The Next Service to Depart from Platform 1 is The Brian Jonestown Massacre Express 

Joseph Macaulay on 18 February 2025

The Brian Jonestown Massacre have long had a divisive reputation as a live act. The more than thirty members who have come and gone over the last thirty-five years are testimony to the internal frictions that have given Anton Newcombe and co. such notoriety. In 2023, they made headlines for an onstage brawl culminating in Newcombe’s wielding of a guitar against one of his bandmates. It was with some trepidation, therefore, that I crossed to the other side of the tracks and ventured to the Leeds Beckett Student Union. 

I have never been at a gig quite like it. The band take to the stage, denim-clad, feather-hat-sporting, and with heavily tinted sunglasses, no doubt to hide the countless nervous glances fired Newcombe’s way. He takes his place and flicks over the first page of his laminated lyric book. We wait with bated breath. The band waits for their leader’s cue. A subtle nod of the head, and this psychedelic steam train heaves into motion. For the next two hours, we ride tracks of hypnotic guitar noise, layers of tambourine and head-jerking percussion, and the cool vocals of this hazy locomotive’s crackpot conductor. 

We plunge through musical landscapes. At times, more concrete forms of a pop riff or vocal hook swim into view before plunging back into the foggy horizon, all the while punctuated by a steady tambourine groove that reminds you that you haven’t yet derailed. Among these landmarks are the likes of ‘Anemone’, the band’s most famous and accessible tune, that washes over the spectator in an effortless wave of rhythm and jangling guitar lines. ‘When Jokers Attack’ and ‘Pish’ stand out too, but all blend into a backdrop of blissful psychedelic groove, a ride so smooth that it does sometimes leave passengers slipping into a lethargic doze, though never ceasing in gently nodding their heads. 

Songs begin to feel amorphous, and I do find myself seeking some auditory refreshment. Moments later, and a slick bassline or guitar line pulls me back in. There’s a kind of musical game of cat and mouse at play here, where Anton Newcombe lounges in his own brilliant, startling, divine genius and at the point where you want to shout something at him just to snap yourself out of his spell, in another masterful stroke he beats you to it and says, “look at this!” and blows your mind. 

As the train rounds the final bend, the Brian Jonestown Massacre vista is wide open for all to see. They are self-indulgent, their songs do kind of sound the same, but it doesn’t matter. You can’t help but be drawn in by their hypnotic rhythms and softly spoken rhymes. And as I am about to be lulled into a deep sleep, the final track proves a final twist in the tale. The sitar backed melody of ‘Super – Sonic’ evokes The Beatles’ ‘Tomorrow Never Knows’. It’s swirling and disarming, thoroughly enchanting. Now, this I could listen to forever. 

I think I’m about to attain nirvana. I’m on the brink of the abyss. I’m flying, floating, endlessly, blissfully…

Then the song finishes and the lights come on in the Beckett Student Union, where this service terminates.

How did we get to the edge of the world? Brooke Combe in interview  

Daniel Brown on 18 February 2025

For an artist, finding their sound can be as difficult a task as any, but through returning to her roots, embracing her authenticity and having an innate ability for contemporary soul songwriting, Brooke Combe has irrefutably defined herself as a must hear. Ahead of the release of her debut album, Dancing At The Edge Of The World, I chatted with Combe to delve deeper into the album’s meaning, her songwriting process and just how we got to the edge of the world in the first place.  

Immediately the apocalyptic title grabs you and pulls you in, with the story of its origin mimicking the authenticity Combe displays across the album.  

“There was a book that my producer James Skelly was reading about Marilyn Monroe’s life, and someone described Marilyn as so beautiful, she seemed like she was dancing on the edge of the world. James brought that to me, and I thought “at” was better and pretty fitting for what I was going through at Island Records because I finally felt free, and the chains were gone, giving me full artistic freedom. So yeah, it just felt very fitting for that time. It’s quite beautiful.”  

The shedding of skin is evident from the prelude to the final note of the title track closer, but this newfound Brooke Combe is not so newfound for Combe herself.  

“It’s been recorded for a year now. We did it last January so I’m just desperate for people to hear it, have their opinions on it and I’ve already got album two on the brain now.”  

Looking to the future is where Combe thrives, with the final single for the album ‘This Town’ being an anthem for small town dreamers who just can’t be contained. An infectious guitar riff and painfully genuine lyricism play their parts in a contemporary soul masterpiece, which channels the voice of Dalkeith’s finest.  

