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'This Thing Called Country Music': Tradition And Crossover In 2016 In country music, there's no escaping the past. The impulse to look back — to figures enshrined as icons, to sounds that conjure shared references, to historical dependability in general — is strong. But so is the imperative to let the music evolve with changing times and expand its reach in the process. That's because country music is simultaneously a genre defined by its spelled-out relationship to tradition and a hit-driven radio format akin to the Top 40. Built into the very foundation of the mainstream country music industry and its institutions is a tension between continuity and changeability that never really goes away.
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This particular year, though, country's boundaries seemed stretched to new extremes. Consider the amount of influence wielded by exploratory pop affinities and fealty to established symbolism during the month of April alone — and how difficult it often was to tell the two orientations apart. Merle Haggard's passing inspired countless remembrances. Charlie Daniels, newly elected to the Country Music Hall of Fame, did a round of interviews about what that honor meant. Dolly Parton, who decades ago perfected the art of packaging a downhome persona for glittery, discofied popular consumption, announced a back-to-roots tour and an album that placed an Adult Contemporary sheen on Appalachian folk. Chris Stapleton, held up by many as a throwback to rugged country masculinity, swept four major categories at the Academy of Country Music Awards. Jon Pardi — foremost in a group of twenty- and thirty-something neotraditionalists gaining momentum at radio for the first time this decade — highlighted the vintage leanings of his amiably shuffling single with a music video that literally stepped backwards in time. In the same month, self-styled outsider Sturgill Simpson released an acclaimed album embroidered with sprawling soul arrangements and psychedelic rave-ups. Later in the year pop culture blogs would zero in on Simpson's impassioned Facebook essay accusing the country music industry of neglecting its legacy after the announcement of an award named for Haggard, drifting from its moorings and diluting its traditions, criticism that wouldn't carry such an emotional charge in virtually any other genre. Vince Gill and Keith Urban also enlisted an array of acts — from Jason Isbell, the archetype of Americana singer-songwriters, to country-pop heavyweights Florida Georgia Line and Maren Morris — for an arena show benefiting the Country Music Hall of Fame and Museum. Despite his veteran status in country's hit-making ranks, Urban released the third single from an album that positioned him at the vanguard of country-pop's rhythmic trends, while FGL, having already achieved massive popularity with a glossy hybrid of country-pop, modern rock and hip-hop, introduced a silky, new boy band-influenced direction with a worshipful slow jam initially intended for Justin Bieber. When it came down to readymade pop potential, Morris bested them both. "My Church," the lead single from an album that showcased her fluency in the seductive, syncopated swagger of R&B-pop phrasing, was certified gold in April. Her crossover success seemed inevitable. Finally, after hearing Beyoncé's then-new Lemonade, Robert Deaton, the executive producer of the Country Music Association awards, heard the potential for the album track "Daddy Lessons" to cross over in the opposite direction, and began plotting the pop supernova's appearance on this year's awards show.
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