Dean Dillon is certainly not having it this time as he revealed his true feelings about Modern Country and in particular the ‘Bro-country’ thing going on.
Dean Dillon, Bro-country
“I never wrote songs for George Strait, but I’ve been accused of it,” says Dean Dillon on his interview with Wide Open Country. He candidly told the story on how he and Strait met and form a bond as respectable artists and two cowboys just being friends with each other.
Certainly, Dean Dillon is one of the most bankable names in the country industry. Some of his notable penned songs that were sung by George Strait are “Unwound,” “Famous Last Words of a Fool” and “I Ain’t Her Cowboy Anymore.” The hit song “Tennessee Whiskey: was initially pitched to George Strait as well but later on went to George Jones.[advert id=”194082″]
Because of overpowering classic hits that he wrote, one cannot help but notice how he sees the kids on the block nowadays. He told Wide Open Country about his thoughts on these breaking new artists in the country industry and the so called, ‘bro-country’:
“You gotta understand, I live, eat, sleep and breathe songs, we were the circus once. And now it’s their turn and it’s all good and well.
Every song is about the same damn thing, Daisy Dukes, trucks, beer, lake banks, time after time, after time, after time.
The bro country thing started 12 years ago, and 12 years later, they’re still singing the same things. Do they not evolve? Get older? Get married? Have kids? Get jobs and shift in society? There’s no movement in it.”
Still High Hopes, Jessie Jo Dillon[advert id=”194082″]
While the above statement might have a harsh truth in it, Dean Dillon wants to clarify that he doesn’t want to give up on the neophytes trying to prove themselves when it comes to singing and performing. His high hopes even include her own daughter Jessie Jo Dillon. He exclaimed:
“She’s got it way more together than I did at that age, Peanut can write her brains out.”
And if you’re waiting for an advice about song writing in Nashville, here’s what he has to say about it:
“The amazing part of Nashville writing is what it’s always been, You can sit down in a room with somebody you’ve never met and know nothing about, and three or four hours later you write this great song. How we do it, I don’t know, but it happens every day.”
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