, but what I found when I got there was that the city itself was a secondary subject for the piece because the city has changed radically within the century, but definitely within the last couple of years, especially since the pandemic. There's been this massive political change that has to do with the state of Tennessee as well and with the Governor of Tennessee. There's also been tremendous gentrification and the two things overlapped and they're inseparable from the dynamics within the country scene, which really do have this culture war split between people on various sides.

David Remnick: Are you saying that Nashville has moved left?

Emily Nussbaum: Well, no, Nashville's a blue city. Nashville has traditionally been a blue bubble within a red state.

David Remnick: Like Austin or something?

Emily Nussbaum: Yes. I mean this is a common dynamic throughout the country, but there's a city-state clash that's been going on. Again, this is stuff that I learned really while I was down there because, I set out to talk about music, but politics are inseparable from it. There really was all this stuff going on, including the fact that Nashville's become a magnet for right-wing figures, like the Daily Wire moved there during the pandemic or just after the pandemic started. The governor is really trying to crush the blueness of the city, like the city council turned down-- They refuse to host the RNC and so the governor essentially vowed revenge, and the whole state is so gerrymandered that it's become impossible for people to fight these policies.

David Remnick: The Nashville scene that you saw, that you spent a lot of time experiencing in clubs, in studios, in the people's homes and all the rest is something much more variegated, much more interesting. It's not all Toby Keith and Morgan Wong [unintelligible 00:04:25].

Emily Nussbaum: Not at all, actually that's, to me--

David Remnick: How has that diversification come about and what is the scene actually like now?

Emily Nussbaum: Well, I focused on a bunch of different groups of musicians, but in the aggregate, I focused a lot on female singer-songwriters, the extreme expansion and prominence of Black country artists, often in Americana, but also in mainstream country and a really vibrant country community, and also there are many more mainstream stars who have come out. These are 3 groups that have very different types of issues structurally, but the main thing is they play a wide variety of really vibrant music that includes the kinds of things that often don't go on country radio, which include a more stripped-down production style-

[MUSIC - Roberta Lea: Ghetto Country Streets]

Cause it didn’t take much to have some fun

A kiddie pool and some water guns

And don’t forget we learned about those birds and bees

On these ghetto country streets

On these ghetto country streets

Emily Nussbaum: -but also lyrics about all sorts of experiences.

David Remnick: Are their audiences correspondingly big?

Emily Nussbaum: I don't know their exact audiences. Definitely, people who play Americana are playing for a passionate, loving audience and there is a way to make a living in it, but it does not have the commercial force of what's called Music Row that goes on to country radio. It's a different economic calculation, but the big stars of Americana, like Jason Isbell, are huge stars that I'm sure a lot of our listeners know about. Beyond Jason, there's an enormous community of great musicians that have no chance of getting onto terrestrial Country Radio, but people should seek out because it's--

David Remnick: Who are your favorites?

Emily Nussbaum: Some people I like are mainstream country stars like Ashley McBryde and Kacey Musgraves and Maren Morris.

[MUSIC - Maren Morris: My Church]

Feels like the Holy Ghost running through ya

When I play the highway FM

I find my soul revival

Singing every single verse

David Remnick: Maren Morris has been pretty vocal about social issues. How has that affected her career?

Emily Nussbaum: Well, Maren Morris is the standout right now on the commercial side of it, on the people who get played on country radio. She's been a vocal progressive advocate for all sorts of things.

Maren Morris: I want my fellow country music artists and artists, in general, to understand that inclusivity is not only the right thing, but it's good for business. You open yourself up and your sound to a much larger audience, even if you lose some along the way.

David Remnick: That hasn't hurt her?

Emily Nussbaum: It has absolutely. She's gotten huge pushback.

David Remnick: It's hurt her in a serious way?

Emily Nussbaum: This year alone, Jason Aldean, who people may be familiar with from this recent stuff going on with the song of his, he got into a clash with her. He and his wife, who are very MAGA conservative, people got into a clash with her online. She called his wife insurrection barbie.

