Sturgill Simpson Beats Out Big Acts as One Of Stagecoach’s Most Popular
This weekend in sunny Southern California, Sturgill Simpson will be taking the stage at the annual Stagecoach Festival in Indio—the country music cousin of the massive 2-weekend Coachella gathering. Sturgill Simpson is one of the few to ever play both the Coachella and Stagecoach weekends, speaking to the wide swath of listeners the country music revivalist appeals to.
Even more surprising is where Sturgill Simpson is ranked as far as popularity when it comes to Stagecoach attendees according to a recent study released by ticket broker StubHub. Using search data, Sturgill ranked #3 in popularity, only beat out by top headliners Tim McGraw and Miranda Lambert. This is all despite virtually no radio play for the Kentucky-born songwriter, and the fact that he sits on the 3rd tier as far as font size on the Stagecoach poster (see below).
Even more surprising is who Sturgill beats out in the study. Looking through the Top 15, Simpson bests the 3rd day headliner Blake Shelton by a full 11 spots. He also comes out ahead of other mainstream acts like Kip Moore and The Band Perry, and legendary acts like George Thorogood and Gregg Allman.
Also making the Top 15 was critic’s favorite Kacey Musgraves at #6, independent group The Lone Bellow at #8, and the legendary Merle Haggard at #9. Miranda Lambert came in at #1, besting her hubby Blake Shelton by a wide margin.
It was also determined in the study that 88% of attendees to Stagecoach come from California, while at Coachella the number is only 54%.
Sturgill’s set at Coachella was very well attended and received (see video below). It will be interesting to see what size font Sturgill gets if he makes the trip to Indio next year.
Top 15 Most Popular Stagecoach Artists (by search)
April 22, 2015 @ 11:46 am
Too bad He isn’t gonna be at LP field or riverfront.. Atlantic records missed a golden opportunity.
April 22, 2015 @ 12:51 pm
This is one of the differences we’re seeing from Sturgill being signed to Atlantic based out of New York and not Nashville. They’re treating him like an indie rock artist because that’s where the reception for his music will be. So he plays Coachella and Stagecoach instead of CMA Fest. What would the reception for Sturgill be at LP Field? That’s a good question. My guess is if they would let him on the lineup, he would have played. Next year instead of Sturgill asking them, it might be vice versa. And he still might turn them down. We’ll see.
April 22, 2015 @ 12:56 pm
Its interesting how he is treated compared to other atlantic records artist. .. Hunter hayes..
It its strange since Sturgill is playing other “Country festivals”
But you know a lot more than I ever will.
Its a shame he cant even have a crack at riverfront.. Maybe they will give him a smaller stage like bridgestone. They have had some “name” but small acts there.
April 22, 2015 @ 1:06 pm
Yeah but see Hunter Hayes is signed to Atlantic Records Nashville, where Sturgill is signed to Atlantic Records proper. I know this may seem strange, but it’s an entirely different staff of folks, and an entirely different rolladex of contacts. They might as well be two separate labels. It doesn’t mean Sturgill couldn’t play CMA Fest in the future or get on country radio, but Atlantic New York is going to play to their their strengths. Brandy Clark is also signed to Atlantic outside of the Music Row syndicate.
April 22, 2015 @ 1:07 pm
o lawd. Interesting. you need to make a mini series following a “fake artist” to explain how you get a contract lol
April 22, 2015 @ 1:56 pm
Is there a reason why Brandy Clark and Sturgill Simpson are not signed to the Nashville division of Atlantic? Brandy Clark, in particular, has been a Nashville-based songwriter for almost two decades.
April 22, 2015 @ 3:01 pm
Because no Nashville major label is going to sign an artist unless they think they can have success with radio play. That’s the only measurement that matters on Music Row as Gary Overton said. Meanwhile other label heads in other divisions can make lucrative deal with smaller artists and promote them at places like Coachella and Bonarroo and tell country radio to go screw itself. It’s just another example of why the Music Row system doesn’t work. Music Row has no farm system for developing talent. New talent comes from songwriters who’ve had big radio hits.
