Country Music with Soul
To many, country music conjures up the image of rednecks in pickup trucks, drinking whiskey and singing about heartbreak. Yet, country music actually represents a blend of folk, Western and blues music from the Southern United States. Stylistically, these forms were deeply influenced by Black spirituals and work songs, while the lyrics reflected the trials and tribulations of working-class life.
In this manner, The War and Treaty is quintessential country. Yet, they are so much more. With songs like the tender ballad, “Leads Me Home,” to the bluesy potency of “Mr. Fun,” The War and Treaty is a powerhouse of musical stylings. Begun by Michael Trotter Jr. and Tanya Trotter in 2014, the husband-and-wife duo have earned back-to-back Duo/Group of the Year awards from the Americana Music Association as well as the Country Music Association, Academy of Country Music and Grammy nominations.
Despite these accolades, The War and Treaty has had to defend their music against stereotypes. While on a national tour to celebrate their new album, “Plus One,” the Trotters paused to discuss the integrity of their work as genre-bending musicians.
This interview has been edited for length and clarity.
Source Weekly: I imagine that there are challenges at times that come up because you’re in this cross-genre area of music.
Michael: Yeah, it’s very difficult. You’ve got to really taper yourself down, especially when you’re considered to be in the country music genre. I feel like I have to get my emotions together. Even now, as we speak, we’re nominated for the Academy of Country Music Award. We just parted ways with our label who used to be called Universal Music Group Nashville. Now they’re called MCA. We parted ways, and this award show will feel different because we won’t have their support. You know, we won’t be going out there and being represented by one of the most prominent country music labels of all time. We’re expected to walk this carpet, and we’re expected to just be grateful that we’re there, but at some point, someone on that carpet is going to ask us about representation. At some point, someone on that carpet is going to ask us about being Black. And not one white act will get asked that question. Not one white artist will get asked about representation. Not one white artist will get asked, “How does it feel to be in this country music genre that’s predominantly white?” They won’t get asked those questions. They can just simply focus on the music. They don’t have to talk about elections. They don’t have to talk about politics. Their skin color affords them the opportunity to just be who they are.
My skin color does not afford me the opportunity. It steals the opportunity and makes me have to make statements. So that part is where you can’t let it steal your joy. Just this morning, I decided I’m not going to the ACMs for these reasons alone. I don’t want to be used in this manner. But I look when we perform, and fans have said, “We’re so proud of you. You all make us smile.” When that happens, you refocus, you lick your wounds, you hulk up in a different way, and you go.
Tanya: Yeah, and just to add to what Michael is saying, I think that, when we look at it from that perspective, it is definitely always going to be a challenge. I’m reading this book right now by Tracie McMillan called “The White Bonus, Five Families and the Cash Value of Racism in America.” The book is breaking down the last 100 years and how this is still working and still allowing racists to matriculate and others who don’t look like them to not. We’re not afforded the luxury of just showing up and not having to worry about representation. What if we don’t go and there’s some Black couple somewhere who will never know what it looks like to see a Black couple at the Country Music Awards? So we can’t just show up, which allows us – in a good way – to always have a purpose. This isn’t a burden. This is a purpose.
The representation is so important. Sometimes, that is the hard part because you can’t just go off your emotions. I’m sure Dr. King didn’t want to get up many days, or Alexis Herman didn’t want to go to the White House many days, but it allowed us to have a Black president, it allowed us to have a Black first lady. You know, people had hope. And I think that’s what The War and Treaty is. We’re the hope against the hope.
SW: I admire the courage that it takes to get up and say, “This is what I have to do,” even when you may want to just focus on the music and just have a nice time. I love that you said it needs to be a purpose and not a burden.
Tanya: Yes, definitely a purpose. As challenging as it is, thank God I have my husband who I can vent to, and he can vent to me. But it’s our purpose. And you know, being a human is challenging. To raise kids and just live is a challenge, you know? So you add that on top of everything else. It’s a challenge, but it’s purpose, you know? That’s your thesis statement every morning when things get tough. You know, that’s your motto.
SW: When you think about the coming generations, what kind of legacy would you like to leave behind in music?
Michael: Love; the legacy of love.
Tanya: The same. A legacy of love. That’s it.