David Remnick: Nice.

Emily Nussbaum: They both sold T-shirts off this clash, and he had people at his concerts boo her, so there's definitely that, but he was at the last, I think it was the AMC awards and she was not. I don't know exactly what she's going to do or where she's going to be, but--

David Remnick: Well, Maren Morris is now working with Jack Antonoff, who's a pop music producer. Do you find that some of these musicians who are in country and have more progressive politics move from country to pop? Just as so many have before.

Emily Nussbaum: There's a strong dynamic, especially--

David Remnick: Taylor Swift for one.

Emily Nussbaum: Yes. Especially of women in country music, essentially the space for them within terrestrial country music is small. The pressures on them and the expectations for their behavior are narrow and punitive, and so inevitably they either choose or get pushed out and end up becoming more in the pop sphere. This is not just Taylor Swift, it's Brandi Carlile, it's Kacey Musgraves who did the same thing, and I don't know whether Maren Morris is going to end up doing more pop stuff. That's not for me to say, and I love her.

David Remnick: So you're saying their musical evolution is they were pushed into it almost for political career reasons?

Emily Nussbaum: I think it depends on the individual person why they ended up leaving. Honestly, when I first started talking to people in Nashville, one of the questions that I just could not get over was people kept saying, "Well, women are a less commercial prospect in country radio." There's this guy that I interviewed for it who was a radio consultant, and there was a big blowup about this because in 2015 he said, women are like the tomatoes in the salad and they need to be distributed variously in men or the lettuce, very strange, but the rules in country radio are that you shouldn't put on more than 15% female voices and never two in a row.

The actual rules of it are that there are many fewer women in radio, so part of it is just if you want to get your songs out there, it reduces your opportunities. Some people may be more interested in making pop stuff. Some people may not want to be punished for the stuff they say. I think there are many reasons why people leave country radio, but the frustrating thing is if you love country music and you love somebody like Maren Morris and Kacey Musgraves, like I love Kacey Musgraves's album. All of these people, I love them playing what to me is in the category of country, and the idea that people would have to leave and find a mainstream audience and go pop in order to be able to breathe is just ridiculous to me. I could never understand the idea, how could they possibly be non-commercial? They're huge stars.

David Remnick: It seems to be a fascinating connection between what's happening now and what took place 20 years ago when the Dixie Chicks, they were then the Dixie Chicks and now The Chicks, spoke out against the war in Iraq.

Dixie Chicks: Just so you know, we're ashamed the president of the United States is from Texas.

Emily Nussbaum: Well, they're not exactly the people your civics teacher would expect to find at the center of a raging debate about free speech in America and whether you can oppose a war and still be a patriot. After all, these three women have been the reigning queens of pop and country music.

David Remnick: How did that change country music?

Emily Nussbaum: Yes, I think that what happened with the Dixie Chicks had such an incredible lasting echo and sense of fear and set of assumptions that have carried over, which was to me surprising because I was like that was a long time ago. That was two decades ago. It came up in many conversations. The basic thing that happened was that the Dixie Chicks were a massively commercially popular beloved group from Texas who were exceptionally great musicians. They made one comment at a concert. People always talk about it as an early version of cancellation and the thing just lit on fire.

Two things happened, one of them was the Dixie Chicks were pulled off the radio, people burned their albums but also the country community also turned against them and did not support them. In the aftermath of that, the arty, sexist, and stringent structural rules about women on country radio became all the more sinister and overwhelming, and the idea of being a female country star became more out of reach and difficult.

There are amazing female country stars. There are amazing singer-songwriters in both commercial music and what used to be called alt-country and is now often called Americana, but the fear of being what people call Chicked remains. Then, I'm sorry to go on about this, but you could contrast that with the story of Morgan Wallen, who's a very, very popular bro-country star who's on now.

