The fact that Miranda Lambert has managed to strike gold at country radio with the singles “White Liar” and “The House That Built Me,” from her stellar third album Revolution, almost seems like something of a miracle. Time and time again, we’ve watched as intelligent, inventive, progressive country music finds no space on the airwaves beside the format’s dominating inanity, turned away by the gatekeepers who possess a near absolute ability to make or break a country artist’s career.
Indeed, your inability to please the radio gods will be your downfall, and will lead to your future day job (or, if you’re really lucky) to your relegation to the Americana underworld. For two decades, these have been the rules—if you toe the musical line, if you walk in step, if you give them a product that doesn’t swerve too far from the center of the road, then maybe (just maybe) you’ll get to play the game.
Nothing has changed. These are still the rules. And that’s what seems so perplexing about this immense success Miranda Lambert has found. Her music sounds like nothing else on country radio. It’s twangy, it’s literate, and it’s full of attitude—all things that typically spell “bad news” in a format that has a deep, almost innate desire to be as unobtrusive and unobjectionable as possible.
By that logic, Miranda Lambert should be just another in a long line of talented artists who don’t fit the mold.
What gives? Divine intervention? How has this young Texan bucked nearly every trend established during a 20-year period on her climb to the top?
She hasn’t. That’s the catch. She hasn’t broken the mold, because the mold isn’t built around music. And, in essentially every other way, she fits it more perfectly than most.
If you’re wondering how or why Lambert’s been granted entry to the palace while so many similar artists before her have been spurned, look no further than the title of her brand new single.
“Only Prettier” is a left-of-center, brilliantly-written alt-country anthem that calls out the mean girl in all of us. “We might think a little differently/But we’ve got a lot in common you will see/We’re just like you,” Lambert proclaims. “Only prettier.”
Lambert’s not the first fiery female to follow in the footsteps of Steve Earle’s less eccentric aesthetics, but she’s the prettiest—or, more to the point, the most relatable. Her music is blisteringly honest, but in the public eye she’s just that rambunctious, drop-dead gorgeous chick we’d all love to have a beer with.
Because of that, a song like “Only Prettier” is an affirmation for Lambert and her enormous social circle. Had it been proffered by a full-fledged Americana songstress or a reject-the-genre Texas honky-tonker, it would have felt like an affront.
Lambert maintains enough of a public profile to keep her on the gossip blogs. She carouses with mainstream stalwarts like Carrie Underwood, Kellie Pickler and Lady Antebellum’s Hillary Scott. And she’s engaged to one of mainstream country’s most entertaining personalities (Blake Shelton). Couple all of that with major label support, and it becomes almost impossible for country radio to ignore her. The fact that her music is actually good? It’s secondary to her celebrity.
That doesn’t make it any less engaging. “Only Prettier” is one of the freshest things to hit country radio in years. So good is her writing, and so focused is her narrative, that the end result is almost incomparable to the kind of songs that will likely sandwich it in playlists. But if this song (and this record) came from the mouth of almost anyone else, it wouldn’t even be a candidate for airplay.
Here’s hoping that it wakes radio up to the fact that the country audience is capable of appreciating quality music that doesn’t pander to the dumbest among us, and here’s hoping Lambert’s mass appeal inspires legions of youngsters to “think a little differently.”
You’re onto something there, Jim. There are tracks on this set of Lambert songs that are indistinguishable, in sound, and only partly in sentiments, from the sorts of things a hard alt.country rock band like the (Texas) Damnations were doing a decade ago–and, remarkably, people (radio programmers included, obviously) are buying it. If she knows how to use the personal packaging to get there, while she makes music this strong, more power to her and anybody who can follow the pattern.
But the other thing is, the radio guys are casting her in the “smart/sassy woman” role to fill, and they almost never allow for more than one of those at a time. Awful, but true. She seems to understand, though, and set herself up, so that if that eventually passes, as it tends to, she can keep on doing quality work with substance, in the LeAnn Womack mode..
Hey Barry,
Thanks for being my first comment here at AmTwang.
You’re definitely right about Lambert’s role within the broader country narrative. The strange thing about it, however, is that her music has now moved beyond the themes that urged her to be cast in that role in the first place. Of the first three singles from Revolution, none were especially sassy or infused with attitude.
I’m making this point, of course, because I think it goes along with my belief that the actual music an artist produces is incidental and subordinate to other factors.
She’s one smart cookie. She’s “maturing” right out in public and some people who don’t want to notice– don’t!
Great review! I love this song for its tongue-in-cheek mood. Love that Miranda is now getting the success she deserves. I still don’t understand why she was ignored for so long, she obviously has great talent.