“For a few years my manager was asking me to try and write a song about home and he wanted it to have Scottish characteristics or something personal like a street name near mine and I was struggling with that, it just didn’t feel right at the time. Then when the album was almost finished, we still needed more types of tunes. My producer gave me some chords, I didn’t love them, but there were a few chords in the progression that I thought could work, so I started messing about and noodling on that. Then, I got on my girls group chat going, “Right girls what do you think about the boys from Dalkeith” and they came back with, “spice boys, still living with their mum, sun beds” and things like that and I basically just put it all together and it just worked.”  

As glowing as these character references are for the men of Dalkeith, comfort can be found by them in knowing they’re immortalised in as catchy a song as you can find. The track is indebted to Combe’s time in Dalkeith, a debt repaid by Combe returning to the streets of her hometown to film the single’s music video.  

“It was bittersweet. I’m proud to be Scottish and I’m proud to be from where I’m from. I think being from a small town shapes you in a lot of ways and gives you a lot of different ambitions that maybe somebody in a city might not have. I also don’t want the people where I’m from thinking that I hate them, so we were trying to find that balance and I think we smashed that. It was very low budget and felt small town.”  

Combe’s pride in her roots is apparent, both in her words in this interview and the authenticity she lets shine in her music. Whilst her passions and drive led her to make that jump out of Scotland, her music remains a constant irrespective of geography.  

[In response to ‘is your songwriting affected by your location?’] “I’ll be honest, I think not really. I’m pretty much somebody who just goes for what they’re feeling in the moment. I like being at home [Dalkeith] because there’s a lot more space i.e. field, forestry, reservoirs, the lot. So, I like having my downtime to give me the headspace to think about what kind of songs I want to write. The last project was very circumstantial the way I wrote that in terms of it being about what my dad was going through and seeing him go through struggles. I think it will be interesting this year as I’m hoping to buy a house in Liverpool so it will be interesting to see how my circumstances play into that.”  

The emotional principles Combe has used to craft her sound are cultivated both in isolation with her guitar and collaboration in the studio, allowing her to balance both emotionally deep lyrics and incredibly groovy melodies. When asked on the role of both, she had this to say:  

“I think musically its quite 50-50, actually maybe not 50-50, maybe 60-40, but it is the music which gives it that soul and funkiness. We recorded it as a live band like how all my favourite old bands from Motown did it so that creates the sound. On top of that, I think with the songwriting, specifically on songs like ‘This Town’, I tried to write it more souly with the groove and lyrics, whereas with a song like ‘Dancing At The Edge Of The World’ I wouldn’t necessarily say the melody or lyrics [are funky]- but you can put them into soul. It’s more the track that comes with it being sort of cinematic.”  

This sonic prowess has helped craft a variety of tunes across the album all with their own edge, however there is one which Combe is particularly eager to give to the masses.  

“The song is called ‘Butterfly’. It goes into escapism; the good, the bad, the ugly, plus it was a completely different writing style for me. My vocals don’t sound like me basically, I’m using a lot more of my top voice, my falsetto, so I’m really really excited for people to hear it.”  

Whilst the album is a brilliant trip down the avenue that is modern soul, Combe refuses to be defined by her production alone, boasting a stellar knack for live performance. This ability has already led her to play some of Leeds’ biggest stages such as Leeds Festival in 2022, O2 academy and her personal favourite, a sold-out Brudenell.  

“On the tour, we had to reschedule that show, as when we first got there and set up my agents said they didn’t want me to sing out of fear I’d mess up my voice [due to strains she had at the time] and so we had to cancel. So, we rescheduled and came back and that left us in the old room on this tiny stage, but it was class. The fans and the crowd were just great.”  

Combe returns to Leeds in April to play Project House on her Dancing At The Edge Of The World tour and her debut album of the same name comes out January 31st. 

Written by Dan Brown

Interview: Jasmine.4.t on her debut album, boygenius, and the beauty of community

Lucas Assagba on 31 January 2025

When it comes to music, blazing a trail is no easy feat. There are infinite barriers that come with trying to find a unique and relatable sound that connects with people and inspires a new generation of creatives, all while garnering praise from the biggest names and publications in the industry. Sounds like a lot of pressure, right?

