The Timing is Right for Lori McKenna’s “The Bird & The Rifle”

The typical specimen of the ones we envision helping to save country music are usually young, angry, post-punk and thick-skinned honky tonkers with a penchant to swear in their music and wax aggressively about the ill’s of today’s country with a middle finger wagging at Music Row. But what if the effort to return country music to its past glory is just as much, if not more in the hands of 30-something and middle-aged songwriting women, who on the surface may not strike one as having the fortitude for a fight, but through their words and songs can find an important way to contribute to the cause of returning country to its high water mark, not through cussing and demagoguery, but through setting an example of the type of substantive efforts that make folks proud to count themselves among the ranks of country fans again?
Who would place the burden of trying to inch forward the entrenched and oligarchical ways of mainstream country’s stodgy iron works in the hands of a 40-year old lesbian from Washington State like Brandy Clark, or a mother of five living in Massachusetts like Lori McKenna? Not many, including probably themselves. Yet in 2016, they are some of the most responsible for forward progress. These women are not trying to save country music. They’re just trying to put what they feel into words in a way most of the rest of us can’t. They possesses the virtue of insight and the talent to articulate it in a way that compels you to listen intently.
Timing is so incredibly crucial to a music career, and the capriciousness with which time seems to select certain artists to thrive, and others to fester in obscurity is as frustrating as it is inherently unfair, and it’s folly to think that we in any way can reform this phenomenon. What led to the rise of Sturgill Simpson, Chris Stapleton, and Jason Isbell over the last couple of years? There have always been extraordinary artists in the songwriting ranks, Americana, and the underground waiting to be heard, but it happened to be those three were in the midst of a rising action in their careers right as the peak of Bro-Country was creating a necessity and appetite for their music as an alternative and counterweight like never before. Townes Van Zandt never really got to enjoy the accolades his music eventually bestowed. It was only after his passing that due credit was doled out.
Lori McKenna couldn’t have known when she wrote “Girl Crush” with Hillary Lindsey and Liz Rose that it would go on to win the CMA and ACM for Song of the Year, and a Grammy. She couldn’t have anticipated that her song “Humble and Kind,” recorded by Tim McGraw would become the first solo-written #1 song to top the country charts in four years right as she was getting ready to release an album produced by Dave Cobb—one of the hottest names in Nashville, and one of the principles responsible for the rising action of many other benevolent country artists. It happens to be that Lori McKenna’s name was already on the tip of our tongues as The Bird & The Rifle hits the shelves, and some were ballyhooing it as the best album of 2016 so far.
Timing has not always been on Lori McKenna’s side though. This isn’t the debut record of a behind-the-scenes songwriter finally emerging from the shadows to take center stage, this is Lori’s ninth record believe it or not, including a major label debut called Unglamorous she released in 2007 after signing to Warner Bros. Nashville. But this may be her most important. Because of the timing.
Despite all the obstacles that still stand in the way of true artists getting their music heard, songwriting is still respected in Nashville and it remains a backdoor into the industry, especially for female artists. It worked for Kacey Musgraves, it worked for Brandy Clark, and now it’s working for Lori McKenna. Don’t expect her to be out on tour opening for Kenny Chesney anytime soon (though she’s opened shows for Tim McGraw in the past), and you won’t hear any of her own songs being played on mainstream country radio. But her songs are there through other artists, and unlike some of Chris Stapleton’s mainstream radio contributions, McKenna’s are more an attribute than a burden.
It’s not that the subject matter of The Bird & The Rifle is so out of the ordinary. There are the songs about small town life like “Giving Up On Your Hometown” and “We Were Cool.” There are odes to self-destruction like “Wreck You,” or relationships gone bad such as “Old Men, Young Women.” But for someone who has written hit songs, and within the Nashville system (despite not living there), Lori McKenna has a writing style that is wholly her own, derivative of nobody, indicative of writing that has come before her only in how the quality is high enough that you know instantly it will endure.
There’s not much to the music of The Bird & The Rifle—just Lori’s singing, some acoustic guitar and drums, and a little Mellotron in the background. Dave Cobb is a producer for the proletariat in the sense that he puts out a lot of projects annually, where many of Nashville’s other producers can only work on maybe two or three albums a year. One side-effect of the Dave Cobb workload and the organic approach is you get some stripped-down albums. Some may also shy away from using a Mellotron as artificial. It is meant to infuse the sound of strings on albums without having to rent out a string section, and has become a signature of the Dave Cobb sound.
For McKenna, the Cobb approach was quite complimenting of her style because these are songs you want to listen to intently, and the music doesn’t need to get in the way. It’s a very warm-feeling record, complimenting Lori’s warm voice that is not exceptional in any way, but is immediately familiar and welcome like a new friend that feels like an old one.
Lori McKenna’s The Bird & The Rifle is not going to become some major blockbuster because despite all the efforts, country women continue to be ignored. But to the listeners that matter, it will loom large, and possibly larger than any other release. It’s also an excellent bridge between independent Americana and the radio mainstream because McKenna can exist in both those worlds. And most importantly, it is exquisitely written, with one insightful turn of phrase after another. It’s a songwriter’s album in every sense, and a joyful experience.
