Tag: Jimmie Allen

Mickey Guyton Releases Powerful Single “Black Like Me” as Country Musicians Take Stand Against Racism

Photo Credit: Chelsea Thompson, courtesy of Capitol Records

The murder of George Floyd at the hands of a former Minneapolis police officer has sparked protests across the world calling for justice for Floyd and the end to systemic racism in America. Some of those voices are coming out of Nashville, from a genre of music that has largely remained quiet on issues related to justice and politics in the past. Kane Brown, Darius Rucker, Jimmie Allen, Carrie Underwood and Thomas Rhett are among the many artists who have spoken out against Floyd’s inhumane death, with reactions ranging from honest reflections on living in a racist society as a black person to steadfast support for the black community.

Perhaps one of the most profound statements has come from Mickey Guyton, who tells the world how it feels to be a black woman in America on her powerful new song, “Black Like Me.” As one of the few Black women working in mainstream country music, Guyton has long been outspoken about the obstacles she’s faced trying to have a voice in a genre dominated by white males. “Black Like Me” cuts through the noise to share an honest and important perspective about what it’s like to live in her skin. Guyton explained in an Instagram post that she co-wrote the song in 2019 with Nathan Chapman, Emma DD and Fraser Churchill as a response to the “hate” and “oppression” she was witnessing in the world. Across three minutes and 31 seconds, Guyton takes the listener inside her journey as a child on the playground where she was told for the first time that she was “different,” later watching her father work twice as hard to buy a home to raise his family in. But the chorus is where she delivers a truly gut-punching declaration:

“It’s a hard life on easy street/Just white painted picket fences far as you can see/And if you think we live in the land of the free/You should try to be/Black like me/Oh, and some day we’ll all be free/And I’m proud to be, oh, Black like me.”

“Our world is on fire right now. There is so much division and hate. I wrote this song over a year ago because I was so tired of seeing so much hate and oppression. And yet here we are in the exact same place!” Guyton explains in the post debuting the song. “We must change that. I hope this song can give you a small glimpse into what my brothers and sisters have endured for 400+ years.” While she continues to serve as a passionate advocate for racial justice, she is also calling on her country music peers to do the same, many of whom have answered the call.

Darius Rucker also expressed his viewpoint on how it feels to live as a Black American. In a vulnerable, three-page statement, Rucker shared the “raw feeling of pain” he experienced watching the video of Floyd’s murder.

“As an American, a father, a son, a brother, a singer, a man…I have faced racism my whole life from kindergarten to the life I live today,” he begins. “Racism is not a born thing; it is a taught thing. It is not a strong belief; it is a weak belief. It is not a financial issue; it is a hatred issue.” As a father of three children, Rucker explained the “anguish” and “anger” they’ve felt in the aftermath of Floyd’s murder, urging for people to unify in order to bring about change. “The only way it will ever change is if we can change people’s hearts,” he encourages. “I really hope that we get better as a nation. My request to you guys is to search your heart on behalf of all of us, and root out any fear, hate or division you have inside of you. We need to come together.”

Like Rucker, “Best Shot” singer Jimmie Allen is the father of a six-year-old Black son and welcomed a daughter with his fiancée Alexis Gale in March. Allen expressed deep sorrow and concern for his son’s future growing up in a racist culture, also calling for people to use love as a guiding force for systemic change. “The continued non value of life towards black men in America concerns me. As a black man and a father raising a black boy I’m worried. The uncertainty of his safety turns my stomach,” he confessed in a recent Instagram post. “I challenge everyone to love each other and let our hearts speak louder than the injustice. Love so hard that it suffocates the hate.”

Kane Brown echoed this sentiment, calling on people of all backgrounds to unite in order to achieve world peace. “We will never see peace in this world until we ALL see each other as PEOPLE. We will never understand each other when you have people on 2 different sides. We have to become one to be at peace,” he explains in a Twitter post.

While Black country artists made it a point to speak out, many white allies also raised their voices in support. Two of the most profound statements came from Thomas Rhett and his wife Lauren Akins, the parents of four-year-old daughter Willa Gray, who they adopted from Uganda in 2017. Both spoke honestly about it’s like to be white parents of a Black daughter, pledging their unconditional support not only to their child, but the Black community as a whole. In a open-hearted message shared on Instagram, Rhett reveals that while their blended family has been mostly met with unconditional love, they have dealt with racism “directly,” previously instilling him with a fear that stopped him from making a public statement. He also notes the fear that his Black crew members have felt while touring on the road with him, behavior he deems “unacceptable.”

