Sturgill Simpson will release his first bluegrass album, Cuttin’ Grass Vol. 1 — The Butcher Shoppe Sessions, this Friday, October 16th.Read More “Sturgill Simpson Announces Bluegrass Album”
Maybe if you don’t want to be on a record label anymore, you make a record they can’t market, then you get them to spend a million bucks on an animation film and refuse to promote it, and leave them holding this giant un-recouped debt. Maybe the bean counters will make a decision for me. I can go back to just doing it myself better than they do. That’s what I’ve learned. Because they don’t know what the fuck to do with me.
At the end of 2016, Sturgill Simpson managed maybe the most unlikely Grammy Album of the Year nomination of the modern era, for his third LP, A Sailor’s Guide to Earth. A few months later, he lost that particular award—to Adele—but did manage to walk away with a Grammy for Best Country Album. None of those things are going to happen again, and it’s not because Sound & Fury, the long-awaited follow-up to Sailor’s Guide, isn’t great. Rather, it’s because Sound & Fury 1) isn’t a country album, and 2) is even more blatantly unmarketable than its predecessor.
In a lot of ways, Sound & Fury is an anomaly in the 2019 music world. It’s the sound of a guy who was once hailed as a country music savior—first for his trad-country debut High Top Mountain and later for the experimental, boundary-pushing Metamodern Sounds in Country Music—callously tossing that mantle in the fire. It’s also the sound of an artist who was on the cusp of superstardom—maybe not quite Chris Stapleton/arena-concert-tour level, but close—walking away from it. Finally, it’s a loud, dirty, unapologetic ‘70s-style rock album—the kind that absolutely no one makes anymore. The guitars are so loud and so prominent that they sometimes threaten to drown Sturgill’s voice out entirely. Not that he’d probably mind.
Sturgill Simpson has announced some new tour dates.