Digging past the cocksure attitude on the surface still gives you plenty of meaty substance. But what you must embrace to get the full bore experience of Tornillo is the rage and brashness found in songs like “John Wayne” and “The Wolf,” with the latter directly addressing the difference between the hunger in an independent band like Whiskey Myers, and their counterparts in the mainstream. “Whole World Gone Crazy” is also subtly well-written by the band’s other songwriter, John Jeffers, taking the perspective of a simple man, but imparting some important wisdom about the folly of our rabid polarization. “For The Kids” is another track some are citing as one that hits them hard, and the writing certainly holds up to that standard, even if the music feels a bit schmaltzy in moments like when a hair metal band tries to sing a sentimental ballad. Nature plays a role, but nurture does too in a fall from grace. If you need to, Google the lyrics of “Antioch” and really take the time to appreciate the depth of story here, and how it illustrates how circumstance so often leads to tragedy. You may not get a lot of straightforward country songs or singer-songwriter stuff here until the final track “Heart of Stone,” but that doesn’t mean the songwriting suffers on Tornillo. They’ve identified their niche and what the crowd reacts to, and lean into it for 12 full throttle tracks. Rock music needs saving too, and Whiskey Myers is here to pick up the slack. Unapologetic and attitudinal, yet not judgemental unless you’re one of those pricks trying to tell them what to do or get in their way, Tornillo brings an energy, drive, pluck, and abandon most of modern music in this repressed era has vacated due to fear of reprisal. This was an album written, produced, and recorded to be played loud and live. Coloring inside the lines is not for Whiskey Myers. There are plenty of artists whose music fits snugly in the country music box, and it’s still most certainly “art.” But we get the point. You gotta be this.’ … That’s not art to me.” Well, let’s not get too excited. But that’s fun, right? I hate the whole ‘Put it in a box. “We’re going to bend even more, I think, with this new record,” frontman and primary songwriter Cody Cannon said way back in February when the album was announced. Whiskey Myers have always leaned more in the rock direction. Yes, this is at the expense of some of the more reserved, country-sounding tracks that kept a lot of the shit kickers in their crowd, but it doesn’t come as unexpected. ![]() With their sixth album, Whiskey Myers chose to do the producing themselves, and more so than any of their previous releases, lean heavy in the Southern rock direction almost exclusively, including springing for the horn section and a backup chorus from The McCrary Sisters. But exposure is only of value if you can seal the deal with music that sticks to people’s bones and feels essential. The three Certified Platinum singles and another Certified Gold one without any help from the mainstream industry verify the propulsive infectiousness that have made this band an alpha male in this space, and have also proven that Yellowstone creator Taylor Sheridan is more of an influencer in music these days than Bobby Bones. ![]() Leading the charge on the more rock side of country is Whiskey Myers. ![]() From traditional country, to bluegrass, to Southern rock, from the land, sea and air, fiercely independent artists unwilling to compromise are challenging the status quo. It’s broad-based, multi-pronged, encroaching on the boundaries of Music Row from all flanks. ![]() The country music revolution isn’t being pushed forward by just a few high profile dudes like Zach Bryan, Tyler Childers, and Cody Jinks.
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