“When I witnessed the horrific murder of George and think about the mistreatment of other black men and women in America, I am heartbroken and angry. I get scared when I think about my daughters and what kind of world they will be growing up in and how my JOB as a father is to show them how to lead with love in the face of hate. To know their worth and value as not only women but human beings,” he explains. “So if there is any question on where I stand let me be clear – I stand with you, I stand with George and his family and all those who have faced racism. I stand with my wife and my daughters. We will be fighting this fight for the rest of our lives. Rest In Peace, George. We are not letting this go.”

Akins also spoke about her role as a parent to their multi-race children, stating that in the past she has been shamed by people who believe she is unqualified to be the mother of a Black daughter, creating a sense of “anxiety” that has led her to not speak out publicly – until now. “But as her mother, I want her to be VERY sure that I am HER mother who stands up not only for her, but for every single person who shares her beautiful brown skin. I want to be her mother who raises her to know what it means to have brown skin and to be proud of it,” she pledges. “I believe if I stay silent I am betraying my brothers and sisters. I believe if I stay silent I am betraying my daughter… Together, let’s be an army for love. That means speaking up loudly for injustices whether or not we share the same skin color, language, beliefs… I want my children to cling to the good. Love, peace, kindness, joy. I want them to BE the good.”

For a genre that has historically been remiss in standing up for justice, it offers a glimmer of hope to see many country artists use their voices to take a firm stance in opposition to racism, asserting that Black Lives Matter. My hope is that the country community will continue to fight for equality and turn these words into action, adding to the ocean of voices that are rising to end systemic racism and change this world for the better.

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AF 2019 IN REVIEW: A Year in Country Music

With the end of the year comes a time of reflection. Looking back on this year in country music, the firestorm of conversation about the lack of women on country radio spilled into 2019, while new artists like Lil Nas X and Blanco Brown broke down barriers, and names including Billy Ray Cyrus and Tanya Tucker saw a resurgence in their careers.

Renaissance Moment

 In 2019, country fans saw two legends experience an unexpected, but celebrated resurgence in Billy Ray Cyrus and Tanya Tucker.

Though known as ’90s country star with the breakthrough hit “Achy Breaky Heart” and as the father of Miley Cyrus, his name is now synonymous with the global hit that is “Old Town Road.” While the Nine Inch Nails-sampling Lil Nas X penned rap gained traction as a viral favorite on Tik Tok, it was a remix version featuring Billy Ray Cyrus that came to define the newish genre of “country rap.” Kicked off the Billboard Hot Country Songs chart based on the claim that it “does not embrace enough elements of today’s country music to chart in its current version,” “Old Town Road” quickly grew into a smash hit that broke the record as the longest running No. 1 Billboard Hot 100 – and Cyrus was a significant part of this. Though the song was already a jam in its original state, the unlikely pairing of the millennial rapper and baby boomer country star made for an important moment in pop culture. The song feels complete with both on the track, and Cyrus’ affinity for the song and ability to see how it connects to the history of country music is part of what gave him a second life in the genre.

Billy Ray Cyrus and Lil Nas X. Photo by Derrek Kupish/ dkupish productions

Tucker enjoyed her own renaissance moment in 2019; the 61-year-old icon, who had her first hit single at age 13 with “Delta Dawn,” released her first album in 10 years, While I’m Livin,’ produced by Brandi Carlile and Shooter Jennings. Partnering with a new generation of talent gave Tucker an edge and refreshed identity while still delivering a strong body of work, and earned her four 2020 Grammy nominations. It was gratifying to see two iconic stars rise like phoenixes for a new phase in their lives.

Diversity

 It’s disappointing to think that even in 2019, you can count the number of mainstream African American country artists on one hand. Over the past few years, we’ve seen acts like Kane Brown become rising superstars, while Jimmie Allen reached No. 1 with his debut single “Best Shot” last year. But with Lil Nas X breaking down the walls for artists creating country trap, it feels like the beginning of a tidal wave of diverse artists who we’ll see breaking through in the next few years.

Yola is one of the many artists blazing this path. The elegant British country singer had a banner year with her debut record Walk Through Fire. Her spell-binding voice and awe-inspiring songwriting solidified her as a major breakthrough act this year, so much so that Kacey Musgraves invited her to be one of the opening acts at her first arena headlining show in Nashville and Elton John declared himself a fan after hearing her cover of “Goodbye Yellow Brick Road.” She’ll embark on her own headlining Walk Through Fire Tour in 2020.