[MUSIC - Morgan Wallen: Last Night]

I know that last night we let the liquor talk

I can't remember everything we said, but we said it all

You told me that you wish I was somebody you never met

Emily Nussbaum: When he, similarly, got criticized in the press instead of his--

David Remnick: For what?

Emily Nussbaum: Morgan Wallen was supposed to go on Saturday Night Live during the pandemic, and he was partying and not wearing a mask and so he was pulled off. Then he went on and apologized for that. Then a video came out of him saying the N-word. After that, he was briefly pulled off country radio and people criticized him and immediately his record shot to the top of the charts. It was the exact inverse of what happened with the Dixie Chicks and he's remained an incredibly popular musician.

He's part of a group of musicians who dominate commercial country radio and leaving aside the specific dynamics of his cancellation, the narrowing of commercial country music to a form of pop country dominated by white guys singing a certain kind of cliche-ridden bro country song. It's not like I don't like every song like that but the absolute domination of that keeps out all sorts of other musicians.

[MUSIC - Morgan Wallen: Last Night]

I know you packed your shit and slammed the door right before you left

But baby, baby, something's tellin' me this ain't over yet

David Remnick: I think the most interesting person in your piece if I had to pick one, is Adeem the Artist. You describe them as a DIY artist with a punk mentality. What does that all mean?

Emily Nussbaum: Yes, Adeem is part of a large community of artists who I think would fit this description. Adeem's great. Adeem is a non-binary artist who plays country music. Their last album that they self-financed online where everybody gave in $1, they put out an album that's called White Trash Revelry. It's a fantastic album. It's really empathetic and funny and provocative and political, and it really broke out at the beginning of the year. When I first spoke to them, they had just put out the album and were hoping that it would break through. Over the next few months, they were on a million top 10 lists and they ended up debuting at the Grand Ole Opry.

David Remnick: Did they face real resistance in the country music world because of sexuality and the politics of the music?

Emily Nussbaum: Adeem is within the category that people often call Americana. I feel like they're embraced by the community there. The community within Americana is diverse, inclusive, varied, and just more open to different voices. I don't think Adeem has any sense that they could appear on mainstream country radio. I wish that would change so that there was more of a range.

I will say that there's been a big shift in terms of whether mainstream country artists can be out. There are several out gay mainstream country artists, including Brandi Carlile, Brandy Clark, Shane McAnally who's one of the major songwriters. I do think that the atmosphere even on Music Row has changed about this. Also T.J. Osborne, I could name some other names but it's not just a singular person. In Americana, I feel like queer identity and for instance, singing a love song to somebody of your same gender is not a taboo and is not necessarily pushing the lines in the same way.

David Remnick: Well, in fact, you just did an interview with Adeem the Artist, and we're going to hear that right after the break.

Emily Nussbaum: Fantastic.

[MUSIC - Adeem the Artist: Books & Records]

Past two years the rent keeps getting higher

and our neighbors all have cars we can't afford

David Remnick: Emily Nussbaum's essay, Country Music's Culture Wars and the Remaking of Nashville is at newyorker.com. We'll continue with Adeem the Artist in just a moment. This is The New Yorker Radio Hour.

[MUSIC - Adeem the Artist: Books & Records]

Way it goes we might not be here by December

We both know--

David Remnick: As the controversy over Jason Aldean's Try That In a Small Town blew up, one country artist put out a musical response called Sundown Town. It's a satirical song that seems to praise hatred and ignorance. The song was by Adeem the Artist, a country singer and songwriter based in East Tennessee, who had released a handful of records in the last decade before starting to attract attention. Adeem put out the album White Trash Revelry late last year and performed at the Grand Old Opry in June. The New Yorkers, Emily Nussbaum who recently reported for us on Nashville and the state of country music talked with Adeem the Artist.

