Earlier this summer, Maddie and Tae began making waves with "Girl in a Country Song." Maggie Rose now enters the mix with "Girl in Your Truck Song."
A new songwriting trend is emerging within the country genre.
The track, in ripping the “bro-country” subgenre for its portrayal of women, makes its case with allusions to lyrics from songs like “My Kinda Party,” “Boys ‘Round Here,” “Get Me Some of That” and “Get Your Shine On.”
It has thus far been praised as a unique and refreshing addition to the country music genre. But when it hits iTunes next week and impacts country radio the week after, it will not be the only song of its kind.
Critically acclaimed country artist Maggie Rose, who is often identified as one of the talented female performers unfairly overlooked by “bro”-dominated country radio, has officially debuted her new single “Girl in Your Truck Song,” which was co-written by Caitlyn Smith, Gordie Sampson and Troy Verges.
Not simply similar to the Maddie and Tae track in title, Rose’s song also adheres to the same strategy of name-dropping popular male country songs. Throughout the song, the artist makes overt lyrical references to hits like “Cruise,” “Get Your Shine On,” “Tattoos on this Town,” “Take a Little Ride,” “That’s My Kind of Night,” “Mud on the Tires” and “Boys ‘Round Here.”
Rose’s song, however, comes with a twist: she is declaring that she wants to be the girl in the male listener’s truck song.
“I can be the girl in your truck song/The one that makes you sing-along/Makes you wanna cruise/Drink a little moonshine down/Leave a couple tattoos on this town/Chillin’ it with a cold beer/Yeah, hanging with the boys round here/Gonna take a little ride/That’s my kind of night/You and me getting our shine on/I wanna be the girl in your truck song/I wanna be the girl in your truck song,” she sings in the chorus.
Those cognizant of vitriol for the subgenre could certainly read the effort as a sarcastic shot at bro-country, but “Girl in Your Truck Song” comes with no overt diss, twist or punchline. It very much plays like a sincere endorsement of the genre’s lyrical patterns and a legitimate willingness to be the girl inspiring so many modern, popular, anthemic country tunes. Barring clarity regarding Rose’s intent, it will certainly be seen as such by the first wave of listeners.
While the Maddie and Tae song has received ample support from a community of country critics and fans that opposes the bro-country subgenre, it has also received negative marks from those fans–both male and female–who feel its attack on male country stars (and the prototype of the girl about whom they sing) is unfair. Rose’s contrasting approach will serve to amplify the discourse surrounding both “Girl in a Country Song” and the “bro-country” subgenre on the whole.