Blanco Brown also took country by storm with his original “Cotton Eyed Joe” style dance song, “The Git Up,” which was the longest running No. 1 on the Billboard Hot Country Songs chart and spent 13 weeks as the top selling country single in the U.S. Meanwhile, former X Factor contestant Willie Jones spent the year building momentum with songs that range from the sweet (“Down For It”) to playfully observing the influx of bachelorette parties in downtown Nashville with “Bachelorettes on Broadway,” while up-and-coming singer-songwriter Tiera was named to CMT’s Next Women of Country class of 2020.

Jimmie Allen also joined forces with dynamic duo Louis York for a poetic number titled “Teach Me a Song” on the twosome’s American Griots album, and when they all performed on the Grand Ole Opry, it marked the first time three African American artists have appeared on the Opry stage at one time. With Louis York set to make their own Opry debut in February, it feels like we’re at the start of a revolution of multi-racial artists finally becoming a mainstay in a genre that has been sorely lacking in diversity.

Women in country

 The conversation surrounding the lack of women on country radio was a dominant theme in 2018, with the likes of Carrie Underwood, Kacey Musgraves, Maren Morris, Miranda Lambert and countless others speaking out. At 2018’s end, there were no women in the top 20 on the Billboard Country Airplay chart for the first time in the chart’s near 30-year history, and they didn’t fare too much better in 2019, as there are no solo female artists on the year-end list of Billboard Country Airplay songs. With the conversation being so loud, it instilled a false sense of hope that radio would take action and begin to move toward more balanced playlist.

But where radio faltered, women united in the form of all-female tours in 2019. Underwood set this precedent by inviting duo Maddie & Tae and trio Runaway June as her opening acts on the Cry Pretty 360 Tour, proving that a troupe of half a dozen women can sell out arenas across the country. Lambert followed suit, as her Roadside Bars & Pink Guitars Tour featured a massive all-female bill with openers including Maren Morris and CMA New Artist of the Year Ashley McBryde, along with newcomers like Tenille Townes, Kassi Ashton and many more.

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Morris also set a standard by joining forces with Carlile, Amanda Shires and Natalie Hemby to form The Highwomen, whose debut album serves as one of the year’s best (and their surprise performance with Dolly Parton at 2019 Newport Folk Festival is arguably one of the highlights of the year in music). Morris continued with her support for women by bringing a mix of five female friends and rising artists in country on her aptly titled Girl: The World Tour named after her CMA Album of the Year. Even legends like Trisha Yearwood stepped up, taking an all-female bill out on the road with her for the Every Girl on Tour.

In addition, several new female artists not only made an impact on fans and the industry alike, but brought a distinct element with them: empathy. It’s the foundation of Townes’ “Somebody’s Daughter,” a compelling narrative inspired by a woman she saw on the side of the road who was homeless that should have been a No. 1 hit, but just barely made the top 30 on the country charts. Meanwhile, Ingrid Andress broke hearts in the best way with her powerful debut single “More Hearts Than Mine” that made her the only female artist to have a debut single reach the top 20 in 2019.

Though the fact that Carrie Underwood lost Entertainer of the Year to seven-time winner Garth Brooks during a year where she put on an impeccable production that led to growth as an artist while supporting deserving young women felt like another major blow to the cause, it was inspiring to see so many women uniting in the face of adversity – there is something truly special about seeing a group of gifted women lifting one another up in a bold way.

But in order to see real change, there needs to be integration, and there seems to be signs of that going into the new year. Dan + Shay, the country duo behind the wildly successful, Grammy winning crossover hit “Tequila,” recently announced that Andress will be joining them as an opening act on their 2020 Arena Tour. Jordan Davis, who has two country hits to his name, is bringing a pair of compelling singer-songwriters, Ashton and Hailey Whitters, as his openers on the 2020 Trouble Town Tour. I hope this is a trend that turns into a movement in 2020.

PLAYING NASHVILLE: Louis York Carry the Tradition of “American Griots” on Debut LP

A “griot” is defined as an oral storyteller in West Africa, the roots of the tradition tracing back centuries. Nashville-based duo Louis York not only bring this tradition into the modern era with their debut album, American Griots, but prove they’ve long been griots themselves.