Well, if you took one look at Manchester singer-songwriter Jasmine.4.t, you’d think it was as easy as saying ‘indie rock icon.’ Her boygenius-produced debut album, ‘You Are The Morning’ released via Phoebe Bridgers’ Saddest Factory Records on January 17th; ‘Imagine having your debut album produced by Phoebe [Bridgers], Lucy [Dacus] and Julien [Baker], like, what the hell?’

The record breaks new ground, opening eyes and hearts to the brutal, yet beautiful reality of the trans experience. In December, I sat down with Jasmine to talk about the album, its themes, and the impact her community has on her art.

Was it always the plan to have boygenius produce the album, or did you shop around for producers for a bit?

It was actually Phoebe’s idea! Lucy had always told me she wanted to produce my album, and then when Phoebe signed me, she said she wanted to produce it, and then they were like, ‘Why don’t we all just produce it?’

From the outside, it looks like it all happened super fast; it was announced you were signed to Saddest Factory, then ‘Skin on Skin’ released, and then the album was announced; was it as fast behind the scenes?

It kind of was! I signed the contract the day after Boygenius played Kingston upon Thames. I opened for them, and it was the first time we’d all been in a room together. Then it was like, ‘We need to get you to LA.’ So, I booked the flight immediately. The label paid to fly my Manchester transsexuals to LA, and some trans musicians in LA helped out too, so we all made the album together. We added some more layers once we got back to Manchester, and then everything started coming out, and here we are! I’m very aware that my life is changing super-fast, so I’m trying to cling onto all the normalcy I have left.

When I saw that Vixen played on the album, my mind was blown; she plays guitar for Rina Sawayama and I’m a huge fan. How do you guys know each other, was that through the label?

I can’t remember if it was Lucy or Phoebe who knew Vixen; she’s a great guitarist, but an incredible bassist as well, so we got her in to play bass. We have a lot of footage of the boys and Vixen writing the bass parts together, and it was so incredible watching them all work together. They’re all incredible, but seeing how they all work individually and looking at the different things they contribute was really fucking cool.

What was the writing process like for the record?

All the songs were written and demoed as solo and acoustic; I’d taught my band the songs, but we hadn’t done many shows before we went to LA, so we arranged them in the studio together. Phoebe was laying the framework for how we recorded things; we recorded in the same studio she’d used for Punisher, so we naturally did things in a similar way. I was expecting it to be tense, or competitive, or for there to be some kind of conflict with so many cooks in the kitchen, but it was so fun. We were just hanging out, eating great food, and making great music!

It’s really crazy that you’ve gone this far. Especially because we’re mutuals and have mutual friends, I just find it super crazy that a Manchester doll has an album produced by Boygenius. I can’t get over it.

It’s fucking mad!

It’s a bridge between two worlds that I never expected.

I met the girls through transfem meetups in Manchester, and it was crazy to be like, ‘Hey, do you want to come to LA and record an album with Boygenius?’

It speaks a lot to the value of community; the chemistry between you and your band, and the way you talk about all the different aspects of community and what it does for you is really cool.

I’d definitely recommend coming to ‘Just Do the Thing’ in Manchester, they’re so cool. Each one is organised by a different doll; it’s very anarchist so you never really know what to expect!

Setting up your own meetups in Leeds would be a good shout too, just because there’s so many dolls in similar positions who want more transfem-centred stuff to happen.

Just to circle back to the album for a second, I’d like to talk a little bit about the title track. I assume the track came before the title was decided?

Yeah, it’s about my friend Han who stayed with me through my transition when most of my friends didn’t. I was sleeping on her floor when I didn’t have anywhere else to stay. It’s really a dedication to her.

But at the same time, it’s about the resilience of trans and queer people in the face of violence, which is a very pertinent thing. The memorial list for Trans Day of Remembrance this year was so fucking long. At the time I’d experienced a few violent hate crimes, and Han really helped me through that; it’s all about how my community got me to a point of being able to fight for myself and those around me, and transfem people’s potential to bring change in themselves, those around them and the world in general.

We’ve seen trans people change the world in so many ways this year, and that’s what ‘You Are the Morning’ means now. It’s a call to others to realise that they hold that power.

Your music does that to people, we’ve talked about it a little bit before. I remember speaking to you when you got signed to Saddest Factory, and it really reignited my faith in music and the idea of making it. I’ve never seen a trans girl, other than Ethel Cain, at the centre stage of indie music like this. I know you’ve not been around for long, but I’m really seeing the change.

