Tyler Childers is an artist whose work defies categorization. Following his breakout release, “Purgatory,” in 2017, Childers has become a well-known figure within the country music scene — and, to an extent, an Appalachian folk hero.
While Childers has never shied away from incorporating the fiddle, and his Appalachian dialect is unmistakable, describing his music as simply country or folk is reductive. In his more recent releases, psychedelic influences and 1950s rockabilly sounds play a significant role in the stylistic development of his music.
His most recent release, “Snipe Hunter,” is no exception. Far more eccentric than his previous album, “Rustin’ in the Rain,” “Snipe Hunter” explores topics ranging from loving older ladies to a spiritual pilgrimage to India and even includes a warning about the diseases carried by koalas in Australia.
While many of the tracks may seem unrelated, Childers’ storytelling ability and his authentic approach to writing about subjects that genuinely interest him continue to captivate.
The two singles from the album, “Oneida” and “Nose on the Grindstone,” are previously unreleased tracks that had already gained fan-favorite status. Although some listeners have expressed mixed reviews on these versions under the production of Rick Rubin, the older songs from the much more melancholic “Purgatory” era have been revitalized to stylistically align with the rest of the album.
Childers has consistently expressed his sociopolitical views through music. His 2020 album, “Long Violent History,” was written in response to the death of Breonna Taylor and emphasizes that his primary audience — the white working class — should stand against the injustices faced by Black Americans living under the constant threat of police brutality. His 2023 single, “In Your Love,” was accompanied by a music video portraying a touching story of two gay coal miners in 1950s Appalachia. Additionally, many of his songs include references to his struggles with addiction and his contentment with sobriety.
The opening track of “Snipe Hunter,” “Eatin’ Big Time,” serves as commentary on class status and how wealth dictates life. The following track, “Cuttin’ Teeth,” pivots to Childers reminiscing on the simplicities of working class life. Track four, “Getting to the Bottom,” is a reflection on his past and his curiosity concerning how his friends that did not find sobriety are doing now, including the line, “I never wanna get that way again.”
The second half of the album is far more eccentric than the first, and in plain terms, is just fun. Featuring songs such as “Bitin’ List,” a song about how he would bite those he dislikes if he were to ever get rabies, “Down Under,” a psychedelic detour about a trip to Australia and “Tirtha Yatra,” a documentation of a trip to India and a commentary on faith.
The stylistic choices on this album complement the wide variety of topics explored across its 13 tracks. With varying levels of production, each song stands on its own, preventing the album from falling into a repetitive pattern.
As a rural Appalachian artist with a gift for storytelling and performance, Childers’ stylistic freedom in each release contributes to the appeal of his music. He has discarded the conceptual “rule book” of country music and written his own.
