At face value, country music has always been simplistic in nature. Tales of love, heartbreak and unity—seasoned with a dash of family-friendly patriotism—were the order of the day, with the genre very much governed by a predefined set of standards and conventions.
Fast forward a few decades and country is the closest thing in modern music to a turf war. Beyonce’s superlative ‘Cowboy Carter’ was no doubt the catalyst, ripping up the rule book and setting flame to people’s preconceptions of what country music is capable of being. And Chapell Roan’s latest offering, violin-ordained country banger ‘The Giver’, is an exciting indication of where the genre could be heading next.
However, traditionalists were quick to detract from ‘Cowboy Carter’ and the homage it pays to country’s history, spawning a counter-movement that harks back to some of the more problematic aspects of the genre’s roots, exemplified by Carrie Underwood and Billy Ray Cyrus performing at Donald Trump’s inauguration.
Lana Del Rey is the latest arrival on the country scene with new single ‘Henry, come on’ (from an as yet unnamed album scheduled for release later this year), but it’s difficult to say with any certainty which camp she belongs in. On the one hand, Del Rey has assumed the undeniable status of pop princess, filling arenas and gracefully winning the hearts of liberals and conservatives alike. This relative neutrality has been complicated by her recent marriage to Louisiana-based swamp tour guide Jeremy Dufrene, with the court of social media opinion placing her firmly on the right of the political spectrum following her move to the Deep South.
For those seeking clues as to Del Rey’s ideological motives for a foray into country, this track keeps us guessing. Despite its insistence on sticking closely to classic lyrical country themes, typified by the outro’s “Go on and giddy up” refrain, musically Del Rey retains the serene composure of her signature sound and refuses to commit completely to the recognised norms of country.
Instead, we see a series of tastefully delivered nods to country heritage. The song opens with melodic acoustic fingerpicking, and on first listen, you’d be forgiven for expecting the dulcet tones of Johnny Cash to sing the first line. Slide guitar punctuates the second verse, adding another layer of depth to what is already a richly laden tapestry of subtle piano and soaring strings.
Despite an undeniable respect for tradition, this is not merely an artist conforming to the stringent demands of a well-established genre and rather an exhibition of crafting, and owning, a unique identity. Both on the surface and its core, ‘Henry, come on’ displays the defining characteristics of a Lana Del Rey song, from the irresistible musicality right down to the sombre inevitability of lyrics such as “But yesterday, I heard God say, ‘You were born to be the one / To hold the hand of the man / Who flies too close to the sun’”.
While it may be too soon to tell which faction of country music’s ongoing power struggle Del Rey will choose to side with, the song’s seamless—yet distinctive—alignment with a closely guarded genre is a promising indication of what the upcoming album will yield.
Words by Joe Jordan
Support The Indiependent
We’re trying to raise £200 a month to help cover our operational costs. This includes our ‘Writer of the Month’ awards, where we recognise the amazing work produced by our contributor team. If you’ve enjoyed reading our site, we’d really appreciate it if you could donate to The Indiependent. Whether you can give £1 or £10, you’d be making a huge difference to our small team.