ZB is the Lumineers with more twang. The Country Brothers podcast (very funny and all should listen to this if they are comfortable with profanity) noted this and it's something I can't unhear while listening to his music -- honestly, it makes me enjoy it more. The truth he brings is visceral and sophomoric, making it easy for those who want the appearance of heft in their music while not stretching themselves to something they have not experienced. And this experience can be lived or put on as they choose. It's the Hey Ho Stomp and Clap version of All Hat and No Cattle -- which is totally cool as a suburban dude who loves "real" country music.
One of my favorite songs is "From Austin" -- and it's vapid upon the second listen, kneecapped with clever turns of phrase that work perfectly in song that do not hold up to criticism. But they engender personal feelings of heartbreaks felt the world over -- that talks a bit more pretty than Truck, Beer, Dirt, Girl of the boys on the radio.
His production provides perhaps the most interesting view of his authenticity. It rejects the clean, technical sessions of the current establishment. Even on "If She Wants a Cowboy" -- which you outline as an example of a very smart and snarky swipe at Nashville (and I'd argue the entire dress up culture of this world) -- we have the laughter and soft slips of the supporting vocals -- intentionally left in to create the illusion of a rustic, one-take recording. His most recent album seems leave that behind a bit, especially on the collaborations, but not completely.
His meteoric rise is also important to his myth. He went from those YouTube videos to drawing huge crowds at festivals to headlining stadium tours in the span of two and half years. It falls squarely into lie of meritocracy -- that this talented artists delivered quality music to a free and open market not that a perfectly fine musician and often clever wordsmith landed in the right place at the right time. The desire of something easy to understand the provides a sort of validation for those who feel they need permission to wear a Stetson.
But let me stress this again: He is the Hey Ho of Country -- stopping his square toe and clapping his tattooed hands -- most often on the one and the three.
Thank you so much for this. I like Zach, but I have to listen in small doses. You identify a couple of issues: lack of humor, and a narrow definition of authenticity.
Some artists understand that you can be funny and serious at the same time. Miranda's "Ugly Lights" and Kacey's "camera roll" are examples. Neither is ha-ha funny, but both songs are narrated by someone who views herself objectively and acknowledges her flaws and self-destructive patterns wryly. Does Zach have that in him?
Contrast Zach's rural, white, straight, American masculinity with that of Tyler Childers, who is willing to look goofy and be dead-serious. I'm recalling an appearance he made recently at the Grand Ole Opry. While introducing "Luke 2:8-10," he described it as a Christmas song, and the audience laughed. Tyler peered into the audience, taken aback, but grinned a smile that meant, "OK, I understand that once this song enters your ears, it's your song and no longer mine. But it truly is a Christmas song." (And it's a GREAT Christmas song, full of empathy and wonder, with a light touch.)
I'm trying to imagine Zach introducing an earnest song, and the audience laughing at his description, and not getting churlish. Nah, wouldn't happen. And how authentic is an artist who is afraid of getting laughed at?
Notice that in "If She Wants a Cowboy," the joke is on Nashville, not on him. The joke is never on Zach.
I get that his stuff can sound repetitive, but it's way better than what I hear on the Philadelphia country radio station. Granted, that's not saying much b/c they play about 10 songs on constant repeat. At least it's not all about how pretty the baby is b/c her mamma is pretty. Ugh, let it go. It's nice to see young people paying attention to a singer-songwriter. And I do love that Kacey Musgraves is getting good exposure.
Please tell me.. what is a "white male ego"... and how does it differ from a "black male ego", or "white female ego"? I don't know what points you people think you're scoring by constantly focusing on race, but it's lame... and annoying.. and tells me that I shouldn't pay attention to anything else you're saying.
All that said... performers, by default, aren't "authentic"... they're performing. There is nothing "authentic" about any of these people — regardless of their race. Which, again... is lame to keep focusing on... unless you're pandering to the stunning & brave crowd.
Also: the more time I spend on Substack, the more I realize that people spend an embarrassing amount of time writing about things they don't like. Personally, I save that for comments ;)
Great article Nat! I really enjoyed it. I do really like the Kerouac, singer songwriter side of ZB though 😆. the poem/song fear and fridays I think is my fave. Some of the real lumineers style songs do nothing for me.
I get where you’re coming from with the genre/mystique of a veteran white man from the middle being “Authentic” over other artists. I agree it says more about our own country’s identity crisis that white rural artists are “real” than anything particular about ZB. I do think you can tell and hear when a person is faking something, like pretending to be from a dirt road when writing country music, or be from a tough neighborhood when rapping. I wish more artists felt comfortable being “authentic” and telling their story in whatever musical genre fits, but I agree you’re right that society is gonna reward certain tropes, cultures, or individuals over others. But, I do think the stripped down, simple soundscape and biographical, or pseudo-biographical lyrics, of singer/songwriters is always going to feel more “authentic” than a sugary pop or dance song, because the point of that songwriter song is to connect emotionally and portray a story, and the point of a pop song sometimes is to just have fun and bounce up and down!
Wow this article was really triggering, especially for dudes!
