Country Music’s Long History of Political Rebellion – and How It Became Conservative
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A recent controversy surrounding singer Zach Bryan’s new song, “Bad News,” has ignited a debate about the political leanings of country music and its fanbase. While some perceive the song’s lyrics as “anti-ICE” and unpatriotic, prompting criticism from figures like Homeland Security Secretary Kristi Noem, who deemed it “completely disrespectful,” and country star John Rich, who questioned the loyalty of Bryan’s supporters, the narrative of country music as inherently conservative is a surprisingly recent one. Indeed, for much of the 20th century, the genre served as a voice for liberal politicians and progressive causes, a history often overlooked in today’s polarized landscape.
From “Hillbilly Music” to the New Deal
A century ago, the country music scene bore little resemblance to its modern iteration. Emerging in the early 1920s with recordings of artists like Eck Robertson and Fiddlin’ John Carson, the music was initially labeled “hillbilly music” – a blend of Southern musical styles. Despite its deep roots in African American musical traditions, the recording industry of the era enforced segregation, categorizing music by race with “hillbilly” recordings for white audiences and “race records” for Black listeners.
Despite this segregation, “hillbilly music” found a diverse audience, attracting both Black and white listeners, particularly in the South. By the early 1930s, the Grand Ole Opry had become a national phenomenon, broadcasting from WSM’s powerful 50-thousand-watt radio tower in Nashville, Tennessee.
During the Great Depression, country musicians actively supported President Franklin D. Roosevelt’s New Deal. The Allen Brothers’ “New Deal Blues” poignantly captured the hardship of the era while celebrating the relief provided by Roosevelt’s programs, describing how they left “money in my pockets.” Similarly, Milton Brown’s “Fall in Line with the N.R.A.” reassured audiences that the president’s initiatives were restoring prosperity, turning the country into a “land of smiles” and “put[ting] depression on the run.”
Challenging Norms and Advocating for Change
This tradition of progressive engagement continued for decades. In the 1960s and 70s, female country superstars like Tammy Wynette (“D-I-V-O-R-C-E”), Jeannie C. Riley (“Harper Valley PTA”), and Loretta Lynn (“The Pill”) boldly challenged traditional social norms, reflecting the concerns of the burgeoning women’s liberation movement. Simultaneously, Johnny Cash, renowned for songs like “Folsom Prison Blues” and “San Quentin,” became a vocal advocate for prison reform.
The Conservative Turn: Nixon’s Strategic Appropriation
However, during the 1970s, country music underwent a significant conservative shift, mirroring broader societal changes. Richard Nixon astutely recognized the genre’s potential as a political tool, aiming to capture the votes of blue-collar workers, white Southerners, and suburbanites – those he believed were alienated by the anti-war protests and civil rights activism of the late 1960s. This demographic formed the core of Nixon’s “silent majority,” and he saw them as ardent country music fans.
To solidify this connection, Nixon designated October as National Country Music Month in 1972, asserting that the genre embodied American ideals of family values, patriotism, and Christianity. He also incorporated country-infused music into his “Nixon Now” campaign advertisements, targeting Southern and middle American voters. In March 1974, he even made a highly publicized appearance at the Grand Ole Opry, ostensibly to celebrate the First Lady’s birthday and the opening of the new Opry House, but strategically timed to bolster support amidst the escalating Watergate scandal.
One particularly memorable – and ultimately unsuccessful – attempt to leverage country music for political gain involved Johnny Cash. In April 1970, Nixon invited Cash to the White House, hoping he would perform songs critical of social welfare programs, such as Guy Drake’s “Welfare Cadillac.” However, Cash defied expectations, instead performing his anti-war anthem, “What is Truth?” leaving Nixon visibly displeased.
A Missed Satire and the Rise of Classism
Despite Cash’s continued liberal leanings, the 1970s saw a growing disconnect between country music and the left. Liberal journalists often derided the genre and its audience, failing to grasp its nuances. A prime example is the reaction to Merle Haggard’s 1969 hit, “Okie from Muskogee.” While intended as a satire of both “hippies” and conservative middle Americans, the song was largely embraced by the right, leading to accusations of super-patriotism and fueling a sense of cultural division.
The Boston Globe even dubbed Haggard’s song the “Silent Majority March” by the end of 1969. This misinterpretation extended to Dolly Parton, whose flamboyant persona and working-class background were often dismissed or criticized by liberal writers, with one critic in the Village Voice even comparing her to a 1940s minstrel performer.
This disdain for country music inadvertently aided Nixon’s political strategy, providing evidence for his claim that a liberal elite looked down upon the “silent majority” and their way of life. The critiques revealed a deep-rooted classism, as country music remained one of the few prominent art forms representing the white working class in the United States. As economic hardship intensified throughout the 1970s, liberal criticism of country music only exacerbated resentment among blue-collar workers, who felt increasingly politically abandoned.
As journalists navigate the current political debate surrounding country music in 2025, it is crucial to learn from the mistakes of the past. Country music, like its audience, is inherently malleable, capable of expressing both bigotry and progressive ideals. It is a genre with a rich and complex history, one that deserves to be understood in all its contradictions and nuances.
Made by History takes readers beyond the headlines with articles written and edited by professional historians. Learn more about Made by History at TIME here. Opinions expressed do not necessarily reflect the views of TIME editors.