Emily Nussbaum: I know you did different kinds of musical jobs before you started putting out country music. I believe you did music on cruise ships. Could you tell me a little bit about your path into country music when you were younger?

Adeem the Artist: Oh, yes, sure. I really liked country music, but I didn't know how to play the guitar, and then somebody taught me chords at church. I started doing Counting Crows does Gospel Night [chuckles] songs. I'd say probably 13 years ago I moved to Tennessee and I think that through that time, listening to the incisive political work of Joe Troop, who's an Appalachian picker from the same mountains my family's from, who was openly gay and not afraid to hold space for both of those things. I think that I felt the sort of like, I don't know, an invitation to participate in this ongoing conversation that was happening in that moment. I wrote a collection of songs, unsure if they would ever come out. I pretty much was just putting it on Patreon and I recorded it with these mics that I'm talking into right now. I recorded and produced and mixed and engineered a record called Cast Iron Pansexual.

[MUSIC - Adeem the Artist: I Never Came Out]

I didn't have language for the way I felt

Been taught since I was born to other everybody else

And If I was one of me,

I could not be one of them

Rainbow loving boys who chose to live in sin

I'm not saying this because I'm proud

I never came out

I never came out

Adeem the Artist: It got a mention in Rolling Stone and it was like the first time any of that stuff had happened to me everything else had been like, well, this is cool because it's run by this person who's the cousin of this band that you like. [unintelligible 00:19:09] when I'm talking to my dad and trying to explain why this blog is exciting to me that they covered me but telling your dad that you're on Rolling Stone is pretty much just like, oh, yes. Cool. That's great. Into it. Proud, like the Grand Ole Opry of getting Journalism.

Emily Nussbaum: I want to talk about another song, Redneck, Unread Hicks, which is another very funny, bold song.

[MUSIC - Adeem the Artist: Redneck, Unread Hicks]

Everybody gather 'round, we got another one here

It's got the pronouns listed, it's a genuine queer

Singing, "Black lives matter, " to a Jimmie Rodgers melody, y'all

Emily Nussbaum: I'm wondering how audiences react to the song. It's a statement piece about your role in country and a different interpretation seeing the world through a different lens.

Adeem the Artist: Yes, I don't know. I don't play it very often.

Emily Nussbaum: Really?

Adeem the Artist: It's not one that I play out a lot. Like if I can read that the room is in that vibe and that there is a noticeable and verifiable queer presence. You know what I mean? I don't mind making discomfort. When I played at the Ryman I disparaged some country music artists who I find reprehensible. I won't name them here.

Emily Nussbaum: Why not?

Adeem the Artist: But it was Jason Aldean. [laughs] People got mad and yelled but I made a decision to talk about some things that if I hadn't talked about would not have elicited those types of response. I knowingly made people uncomfortable.

Emily Nussbaum: Just so I understand, what did you say?

Adeem the Artist: I know it started with me saying, "The thing that drives me crazy about country music is that people like Jason Aldean," and people cheered. I said, "No, fuck him." [laughs] That was the start of this back-and-forth. Anyway, all that to say, I think that it's important that people walk into a music experience where they expect to feel comforted in their bigotry and are instead challenged on it and made to imagine a world where different people exist. I think that's good. I'm here for it. I'm ready for it.

As a general rule, I try really hard to connect with people even if I'm making them uncomfortable. A lot of people are never going to get me or appreciate me or like what I do or respond to what I do, and that's whatever. I don't care. I'm not the best at this, you know what I mean? My biggest accolade so far it's probably the Grand Ole Opry thing, but the things that have happened since White Trash Revelry came out are not things that I dreamed of happening when I put out Cast Iron Pansexual because I came out as non-binary with Cast Iron's release because working on those songs made me realize my gender.

