Welcome to posting, Matsche
The only two things I've heard about the Pistol Annies' situation are that Angaleena was in Texas when Ashley and Miranda were at the CMT event; and that Ashley has told Sirius that they are still a band, and still the best of friends
(I can't help thinking how eerily similar those words are to what the Dixie Chicks said for years - but I don't want to be pessimistic about a situation that is so recent, and about which we know so little. Groups can certainly be vulnerable to changing circumstances and changing perspectives of members. Fans often hear little, and resort to speculation. In the Dixie Chicks' case, the speculation went on for years, went round in circles, and, in the end, appeared to be largely correct. But in the case of the Civil Wars and the Pistol Annies, I think it's unwise to speculate too much on something we're not party to, and may still be resolved.)
If you'll forgive a digression though - if
any group does have to break up, I think the best thing is probably not to let it run on in rumour and uncertainty. One of my favourite groups, Red Molly, had to face a founder member leaving, and I think handled it with grace and consideration for fans. If it has to be done - this is probably the way to do it - go back to the festival where you started, involve your fans, and sing "Last Call For The Broken Hearted"
On the more general issue that's been raised, about women in Country Music, there is currently a buzz of excitement among songwriters, critics and hard core Country fans about the younger artists pushing more edgy, critical, songs, with a more noticeable Roots feel.
For example, one of the most respected names in Nashville songwriting, Matraca Berg, tweeted last night that she thinks it's the most exciting time for women in Country since the 90s.
I agree that it's unfair to leave Carrie out. I think she currently has the strongest album of her career, and her first three songs of this era certainly meet my definition of being edgy and remarkably innovative. I also think two of them in particular, "Good Girl" and "Two Black Cadillacs" also pay homage to two of the significant traditions of Southern Roots Music (Texas Blues and Southern Gothic) However, I'll be honest and say I think there may be two reasons why Carrie is not being included in the buzz surrounding albums such as "Like A Rose" and "Same Trailer Different Park". One is that the Roots elements Carrie is including in her lead songs are not specifically Nashville Mainstream Roots (and therefore are less interesting to those critics who want to see more homage paid within Mainstream Country itself); and secondly, that Carrie's overall work tends to be seen by many critics as blurred by being too close to General Music (not the direction those revisionist critics and fans want).
While I strongly support albums such as the ones I mentioned, though, I think the extent to which they will actually influence Nashville may be exaggerated. I think they will create interest - which may be more than temporary - but I think they are more likely to remain in a viable, but limited, niche market. The fact that they are being embraced within the Mainstream (instead of having to go Alternative) is encouraging - but the theory that they will take over the Mainstream is just wishful thinking. Music Row and the radio world will do what they've always done - follow the major demand. More diversity within that can only be good - but it's not going to impinge on those artists and fans who are pursuing another course.
