Her rowdy and emotionally stirring second album represents the pinnacle of what contemporary mainstream country can be. By Chris Willman Music Writer The intersection of “redneck” and “sensitive singer-songwriter” has been an ever-narrowing Venn diagram in the last couple decades.
Maybe it’s the waning of Texas’ influence on mainstream country music, or maybe the commodification of the outlaw label by a generation of singers who don’t really have anything more to rebel against than a low stock of light beer.
Still, there remains the faint promise that when someone sings, “All my rowdy friends are coming over tonight,” they might all be coming over for, you know, poetry class.
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