Off The Charts

An excerpt from my book:
Off the Charts

Before we get to the songs, we need to talk about the state of country music today. Because if we are being honest, a lot of what’s called “country” now wouldn’t have made it past the front door years ago

The Roots of Country Music

On November 28, 1925, George D. Hay—an announcer and program director for Chicago’s WLS radio station and its National Barn Dance program—introduced Nashville to its own version of the Barn Dance on WSM Radio. That program would eventually become the Grand Ole Opry, establishing Nashville as the center stage for country and western music and anchoring the country music industry that grew there. From that point forward, Nashville became the heart of country music.

Country music has evolved significantly since the early days of the Opry. Nashville helped bring the fiddle, steel guitar, and the unmistakable twang of Southern artists to a national audience. Today, however, Billboard’s Hot Country Songs chart no longer reflects the talent and musicality of traditional country music. Instead, what I call “fake” country has dominated the chart—and much of the industry—for the past 15 years.

What “Off the Charts” Really Means

The phrase “off the charts” usually describes something exceptional—something that exceeds expectations and stands above the rest. But that is not how I use it here.

Today’s Hot Country Songs chart is filled with music that borrows heavily from pop and hip-hop. This shift is not accidental. It reflects a deliberate effort by industry executives and producers to reshape country music by blending it with more commercially successful genres. I understand the business side of that decision—pop and hip-hop sell. But the result is that many outstanding traditional country artists are left off radio playlists, and in turn, kept off the charts.

Defining Pop, Hip-Hop, and Neotraditional Country

Before going further, it’s worth defining what I mean by pop, hip-hop, and neotraditional country music.

Pop music is a broad, ever-evolving genre designed for mass appeal. It typically features a strong, danceable rhythm, repeated hooks, and a familiar verse-chorus structure. Modern pop often relies on

electronic production, including synthesizers and programmed beats, and frequently blends elements from other genres such as rock, dance, and even country. At its core, pop music is defined by its wide audience and commercial accessibility.

Hip-hop is a rhythm-driven genre built around lyrical delivery, most commonly in the form of rap. It combines spoken or chanted lyrics with beat-based production and emphasizes flow, timing, and expression. Hip-hop can reflect a wide range of themes, including personal experiences, storytelling, social commentary, and entertainment, all delivered over a strong rhythmic foundation.

Neotraditional country is a style of country music that deliberately returns to the sound, instruments, and storytelling of classic country (1950s-1960s) while still being recorded and produced in a modern era. It is modern music that sounds like real, traditional country—built on twang, steel guitar, fiddle, and honest storytelling—rather than pop, rock, or hip-hop influences.

What Country Music Is—and Isn’t

Country music, by contrast, has its roots in the rural Southern United States. Traditionally, it combines storytelling with melody and is supported by instruments such as the fiddle, guitar, and steel guitar. A true country song highlights vocal authenticity, emotional honesty, and an immediately recognizable sound.

In its early years, country music also embraced Western ballads—giving rise to the term “Country and Western.” Over time, that label was shortened, and Western ballads largely disappeared from the mainstream.

A close look at today’s country radio and television reveals just how strong the pop and hip-hop influence has become. The fiddle and

steel guitar are often missing. The twang is softened—or gone altogether. In their place are pop vocal phrasing, electronic production, and sounds that would be more at home on a Top 40 pop chart.

The Industry Shift

I don’t necessarily blame the artists. The industry is a business, and its goal is to generate revenue. I understand that. But if this hybrid

sound is what the industry wants to promote, then call it what it is. Create a new genre—call it pop country, or something else entirely—but don’t pass it off as traditional country music. And don’t let it dominate country radio, Billboard’s country charts, or define the genre.

Despite this shift, many legitimate country artists are still producing outstanding traditional music. You just won’t hear most of them on mainstream radio. They can be found instead on platforms like Spotify, iTunes, iHeartRadio, and Amazon Music. In fact, I’ve compiled a list of more than 500 real country artists, included later in this book.

Meanwhile, today’s mainstream version of “country” continues to be promoted by organizations like the Academy of Country Music, Country Music Television, and the Country Music Association as the best the genre has to offer. In my view, that is a misrepresentation—and a betrayal—of traditional country music.

A Clear Example

Take Carrie Underwood as an example. After winning American Idol, she rose quickly to stardom and became one of the most successful artists in the genre, with numerous number-one hits and massive commercial success.

There is no question about her talent or success. But aside from a few songs like “Jesus, Take the Wheel” and “Before He Cheats,” much of her catalog leans heavily toward pop. In that sense, she represents the shift in country music—what I see as a departure from its traditional roots.

And she is not alone. Artists such as Sam Hunt, Russell Dickerson, Kane Brown, and Dustin Lynch, among others, have contributed to this transformation. Their music may be successful, but it has also helped redefine what is labeled as country.

Finding Real Country Today

I stopped listening to country radio years ago because of this shift. Instead, I’ve turned to streaming platforms, where I’ve discovered a wealth of genuine country talent—often long before the industry takes notice.

Artists like Lainey Wilson and Cody Johnson were on my radar before they gained wider recognition. And there are many more worth discovering, including Zach Top, Randall King, Mo Pitney, Jake Worthington, Brandy Clark, Ben McPeak, Catie Offerman, and William Michael Morgan, among many others.

I will continue to search, listen, and support the kind of country music that stays true to its roots—the kind of music that may never top the charts, but in every meaningful way, remains off the charts.

Off The Charts is available on Amazon. To view the book, click on
Off The Charts