"The Weight of These Wings" review--finding peace and finding yourself

The lasting image of Miranda Lambert in many people's minds is the Miranda Lambert we met on her first two albums--the one who would burn a cheating ex's house down, kill an abusive husband, or fight an ex's new flame in a bar. But her more recent albums showed a steadier side, as she settled into a long relationship and began feeling comfortable in her own skin.

"Four the Record" definitely contained some sassy numbers ("Mama's Broken Heart," "Fastest Girl in Town"), but it also contained the heartbreaking "Over You," which she wrote with ex-husband Blake Shelton.

On "Platinum," we began to see how self-aware Lambert is of her celebrity status and of her role as a mentor to younger artists. She muses about aging ("Gravity's a Bitch,") about teen pregnancy ("Babies Making Babies,") about staying in a lasting celebrity marriage ("Priscilla,") and about the good ol' days growing up, when life was a little less hectic ("Automatic").

Here, on her sixth studio album "The Weight of These Wings," we find a woman who endured a very public heartbreak at the pinnacle of her career. We find a woman who was broken and who has dragged herself back into the light after what surely were some of her darkest days. We find a woman who, to borrow a phrase from Lin-Manuel Miranda, wrote her way out--and gave us a double album in the process.

The lead single, "Vice," should tell you enough--it's told from the perspective of a woman who is drinking, sleeping, and driving her way through her own personal hell. That theme continues, with hazy musings about living a vagabond life and spending too much time at bars, as the woman behind it all re-learns who she is and what she wants out of life.

In the buildup for the album, Lambert hasn't said much. There were no big sit-down interviews about who wronged who in her past relationship. Her Instagram is full of dog photos and musings about making music. She could have gone the old route, burning old bridges with glee and stopping to think about it later. But she's older now, and perhaps the temper has tempered--or perhaps she just doesn't think it's worth the effort to confront her demons with fire and steel.

(Photo: Daniela Federici via MirandaLambert.com)

"The Weight of These Wings" doesn't contain any collaborations with big names. It's a mostly subdued epic, a tour de force from someone who will be remembered as one of country music's greatest. It's raw and it's heavy at times, and you hear it in the way Lambert's voice breaks and soars over 24 tracks. It feels familiar to those of us who have ever been heartbroken. It feels like a smoky bar and a taxi and a morning sipping coffee on your front porch before the sun is up. It feels like waking up after a night wrestling with demons--unsure how you're going to move forward, but determined to do so however you can. 

What happened last night at the CMAs?

Man, I'll tell y'all what.

We were saved. 

Ok! I can finally talk about one of the greatest weeks of my life! Thank you @Beyonce ! You slay. All day! pic.twitter.com/XJCOrdweih

— Natalie Maines (@1NatalieMaines) November 3, 2016

The 50th anniversary of the CMAs offered country music an opportunity to dig deep into its (whitewashed) recent past and bring some of the genre's most storied names back on stage.

You almost forget about whiny pop-country acts like Luke Bryan, Florida-Georgia Line, and their ilk when Reba, Clint Black, George Strait, Alan Jackson, "Mr. and Mrs. Yearwood," and Randy Travis pop back out there and sing. It's a heartening reminder for those of us who feel like we are drowning in white boys in white t-shirts, embroidered jeans, and snapbacks. Dolly Parton picked up a lifetime achievement award. Garth Brooks won entertainer of the year. Randy Travis sang after his stroke. This was a good year.

And then Beyoncé G. Knowles-Carter showed up. And she brought the Dixie Chicks, whom country music hasn't really forgiven for bashing George Bush back in 2003.

Texas. 

Image Group LA/Getty Images

Even country music doesn't exist in a vacuum, so I'm sure this audience knows a few songs off of "Lemonade." We know Miranda Lambert does, and her love for her fellow Texan has been well-documented.

If you have been living under a rock, "Daddy Lessons" is a stomping, brass-led beauty of a song that touches upon some of country music's favorite standbys--guns, bad relationships, and advice from your daddy.

The online reaction was mixed. Celebrities and Beyhive members were floored, inspired, enthusiastic, and ready to crown Bey queen of Nashville.

Some country fans, however, were less than impressed--perhaps still smarting from Beyonce's purported anti-police views, they feel it was "disrespectful" for country music to welcome her to the stage. Simply wade into any of the posts on the CMA Facebook page, and there you have it.  

