“Small-Town Troubles: Jason Aldean’s Controversial Track Stirs up Country Music’s Reputation”

Jason Aldean Already Had the Most Contemptible Country Song of the Decade. The Video Is Worse

The Rise of Belligerent Country Music

Country music, known traditionally for its focus on “three chords and the truth,” seems to have taken a turn towards belligerence with Jason Aldean’s latest song, “Try That in a Small Town.” The song not only promotes a divisive narrative of moral superiority but also glorifies vigilantism and violence. This already contemptible song is made worse by a music video that further perpetuates harmful stereotypes and connotations.

New York Times music writer and critic, Chris Willman, boldly criticizes Aldean’s song and video for their cynical approach to portraying small towns and their residents. Willman argues that while many country songs celebrate local pride, Aldean’s song focuses on the perceived threats posed by outsiders and the need to keep them at bay by any means necessary.

A Cynical Song and a Dystopian Narrative

“Try That in a Small Town” takes the form of a “making a list” style song, but instead of listing the virtues of small towns, it presents a hellish dystopia where city dwellers commit violent crimes. The song’s lyrics paint a bleak picture of a society where “sucker punching,” “carjacking,” and “pulling a gun on the owner of a liquor store” are synonymous with coolness. It quickly becomes a Second Amendment anthem woven with deep paranoia.

The most disturbing part of the song is when Aldean sings about the most dreaded act in small towns—the desecration of the American flag. This trope harks back to bygone days and seems out of touch with contemporary issues. Additionally, the song conflates protesting and violent crime, equating leading a march and getting in a policeman’s face with rioting or carjacking. This dangerous conflation reduces the complex issues of protest and social justice to simplistic and divisive narratives.

A Divisive Message and An Unfortunate Turn for Country Music

Willman argues that Aldean’s song and video make clear that the singer intends to divide rather than unite listeners. By portraying protesting as a criminal act and perpetuating harmful stereotypes, Aldean’s music comes across as a divisive statement rather than a political anthem. The video, in particular, projects images of protesters being put down, conflating peaceful demonstration with violent crime.

It is worth noting that Aldean has faced criticism for his anti-vaccine and anti-transgender youth stands in the past. While some conservative defenders may claim that critics are overreacting due to these prior controversies, Willman argues that Aldean’s music goes beyond political differences and instead fosters an “us vs. them” mentality.

Country Music’s Legacy of Political Commentary

Comparing Aldean to legendary country artist Merle Haggard, Willman notes that Haggard, despite his controversies during the Vietnam era, ultimately showed racial sensitivity and justice in his music. Haggard was a uniter, not a divider, and expressed sociopolitical viewpoints in a reasonable and interesting manner. Willman suggests that Aldean, on the other hand, seems more interested in courting anger from his audience and playing into the culture of divisiveness.

Willman also credits artists like Maren Morris for approaching topical issues with open-heartedness and advocating for finding common values with politically opposed individuals. He contrasts Morris’ approach with Aldean’s and expresses a wish for Aldean to show similar conciliatory and welcoming spirit in his music.

Critical Reflection on the State of Country Music

Willman speculates that Aldean’s divisive approach may be a reaction to not receiving the nominations or wins he believes he deserves at country awards shows. By playing into anger and frustration, he may be attempting to win favor with his audience. However, Willman argues that it is essential for country radio to decide if they want to support Aldean’s contentious message.

Willman suggests that country music should return to portraying small towns as inviting places and move away from narratives that set outsiders on edge. The goal should be to find common ground, rather than exacerbating divisions.

In conclusion, Jason Aldean’s song and video for “Try That in a Small Town” are not only cynical but also perpetuate harmful stereotypes and divisive narratives. The music industry and country radio should take a critical look at the message being conveyed and decide whether they want to support Aldean’s divisive approach or promote a more inclusive and unifying country music.