Sarah Shook and the Disarmers

I'm not a huge fan of most country music. Usually the rhythms and tones aren't really my thing. But that said, country music is one of the basic building blocks of American popular music, along with blues, gospel and jazz. Everything is related if you go back far enough. Country rhythms pop up in Chuck Berry tunes. Ray Charles reworked country standards into soul ones. The father of country music, Jimmie Rogers, was influenced by blues artists. He was also known as a white bluesman. Rogers' yodeling later influenced blues titan Howling Wolf. Johnny Cash and Elvis Presley were influenced by black rock-n-roll and blues musicians. And on and on. One thing that the best forms of music share regardless of genre is emotional honesty. I first heard about Sarah Shook in a recent NYT review. I was intrigued enough to give her music a listen. I was happy I did. Now her upstate New York by way of North Carolina warbly alto voice may not be to everyone's taste. But I like her voice a lot. She is to me a pretty engaging singer. And she's not bad as a guitarist. The music she's creating doesn't require her or the other guitarists in her band to fly up and down the fingerboard constantly or show off everything that they know in under two minutes. Sometimes knowing what not to play and where to leave space for the vocals and other instruments is just as important as filling up the sonic voids. The guitar solos, when they occur, are usually short and to the point.
Shook's ability lies in songwriting and interpretation as far as I am concerned. She is an excellent example of someone who plays for the song. As a self-described left-wing bisexual vegan atheist civil rights activist working in a genre that has become more associated with reactionary politics, Shook shows, as many musicians of all races, both genders and various sexualities have done before her, that what matters is the emotion that a person puts forth in their music, not the singer's politics or other personal characteristics.