On the surface, some of the complaints are that Beyonce's music does not belong on this awards show. But any country music fan--or artist--who scowled during this crossover simply based on its musicality is kidding him or herself. How can you allow Taylor Swift back on stage in 2016, then, if country music is suddenly such a sacred entity? Why do we allow Luke Bryan and Florida-Georgia Line to infuse hip-hop, and even make call-outs to hip-hop, in their music, without batting an eye? How are Sam Hunt and Jason Aldean permitted to rap in their songs and still win awards? Aldean even has performed on stage with Ludacris! Nelly has re-done Thomas Rhett's "Die a Happy Man." And last year, Justin Timberlake (a southern boy, yes, but no country artist) sang on stage with Chris Stapleton at these very awards.

Suddenly, a black woman performing a country song on her album is such an egregious offense?

Surely, given all that country music has taken from hip-hop lately, this argument is null and void. And thus, we get to the heart of the argument--it's political at best, and racial at worst.

I think the Associated Press sums it up nicely (emphasis mine):

Not everyone was prepared to welcome Beyonce with open arms. "Let me have my country music in peace" wrote one critic on Twitter. Another suggested that whoever had invited her should be fired. Still another threatened: "I was going to watch, but not now." 

But many others sounded thrilled, including country singers Brad Paisley (who tweeted "Welcome") and Cassadee Pope (who said, "I'm gunna explode."). The CMAs have previously invited non-country artists before, as they did last year with Justin Timberlake.

Jennifer Nettles was just happy to hear the song: "Everybody loves the harmonies, loves the music. Don't get it twisted. It's about the music. If you make it about it about something else, you're wrong," she said after the show. 

Beyonce has been criticized by some for her half-time show at the Super Bowl that referenced the Black Lives Matter movement, Malcolm X and the Black Panthers, as well as her video for "Formation" that includes images of a hooded black child facing police and graffiti scrawled on a wall that reads "Stop Shooting Us."

The problem, if there is one, is not with country music. It's with its fans. As referenced above and in some earlier media coverage, country artists responded well to "Daddy Lessons."

The fans are the ones with a problem. The fans are the ones who can't let go of what Natalie Mains said in 2003. The fans are the ones who can't stomach someone on stage who feels differently than them. The fans, also, are the ones who continue to buy and request country crossover songs by Bryan, Aldean, Hunt, FGL, Chase Rice, and a whole host of other men desperate to cash in on the latest trend--appropriating a traditionally black sound for their traditionally white audience because it "sounds good."

Does it really sound good?  

If country music is looking to hip-hop, "Daddy Lessons" is the song to look to--and after all, let's not forget that the roots of country music run much deeper than the last 50 years with Dolly Parton. And, some of the original trailblazers look a lot different than the white-bread fellas and gals we see at every country awards show.

One of country's biggest couples calls it quits

Time to break out the "Kerosene" and "Gunpowder and Lead" albums, guys. Miranda Lambert and Blake Shelton are purportedly getting divorced.

Credit: Taste of Country

The two have been dating since 2006 and were married in May 2011--Blake, as you may know, was married at the time he met Ran in 2005.

As a diehard Miranda fan, I often have to brush aside rumors of them fighting or being pregnant or drinking too much or cheating. But I believe TMZ if they have their hands on divorce docs. I'll reserve judgement on who did what for now, and can only hope it's going to be amiable. They have a long road ahead as two of country's biggest.

Country music has too many bros, and Miranda Lambert is the only one stopping them.

As happy as I am for Miranda Lambert, I am disappointed at the lack of female artists in country music at last night's CMAs. Miranda was, really, the ONLY viable female candidate. Most of the categories were all dudes. 

Miranda Lambert was virtually the only viable female candidate on Wednesday (USA Today)

Entertainer of the year was Miranda and four guys.

Album of the year was Miranda and four guys.

New artist of the year was Brandy Clark and four guys.

Single of the year was Miranda, three guys and Tim McGraw "featuring" Faith Hill even if she was barely on the song.

Duo of the year was four all-male duos and one male-female duo.

The female vocalist of the year category was bleak. Carrie, Martina, Taylor, Kacey and Miranda...with Taylor out, who will they pick next year to fill out the category??

The male vocalist of the year could have been filled by any number of dudes in expensive jeans with wallet chains, calling girls "baby" and sticking synthesizers in their tunes. Male country artists are a dime a dozen, and people eat their formulaic drabble up with a spoon.

Like these idiots (USA Today)

Some of the other categories are better with female representation in musical groups (LBT, Lady A, Band Perry). Kacey Musgraves also did well, but she was the only other real contender as a woman. It's just disappointing to know how few women are making noise in the industry.

Kacey Musgraves won song of the year for "Follow Your Arrow," which is a HUGE deal considering the song's pro-LGBT message (USA Today)

Let me tell you something about Taylor Swift.

I liked her music in high school. I know, right? It's so embarrassing. I don't even... Whatever. So then when I was in college, she started putting out this music that was totally pop but ran on the country stations, and Taylor was like, weirdly okay with that.