Thank you, yeah. It’s been amazing seeing other dolls be like, ‘What the fuck? I didn’t know there were other girls out there, making music like me.’ It feels like that world has needed more representation for a long time, and I feel very lucky to be a part of that.

Of all the tracks on the album, I’m the most excited to hear ‘Guy Fawkes Tesco Dissociation’, I’ve heard it mentioned in a couple of interviews and I can’t wait.

I’m expecting it to resonate with a lot of people. I think it’s a very relatable experience, dissociating in Tesco!

Are there any other tracks on the album you’re excited for people to hear?

‘Highfield’, for sure. Of all the tracks, it’s the one that most directly addresses street harassment, and violence, and all the shit that we go through. It’s a present theme on the album, but in this song it’s really the subject. As such a visible advocate for trans rights now, it’s something that I want to bring up.

I bring it up a lot when we play live. It’s something that I think a lot of cis people just don’t think about, and how it affects us psychologically, and stops us from being ourselves on the street. It feels powerful having that song and having the boys there to support that.

It’s something that I don’t see talked about enough. All the conversation is about bathrooms. Who even cares about that?

Exactly, I can go to the bathroom with another girl and be in and out, and feel safe enough, but walking down the street anywhere is terrifying! There’s this background threat of violence that we always have as trans women, and I don’t think people realise that.

The conversation about bathrooms almost seems like a distraction; we’re being made out to be a threat when we’re the ones who are at risk? But I barely see anyone talking about the actual violence we face! I’d really like to centre that conversation in my music.

In terms of the music, what’s next after the album? Are you gonna take time to sit and write?

Oh, I’m writing all the time! I wrote a whole EP while I was in the studio recording the album, and I’d like some of those songs to be on the next album. I’m gonna be playing lots of live shows too.

Hopefully, I’ll be spending more time doing what I love; spending time with lots of lovely queer people and making music. I feel so lucky.

Written by Lucas Assagba

Sports Team come out of the Wardrobe with a bang

Eszter Vida on 19 December 2024

On the run of their ‘Boys These Days’ tour, Eszter Vida reviews their art rock/post-punk band’s sold out return to Leeds’ iconic The Wardrobe.

Our story begins in 2021. Post-pandemic. Neighbourhood Weekender in Warrington. The 2 most depressing combinations of places and times to be alive, set right on the field I used to get pissed on to speakers blaring Arctic Monkeys, aged 16. Alex Rice launching himself into a crowd of Twitter fiends, because let’s face it – no lad from Warrington is ever self-identifying with the Cambridge grads uniformed in polo sweatshirts (but we’ll return to my point on target audiences later, don’t snap at me just yet). It feels like Sports Team are always there for the satire of it all just when we need them.

Now 2024. We’re still in the thick of political turmoil. The Wardrobe in Leeds. Sports Team always seems to be on a run of following up a multitude of global disasters with a new album cycle each time, and I think that oddly sums up the nature of this band. Without being too ambiguous, post-punk bands are now having to keep up with the times, in fear of cancellation or industry plant comparisons. God forbid, we want more authenticity from label backed artists.

Known for their dynamic, high energy sets, Sports Team are a band that play into the satire of being a British band. It’s no wonder that the home city of Gang of Four at a venue right next to a music university producing an identical entourage of bands sells out in an instant. But in this live setting, the performance felt like we were all in on the joke, poking fun of privilege and everyone’s individual place in the current state-of-affairs. We’re a long way from Aldershot, but Leeds is exactly the melting pot where indie bands thrive upon the legacy of the ones that came before them in its historic scene. It’s only the merry homecoming of drummer Al Greenwood.

The support for this tour reflects the best of up-coming bands, brewed in the same art-rock sphere. Mary in the Junkyard is no exception, with their gothic, new wave sound and their magnetic hold on the crowd. The room quickly filled in anticipation, whether you were swarming at the front, warming up at the bar or clawing through the awkward staircase barriers that lead to the pit section of the Wardrobe.

Bursting on first with ‘Camel Crew’, they knew to play to their dedicated fans’ appetites and to feed them well with their classics. The crowd instantly connected with old favourites like ‘Happy (God’s Own Country)’, ‘Lander’ and of course, ‘M5’. There was not an air molecule between us all in the pit as the room exploded into madness and the camaraderie of the band on stage sweeped the room entirely.

