A Swift Kick

If the last 11 years – and more recently, the events in a Denver courtroom – have taught us anything, it is the following: this is Taylor Swift's world. You, me, and fellow, ordinary citizens of earth are merely renting blank space here.

As a young artist, Swift empowered a nation of female tweens by demonstrating poise, strength, and maturity beyond her years at every turn, serving as the consummate role model. As a victim of assault and battery – a jury in Denver ruled her as such – she substantially upgraded her profile as a shining example, empowering ALL women earlier this month when she chewed up and spit out an attorney who unwittingly assumed he could rewrite the story of her awful ordeal. Swift bravely flipped that script, playing offense, not defense, on the witness stand, completely taking ownership of a courtroom, a trial, and the ongoing issue of unwanted abuse that, sadly, women still face. Swift did some scriptwriting of her own, while overhauling the playbook for how other victims of assault might respond. In the process, she greatly increased her level of importance and relevance in pop culture, unexpectedly, for reasons outside her core business: making great, mass appeal music.

So, now that we've reaffirmed Taylor Swift’s worldwide awesomeness – just two weeks removed from the international, albeit non-musical spotlight – Swift is jumping back into it feet first, in the style we’ve become accustomed to, announcing a brand-new album, “Reputation,” set to drop November 10th. A single, which we don’t know the title or the sound of, is due just after midnight tonight. We hear the whole project will be another Pop record, a follow-up to 2014’s brilliant “1989.”

At this point in her career – hell, even back in 2014, for that matter – when Taylor Swift rolls out new music, it’s a big stinkin’ humongous deal that the entire entertainment industry gives undivided attention to immediately. And, unlike with “1989,” I’m sensing many Country programmers will be tempted test drive the single right alongside Pop radio the moment it arrives.

I love that idea. Why not expose new, highly anticipated music nearly every other current radio format and music platform will be playing? Why should Country radio just give this mega-event away and sit on the sidelines as a spectator? If ever there was a time to jump right in, this is it. As I’ve discussed in this space previously during the past two years, Country radio continues to be a legitimate 18-34 performer, on a more consistent level than even its traditional 25-54 core. And, we know the younger demo – millennials – don’t have defined “formats” or “genres.” They like it all, and want it all, as long as it’s all good. “Genre doesn't matter,” said KRTY/San Jose GM/MD Nate Deaton, responding to my Facebook post announcing release details of the single and album. “[Swift] fans are our listeners. Not saying I would play it 100 times a week if it doesn’t fit the sound of the station, but I will play it once or twice the morning it comes out at the very least. Why not promote it and keep folks from going elsewhere to hear it?”

Have we ever had a more diverse environment on Country radio? A new band that sounds like something from 80s traditional Country radio – Midland – has a top 10 record, “Drinkin’ Problem,” that will be a #1 single. Put money on it. Radio loves that song – every programmer I talk to says it’s an absolute earworm. Lady Antebellum's soulful "You Look Good" is on its heels, and both Jason Aldean and Brothers Osborne have rockin' singles – "They Don't Know," and "It Ain't My Fault," respectively – working well in the top 15. On the other end of the spectrum, look at Sam Hunt’s “Body Like A Backroad.” I have no idea what the new Taylor Swift single will sound like, but can it be more mass appeal, and Pop, than Sam Hunt?

Remember when "Backroad" came out in January, and many programmers screamed bloody murder – under their breath? They thought “Take Your Time,” and “Breakup In A Small Town” crossed the line. Now “Body Like A Backroad” has gone on to be a multiple-week #1, consistently researches hugely at radio, is nearing two million in digital single sales, racks up a bazillion streams every week, has been a multi-format smash, and just may be the single of the year for ALL formats. As KBEB/Sacramento PD B-Dub accurately pointed out to me, "We haven't seen a single this big at Country radio since Florida Georgia Line's "Cruise" in 2012." Chiming in on the Facebook conversation, B-Dub asked, “If Sam Hunt can thrive on both Country and Pop stations, why can't Taylor?” To which consultant Joel Raab replied, “She could … depends on the song.”

If music still had any perceived fence, or border, or genre, or format, or whatever line of demarcation term you can come up with, then Sam Hunt has just spent all of 2017 so far systematically making shambles of them all. He's created his own lane on Country radio in the last two years, and since he’s an ex-football player, (warning!) here’s a gridiron analogy for you: Hunt may have served as the fullback for tailback Swift, opening a gaping hole for the right song and artist to run through and score touchdowns, no matter the format. Not that Swift needs a big window; as we said already, she’s the biggest music star in the world currently. And, come to think of it, maybe SHE led the way in the first place, incrementally moving toward a definite shift to Pop, and taking Country as a format with her, beginning with her second album, “Fearless,” and continuing with follow-ups “Speak Now” and “Red.”

But here’s another reason why playing a new Taylor Swift song none of us have even heard yet actually makes sense for Country radio in 2017: she already has a solid, loyal base there, both with fans and the gatekeepers. Swift established her career at Country radio 11 years ago and always did right by it. Even after declaring “1989” a dedicated Pop album, she STILL treated Country radio with reverence. She still welcomed PDs to the radio room at her Pop shows. She didn’t run out and abandon Country radio abruptly. Swift prepared us for her evolution. Go back and listen to 2012’s “Red,” which I have maintained is every bit as Pop as “1989.” If you missed the signs then, you didn’t listen closely.

Now think back to 2014, and remember how many PDs in our format said they’d welcome Swift back with open arms if she made a Country record again; many still believe (and hope) she will. She’s got strong equity here. But, things have changed on Country radio since 2014 – it’s wider than ever; that’s how fast this train is moving. I think many programmers will reason in 2017, “Why wait for Taylor Swift to make a Country record?” There’s no law saying Country can’t spin her new music.

There are, of course, caveats here. Swift’s new single may, in fact, be more Pop-sounding than Sam Hunt’s “Body Like A Backroad.” Once they hear it, some PDs may determine it’s just not a fit. But it IS an event. For ALL of music. Yes, Country radio, it’s bigger than you. Sorry, that’s a fact. So, why sit this one out?

I say play it on the front end. Listen to your listeners. They’ll tell you when and if enough is enough. “If it's Pop or not, you would be crazy to ignore it,” says Erie Radio Company/Erie, PA PD Tom Scott. “Swifties are a rabid bunch; embrace them, and the song, for the musical moment that it will be.” He’s right about Swifties. There are a ton of ‘em who still love Country radio, and – like the Honey Badger – Swifties don’t care! They don't see boundaries. Only PDs still do.

Country radio understood when Swift made the Pop pivot. They didn’t, and still don’t, hold a grudge or harbor jealousy for her move; they’re proud of her. Country programmers and the entire Country industry should rightfully feel they’ve been a partner in shaping Swift’s incredible “Reputation.” I don’t think the format risks damage to theirs by helping her celebrate another success.