I realized listening back like, oh, man, all the ways that I was refusing myself to inhabit a space of queerness because of my marriage, because I'm married to a woman, because I pass a straight in public, that fear of taking up space, that fear of using language that isn't mine. There are a lot of folks significantly more marginalized than I am that I could imagine taking umbrage with my champion of this language, but also it is my identity. It's just who I am. I think that having the capacity to do that with my sexuality while also ruminating on gender and telling myself things like, yes, I don't identify with a gender binary. I never really have, but I don't want to be annoying to my friends and change my pronouns.

I don't want to take up space that isn't mine by calling myself a member of the trans community when there are other people who have worse dysphoria than me. You know what I mean? I think playing through that same equation was a really huge piece of me being like, you know what? I just have to be earnest about who I am and the systems that manipulate and disenfranchise based on those markers have nothing to do with me. They have everything to do with me, but you know what I mean? I can't allow that to dictate what I talk about and what I reveal about myself.

Emily Nussbaum: A lot of your songs on White Trash Revelry in really thoughtful, poetic, complex ways are about growing up memories, complicated memories of your family. I wonder how has your family responded to the album or also to your increasing prominence and all the different things that have happened?

Adeem the Artist: They haven't really, my mom doesn't speak to me.

Emily Nussbaum: Oh, I'm sorry.

Adeem the Artist: Oh, it's okay. She says it's in my best interest and I accept those terms. My dad was at the Grand Ole Opry. He came. It was lovely. I love my dad, but he and I differ politically just about as much as two people could. He was a really fervent Trump supporter. I think he probably has a disproportionate amount of friends who he knows the kind of things they say about people like me. He probably says the same kind of things about people like me so I think that it really is tough for him because he thinks I should be carrying a gun around with me. I think that he really does feel concerned, but otherwise, I think he's reluctantly proud of me.

He told me that somebody at work asked him if he ever thought that he'd be going to see me at the Grand Ole Opry. He said, "I didn't think it'd take this long." My dad has believed in me for a long time and thought I was good at this before I was.

Emily Nussbaum: You have a lot of personal songs on your album, autobiographical songs. Could you play one of them for us? It's called Books & Records, and I know it's about selling things off in a state of economic desperation.

Adeem the Artist: Oh, yes. Let me see what guitar do I have here. All right.

[MUSIC - Adeem the Artist: Books & Records]

Past two years the rent keeps getting higher

And the neighbors all have cars we can't afford

I'm working two jobs now and, brother, I stay tired

We could always stand to make a little more

Way it goes, we might not be here by December

We both know there's gonna have to be a break

Priced my blood to try and turn back on our power

Oh, Lord, there's got to be a better way

We've been selling off our books and records

Instruments our grandparеnts played

We've been sеlling off our books and records

But we're gonna buy them back someday

These past few winters have been harder than expected

Unknown numbers call us all hours of the day

We've both been learning how to cook our suppers cheaper

Stretch it out until we get paid

Way it goes, I doubt we ever will retire

But the cast iron will be seasoned well by then

And if we're lucky we'll have moments by the fire

Put a record on and read a book again

We've been selling off our books and records

Instruments our grandparents played

We've been selling off our books and records

But we're gonna buy them back someday

We're gonna buy them back someday.

Emily Nussbaum: Thank you. That was beautiful. I wanted to talk to you a little bit about the class politics of country and Americana. That song's about being broke, but there's this thing that goes on in mainstream country music that's all about the persona of the blue-collar man.

Adeem the Artist: Right.

Emily Nussbaum: You've written about this a little bit when you've written about people wearing that as a costume.

[MUSIC - Adeem the Artist: I Wish You Would've Been A Cowboy]

There were not a lot of places where a kid like me felt heard and understood

But weren’t you sitting in your big house counting your money out

when you wrote Trailerhood?

You wore my life like a costume on the TV

Milking laborers for your prosperity

Adeem the Artist: I criticized Toby Keith for writing a song called Trailerhood while he was sitting in his big house counting his money out. These are soft-handed people we're talking about here and I'm a queer person. I'm working on a practice of nurturing my femininity. That's me, but I'm also, I have a garage full of tools and I use them to fix things around the house and to build things for the house to make it more functional. I cannot afford to have someone come fix drywall if something falls through the wall.