Building up heat for their 3rd album Boys These Days, I can safely say it’s one to look forward to just from the recent single release of ‘I’m In Love (Subaru)’. It’s Rice’s facade and the irony of the lyrics he sings that embraces their unapologetic nature of leaning to more new wave and pop influences like Bryan Ferry and Roxy Music. The rest of the instrumentalists, composed of Greenwood on drums, Rob Knaggs on vocals and guitar, bassist Oli Dewdney are the centre of pushing the tempo while keyboardist Ben Mack debuts flashy synthesisers next to the other tracks’ signature punchy riffs, played by guitarist Henry Young. The live performances can be unpredictable, and tonight’s setlist of new and old shows testament to embracing their evolving sound as a group.

Some memorable moments from being in the crowd: getting bit in the mosh pit, the lack of deodorant, the erupting combat in the pit. You couldn’t get this from any other band’s tour. The two most optimistic conclusions: Sports Team are back with a promising third record and there’s nothing that sums up the relief of seeing them back in action than the tweet used by the band to announce this tour in the first place below. 

Image Credit: Instagram via @sportsteam

Words by Eszter Vida

Cacophony – Paris Paloma Casts a Spell on Brudenell

Aeryn Pettifor on 11 December 2024

On the 28th of November, Paris Paloma graced Leeds as the ninth and final stop on her UK tour after the release of her new album Cacophony. The album has amassed over 240 million streams on Spotify since its release in late August, with hits including ‘Labour’ and ‘Drywall’as fan favourites. Originally from the Midlands, Paris has gained acclaim for her music since 2020 and now has an impressive 6.8 million monthly listeners on Spotify. The strong themes of sisterhood and feminine rage against a consistently misogynistic society that feature in her songs, have struck a chord with many women across the world.

But onto the show! Newcomer Nadia Kadek stepped in to open the last three shows in place of Luvcat and delivered a mesmerising performance. Gentle and compelling, Nadia took us on a journey of yearning and forgiveness and held the audience in a trance. Although Nadia hasn’t officially released any music yet, make sure to check out her Instagram: @nadia.kadek for performances and demos. And, if you send her a dm, she’ll send you a secret song! My personal favourite song she performed was Green Car – check it out!

Paris kicked off the show with the first song on Cacophony: ‘My Mind(now)’, with the audience smoothly chanting along. Accompanied by George and Jim, on bass guitar, and drums and keys respectively, Paris began casting her spell on the audience. Notable standouts for me were ‘Knitting Song’, ‘Last Woman on Earth’, ‘The Warmth’ and ‘Escape Pod’ (from the perspective of Laika, the first dog sent to space ☹) although the whole album is a joy to listen to.

During a break for her band, Paris sat down with us to play ‘Triassic Love Song’on her acoustic guitar,a song about the famous ‘Triassic Cuddle’, (look it up!) just one of her many songs from clever perspectives. This song also included a ‘call and response’ section, which scratched an itch in my brain perfectly. Furthermore, Paris fits perfectly into the ‘Ancient Gods duo’ of Hozier and Florence + The Machine, so if you’re looking for new music following similar themes exploring divinity and mythology, then I urge you to take a deep dive into Paris’ discography.  

Moving on, Paris’ most popular song ‘Labour’ was played as the encore, and every single person in the room knew the words. It gave me goosebumps. ‘Labour’ discusses the invisible emotional, physical and sexual labour that is forced upon women, especially in relationships and how exhausting it is to carry. Resonating with women all around the world for its calling out of weaponised male incompetence and unfair expectations of women, ‘Labour’ has catapulted Paris into the spotlight, and for good reason.

If we had a daughter,
I’d watch and could not save her

                              —-

It’s not an act of love if you make her
You make me do too much labour

In a similar vein is ‘Last Woman on Earth’, which discusses the important issue of bodily autonomy, focusing especially on how the female body can be mistreated after death at the hands of men. Paris explores choosing ‘the flame over desecration’, and ‘leave me to the beasts and bears, I’d rather that the feast was theirs’, and pleads with us, the listeners, to respect her wishes. It’s an uncomfortable song, but unfortunately a necessary one to tell, especially in our society’s increasingly unstable political climate. But I digress.

