There were even subtle variations in sound and approach that gave bro-country an illusion of depth.
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Nashville’s songwriters worked some serious voodoo to graft this narrow bunch of themes (girls, booze, and trucks) onto their airtight hooks, but when it worked, it really worked. It was modern country’s most awkward phase. Like hair metal before, bro-country was all party and no consequence: No one puked in their mom’s closet or rushed off to Walgreen’s to buy a morning-after pill. Radio played the subgenre to the point of excluding almost everything else. Artists brokered collaborations with rappers and others working outside country to make their hits even bigger (see Nelly’s cameo on FGL’s “Cruise”). But even more people - the ones who actually buy records - loved it. Sprouting in the early portion of the decade with Florida Georgia Line, Luke Bryan, and others who rocked baseball hats, sleeveless Ts, and wallet chains with reckless abandon, it ended up dying a painful, but glacially slow death at the hands of Chris Stapleton and other new traditionalists.
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Do you even listen, bro? Without question, the dominant country music sound of the 2010s was that tatted-up, Monster Energy-fueled party barge of good times, tailgates, and hot chicks - the much-maligned bro-country.