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From Hipster to Hillbilly: Death, Bluegrass, and Gospel According to David Crowder

2019; Cambridge University Press; Volume: 13; Issue: 03 Linguagem: Inglês

10.1017/s1752196319000221

1752-1971

Joshua Kalin Busman,

American Political and Social Dynamics

Abstract Even with the widespread adoption of rock-styled “praise and worship” music in American churches, bluegrass and gospel musics still serve as potent musical signifiers, especially among the white southern evangelicals comprising praise and worship's primary demographic. Drawing repertoire and influence from Hank Williams, Loretta Lynn, and Bill Gaither, evangelical artist David Crowder uses strategic musical references to establish his own sense of “hillbilly” religiosity but often deploys these references in ways that align him with a “hipster” community of young musicians and music fans. In this paper, I demonstrate the ways that strategic references to bluegrass and gospel music allow Crowder to situate himself within these multiple discourses of evangelical authenticity.