The background set was beautifully hand-painted, featuring wolves, bears and forests, and added to the captivating atmosphere of the gig. There was even an exchange box at the merch stand, where audience members could pick up old books and leave little notes and friendship bracelets to swap with other people. The vibes were so welcoming and safe, which unfortunately, can be rare at some gigs – there was even a dancing circle after the set was finished!

So, to round off, I feel incredibly lucky to have been a part of the captivating performance of such a wonderful breakthrough artist, and I thoroughly recommend you see Paris on her next tour! Unfortunately, Leeds was the last stop on the UK stretch of Cacophony, and up next for her is North America in March 2025. But I’m sure she’ll be back soon. Check out Paris’ latest release: ‘The Rider’, written for the new Lord of the Rings animated film: The War of the Rohirrim, which is out in cinemas! And make sure to stream her album Cacophony on Spotify now – happy listening! x

Words by Aeryn Pettifor

Make some noise for Maruja: they won’t hear you over their tambourine.

Cassia Bennett on 10 December 2024

Twirling onto stage with flailing arms in such a way that I can only describe as resembling an inflatable man, lead singer Harry Wilkinson makes his way to the microphone while beckoning for applause that the audience readily gives. Joe Carroll on the saxophone (and later tambourine), Matt Buonaccorsi on bass and Jacob Hayes on drums make up the rest of the unique Mancunian band, Maruja. Previously described as ‘jazz punk’, I’d say this categorisation of their music is probably the most accurate label they could be given. With elements of heavy rock, soulful instrumentals and subtly political lyrics, this genre defying band is difficult to describe. 

In an interview with Craig Charles on BBC Radio 6 Music last Friday, saxophonist Joe Carroll describes their live shows as having “moments that are complete carnage” and sections of “free-formy, emotional stuff”. They start with ‘The Invisible Man’, which seemingly has both these elements within the same song, with repeating saxophone phrases that become earworms and lyrics that start at an almost-whisper building to a passionate shout.

Having heard of the frequency of stage dives the band commits to, I decided to stick to lurking more towards the back of Brudenell Social Club. Even though I am a sucker for a mosh pit, I feared I would not even survive the splash zone of a stage dive and refused to spend Wednesday night in A&E after being squashed by a fully grown man. Instead, I observed as the oscillating bodies were sent into an explosive, energetic frenzy. All Wilkinson must do is flick his wrist and the crowd responds spectacularly as he laments into the microphone.

Towards the climax of their lively performance of ‘One Hand Behind The Devil’, Carroll swaps his saxophone for a tambourine and proceeds to carry out the most vigorous tambourine shaking I have ever witnessed. As the drums accelerate, Carroll dives into the audience, tambourine still in hand, and glides atop the fluid crowd beneath him. 

Following that intense performance, the band announces that they will now perform some improvised instrumental. A couple of audience members around me sigh and claim it as a bathroom break or excuse to get a drink, but the rest of us stay and absorb the new noises drifting off the stage. There is something peaceful in letting sound wash over you. I could try and focus on the music, but my mind wanders only for it to then be drawn back to the repetitive intricacies that each musician brings to the stage.

After this moment of calm, the band launches back into ‘Look Down On Us’, before Carroll yet again finds himself within the crowd. However, this time he parts the crowd down the middle and during the opening of ‘Thunder’, confrontationally plays his sax at members of the crowd as he paces up and down the centre of the room. Once he has made his way back onto the stage, the moshing begins once again.

Before their final song, the band comments on the current state of our world and leads a resounding chant of “Free, Free, Palestine!” before launching into my personal favourite, ‘Resisting Resistance’. Fully instrumental, it’s incredible how much can be said without any lyrics. From the underlying drums gradually becoming increasingly more urgent throughout the track, to the mournful sax. It sounds dramatic, but there is such a contradictory sense of despair and hope that descends over the crowd making it hard not feel an ache in your chest, especially given the clearly intended humanitarian and political context.

While we impatiently await the arrival of their first album, I highly recommend you experience them live if you ever get the chance.

Words by Cassia Bennett

More Than a Genre: Country Music’s American Roots and Global Rise

Hannah Howard on 8 December 2024


Growing up in sunny Ventura, California, country music was always part of my day to day. Sure, I listened to all kinds of music – rock, hip hop, etc. – but the station 100.7 FM was always on. Ventura isn’t a cowboy town, but your average coastal surf town where you can find rodeos, line dancing, and plenty of country music around. While I don’t necessarily blast country music as much as I did when I was younger, it’s always there. Like a pair of Doc Martens – you don’t wear them every day, but you never forget about them.