April 22, 2015 @ 2:54 pm
I thought you’d previously said he was signed to Atlantic-LA?
Or did I imagine that?
April 22, 2015 @ 2:57 pm
That’s what I was told (or at least I think I was), but have since been corrected.
April 22, 2015 @ 3:10 pm
At least I’m paying attention, right?
😉
April 22, 2015 @ 11:53 am
I could format an entire station with the acts that mainstream country radio doesn’t play.
April 22, 2015 @ 1:00 pm
me too
April 22, 2015 @ 1:23 pm
Amen to that. You could have a radio station with some of the texas/ red dirt acts with people like sturgill, Isbell etc mixed in with some old school folks and there’s a damn fine radio station that I think a lot of people would listen too.
April 22, 2015 @ 2:16 pm
We do that very thing in Texas.
April 22, 2015 @ 3:31 pm
Trust im aware and jealous. That’s why I live in Alabama and the only radio I listen to is Koke FM and The Ranch.
April 26, 2015 @ 8:50 am
There already is that radio station. It’s called Outlaw Country on SiriusXM.
April 22, 2015 @ 11:58 am
In the Youtube video, I love how its literally just the band and the equipment they need. No oversize drum set or amps. Just the band and their instruments. I get the feeling the only reason why they are so far apart is for the video recording, to make them fill up the stage as best they can.
April 22, 2015 @ 12:13 pm
I was really bummed as well not to see his name on the Riverfront lineup but not surprised. I was hoping for The Lone Bellow and Brandy Clark as well. The whole CMA Fest has become a joke. Didn’t get tickets for LP this year because that’s a waste of money. Looking forward to Marty Stuart’s Late Night Jam Wednesday night and a few artists on the Riverfront lineup. As for Stagecoach…I’ll be watching the live stream on AXS this weekend.
As an aside….saw John Mellencamp this last Monday night and Carlene Carter opened for him. WOW!!! She was amazing and blew the crowd away. Love to see her again anywhere anytime! (Mellencamp rocked it as well)
April 22, 2015 @ 12:21 pm
ok, they’re having a country music festival at a POLO CLUB? in Indio California?
That is hilarious.
Indio Ca. is a horsey playground of the ultra rich and famous, people ride horses worth millions of dollars, (one horse) and come from all over to party and play in high style.
It’s about as far from the roots of country music as you can get.
Talk about impending doom for country music, that could be one of the final signs.
April 22, 2015 @ 12:56 pm
The organizers of Coachella saw the sense in throwing another festival in the same location after Coachella since they already had the grounds prepped, the tents up, there was plenty of wide open space, and it’s a close enough drive from Los Angeles. I agree polo grounds hosting a country festival is a little strange but I’m not sure there’s any symbolism meant there. Many people right now are complaining above how the CMA Fest doesn’t really any cool artists (see above). That’s one thing about Stagecoach you have to give them credit for: they are inclusive of many independent acts. For many, this is their one opportunity to play a big stage.
April 22, 2015 @ 1:13 pm
I understand trig…. no offence meant…. obviously it’s good for the performers…
It just struck me as funny.
Sure like the website, getting better and better.
April 22, 2015 @ 3:03 pm
No offense taken Mark, but I do think the model of Stagecoach overall is a good thing at getting better artists more exposure, even though clearly if I had my way, the font on the names would be inverted, and it’d be held in a little more of an authentic location for country.
April 22, 2015 @ 5:59 pm
The Music Venue “Christening” for Empire Polo (at least I think):
Pearl Jam vs Ticketmaster 1993
https://www.youtube.com/watch?v=Zn7zAYFkDWI
I was there (at least I think)?!
April 22, 2015 @ 12:59 pm
Overall, this certainly doesn’t surprise me. Simpson has successfully won over many with his hard work ethic and let-the-music-do-the-talking approach, and it helps he has a populist streak that just comes naturally.