ZB is the Lumineers with more twang. The Country Brothers podcast (very funny and all should listen to this if they are comfortable with profanity) noted this and it's something I can't unhear while listening to his music -- honestly, it makes me enjoy it more. The truth he brings is visceral and sophomoric, making it easy for those who want the appearance of heft in their music while not stretching themselves to something they have not experienced. And this experience can be lived or put on as they choose. It's the Hey Ho Stomp and Clap version of All Hat and No Cattle -- which is totally cool as a suburban dude who loves "real" country music.
One of my favorite songs is "From Austin" -- and it's vapid upon the second listen, kneecapped with clever turns of phrase that work perfectly in song that do not hold up to criticism. But they engender personal feelings of heartbreaks felt the world over -- that talks a bit more pretty than Truck, Beer, Dirt, Girl of the boys on the radio.
His production provides perhaps the most interesting view of his authenticity. It rejects the clean, technical sessions of the current establishment. Even on "If She Wants a Cowboy" -- which you outline as an example of a very smart and snarky swipe at Nashville (and I'd argue the entire dress up culture of this world) -- we have the laughter and soft slips of the supporting vocals -- intentionally left in to create the illusion of a rustic, one-take recording. His most recent album seems leave that behind a bit, especially on the collaborations, but not completely.
His meteoric rise is also important to his myth. He went from those YouTube videos to drawing huge crowds at festivals to headlining stadium tours in the span of two and half years. It falls squarely into lie of meritocracy -- that this talented artists delivered quality music to a free and open market not that a perfectly fine musician and often clever wordsmith landed in the right place at the right time. The desire of something easy to understand the provides a sort of validation for those who feel they need permission to wear a Stetson.
But let me stress this again: He is the Hey Ho of Country -- stopping his square toe and clapping his tattooed hands -- most often on the one and the three.
Thank you so much for this. I like Zach, but I have to listen in small doses. You identify a couple of issues: lack of humor, and a narrow definition of authenticity.
Some artists understand that you can be funny and serious at the same time. Miranda's "Ugly Lights" and Kacey's "camera roll" are examples. Neither is ha-ha funny, but both songs are narrated by someone who views herself objectively and acknowledges her flaws and self-destructive patterns wryly. Does Zach have that in him?
Contrast Zach's rural, white, straight, American masculinity with that of Tyler Childers, who is willing to look goofy and be dead-serious. I'm recalling an appearance he made recently at the Grand Ole Opry. While introducing "Luke 2:8-10," he described it as a Christmas song, and the audience laughed. Tyler peered into the audience, taken aback, but grinned a smile that meant, "OK, I understand that once this song enters your ears, it's your song and no longer mine. But it truly is a Christmas song." (And it's a GREAT Christmas song, full of empathy and wonder, with a light touch.)
I'm trying to imagine Zach introducing an earnest song, and the audience laughing at his description, and not getting churlish. Nah, wouldn't happen. And how authentic is an artist who is afraid of getting laughed at?
Notice that in "If She Wants a Cowboy," the joke is on Nashville, not on him. The joke is never on Zach.
I get that his stuff can sound repetitive, but it's way better than what I hear on the Philadelphia country radio station. Granted, that's not saying much b/c they play about 10 songs on constant repeat. At least it's not all about how pretty the baby is b/c her mamma is pretty. Ugh, let it go. It's nice to see young people paying attention to a singer-songwriter. And I do love that Kacey Musgraves is getting good exposure.
Please tell me.. what is a "white male ego"... and how does it differ from a "black male ego", or "white female ego"? I don't know what points you people think you're scoring by constantly focusing on race, but it's lame... and annoying.. and tells me that I shouldn't pay attention to anything else you're saying.
All that said... performers, by default, aren't "authentic"... they're performing. There is nothing "authentic" about any of these people — regardless of their race. Which, again... is lame to keep focusing on... unless you're pandering to the stunning & brave crowd.
Also: the more time I spend on Substack, the more I realize that people spend an embarrassing amount of time writing about things they don't like. Personally, I save that for comments ;)
Great article Nat! I really enjoyed it. I do really like the Kerouac, singer songwriter side of ZB though 😆. the poem/song fear and fridays I think is my fave. Some of the real lumineers style songs do nothing for me.
I get where you’re coming from with the genre/mystique of a veteran white man from the middle being “Authentic” over other artists. I agree it says more about our own country’s identity crisis that white rural artists are “real” than anything particular about ZB. I do think you can tell and hear when a person is faking something, like pretending to be from a dirt road when writing country music, or be from a tough neighborhood when rapping. I wish more artists felt comfortable being “authentic” and telling their story in whatever musical genre fits, but I agree you’re right that society is gonna reward certain tropes, cultures, or individuals over others. But, I do think the stripped down, simple soundscape and biographical, or pseudo-biographical lyrics, of singer/songwriters is always going to feel more “authentic” than a sugary pop or dance song, because the point of that songwriter song is to connect emotionally and portray a story, and the point of a pop song sometimes is to just have fun and bounce up and down!
thanks for writing!
I think he just has a lot of Springsteen vibes and people really crave that, with or without a twang.