The journey begins with Claude Kelly and Chuck Harmony, Grammy nominated songwriters and producers who spent more than a decade writing era-defining pop hits (Kelly wrote “Party in the U.S.A.” by Miley Cyrus and Bruno Mars’ “Grenade,” while Harmony penned Rihanna’s “Russian Roulette” and produced Ne-Yo’s six-time Grammy nominated album, Year of the Gentleman). After breaking away from the grind of the mainstream music industry, they created Louis York and launched their own artist collective, Weirdo Workshop, in Franklin, Tennessee (just outside of Nashville) in 2017. Deriving their namesake from Kelly’s native New York and Harmony’s home city of St. Louis, Louis York introduced themselves as a genre-defying act with an important message to share on a succession of EPs: 2015’s Masterpiece Theater – Act I, 2016’s Masterpiece Theater – Act II, and finally, Masterpiece Theater – Act III, released in 2017.

 

But with the turn of the new year in 2019, the duo knew it was time to create a comprehensive body of work in order to evolve, setting their sights on a debut album. As they began writing songs and developing themes for the impending project, Kelly and Harmony discovered the word “griot” – a traveling musician, poet or performer who would visit the villages of West Africa and share stories of the people and culture through art. “That part really resonated with us because it felt like there was an ancestral tradition to why music and soul music and this mission will always feel so familiar,” Kelly tells Audiofemme. “That was a beautiful thing to embrace.”

The album reflects a tapestry of the experiences, frustrations and lessons they’ve gathered through their journey, reclaiming the griot’s mission of transforming valuable life lessons into art that not only entertains, but instills education, intellect and spirituality. “We’re asking more questions than we’re giving solutions,” Harmony says of the project. “The songs go different places and take on different twists and turns in ways that I think a lot of people now don’t think fans and consumers can take, but we don’t buy that. We know that music has always been adventurous and progressive and fun and poetry, that’s what we fell in love with when we first came into it,” Kelly describes. “These are all soul songs, each one is kind of a realization for us.”

Louis York called on a team of Nashville griots to help them share these realizations. Caroline Randall Williams, an award-winning poet and co-author of NAACP Image Award winning book Soul Food Love, opens the project with her “piercing” voice, as Kelly notes, on an original poem that proclaims over a groove of horns and drums, “this, an American story / a fists up story / an our power story.” Her moving words take shape again on the reprise of “Teach Me a Song,” the duo’s duet with country star Jimmie Allen, while The Shindellas, the powerhouse trio founded under Weirdo Workshop, follow in their footsteps on “No Regrets.” The ’80s style electro-funk melody doesn’t disguise the uplifting lyrics that encourage self-love and personal freedom, and The Shindellas’ glistening harmonies shining alongside Kelly’s voice as they declare, “I want the world to know / you don’t have to be alone / we don’t have very long / so love anyone you want.” “That part was an important message, so we chose to repeat it over and over again so it could be drilled in people’s heads,” Kelly says.

 

For Harmony, the album’s profound identity lives in “I Wonder.” Originally released on Masterpiece Theater – Act I as an eclectic R&B number titled “Nerds,” Louis York give the song a new identity on American Griots. Inspired by hymns and Negro spirituals, “I Wonder” intertwines spoken word poetry, jazz, hip-hop and R&B to ponder how Civil Rights pioneers Martin Luther King, Jr. and Malcolm X would perceive the world today. The almighty voice of opera singer Patrick Dailey unites with Harmony’s cinematic production of strings and booming drums to elevate the compelling notion, “I wonder / if Martin was alive now / would he be proud? / I wonder / if Malcom was alive now / would he be proud?” “It’s such a vital part of our social message and it’s a missing part musically in pop culture,” Harmony explains. “It feels like it’s encompassing all of what African Americans have contributed artistically to pop culture, and still sounds futuristic,” Kelly remarks, calling Dailey’s presence a “stand alone moment.” “We wanted to feel reverent, but we also wanted it to feel like it was the best of who we are.”

The griot tradition is in capable hands as Louis York continue on an artistic journey that finds them channeling expression, attention to detail, honesty and true musicianship into their craft. These elements reward them with a true sense of freedom, the liberating gift they pass on to those who embrace American Griots. “With us spilling our guts and pouring our hearts on this album, we’re hoping that listeners will have a revelation, which is deeper than inspiration,” Kelly says of the most “complete” body of work they’ve created in their careers. “This album is also a reminder to them that this is what freedom can sound like. Now take that same feeling and apply it to yourself.”

“The only thing that we can offer people is love and happiness and having fun and being introspective. But at the end of it is love,” Harmony observes. “That’s what the world needs.”

American Griots is available on Oct. 18.