1 3/4 Guns Up (8.5/10)
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July 29, 2016 @ 8:26 am
Massachusetts is one of the most underrated albums of the decade. Looking forward to hearing this one.
July 29, 2016 @ 8:36 am
Does Dave Cobb take a full producer’s cut for all the work he does(n’t do)?
July 29, 2016 @ 9:20 am
Sometimes the “doesn’t do” is worth so much more than the “do” if you will. The best example (and most relevant to SCM readers) is Rick Rubin’s stripped down approach to Johnny Cash’s first American Recording release that did so much to reinvigorate interest in Cash and might just be the very best album he ever released. I would submit you hire a producer to bring out the best of of the artist and songs and in some cases that means less is truly more.
July 29, 2016 @ 11:15 am
Cobb’s call on stripping down the sound has not always been effective. The recent Mary Chapin Carpenter album would be a good example. But with this one, I think it was a good call. Nonetheless, the slight demerits I did give this record mostly had to do with production. The songs are excellent.
July 29, 2016 @ 10:47 pm
Personally, I love cobb’s no frills production. Rival Sons’ albums sound as good or better than any rock band at the moment, while BBS botched the production on their recent album, whiskey Meyers’ albums are clean as hell and it’s easy to hear the instruments. And sturgil and Stapleton sound great. What’s not to love, he picks great musicians of all genres and makes them sound great!
July 29, 2016 @ 10:06 am
Of course it’s a Dave Cobb record. Should have known that, since I like it.
July 29, 2016 @ 10:33 am
The songs are excellent, and I love people singing their own work. But, and it’s especially with the stripped down production, McKenna just doesn’t have the strongest voice. So for me the album is solid, but not great.
July 29, 2016 @ 11:12 am
McGraw did a great job with “Humble and Kind” but I think I prefer hers better. There’s so much conviction in her voice.
July 29, 2016 @ 11:19 am
The title track, in my mind, is a contender for best song of the year.
August 1, 2016 @ 11:20 am
Dude, your were great in Friday Night Lights!
July 29, 2016 @ 11:40 am
Listened at NPR last week, so good. Bought it today & her version of Humble & Kind so much better than McGraw. Hope is does well for her, can’t wait to see her when she comes to my town
July 29, 2016 @ 11:50 am
This is truly a great album.
July 29, 2016 @ 12:34 pm
” Stripping down ” McKenna’s productions does nothing to take from the thoughtfulness , conviction , creativity and sheer passion she brings to her writing . Give her an acoustic guitar and turn on the ‘tape’ …you’ll get about as good a record as ANYONE has delivered in recent years …You’ll get her ‘Nebraska’ and you’ll get consistency and you’ll get respect for writing and respect for substance-driven songs and …well….you’ll GET IT . Period .You’ll get why we are soooo frustrated by the shit that is peddled as music in the mainstream when there is THIS available to us . In fact , and in my opinion , if you liked ‘HUMBLE AND KIND’ , a song I consider amongst her weakest , I’m certain you’ll be blown away by what awaits your ears and sensibilities in the Lori McKenna catalogue .
And the icing on this cake is a voice as unique in character as it is in conviction . You will never mistake her for the next 3 or 4 other female vocalists just as you could never mistake Dolly or Patty Loveless . She’s never recorded a bad collection of songs and I’m looking froward to digesting this latest offering .
July 29, 2016 @ 2:43 pm
I kind of like Heidi Newfield’s slightly more produced version of Wreck You.
Sometimes Dave really sounds like he’s just not paying attention.
Both Mary Chapin Carpenter and Corb Lund have made absolutely terrible albums with Dave, alt country shouldn’t be seeing him as the best thing ever.
Personally my favourite stripped back producer is Lloyd Maines, amazingly simple work with Adam Caroll etc.
July 29, 2016 @ 7:18 pm
Lori is an underrated artist and, for years, I’ve wanted her to garner more attention. So I’m thrilled to see that she is being recognized for her talent as a songwriter. My favorite song on the album is “All These Things.” It’s a great album. She is definitely like an old friend that you love returning to.
August 4, 2016 @ 4:03 am
Lori is such a treasure up here in Massachusetts.. I’ve been attending her shows in small clubs and listening rooms for years hoping that the rest of the country would take notice someday. Love this album.. Halfway Home and the title track are tied for my favorites.
August 10, 2016 @ 1:21 am
I will finally see Lori when her tour comes to Dallas in October. I’m a fan from her “Fireflies” days, but I’m most excited to hear her perform this new album.
Trigger, this article was beautifully poignant in it’s description of how overlooked Lori’s influence is in country music. She’s a perfect example of how honest writing, paired with a stubborn perseverance to follow her heart (obstacles be damned), really does pay off. That kind of authenticity is rare in most creative endeavors these days, but might as well be extinct in music.
Lori, and many other writers/artists, may never get the radio play that they deserve… But she’s sending out waves of influence that are making a bigger impact. Society is aching to FEEL something real for a change, and if some don’t realize it, they will after getting a taste. (Take Chris Stapleton’s massive climb after his Timberlake duet.) She is inspiring artists and songwriters to find their own voices for a change, and that’s pretty damn powerful!
February 12, 2017 @ 8:33 am
I would love to hear a collaboration of Lori McKenna and Mary Chapain Carpenter, their voices and style would make for beautiful harmony.