I do all this stuff. It's like when people call us toothless hicks like liberals say this. They say toothless hicks and it's like, do you know why we're toothless? It's because of that healthcare you're always saying you support. We don't have it. [laughs] I talk about my Hollywood teeth. I bought myself pop-in veneers when I got a record deal because I was like, I'm going to try to look Hollywood. I can't afford real dental work. I haven't been to a dentist in a decade. I have these stupid fake white vampire teeth that I pop in before I perform and then I look like I'm not a toothless hick. It's a weird thing. Why would you derive someone for being born poor?

Emily Nussbaum: This is reminding me of the Jason Aldean song called, Try That in a Small Town. This really repellent pro-vigilantism song. Ann Powers the music critic was tweeting, saying, "I wonder whether any mainstream country artists are going to come out openly and say that there's a problem with this." I wonder whether you feel that people in the industry have an obligation to speak up about some of this. Should Dolly Parton say something?

Adeem the Artist: The truth is, I don't know. The truth is, I don't know. I think about this a lot because I don't know what anybody's responsibility is to this. Dolly Parton is just a country musician. She's not an activist. I'm not here to talk shit on Dolly Parton. I'm sure I'm going to get roasted if that gets out, but [crosstalk].

Emily Nussbaum: No, I'm not trying to get you to. I genuinely was wondering partially because I was like, is it the obligation of people with that kind of platform and power to talk about what's going on? Is it a different kind of political emergency? I'm not saying that it is, but that's the question that it raises because, and I talk about this in my piece. This is basically a lot of people are like, I don't want to alienate half my audience. I'm not saying that's her motive at all, but she's just an example.

Adeem the Artist: No, no, no. I think anybody that calls themselves anti-racist and that wants to make a more progressive, inclusive scene, or a more progressive inclusive world that is more equitable for all of us, has a responsibility to not prop up shit like Jason Aldean does. A, I don't know that they have a responsibility to speak out every time something like that happens because it just keeps happening. You know what I mean? That would be all we talked about. It's tough for me sometimes because I don't feel like to criticize people that I respect and admire and look up to equates to me denigrating them. I don't think those are the same thing.

Emily Nussbaum: We've talked about this before, but you told me that you were planning to leave Tennessee. Is that still true and what are your reasons and what's going on with that?

Adeem the Artist: It's all very much like a, yes, eventually we'll leave kind of thing. I think there's a lot of urgency to it because of all the political stuff happening. It's really hard to imagine feeling safe in this state right now. They just banned HRT and hormone blockers and any type of medicinal care for trans youth under the age of 18 in Tennessee. They're trying to ban it completely. It's really scary. Our kid uses different pronouns on different days and has a very expansive understanding of gender that is clearly far beyond the zeitgeist of Tennessee's vernacular. It's worrisome.

We are homeschooling currently, but it's like, if my kid wants to go to public school I want them to have that freedom and here I just don't feel like my kid has that freedom. Beyond that, there's also just gentrification is happening in a really visceral and unchecked way here. We rent from a friend of ours, and if we weren't renting from a friend of ours who is giving us a really good deal on rent, there's no way that we could afford to live in the city anymore anyway. To add that to the fact that people are very outspoken about not wanting people like me here right now. It's a weird thing.

[MUSIC - Adeem the Artist: Middle of a Heart]

Nights get longer

The days stay hard

It hits like a bullet through the middle of a heart

David Remnick: Adeem the artist's most recent album is White Trash Revelry. Emily Nussbaum is a staff writer for the New Yorker.

[MUSIC - Adeem the Artist: Middle of a Heart]

Everybody's gonna be so sad to see

The flag disappear into the earth with me

Mama, do you think you still believe

I'm gonna see the face of God?

 

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