Record sales declined during the Great Depression, but radio became a popular source of entertainment, and "barn dance" shows featuring country music were started by radio stations all over the South, as far north as Chicago, and as far west as California.
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In the 1930s and 1940s, cowboy songs, or western music, which had been recorded since the 1920s, were popularized by films made in Hollywood. Some of the popular singing cowboys from the era were Gene Autry, the Sons of the Pioneers, and Roy Rogers.[54] Country music and western music were frequently played together on the same radio stations, hence the term country and western music, despite country and western being two distinct genres.
In 1953, the first all-country radio station was established in Lubbock, Texas.[67] The music of the 1960s and 1970s targeted the American working class, and truckers in particular. As country radio became more popular, trucking songs like the 1963 hit song Six Days on the Road by Dave Dudley began to make up their own subgenre of country. These revamped songs sought to portray American truckers as a "new folk hero", marking a significant shift in sound from earlier country music. The song was written by actual truckers and contained numerous references to the trucker culture of the time like "ICC" for Interstate Commerce Commission and "little white pills" as a reference to amphetamines. Starday Records in Nashville followed up on Dudley's initial success with the release of Give Me 40 Acres by the Willis Brothers.[67]
Country music gained national television exposure through Ozark Jubilee on ABC-TV and radio from 1955 to 1960 from Springfield, Missouri. The program showcased top stars including several rockabilly artists, some from the Ozarks. As Webb Pierce put it in 1956, "Once upon a time, it was almost impossible to sell country music in a place like New York City. Nowadays, television takes us everywhere, and country music records and sheet music sell as well in large cities as anywhere else."[72]
Country pop or soft pop, with roots in the countrypolitan sound, folk music, and soft rock, is a subgenre that first emerged in the 1970s. Although the term first referred to country music songs and artists that crossed over to top 40 radio, country pop acts are now more likely to cross over to adult contemporary music. It started with pop music singers like Glen Campbell, Bobbie Gentry, John Denver, Olivia Newton-John, Anne Murray, B. J. Thomas, the Bellamy Brothers, and Linda Ronstadt having hits on the country charts. Between 1972 and 1975, singer/guitarist John Denver released a series of hugely successful songs blending country and folk-rock musical styles ("Rocky Mountain High", "Sunshine on My Shoulders", "Annie's Song", "Thank God I'm a Country Boy", and "I'm Sorry"), and was named Country Music Entertainer of the Year in 1975. The year before, Olivia Newton-John, an Australian pop singer, won the "Best Female Country Vocal Performance" as well as the Country Music Association's most coveted award for females, "Female Vocalist of the Year". In response George Jones, Tammy Wynette, Jean Shepard and other traditional Nashville country artists dissatisfied with the new trend formed the short-lived "Association of Country Entertainers" in 1974; the ACE soon unraveled in the wake of Jones and Wynette's bitter divorce and Shepard's realization that most others in the industry lacked her passion for the movement.
In 1980, a style of "neocountry disco music" was popularized by the film Urban Cowboy.[105] It was during this time that a glut of pop-country crossover artists began appearing on the country charts: former pop stars Bill Medley (of the Righteous Brothers), "England Dan" Seals (of England Dan and John Ford Coley), Tom Jones, and Merrill Osmond (both alone and with some of his brothers; his younger sister Marie Osmond was already an established country star) all recorded significant country hits in the early 1980s. Sales in record stores rocketed to $250 million in 1981; by 1984, 900 radio stations began programming country or neocountry pop full-time. As with most sudden trends, however, by 1984 sales had dropped below 1979 figures.[105]
During the mid-1980s, a group of new artists began to emerge who rejected the more polished country-pop sound that had been prominent on radio and the charts, in favor of more, traditional, "back-to-basics" production. Many of the artists during the latter half of the 1980s drew on traditional honky-tonk, bluegrass, folk and western swing. Artists who typified this sound included Travis Tritt, Reba McEntire, George Strait, Keith Whitley, Alan Jackson, John Anderson, Patty Loveless, Kathy Mattea, Randy Travis, Dwight Yoakam, Clint Black, Ricky Skaggs, and the Judds.
