Angst is For Everyone: The Case for Alt-Country

The 90s were a great decade for dark lipsticks, greasy hair, and movies about hackers. While a lot of that should be left in the 90s (greasy hair, I’m looking at you), I’m definitely excited about one revival. Alternative country, the bastard child of alt-rock and classic country, had its most interesting heyday in the 90s and looks like it’s back. 

Some would probably argue alternative country began way before in the 70s with Neil Young and Gram Parsons, but 90s alt-country is a whole new beast. The movement toward less classic rock sounds and more shoegaze, punk, and indie styles made this new genre a decidedly 90s kid. This turn is usually traced back to one band, Uncle Tupelo. Their song “Moonshiner” really epitomizes this era: it’s calm, twangy, with plenty of banjo, lyrics about whiskey, and just the slightest edge. 

While Nashville and mainstream country was turning more towards pop-style stadium country, the underground was bustling with this new sound. This return to the unpolished underground nature of country was a real turning moment. As alt-country grew in the 90s, Uncle Tupelo was not the only important name; in fact, there was a huge range of great 90s alt-country bands. But like the two genres they were drawing from, they tended to be mostly straight, white, men. One pushback on this small group of voices–just like early country (less so indie) –was a huge number of female-fronted bands and tracks. These bands really took off and continued to put out great work, including my personal favorite: Cowboy Junkies. 

Apart from a few female faces, the mythology of country music and indie rock’s whiteness continued through the 90s. While Cowboy Junkies’ songs are full of wonderful melodies and stories of heartbreak and heartache that speak to the working class and sordid roots of early country, alt-country was and still is to some degree, a largely white interest. Just like the existence of Black country is essential to the roots of country music, and black shoegaze and indie bands did rise up in the 90s, these stories were repressed and left white artists in both these genres on the center stage. 

But, I’m here to tell everyone this is no longer the case, alt-country is back and now it’s better than ever. Moving beyond and directly against the straight, white, history of alternative country, new bands are centered around POC and queer experiences. The much loved Orville Peck is one clear example of how alt-country has become cool again. Lyrics that lament queer love, queer heartbreak and heartache, unite the old sadness of country and indie with an experience not talked about in these genres. 

Another great example, though decidedly less publicized, is Evil; an unabashed advocate for Black voices in country. Evil’s music is exactly what contemporary alt-country should be. At times a ripping very folksy banjo solo, or an industrial, FKA Twigs inspired track, Evil’s music takes the honesty of country and combines it with the angst and sounds of indie and electronic. A song like “Young American” marks the new era of country music, one that embraces the 90’s sadness of its past while moving directly into a new base of stories, equally as poignant, equally as focused on the themes of love, work and injustice. 

To all the angsty POC and queer rave kids, y’all really should listen to some country sometime. And to the queer and POC artists of alt-country: don’t be shy….put some more.  

Written by Xia Jimenez