Country Music
Cultural Comment
Beyoncé Won’t Burn Down the Barn with “Cowboy Carter”
On “Cowboy Carter,” the artist wants to make “Beyoncé” the synecdoche for an American, but the album highlights only her singularity.
By Doreen St. Félix
The New Yorker Radio Hour
Liz Cheney: Trump Should Go to Jail if Convicted
Once a top Republican, Cheney is calling out former colleagues in Congress, like Speaker Mike Johnson, for “enabling” a would-be dictator. Plus, a live performance from Brandy Clark.
The New Yorker Radio Hour
Dolly Parton “Busted a Gut” Reaching for the High Notes on “Rockstar”
The country legend finds freedom in her first venture into rock. Plus, Jill Lepore, Jelani Cobb, and Evan Osnos on how American democracy got so precarious.
Listening Booth
Nanci Griffith’s Lone Star State of Mind
The late singer-songwriter rarely felt at home either in her native Texas or in the music industry, but her nostalgic ditties of girlhood captured a potent sense of place.
By Rachel Syme
Our Columnists
A Close Listen to “Rich Men North of Richmond”
The viral country song by Oliver Anthony has been embraced by right-wing pundits.
By Jay Caspian Kang
The Political Scene Podcast
Emily Nussbaum on Country Music’s Culture Wars
The staff writer talks with David Remnick and the singer Adeem the Artist about the increasingly polarized politics of Nashville.
The New Yorker Radio Hour
Emily Nussbaum on the Culture Wars in Country Music
The staff writer talks with David Remnick and the singer Adeem the Artist about the increasingly polarized politics of Nashville. Plus, James McBride on his new novel.
The New Yorker Radio Hour
Israel on the Brink: Understanding the Judicial Overhaul, and the Protests Against It
Two writers, Ruth and Avishai Margalit, talk with David Remnick about the extensive protests against anti-democratic maneuvering by the government. Plus, the country star Margo Price.
Culture Desk
Iris DeMent’s New Album Is a Sustained Political Statement
“Workin’ on a World,” her first record of original material in more than a decade, calls on listeners to keep “building the beloved community.”
By David Cantwell
The New Yorker Radio Hour
A Conversation with Bonnie Raitt, Plus Public Enemy’s Chuck D
After fifty years in music, the singer-songwriter is nominated for four Grammy Awards. And the hip-hop icon talks with Kelefa Sanneh.
Pop Music
Two Indie Rockers Rediscover Country Music Together
With Plains, Katie Crutchfield and Jess Williamson turn back to the sounds of their Southern youths.
By Carrie Battan
The New Yorker Radio Hour
The Writer Dmitry Bykov on Putin’s Russia, the Land of “Most Free Slaves”
Dmitry Bykov discusses “the final stage of Russian decline.” Plus, Kelefa Sanneh on what’s playing on country radio right now.
Afterword
A Country Star from the First Nations
Shane Yellowbird, as it happens, was an accidental singer.
By Susan Orlean
Pop Music
A Rising Country Singer Tries to Win Over Nashville’s Gatekeepers
Hailey Whitters has won critical acclaim and fans on the Internet. But radio still determines who gets to be a star.
By Kelefa Sanneh
Pop Music
Orville Peck’s Lonesome Country
On his new record, “Bronco,” the singer grapples with heartache, depression, and restlessness.
By Amanda Petrusich
Culture Desk
Morgan Wallen Is Not on an Apology Tour
The singer was banished from radio stations after he used the N-word, but his album was still, by one count, the most popular of 2021, and he has now taken his show back on the road.
By Kelefa Sanneh
Q. & A.
Terry Allen on the Texas Roots of His Music and Art
The Lubbock native, outlaw-country veteran, and visual artist discusses what makes the Southwest different.
By Rachel Monroe
Culture Desk
Jason Isbell, Friend to the Vaccinated
Why the singer-songwriter has been very public about his pro-vaccine stance.
By Paul Elie
Profiles
Mickey Guyton Takes On the Overwhelming Whiteness of Country Music
The “Black Like Me” singer was always told she didn’t fit the genre, so she made it her own.
By Amanda Petrusich
Podcast Dept.
“Cocaine & Rhinestones” Returns, to Dazzle Again
In its second season, the one-man show argues that the story of George Jones is the story of country music itself.
By Sarah Larson