Despite the genre's growing popularity in the 1980s, 1990s and 2000s, alternative country and neo-traditionalist artists saw minimal support from country radio in those decades, despite strong sales and critical acclaim for albums such as the soundtrack to the 2000 film O Brother, Where Art Thou?.[125] In 1987, the Beat Farmers gained airplay on country music stations with their song "Make It Last", but the single was pulled from the format when station programmers decreed the band's music was too rock-oriented for their audience.[126] However, some alt-country songs have been crossover hits to mainstream country radio in cover versions by established artists on the format; Lucinda Williams' "Passionate Kisses" was a hit for Mary Chapin Carpenter in 1993, Ryan Adams' "When the Stars Go Blue" was a hit for Tim McGraw in 2007, and Old Crow Medicine Show's "Wagon Wheel" was a hit for Darius Rucker (member of Hootie & The Blowfish) in 2013.
Buoyed by her teen idol status among girls and a change in the methodology of compiling the Billboard charts to favor pop-crossover songs, Swift's 2012 single "We Are Never Ever Getting Back Together" spent the most weeks at the top of Billboard's Hot 100 chart and Hot Country Songs chart of any song in nearly five decades. The song's long run at the top of the chart was somewhat controversial, as the song is largely a pop song without much country influence and its success on the charts driven by a change to the chart's criteria to include airplay on non-country radio stations, prompting disputes over what constitutes a country song; many of Swift's later releases, such as album 1989 (2014), Reputation (2017), and Lover (2019) were released solely to pop audiences.[136][137][138] Swift returned to country music in her recent folk-inspired releases, Folklore (2020) and Evermore (2020), with songs like "Betty" and "No Body, No Crime".
Outside of the United States, Canada has the largest country music fan and artist base, something that is to be expected given the two countries' proximity and cultural parallels. Mainstream country music is culturally ingrained in the prairie provinces, the British Columbia Interior, Northern Ontario, and in Atlantic Canada.[185] Celtic traditional music developed in Atlantic Canada in the form of Scottish, Acadian and Irish folk music popular amongst Irish, French and Scottish immigrants to Canada's Atlantic Provinces (Newfoundland, Nova Scotia, New Brunswick, and Prince Edward Island).[185] Like the southern United States and Appalachia, all four regions are of heavy British Isles stock and rural; as such, the development of traditional music in the Maritimes somewhat mirrored the development of country music in the US South and Appalachia. Country and western music never really developed separately in Canada; however, after its introduction to Canada, following the spread of radio, it developed quite quickly out of the Atlantic Canadian traditional scene. While true Atlantic Canadian traditional music is very Celtic or "sea shanty" in nature, even today, the lines have often been blurred. Certain areas often are viewed as embracing one strain or the other more openly. For example, in Newfoundland the traditional music remains unique and Irish in nature, whereas traditional musicians in other parts of the region may play both genres interchangeably.
The Prairie provinces, due to their western cowboy and agrarian nature, are the true heartland of Canadian country music.[185] While the Prairies never developed a traditional music culture anything like the Maritimes, the folk music of the Prairies often reflected the cultural origins of the settlers, who were a mix of Scottish, Ukrainian, German and others. For these reasons polkas and western music were always popular in the region, and with the introduction of the radio, mainstream country music flourished. As the culture of the region is western and frontier in nature, the specific genre of country and western is more popular today in the Prairies than in any other part of the country. No other area of the country embraces all aspects of the culture, from two-step dancing, to the cowboy dress, to rodeos, to the music itself, like the Prairies do. The Atlantic Provinces, on the other hand, produce far more traditional musicians, but they are not usually specifically country in nature, usually bordering more on the folk or Celtic genres.[185]
Regional Mexican is a radio format featuring many of Mexico's versions of country music. It includes a number of different styles, usually named after their region of origin. One specific song style, the Canción Ranchera, or simply Ranchera, literally meaning "ranch song", found its origins in the Mexican countryside and was first popularized with Mariachi. It has since also become popular with Grupero, Banda, Norteño, Tierra Caliente, Duranguense and other regional Mexican styles. The Corrido, a different song style with a similar history, is also performed in many other regional styles, and is most related to the western style of the United States and Canada. Other song styles performed in regional Mexican music include Ballads, Cumbias, Boleros, among others. Country en Español (Country in Spanish) is also popular in Mexico. Some Mexican artists began performing country songs in Spanish during the 1970s, and the genre became prominent mainly in the northern regions of the country during the 1980s. A Country en Español popularity boom also reached the central regions of Mexico during the 1990s. For most of its history, Country en Español mainly resembled Neotraditional country. However, in more modern times, some artists have incorporated influences from other country music subgenres.
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