I will say it’s especially remarkable he has eclipsed Kacey Musgraves here. I’m sure this alone can inspire an intensive spin-off conversation over whether this has as much to do with Musgraves cooling off critically and commercially as it is Simpson making burgeoning leaps. I’ve said many times already how, in my opinion, the amount of hype and publicity Kacey Musgraves has received and enjoyed is unprecedented in all recent memory (by recent, I mean as much as a decade).
Simpson obviously has a lot of critical hype at his sails too, but his rise to prominence has been a lot more organic than Musgraves’ has been. Virtually the entire advertising budget behind “High Top Mountain” was through grassroots and word-of-mouth. It quietly garnered critical praise and when sites like this and Farce The Music took notice, it just kicked up its boots from there off of water-cooler conversation and old-fashioned “You gotta hear this!” exchanges at record stores and theaters. And while “Metamodern Sounds in Country Music” was definitely benefited by highly-publicized reviews by established mainstream publications including Rolling Stone and the New York Times, it still felt like an understated rollout otherwise.
Not to discredit what Musgraves has truly achieved herself, of course, as much of it is definitely her and her alone. But there’s nonetheless a striking contrast between the two artists in how they emerged to mainstream levels of recognition. With Musgraves, some of it was definitely organic (most notably “Merry Go ‘Round”), but a lot of it just struck me as more artificially-driven forms of marketing too. With Simpson, I don’t get that same impression.
April 22, 2015 @ 1:05 pm
I also have to say it’s quite impressive he has eked out Dierks Bentley in searches.
Bentley has had a heck of a year after the “Riser” era began on a disconcerting footing with the abrupt plug-pulling of “Bourbon in Kentucky” and one of the lowest-peaking single performances of his entire career. But not only has he been able to rebound and score what is looking to be three-consecutive #1 hits; he also is well on his way to critically positioning himself as one of the most respected veterans and elderly statesmen of this country music generation after his heavily-praised ACM performance, earning the respect of other acclaimed artists from other genres and a well-received “Up On The Ridge” bluegrass album.
Sturgill Simpson’s ability to size up to someone of Bentley’s stature and likability is a marvelous feat.
April 22, 2015 @ 1:08 pm
Kacey Musgraves is now sort of the known quantity while Sturgill is still new and fresh. I also think Musgraves is being hurt by the lackluster performance of her singles. “Biscuits” is basically a flop, as it was patently obvious it would be even before it was released. Kacey’s label has no clue what to do with her, and she’s found success despite that.
April 22, 2015 @ 1:36 pm
Not to get too further off-topic here, but the release of the track listing for Musgraves’ forthcoming album underscores this too.
A cursory glance through the songwriting credits confirms what I was already concerned about: Musgraves’ is firmly sticking with her usual songwriting collaborators and little else: of which Laird, McAnally and Osborne are all notable contributors to the Nashville songwriting machine.
Don’t get me wrong. Just because she is sticking with the same cadre of songwriters doesn’t guarantee a stale, repetitive and overly familiar final product. I intend to fairly listen to the forthcoming album regardless of my personal opinions of her breakout album being overrated and her being deified by the press. But when “Biscuits” relied on her usual songwriting collaborators and failed to deliver, I am a bit worried nonetheless.
April 22, 2015 @ 1:28 pm
Not to talk down on Kacey at all–she’s witty, rather talented, has n nice voice, and is gorgeous to top it all off (her performance getup is absolutely breathtaking), but Sturgill overtaking her in popularity gives me hope because the difference in quality between the two is very drastic, even if Kacey herself is pretty good.
This tells me that people are starting to be drawn toward greatness again in music. There may be no more important artist than Sturgill Simpson for this generation.
April 22, 2015 @ 1:40 pm
Lets not get things confused. I know your not saying this but I feel it should be said.
Kacey is still more popular than sturgill. She is a household name even if folks arnt too familiar with her music. Sturgill is getting closer and closer but still in terms of popularity number she has more.