Like, if she would destroy the industry singlehandedly, reviewers would be like, "Why didn't you just call yourself a pop star?" And she'd be like, "Why are you so obsessed with me?" So then, for the 2014 CMAs, which was an all-country music party, they were like, "Taylor, we can't nominate you for much, because we think you're a pop singer." I mean, they couldn't have a pop singer at their party. There were gonna be girls there in their cowboy boots. I mean, right? She was a POP SINGER.

So then her mom called Miranda Lambert's mom and started yelling at her, it was so ridiculous. And then she dropped out of country music because no one would talk to her, and she came back in the fall for pop music, all of her hair was cut off and she was totally weird, and now I guess she's on crack.

(inspired by Mean Girls and someone asking me about my Taylor hate).

Country music has been changing, and I'm not very okay with it

All right.

Another country music awards show is coming up, and yet again I'm mad that Taylor Swift is even included in the genre any more. Granted, "Red" could maaaaybe be considered in the genre, but the three other singles off of the "Red" album cannot even be close to country. "We Are Never, Ever Getting Back Together," "I Knew You Were Trouble," and "22" are pop to the core.

The face of good TV ratings, and of genre betrayal.

I've been saying this for years, mind you, and she only gets worse. Of course, she's America's media darling and her fans drive the TV viewings way, way up.

The "Female Vocalist of the Year" category includes another very-questionable nominee in Kelly Clarkson, who has made a few forays into country but still puts out pop hits. Are they struggling for female vocalists to nominate? Perhaps, because there haven't been as many women who have made hits in the last year or so.

But Taylor and Kelly are just a few of the stars who are chipping away at the dam holding pop away from country. Lady Antebellum, Luke Bryan, Keith Urban (a longtime staple), and even old favorite Tim McGraw are switching banjos and twang for autotune and popularity. Carrie Underwood even has some of that pop sound--can you imagine her baling hay or riding a horse any more?

Don't even get me started on the horrendous beast that is Florida Georgia Line's "Cruise" remix with Nelly. Someone should have salted that demon before it crawled out of hell.

So, this is me inviting anyone, but women in particular, to pick up a guitar, record a YouTube video, and try like crazy to get a record deal. I like what Luke Bryan said last week about women in country. It's hard for them, he said to be feminine while being one of the guys. There are beauty standards that female entertainers are held to. They can't all throw on a white tee, jeans and a hat and feel good to go out in public. They're obviously still pretty, but does society tell them so? Can women go on their own into dive bars and try to sing as a professional without being jeered at? Probably not...

Granted, I grew up in the 1990s, and pop-country crossovers have been a staple on my radio since I was a kid. But I'm sure I'm not the only one pining for Garth Brooks's sound every time I hear another poppy hit. It may be hip, it may cross genres, but I sure as hell don't like it.

Feminism and country music/violence and country music

I'm sharing this article NOT because it knocks on Taylor Swift, but because it talks about feminism in country music and throws some props to my girl Miranda Lambert. Certainly, there is sexism and some old-school stereotypes in the genre. I think there is an overarching theme of men respecting the women (at least a little more than in pop or rap music) and women being tough and independent, not running around in lingerie.

Some of these revenge songs also make me think. Most songs I know about getting revenge on cheating or abusive partners are sung by women, about men OR by women, about women. I'm hard pressed to think of a man who sang about shooting his cheating wife. BUT, I could name you a whole score of women who sang about killing abusive fathers, boyfriends, etc. or the woman responsible for their husband's infidelity. Is it okay for women to advocate violence and men to shy away from that? Or is that just a product of history, where men have beleaguered and belittled women for years? Are women just taking their justice?

Me v. Taylor Swift v. The World

Those of you who know me a bit have experienced my waves of anti-Taylor Swift posts and pictures. And I'm asked many times, "why do you hate her?"


The answer is simple: I don't! Really! But I do hate on her, which I think is a profoundly different thing. Since it's her birthday and she is once again older than me, I feel like it's my duty to clear the air.

Lemme 'splain to you. 

When T. Swift first burst onto the scene, I liked her stuff. Her first album, Taylor Swift, came out in 2006. I think the first song I heard was "Tim McGraw," and I watched the video on Great American County that summer, between World Cup soccer games. 

That was the summer before my junior year of high school, and coincidentally I began teaching myself guitar that year. In my search for simple songs to play, I found many Taylor Swift songs that were in my skill set and vocal range -- "Tim McGraw," "Teardrops on My Guitar," "Our Song," etc. 

When I found out that she is a mere eight months older than me, I felt a little miffed. Here I was, dragging my awkward self through high school, and this girl with her simple lyrics and chords was a hell of a lot richer than me. Taylor, of course, rose to fame before Bieber and Gomez and Lovato and 1D/The Wanted, so I think it's safe to say she was one of the first artists around my age that I really listened to. Thus, this was one of the first times I realized that people my age and my skill level are richer than me. 

