You might not have caught it in Carrie Underwood’s quick introduction, but that sure enough was the remains of the Wailers backing up Kenny Chesney on a medley of “Everybody Wants to Go to Heaven” and Bob Marley’s hit “Three Little Birds”. Which would have won the best mash-up of the evening hands-down if it hadn’t been for Kid Rock’s “All Summer Long”, a surprisingly poignant hybrid of Lynyrd Skynyrd’s “Sweet Home Alabama” and Warren Zevon’s “Werewolves of London” (although the live version leaned heavily toward the former) which has become Rock’s first hit on the country charts, performed with rapper Lil Wayne possibly playing guitar alongside a gentleman who looked oddly like AC/DC’s Brian Johnson in a “Joe the Strummer” T-shirt.
Kid Rock’s performance was a wild clash of symbols, with Detroit-born Rock’s unabashedly white trash appropriation of urban style grafting onto Skynyrd’s oft-misunderstood call not just for Southern pride but a reevaluation of the stereotypes of Southern culture. With his oversized Titans jersey, Lil Wayne at his side, and huge American flags projected behind him, Rock seemed ecstatic to be part of country music, and the audience seemed thrilled to have him there.
In an age where every possible type of music is instantly available to new audiences, where American Idol prioritizes vocal prowess while tossing soul, R&B, pop, and country into the massive blender of Celebrity, and the number of listeners who staunchly self-identify as fans of one particular genre dwindle without new devotees to replace them, the country-music industry seems to have made an astute decision. When more kids are following MySpace phenom Taylor Swift to Country Music Television than are looking to CMT for their next Taylor Swift, it might simply be that the first genre to unify in order to protect and encourage its own financial interests back in 1958 is, 50 years later, the first to embrace the death of genre as a concept.
Kid Rock and Lil Wayne
Kenny & the Wailers
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