From Lindsay Ell to Lil Nas X, country music has gone through one incredible makeover in recent years. The long-held stereotype that the genre has previously faced of being racist, bigoted, and politically right-leaning seems to, thankfully, now be a thing of the past. It’s safe to say that the tides started changing in 2019 when Lil Nas X burst onto the scene with his hit Old Town Road. Who could have guessed that a queer, black rapper would have dominated the charts and changed the trajectory of country music forever? In Rebel Country, directed by Francis Whately (David Bowie: Five Years, Dolly Parton: Here I Am), a handful of culture changers and country music artists set the record straight on the exciting state of the genre today.

Music for the Outcasts

Country music has always been a home for the outcasts, the rebels, and those who challenge the status quo. It is an outlet for creative storytelling through heartfelt lyrics and catchy chord progressions. Following in the footsteps of legendary crooner Johnny Cash, Rebel Country opens with CMT Music Award-winning musician Jelly Roll performing Folsom Prison Blues to a crowd of inmates in the prison where he used to be incarcerated. Going from criminal to celebrity is a humbling and hopeful trajectory that Jelly Roll reiterates, through his music, is possible. Not fitting into the mold is almost a requirement to be a successful country star. This sentiment is echoed by Jelly Roll, along with Blanco Brown, Breland, Lainey Wilson, Sam Williams, Lindsay Ell, and more as they share their stories of finding refuge in the country music community.

Whose Country is It?

There is no doubt that country music is far more diverse today than ever. However, that doesn’t mean that the genre is free from criticism. An obvious example that the documentary explains in depth is Lil Nas X’s debut Old Town Road, and how it was rescinded from appearing on the Country Billboard chart due to not being “country enough.” Lil Nas X opened Pandora’s box, showing that the future of country music didn’t have to revolve around heterosexual, midwestern white men and women. His presence on the scene allowed Black and Mexican-American artists like Breland and Frank Ray to finally see themselves reflected in the community and feel confident pursuing their own musical ambitions.

Takeaway

Despite its progression, Rebel Country is quick to confirm that the genre’s target audience is still the same. Country music still is–and always will be–music for the outsiders and misfits. After watching Rebel Country, which recently premiered in the Spotlight+ competition of the Tribeca Film Festival, it’s easy to see why many believe country music is the future.