In America today, what qualifies as country music? Initially, this is the question that seems to be asked by “Rebel Country”, but it quickly becomes apparent that the film is concerned with much more, namely, how did country get here and what are the problems faced by many of its artists now? It’s a no-nonsense look at the genre’s history and evolution. And it means all genres for every problem in country music that’s laid out here, there’s something good in an unexpected place too. This inclusive thinking opens up new avenues for exploration about where our beloved art form has come from and might go next. The documentary takes an unflinching look at every corner where roots or growth can be found but also manages to make itself required viewing by being mostly uplifting.
“Rebel Country” touches on dozens of subjects race, class, poverty, gender identity and sexual expression, the balance between commerce and art (so much of which leads back to Nashville). Sometimes it’s a bit too fast and furious with these ideas. But what it does do well is dig into why people love this music so much. Surface level rebellion is always key here if you like anything about “Rebel Country,” it will probably come from that understanding alone. So once brought forth from beneath itself again as such a necessary part of any discussion around country music or any space built upon exclusionary racism sexism homophobia while disowning selfhood within which has poisoned everything up until now Yes! That also means Lil Nas X belongs here too..right?”
Well we know better than most documentaries seem willing As mentioned earlier however, the future lies within our own hands and we must ensure history isn’t repeated nor change avoided because change will happen regardless. A warning shot across everyone’s bow not only demanding attention but requiring action if one wants to bring about true inclusivity throughout nation Rebel Country serves as both a wake up call and reminder that needs must be met (as this documentary portrays) for all people living within these United States. For everyone is an outlaw according to what is shown in the movie and it thus falls duty rest upon each individual’s shoulders until such time as their efforts have transformed into something greater encompassing while acknowledging those who’ve made sacrifices along way towards achieving said goal but also still recognizing need continuous improvement only by doing so can we ever hope achieve better future.
“Rebel Country” does not just look at country music, but also delves into its roots directly and highlights how many of the most famous musicians were not the first to do what they did. This film was directed by Francis Whately (“Five Years”, “Dolly Parton: Here I Am”), who lets the history speak for itself in places where it has been ignored far too long. It is shocking that black people have been left out of this narrative altogether, which speaks volumes about our nation’s racism.
In addition to speaking on history, Rebel Country also shines a light on current issues with country today which are eerily similar to those of yesteryear. Lil Nas X’s “Old Town Road” gets plenty of airtime as well, after all, how “controversial” can one song be? The fact that some felt it was “not country enough”, or even had to call it anything other than what it is an anthem against country radio’s unfairness shows just how biased these folks really are.
However, the doc does hint at change, showing many contemporary country artists who strip down in their songs and have not lost faith in themselves including an influx of women and LGBTQ artists, who are not always welcome in this conservative genre.
But “Rebel Country,” featuring appearances by Steve Earle, Emmylou Harris, Lainey Wilson, Jelly Roll, Blanco Brown, Jake Blount, Rissi Palmer, Frank Ray, Brooke Eden, Sam Williams, BRELAND and Lindsay E., occasionally gets lost in what it chooses to cover. The film also suffers a bit from an overzealousness that feels like it’s trying to keep every viewer glued to the screen Some plot points here such as transitioning to different discussions like the history of musical segregation within the genre or lack of diversity feel rushed and surface level.
Early on in the movie (which was directed by Francis Whately), singer Jelly Roll arrives at a prison and sings for a crowd of inmates, there’s almost something rebellious about it which is more than can be said for much of this documentary. But instead of relying on exposition (“this is why country music matters”), Whately boldly and wonderfully shows the music rather than telling it via straightforward talking heads interviews or following any simple A to B documentary style.
“Rebel Country” shows just how stuck country music has been in a toxic and problematic bubble and now a new generation is trying to rewrite its rules. Challenge its status quo. Change its culture. As this documentary makes clear: Country music is not one thing. It’s many things. Many people of different cultures and lives yes. But also, The history. The many races and individuals who’ve made country music what it is today that should never be forgotten.
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