Matt Lewis and the News: 04/2009

With a few notable exceptions, country music has generally been a bastion of conservatism. In fact, these days it may well be one of the only sanctuaries some blue state conservatives have left -- a place where red state values of faith and family are celebrated -- even flaunted (though they sometimes take a back seat to cheating, drinking -- and picking up mama at the train station in the pouring rain ...)

To be sure, the message hasn't always been strictly conservative -- country music has often reflected larger debates taking place within the culture. For example, right now John Rich is out with a populist ballad slamming bankers called ("Shuttin' Detroit Down") -- a song that in may ways has become an anthem for the Tea Party crowd.

And, of course, in recent memory, Toby Kieth and the Dixie Chicks had their high-profile feud over patriotism -- and Darryl Worley recorded a song encouraging people to not forget 9/11 ("Have You Forgotten?").

Older examples of blunt social commentary include Loretta Lynn's making waves with "D.I.V.O.R.C.E.", "Rated X", and "The Pill" -- and Merle Haggard's "Okie From Muskogee" -- just to name a few.

In some instances, artist collaborations take on a politically schizzophrenic quality. The contrast was especially evident in the "Outlaw" movement which became an important trend in the 1960s and 70s.

Waylon Jennings was a hard-core, redneck, rockabilly conservative (albeit one with a serious drug issue until the 80s) -- Johnny Cash was a recovered heroin addict who wrote tough songs about prison life but ended up as a paragon of cultural conservatism -- Willie Nelson was a dope-smoking populist -- and Kris Kristofferson embraced the most radical forms of left-wing politics. Yet somehow these men found a commonality in their brand of "Outlaw Country". They all strayed far from the Nashville establishment, and none of them could be labeled "politically correct" in any sense of the term.

Had they come of age in another time or another industry, one might have expected them to be at each other's throats -- but instead they worked together, wrote songs together, and even formed a super-group (The Highwaymen) together. Furthermore, the rawness of the music they produced was unparalleled and in no way compromised by any personal differences. In fact, I'd say that "Sunday Morning Coming Down", written by Kristofferson and sung by Cash, is one of the most blunt and honest songs ever written.

Despite the diversity, one thing seems clear -- regardless of whether country music was reflecting liberal or conservative ideas (it has traditionally been more conservative than liberal), country music has almost always reflected populist values. It preached the importance of hard work and staying off welfare (think Merle Haggard's "Working Man Blues") -- but was also very skeptical of the rich and powerful (think Alan Jackson's "The Little Man"). In many ways, these are the same values that helped fuel the Tea Party movement.

As Barack Obama -- arguably the first "big city president" in a long time -- seeks to maintain his popularity, he would do well to pay close attention to what is being said on country radio. ... I'm not suggesting he put Nashville on the list with the other 'dangerous' groups (you know, those returning war veterans, pro-Lifers, and other "right wing extremists" we're all afraid of) -- but rather that it would be a smart political move to not discount this large and important part of the electorate.

Meanwhile, country music will continue doing what it has done for years -- reflecting the values, fears, and concerns of average working Americans -- and providing a healthy outlet for folks who might need to blow off some steam on a Friday night ...

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