Of the folks you outlined, Margo Price and Benjamin Tod have a legit claim on the title and perhaps most notably, wouldn't be interested in it. Both openly skirt the law and do not seem to care about people knowing about it. But in the end, we are well outside of the Outlaw movement in country and into the space of alt as our rebellion -- but then again, it seems that this Alt-Country Bit's Done Got Out of Hand...
I think it is a lot like what happened to "indie rock" which people say is a sound but has nothing to do with style. But you can't unbrand a brand once the labels have a hold of it. Outlaw country is not too outlaw these days as you point out. Regardless, good music is good music.
If you think of “The Law” as establishment country radio, then Outlaw would be that wide range of artists who, like wildcat miners, dig through the rich vein of American roots styles. Their output might not be in vogue but nonetheless results in far richer textures of music than what you see at the CMAs. That’s why I look at artists as varied as Colter Wall, Sturgill Simpson, Sierra Ferrell, and Melissa Carper as the legitimate heirs of the outlaw label. It’s not so much a style of output but an approach to the craft and way of existing while maintaining integrity an utterly compromised industry.
Of the folks you outlined, Margo Price and Benjamin Tod have a legit claim on the title and perhaps most notably, wouldn't be interested in it. Both openly skirt the law and do not seem to care about people knowing about it. But in the end, we are well outside of the Outlaw movement in country and into the space of alt as our rebellion -- but then again, it seems that this Alt-Country Bit's Done Got Out of Hand...
I think it is a lot like what happened to "indie rock" which people say is a sound but has nothing to do with style. But you can't unbrand a brand once the labels have a hold of it. Outlaw country is not too outlaw these days as you point out. Regardless, good music is good music.
If you think of “The Law” as establishment country radio, then Outlaw would be that wide range of artists who, like wildcat miners, dig through the rich vein of American roots styles. Their output might not be in vogue but nonetheless results in far richer textures of music than what you see at the CMAs. That’s why I look at artists as varied as Colter Wall, Sturgill Simpson, Sierra Ferrell, and Melissa Carper as the legitimate heirs of the outlaw label. It’s not so much a style of output but an approach to the craft and way of existing while maintaining integrity an utterly compromised industry.