One of the biggest mysteries in contemporary country music has been the ongoing stagnation at the top for female artists. Not since Taylor Swift debuted with “Tim McGraw” in June 2006, has a woman been able to have consistent airplay for their singles. Some (Jana Kramer and Kacey Musgraves) have launched big but seemingly fizzled out while others (Kellie Pickler and Ashton Shepherd) have been dropped by major labels after multiple albums worth of singles couldn’t peak better than top 20. You have to look at duos and groups to find any other females (Jennifer Nettles, Hillary Scott, Kimberly Perry, Shawna Thompson, Joey Martin Feek) who are having success and even they have enough male energy to keep them commercially viable.
Let’s not forget that two summers ago, fourteen days went by without a single song by a solo female in the top 30 on the Billboard Country Singles Chart. With the demographics in country music skewing younger and the music-seeking public increasingly more and more female, is there any hope this pattern will change? Can anyone break through the muck and join the ranks of Swift, Miranda Lambert, and Carrie Underwood?
If anyone can, it’s Danielle Bradbery. She has three strikes in her favor already – at 17 she’s young enough to appeal to the genre’s core demographic audience, she’s signed to the Big Machine label Group run by master monopolizer Scott Borchetta, and as winner of The Voice, she has Blake Shelton firmly in her corner. Plus, she’s an adorable bumpkin from Texas who has enough charisma and girl next door appeal to last for days.
They also nailed it with her debut single. “The Heart of Dixie” isn’t a great song lyrically speaking. Bradbery is singing about a girl named Dixie who flees her dead-end life (job and husband) for a better existence down south. But that’s it. There’s nothing else in Troy Verges, Brett James, and Caitlyn Smith’s lyric except a woman who gets up and goes – no finishing the story. How Matraca Berg or Gretchen Peters would’ve written the life out of this song 20 years ago. Also, could they have found an even bigger cliché than to name her Dixie?
But the weak lyric isn’t as important here as the melody. It has been far too long since a debut single by a fresh talent has come drenched in this much charming fiddle since probably Dixie Chicks. The production is a throwback to the early 2000s – think Sara Evans’ “Backseat of a Greyhound Bus” – and I couldn’t be happier. So what if the arrangement is a tad too cluttered? Who cares if Bradbery needs a little polish in her phrasing? There isn’t a rock drum or hick-hop line to be found here, and in 2013 country music that’s a very refreshing change of pace.
Bradbery isn’t the savior for female artists in country music. Expect for her Voice audition of “Mean” and a performance of “A Little Bit Stronger,” we’ve yet to hear Bradbery the artist, although Bradbery the puppet has been compelling thus far. Her lack of a booming vocal range like Underwood’s may also hurt her, but isn’t it time someone understated turned everything down a notch?
With everything she has going in her favor, Bradbery may be our genre’s best hope for fresh estrogen. I don’t see her injecting anything new into country music, but redirecting the focus back to a time when “Born To Fly”-type songs were topping the charts, isn’t a bad thing in my book. Hers mostly likely won’t be that lyrically strong, but if she can keep the fiddle and mandolin front and center – I won’t be complaining.