Hey Jim – Glad to see you review this single. The other thing about this song is that women can hear it and picture themselves as the protagonist. Let’s face it – a lot of women put on their social graces in public, but are catty in private, and sometimes catty in public. And I bet you this will find lots of airplay this summer as gal pals are out vacationing and having wild weekends.
And if you look at the broader themes in the album’s previous singles: “White Liar” (girlfriend confronts no-good boyfriend), and “The House That Built Me” (nostalgia for days gone by) – they fit in with standard country radio content. They may not be as commercially polished as, let’s say “Before He Cheats” or “Don’t Forget to Remember Me” by Carrie Underwood, but in many ways they hit the same notes.
This is not taking away from anything you said about Miranda’s place in the Country Music world right now, or from her amazing work. I love her stuff. Just that we’re not talking about releasing a single that is as audacious in its content as in its delivery – like “The Pill” by Loretta Lynn.
This song is way too loud. So is most of the stuff on country radio, but it somehow seems less criminal when laid onto derivative, generic lyrics and ideas. I love the lyric and Miranda’s performance, but the production here really is atrocious, and I can’t get it out of my mind. It’s a problem that plagues all of the Revolution album, but “Only Prettier” may be the worst offender.
@CJ: Thanks for the comment. I’m not sure I agree with your sentiment that Lambert was ignored–I think country radio, for the most part, has always been on board. It’s just tough to play a brand new artist who is singing about blowing things up.
@Peter: Good to see you at AmTwang, Peter. How’ve you been? Here’s what I’d ask: If this isn’t that audacious–if it’s not that far outside of standard CRC, what examples can you point to that are comparable? I’m not sure there’s been a song on this topic this decade. And while that may not make it “audacious” in the sense that it’s really dipping into a narrative well, it absolutely is audacious in the sense that country radio almost never plays topics from outside of a thin strain. Otherwise, I think your assessment of the listeners’ relationship to the protagonist is valid.
@Matt C: It’s like a reunion over here! Thanks for reading/commenting Matt. I really appreciate it.
The production’s never been a problem for me. I think the album sounds the way it does for a reason. It’s debatable whether or not the outcome had the intended effect. For me, the loudness adds a lo-fi, distorted vibe that really plays into the alt-country theme. If this song (and this album) had been slick-and-polished, I think it wouldn’t have the character it does.
I think, however, that the production team probably went a little too far. I just think there are too many ears on a project like this–too many smart ears–for it to sound vastly different than how it was intended.
does she bring to mind a young dolly parton? she is one of the best songwriters we have today.
This song is terrible so I don’t get the review. Maybe becuase I’m not into Miranda Lambert and her music. I just don’t think her voice is that good and for me it all comes down to the singing. Sorry Jim but I gotta disafree with the review. The young Dolly Parton comparison is ridiculous.
Why don’t you review the really great female vocalists out there right now in country music? Examples are Carrie Underwood, Reba McIntyre, and Maartina McBride. these girls can actually sing!
“Sorry Jim but I gotta disafree with the review. The young Dolly Parton comparison is ridiculous.”
I didn’t make that comparison, and I would be comfortable making that comparison. The closest similarity I see between the two is that they’re both strong female personalities. Those personalities are very different, and are exhibited differently in their music.
“Why don’t you review the really great female vocalists out there right now in country music? Examples are Carrie Underwood, Reba McIntyre, and Maartina McBride. these girls can actually sing!”
American Twang has only been online for a week, so I’m sure I’ll get to reviewing those artists.
“Why don’t you review the really great female vocalists out there right now in country music? Examples are Carrie Underwood, Reba McIntyre, and Maartina McBride. these girls can actually sing!”
- Miranda Lambert is a good singer, IMO, Ted
@Jim Malec – You have a point there, with the blowing people up part, lol. It may have scared some people at the start. I was talking more about the awards part of the equation, I’m glad she’s being recognized now. I could not believe it when someone pointed out to me that she has never won a CMA for album. Do you think she’ll have a strong chance this year? Thanks!
CJ,
The CMA awards, like almost all other awards, are industry voted. Thus, artistic merit is not the primary consideration. For the CMAs, bloc voting is the norm.
This is a clever song, but the production is pretty rough. I much preferred the simple, stripped-down arrangement of “The House That Built Me.” There was a time when an acoustic guitar and some pedal steel was all that was needed for a good country song, but now it’s a contest to see who can make the loudest records, and even Reba is getting involved in it. It hurts my ears!
At least you’ve got good taste in music, Jim. By the way, I agree with ALL of your thumbs down, so far.
@Michelle; Thanks, but I’m a little worried about what that “at least” means.