Country Universe
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The longest-running country music blog (f. 08.2004). www.countryuniverse.net
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This week's flashback post covers the debut album by the fantastic but doomed-by-label-politics Danni Leigh: www.countryuniverse.net/2025/10/12/f...
Flashback: Danni Leigh, 29 Nights
A honky tonk treasure.
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Miranda put it all together on CExG, and I'd say Carter seems fully formed here.
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I *loved* the singles but wasn't sure if she would sustain that level at album length. And she didn't: She exceeded it.
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Even a Brennen Leigh album that isn't my favorite of hers is still going to be worthwhile. She's just so very good at what she does!
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"You played me like an old six string / And then wonder why I gently weep," for instance, is an absolute marvel of construction and the kind of purposeful cultural literacy that's rare in today's country mainstream songwriting. Faith has all the goods to be a genre-defining superstar. Essential.
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Every track contains at least one lyric that's among the year's best, as Faith and her PICs (Monroe, Ratiere among them) thoughtfully consider the "last time [she] was happy" over the course of songs that drill deep into the things and people that do and do not bring her happiness and fulfillment.
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C. Faith, Cherry Valley (****1/2): The finest mainstream country debut since Miranda's Kerosene a generation ago, and it's not particularly close, and daresay this is even better than that record. Clever as all get out and twangy AF, Faith re-sets the bar for the neo-neo-traditionalist insurgency.
Carter Faith's "Cherry Valley" album cover.
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B. Leigh, Don't You... (***1/2): Flawlessly executed trad country and Western swing, as is her wont. At her best, Leigh brings a modern POV to her chosen aesthetic, making it feel current and vital. This set, though, scans as more purposefully antiquated in its lyrical content. But worth a listen.
Brennen Leigh's "Don't You Ever Give Up On Love" album cover.
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L. Lynn, ... Cowboy (****): As ever, her brand of self-consciously weird Americana toes the line of being pretentious but, miraculously, stays on the right side of that divide. There are moments on this when the production recalls a twangy take on PJ Harvey's "Is This Desire?" and *amen* to that.
Lera Lynn's "Comic Book Cowboy" album cover.
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B. Dunne, Clams Casino (****): "Play the hits," he sings early on, and there's a better timeline in which Dunne's note-perfect brand of clever, hook-forward roots rock made him a AAA or Hot AC star. I'd lost sight of him for a run of a few albums but won't make that mistake again.
Brian Dunne's "Clams Casino" album cover.
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L. Watkins, ... World (**1/2): After a promising 2024 debut album, this is an exercise in significant regressions: Toward the mean in terms of songwriting quality, toward a POV that's too often a reflection of / dependence on a man. The innate talent's still there, but this is a disappointment.
Lauren Watkins' "In a Perfect World" album cover.
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BRILLIANT!!!

And what a line-up on that stage to share the moment with her.
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It. Is. Maddening. He was on such an *early* season of Road Rules, too. This is someone who's been at least JV level famous since my old ass was in undergrad.
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Those shirts are giving big Brittany Aldean vibes.
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The only way to be at the Tyler Childers show, truly!
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And there's clearly a conversation to be had as to why Big Loud isn't pouring its resources into centering her within the country mainstream the way Shaboozey-- surprisingly enough-- has been. The bangers on this ought to be on every playlist "A Bar Song (Tipsy)" was and is still on.
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INK, Big Buskin' (****): An exhilarating if too brief listen, this set establishes her as far more than just a go-to hitmaker for other artists. Her command of country songwriting conventions is unimpeachable, and she's a commanding presence on record who backs up every bit of her swagger.
INK's "Big Buskin'" album cover.
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If you aren't already a supporter of DRtI, surely the contrast between their essential and informed work and that dumbfuck Johnny Cash piece in the WSJ should push you in the right direction.

As ever, Natalie and Marissa are among the very best of the very best.
Reposted by Country Universe
rainbowrodeo.bsky.social
Contributor @joshfrmusic.bsky.social dissects the myth of authenticity in country music -- and takes us through a literature review of scholars and journalists hard at work to dispel it.

rainbowrodeomag.com/...
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So many cultural critics and journalists have lost their jobs this year, while the Wall Street Journal apparently paid The Most Oblivious Human Alive to write whatever ragebait fuckery this is.