In this era of technological marvels, the value of authenticity is skyrocketing. This is evident in the popularity of country music on the Billboard Hot 100 this summer, particularly the rise of Oliver Anthony, a once unknown factory worker from Virginia whose song “Rich Men North of Richmond” unexpectedly reached number one. Anthony’s success aligns with a longstanding trend of audiences gravitating towards figures who exude a genuine quality manipulated by those in power.
With his wild beard and raw vocals, Anthony combines working-class frustrations, critiques of the welfare state, and allusions to elite child trafficking in “Richmond.” The power of his performance is undeniable, but the reaction has been divisive. While right-wing figures like Marjorie Taylor Greene embraced the song immediately, industry experts questioned whether a fabricated campaign was at play. Initial success was largely driven by digital downloads, an easily manipulated format that holds significant weight in chart calculations. Such suspicions, along with liberal criticisms of Anthony’s lyrics, which are seen as derogatory towards the poor and obese, sparked a firestorm of controversy among political pundits. In fact, a question about Anthony’s song even opened the GOP presidential debate, highlighting its impact on the nation.
Since then, the story has become more complex. Now fueled more by streaming than downloads, “Richmond” remains at the top of the charts for a second consecutive week, suggesting a genuine connection with listeners. Unlike Jason Aldean’s “Try That in a Small Town,” which quickly plummeted after one week at number one, Anthony’s song seems to have struck a chord. Furthermore, he is pushing back against attempts to manipulate his music for political gain. In a video posted on Friday, he laughed off being invoked at a GOP debate and clarified that the song was actually written about the politicians on that stage. He also defended himself against accusations that his lyrics attack the needy, asserting that he is simply speaking the truth about the struggles faced by the “have-nots” in America.
The video in which Anthony addresses these issues is captivating. For ten minutes, he speaks directly into the camera from the front seat of his truck, while rain pounds on the roof. Behind his formidable beard, there is a face that exudes wholesomeness, complete with a wry smile and piercing blue eyes. He carefully articulates his connection with disgruntled workers around the world. Despite his impending stardom, he remains cautious, expressing a reluctance to undergo a transformative roller coaster ride. As he wrote on Facebook, he wants to remain “just some idiot and his guitar.”
Anthony’s foray into music began in 2021 during what he describes as a dark period for the world and himself. The songs he has shared online explore personal struggles such as sadness and addiction, linking them to societal failings. He bemoans how people have lost their way, blindly following what they see on TV. While he occasionally touches on contentious topics like insect protein and self-driving cars in songs like “Doggonit,” his music primarily paints a picture of a rural refuge untouched by modern chaos. His policy views, although at times confusing and conspiracy-minded, reflect the confusion and dissemination of conspiracy theories that many despairing Americans have been subjected to, rather than a deliberate political stance.
What sets Anthony apart is not so much his ideology, but his rejection of excess. He is fed up with both Republicans and Democrats, but more significantly, he is disillusioned with technology and working for others. His desire, as expressed in his songs, is to find solace in marijuana, wine, and his dogs. These are quintessential country music aspirations, but Anthony’s gritty, haunting voice creates a more apocalyptic atmosphere compared to Nashville’s usual offerings. It brings to mind messianic musical traditions such as gospel or reggae, where the message transcends materialism and commercialization. However, Anthony remains a reluctant savior, at most. He claims to have turned down a lucrative $8 million record deal, insisting on preserving his humble identity.
Oliver Anthony’s emergence evokes memories of another white working-class hero in country music: Zach Bryan. However, it would be unfair to frame Bryan in any culture-war context. As a 27-year-old former Navy ordnanceman from Oklahoma, Bryan has largely avoided discussing politics, except for identifying as a libertarian and advocating against transphobia. His musical influences range from classic country icons like Merle Haggard to indie-rock artists like Bon Iver, and most notably, Bruce Springsteen, with his grit, idealism, and vulnerability.
Bryan’s journey began with lo-fi videos of himself singing and playing the guitar, while still serving in the military. One notable video is “Heading South,” filmed in September 2019, with the night ambiance and the hum of insects in the background. Bryan possesses the jawline of a superhero and the innocence of a cherub. The camera captures him at knee height, revealing red flashes in his pupils and skin, while he belts out his lyrics in passionate gasps. The song is a cascade of strummed chords accompanied by an anxious rhythm tapped out by his left leg. The lyrics celebrate a rural misfit who defies expectations with his songs. A line from the song encapsulates this sentiment: “They’ll never understand that boy and his kind, all they comprehend is a worthless dollar sign.”
Today, that song feels prophetic. Bryan has achieved a Grammy nomination, a top-10 Hot 100 hit with “Something in the Orange,” sold-out arena tours, and collaborations with renowned artists like Kacey Musgraves and the Lumineers. While he appeals to the “alt-country” audience that resonates with NPR listeners, his social media presence garners the same level of fervor as telegenic rappers or Taylor Swift.
Bryan’s recently released self-titled album showcases his primary asset: his voice, now refined with a touch of polish. He fluctuates between almost-laughter and sobbing bellows, giving his melodies a bleeding, watercolor-like effect. His songwriting is elegantly idiosyncratic, weaving together nature metaphors to describe romance while subtly revealing stories of illness and loss. One of his songs, “Summer’s Close,” ends with the haunting line, “Tonight I’m dancing for two.”
Similar to Anthony, Bryan exudes defiant gravitas. While Morgan Wallen, Nashville’s current standard-bearer, often uses rural-versus-urban narratives in lighthearted romantic tales, Bryan’s music resembles a Terrence Malick drama. He sings of being a wanderer, constantly cycling between adventure and returning to appreciate the simplicity of life. In the opening spoken-word poem on his new album, Bryan rejects the notion that excess leads to anything better. He denounces the music industry’s manipulative ways in “Tradesman,” yearning for authenticity that cannot be tampered with. “Give me something I can’t fake, that rich boys can’t manipulate. Something real that they can’t take, ‘cuz, Lord, I’m not your star.”
The underlying ideology driving both Anthony and Bryan’s quest for authenticity can be best described as a weariness with capitalism. They are drained by the relentless pursuit of success, disenchanted with superficiality, and wary of exploitation. They firmly believe that the most valuable things in life cannot be bought or sold. Anthony’s refusal to conform to the music industry’s demands echoes Bryan’s stance against exorbitant concert pricing schemes (as reflected in the title of Bryan’s 2022 live album, “All My Homies Hate Ticketmaster”).
However, it would be naive to pigeonhole these emerging artists into any specific political agenda. Music, especially popular music, rarely fits into neat political boxes. Ultimately, Anthony and Bryan offer a fresh perspective, providing a different kind of solace that goes beyond mere posturing in the music industry.
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