As a kid, country music was huge. And honestly, I went through a whole phase in middle school where I fully embraced it, boots and all. I literally wore cowboy boots for a whole year like they were going out of style – still crying after all the blisters I got. I would belt out Carrie Underwood’s “Before He Cheats” like I’d been through a dozen heartbreaks, even though I was a 10-year-old girl who hadn’t even kissed a boy yet. The point is, country music was everywhere, and I was fully immersed in it, even if I didn’t really understand the lyrics yet.

The thing about country music is that it’s woven into the daily lives of many Americans. It’s not just a genre you listen to on car rides down the highway, but acts as a soundtrack to life. Whether it’s a tailgate before the college football games, the opening song at a rodeo, or a good ol’ classic line dancing bar, country is always there. It’s about the community aspects, storytelling, and about cherishing those feelings we all experience together. Some of my greatest memories as a kid was going to the state fairs, where country music thrived. Sure, the music talks about trucks, beer, and love, but that’s a part of the American experience that’s shared from coast to coast.

As someone who’s lived in three different countries over the past four years, I’ve noticed something: country music is getting popular outside America?? The genre I thought was a U.S. staple is growing globally. People abroad I would meet joked about country music singing about rednecks and beer bellies, but lately, they’re actually… liking it? (gasp, I know!) It’s like people woke up and realized country music isn’t just for truck driving, whiskey drinking, overall-wearing folks. I mean, I’m not a hillbilly, and definitely not a redneck, but that never stopped me from tapping my foot along. It’s everyone’s music now – and it’s a big deal.

More recently, the genre has taken a whole new direction. The top charts aren’t filled with familiar voices like Luke Combs, but are now welcoming names like Shaboozey and Dasha, who aren’t traditionally country at all. So why the shift then? Part of it is that these artists are bringing in a new generational approach to it. People crave something different, and these artists are shaking it up by adding pop and hip hop flares, even though people think they still sound basic (as in me, I am said people). Even Chappell Roan added country-inspired elements to her newest release “The Giver”. But here’s the thing: today’s ‘Top Country Charts’ just don’t itch my brain the same. With artists like Shaboozey and Dasha in the top charts, their sound is far from the twangy, storytelling vibe that pulled me in as a kid. Compared to the songs I grew up with, a lot of them now sound a bit… well, generic. There’s something that the OG artists had – Rascal Flatts, Toby Keith, Gretchen Wilson – that just made their music stay on repeat. Even though I love how country is evolving and welcoming new sounds and artists, there’s a little part of me that misses the older country.

It was Beyonce’s Cowboy Carter (2024) that took people by surprise, with adding unexpected collabs like Post Malone joining in on country and showing that anyone with heart and soul can add to the genre (I’m still obsessed and Cowboy Carter will definitely be on my Spotify Wrapped!). Months after that release, Post Malone released his recently Grammy nominated country album F1​​-Trillion, blending his styles with the OGs like Dolly Parton, Blake Shelton, and Brad Paisley. This fusion feels very intentional showing it’s a reinvention, and reshaping country music to fit into the fast-paces globalized world we live in! Although the genre stayed the same for years, stand out artists like Post Malone are contributing to breaking and rewriting the traditional “rules” bound to the genre. 

Seeing country go global is exciting, as it’s not just American-centric anymore. Country music is getting more international attention, with festivals popping up in Europe, Australia, and South Africa. As much as country is transforming, the old-school vibe is still very much alive! It’s actually not going anywhere. Sure, the genre evolved with pop and rap collaborations, but the heart and soul of singing about the love, loss, and life of the country, will never leave. Now, let’s be honest. Even though I don’t listen to country music on repeat like I used to, it’s still around me. Whenever I hear a country song abroad, it always makes my heart happy, as if I’m getting a little piece of home again. It’s funny how something can become less about the music and more about the culture itself. So, whether you’re a diehard country fan, a casual listener, or someone unfamiliar with the genre, one thing’s for sure: country music is here to stay. Through genre-blending collaborations and international festivals, country remains a universal language of love, loss, and life’s simple pleasures.

Words by Hannah Howard