Back in those days, I was a better singer. And I've gotten lazy in my guitar skills, so there's no real excuse. BUT I couldn't help be a little jealous.

Also, as a kid I listened to some great 90s country. Reba. Faith. Shania. Dixie Chicks. In high school, I loved Gretchen Wilson and Miranda Lambert and Garth Brooks. So as much as I liked Taylor's first album...well...it didn't really feel country to me.

It especially didn't feel country when "Love Story," her first single off of her sophomore album Fearless, was remixed for pop radio. Gross, Taylor. Really? And what was with the Romeo and Juliet metaphors? EVERYONE KNOWS THEY DIED AT THE END.

I began getting annoyed with Taylor around the second album. The sappy lyrics. The pop remixes. The advertisement deals. The famous boyfriends. People said she was a great role model for little girls. I thought, why? All her songs are about relationships and needing men and being lost in fairy tales. Women don't need to hear sappy love songs or sad breakup songs. They don't need Romeo and Juliet to compare themselves to. They definitely don't need any queerphobic lyrics (they're in the first verse). 

They need to hear that they're powerful. They need to hear that they're beautiful. They need to be independent.

When Kanye West stole that microphone from her in 2009, her career really took off. She won country awards at the Grammys and at the CMAs, I think, because people felt sorry for her. People defended her, and Kanye still hasn't lived down the moment where he insulted America's pop princess. It was rude, absolutely. But everyone rushed to Taylor's defense and it landed her a ton of awards. My personal favorite, Miranda Lambert, got snubbed in favor of someone who was crossing over into the pop realm.
So, I wrote a column for my college newspaper (it's on page 6). Here's an excerpt:

"...it is my firm belief that if girls 10 years younger than you come and scream at your concerts and request that your music be played at their grade school dances, you become dangerously close to losing your place in any real genre. Add in the fact that your music videos are played constantly on MTV and VH1 and that your songs have been remixed for Top 40 stations, and you have lost your country crown. You have now been shoveled into the cliché, synthesized, bubble gum, and dangerously addictive brand of music we like to call "pop."Other poppish country artists are come to mind, but none of them are as widely worshiped as Taylor. It's like she's Miley Cyrus, only better and more prolific.Taylor cleverly tried to prove that she was a country artist by writing a song reminiscing about her life as a younger girl at the age of "Fifteen." Country artists live in the past. They thrive on their breakups and the innocence of their childhoods. Plenty of other country artists have written the proverbial adolescence song: Brad Paisley with "Letter to Me," Carrie Underwood with "Don't Forget to Remember Me," Jason Aldean with "Laughed Until We Cried," Miranda Lambert with "The House That Built Me." All respectable country artists.Taylor, I hate to break it to you, but writing a song about when you're 15 is only cool when you actually are 15 or when you're 35 and reminiscing about it. Not when you're 20."

AND OH, THE HATE I GOT. I went from upset to amused in the span of several minutes as people ripped apart my post. Called me dumb, called me wrong, told me I sucked, defended Taylor, etc.  I thought it was fun! I put the same blog on The Huffington Post, and got plenty of other comments on how bad my writing style was, etc. And again, I was a bit upset at first and then I realized how fun it was to criticize someone whom everyone else adores.

 And oh, how they adored her. Boyfriends and fans and awards committees. Speak Now, her third album, featured songs that were very clearly about several of her exes. People thought it was cute and clever that she would be so bold to call out John Mayer.

 I just thought it was bitchy.

 But she kept on winning awards. Billboard Woman of the Year in 2012. A Grammy for Best Country Performance (really?!) and Best Country Song (...REALLY?!) in 2012. She was Entertainer of the Year at the Academy of Country Music Awards this year (......). On and on, more awards, more honors, and she still acts like she's so damn surprised every time. 

Now, though, I think people are getting a little sick of her serial dating behavior and her kitschy little melodies. Two of her most recent, "We Are Never Ever Getting Back Together" and "I Knew You Were Trouble" are just awful, horrifically repetitive and whiny songs. People are starting to make fun of her for dating everything that moves. And you know what? That's good. Because every public figure deserves some criticism. It makes them humble. Keeps them on their toes. As for Taylor, I will continue to let the critical words flow. For one, it's fun. For another, I don't think her songs are very "country" or, frankly, very good. For another, I'm kind of jealous. And for the last, there are so many good artists out there. Like, SO many. And they don't just rely on bad breakups to make their money. They write lyrics that empower women, and lyrics that are certainly a lot smarter than the ones you find on a Taylor Swift album.