I think that poll by stub hub has some flaws since maybe Blake Shelton wont have as many googles or looks or what ever they base it off of but he will have one of the largest crowds.
All that to say it is great news sturgill is that high on the list. It will get his name out to more households. still tons of people who need to be introduced to high top mountain and metmodern.
April 22, 2015 @ 3:05 pm
Not saying you’re wrong, but I do disagree. I can’t think of another artist that wasn’t played on mainstream or country radio that scored a Tonight Show, Letterman show, Conan (2) show, Opry appearance(s), The Ryman, and Carnegie Hall all in less than a year of their sophomore release. Oh. And a Grammy nomination.
Again, with nobody having heard him in the mainstream.
April 22, 2015 @ 3:15 pm
don’t bring facts in here 😉
Its hard to guage just how “popular” people are.
I think a lot will be known when sturgills next album drops. With aaronn Watson’s being #1 I have a hard time seeing sturgill’s not be #1. For how long is the question. I would venture to say 2-4 weeks but a lot might be factored on who else has a album release around the same time.
April 22, 2015 @ 3:32 pm
Judd:
One thing you might know:
Sturgill went over 100K in album purchases. Did Ms. M surpass that? Not snark, serious question.
Thx.
April 22, 2015 @ 5:02 pm
500,000 for kacey. Sorry posted under wrong post
April 23, 2015 @ 7:26 am
Sturgill is authentic and has gotten publicity for being so in his songs. Musgraves has gotten tons of press for being besties & touring w/ Katy Perry. Obviously she is pretty and is friends w/ great writers but I have waited to judge her when I hear more of her writing. Does she ever has solo writes? It is easy to sound great w/ talent people in the room (that is the “Carrie Underwood” songwriter credits). I have hope that cd #2 will have some solo work. Heck Lambert had many solo writes in her first 3 records yet critics thinks Musgraves is the best thing since sliced bread. Confusing to me. Also thought Ashley Monroe should be getting much more attention but she isn’t bff w/ Perry so no crossover appeal so no push. Sad. I think that Sturgill is finally getting genuine love for the work, hopelly Monroe can get that as well.
April 22, 2015 @ 1:05 pm
Is this song gonna get a future release? Anybody know? I’ve got the Sunday Valley album(searched for forever) but I can’t find this anywhere.
April 22, 2015 @ 1:09 pm
It was not on high top or metamodern so maybe it will be on his upcoming album. If so it could help point us to what we can expect.
I love the song as well. It could be a hit.
It is an Osborn brothers song but like “the Promise”, sturgill has made it his own.
April 22, 2015 @ 3:51 pm
Wiki says 500,000 for Kacey’s same trailer different park. But she has had radio play. music videos on CMT and GAC and prime face time on all the major country awards .
April 22, 2015 @ 1:25 pm
I will be attending stagecoaclh for the 6th time this year and sturgill is first on my list to see Friday. after hearing about him for over the past year here on SCM, I must admit I am extremely excited to witness his greatness. I’ll let yall know how his set goes!
April 22, 2015 @ 1:26 pm
Soo there are some pretty good acts in the small font section…. Steve Earle and Sturgill got set bellow Parmalee and Jerrod Nieman. That’s just disrespectful.
April 22, 2015 @ 1:27 pm
Parmalee makes me wanna puke..
April 22, 2015 @ 3:08 pm
Hope Sturgill follows Nieman. Donkeys versus Turtles.
April 22, 2015 @ 3:34 pm
Listen, I love Sturgill and I think his work is genius; I would just love to see what a fiddler could do in that band.
April 22, 2015 @ 3:43 pm
Speaking of Sturgill, has anyone heard when his next album will be out? I’ve played the hell out of Metamodern so much I catch myself quoting lyrics from it sometimes as I go about my day.
April 22, 2015 @ 8:55 pm
I saw him last night and home boys got some chops..Best music I’ve heard in a long time….
April 22, 2015 @ 8:59 pm
It seems like just last year there was so much talk about all these musical festivals saturating the market and how no one was making money. Yet, there seems to be one every weekend.
I never enjoyed them myself. They are like eating crab legs. You put so much work into them, but little pay-off. You only ever get to see 30-45 minutes of the artists you really wanted to see.
April 22, 2015 @ 11:39 pm
Interesting to see the Friday line-up for Stagecoach. Jake Owen and Kip Moore rated as more important than Merle Haggard? Really??
April 23, 2015 @ 5:17 am
Trigger said,
“Because no Nashville major label is going to sign an artist unless they think they can have success with radio play. That”™s the only measurement that matters on Music Row as Gary Overton said. […] It”™s just another example of why the Music Row system doesn”™t work. Music Row has no farm system for developing talent.”
Bingo. I think this is extremely important, and cannot be emphasized enough. The Music Row system DOES NOT WORK. Someone should print that message on a giant billboard in the proximity of Music Row and the major country record label headquarters. The current system is antiquated, outmoded, and for the most part, artistically irrelevant. The mainstream Nashville labels have to find a way to successfully market music outside the confines of terrestrial radio.
April 23, 2015 @ 6:57 am
Also, speaking of business models, I also think Stagecoach is the model for how all country music festivals, and country music in general, should operate. Obviously, not every performer on the lineup is to my liking, but at least the independent artists and classic artists are allowed to mix it up with the big boys, and are given more of a level playing field on which to compete. That’s the beautiful thing about this event.
And yeah, compared to this, CMA Fest is total joke, which is sad, because Fan Fair used to be a cool tradition. One can only hope that as Stagecoach continues to grow, other festival organizers take notice of its success, and Stagecoach’s more egalitarian spirit spreads to other events.
The weird thing is, if someone would have announced fifteen years ago that in the future, one of the biggest and most credible worldwide all-genre music festivals would take place in a field in Manchester, Tennessee, and the best mainstream country festival would take place on some polo grounds in Southern California, it probably would have seemed bizarre.
April 23, 2015 @ 6:22 am
I think there is a place for both Kacey and Sturgill. I understand the comparisons and differentiations that most are making, but there is no need for some of the negative comments (that always seem to come up when Kacey is mentioned.)
Having said that, both are playing New Orleans Jazz and Heritage Festival over the next two weeks which again speaks to the wide appeal of both.
If I won the lottery, I would put on a “Saving Country Music” Festival and we’d have one hell of a time.
April 23, 2015 @ 8:15 am
Even if I won the lottery, I’m still not sure I’d put on a Saving Country Music festival. I may do some more outreach through stuff like SXSW and Americana Fest, but I thought there were way too many festivals five years ago and now it’s gone beyond critical mass. Everybody wants to throw a festival and they’re all sort of undercutting each other at this point.
April 23, 2015 @ 11:29 am
I think Muddy Roots already functions as a de facto SCM festival.
April 23, 2015 @ 9:53 am
Color me (and anyone else who’s seen Sturgill live) not surprised.
April 25, 2015 @ 5:13 pm
I know this post is old, but I thought the following from a review of Stagecoach is telling. It also says many folks listening to Steve Earle only stayed to line dance to Copperhead Road then wander off.
“Last week at Coachella, I mentioned being blown away by a gentleman who performed named Sturgill Simpson: He was magnificent, he managed to woo the Coachella audience with his country sound. At Stagecoach, in the Palomino tent following The Lone Bellow, he put on just as awesome of a performance””and while some boot scootin”™ went on, the Stagecoach crowd was nowhere near as generous to Simpson as the Coachella crowd was. Simpson has denied sounding like Waylon Jennings””but he definitely does sound like Jennings, albeit with Simpson”™s own originality and creativity.”
http://www.cvindependent.com/index.php/en-US/music/reviews/item/2170-stagecoach-2015-day-1-the-lone-bellow-reflects-sturgill-simpson-wows-merle-haggard-sounds-polished
April 26, 2015 @ 9:34 am
Terrestrial radio.