Technically, “The Giver”, Chappell Roan’s latest single, is a surprise release, but the anticipation for it has been building for months. The song was performed on Saturday Night Live in early November, at what will surely remain the highest rated episode of the show’s 50th season (notably, this was the episode which included a cameo from Kamala Harris three days before the 2024 presidential election), and its stark contrast with the majority of the Chappell Roan catalogue made it a subject of fascination among the many fans she had picked up over the preceding months.
The four-and-a-half months which have passed since Roan’s SNL debut have felt like years, and therefore the time since she became a legitimate pop star has felt like centuries. But it was less than a year ago, when Chappell Roan released her previous single “Good Luck, Babe!”, that in an era of songs by established artists debuting at #1 with relative ease, a song that eventually was streamed over 1.3 billion times didn’t even chart in its first week, and when it did, it only debuted at #77. And yet this marked her biggest chart triumph ever; although her debut album The Rise and Fall of a Midwest Princess was critically acclaimed, it did not become a bona fide pop culture sensation until the summer of 2024. She has since charted a top five song (the aforementioned “Good Luck, Babe!”), a top ten song (“Pink Pony Club”), and the #15 “Hot to Go!”, in addition to several other songs that charted often after years of buildup. But “The Giver” is the first single to be released by Chappell Roan since she became a genuine pop culture force, somebody whose cultural cachet arguably exceeds her strong chart positions. It’s not that “The Giver” is her best single or her single most written with commercial ambitions at the forefront (I would argue it’s neither, even if this is more of a compliment to her previous work than a critique of “The Giver”). It’s that an established pedigree as a pop star plays a big role in whether a song becomes a hit. I fully expect “The Giver” to be Chappell Roan’s first American number one single.
Whether they reached the peaks one believes they deserved is subjective, but songs like “Hot to Go!” and “Good Luck, Babe!” are clearly pop radio songs in the technical sense. There really isn’t a credible argument for playing either on an R&B station, or a rock station, or any other genre-based playlist. But “The Giver” is different. “The Giver” is, by any clinical definition, a country song.
How “country” any given country artist is has been a time-honored tradition among country music purists—there were plenty of people who thought prime Dolly Parton was too pop, not to mention plenty of people who felt the same way about Garth Brooks, Shania Twain, Kenny Chesney, or Luke Bryan. But by the standard of country-ness that defines modern country radio, “The Giver” fits most if not all of the criteria sonically. With its neo-traditional country instrumentation, including an honest-to-God fiddle solo, one could argue it’s more country than most “country” that plays on the radio.
Will “The Giver” receive country radio airplay? I suspect it probably will not: partially because Chappell Roan, prior to this, was by no means a country music artist; partially because the LGBT-themed lyrics are quite on the nose for a format that has grown more tolerant over the years but is still certainly right-of-center on cultural issues; partially because the song almost reads as an attack on traditional pop-country lyrical themes (though this didn’t stop, say, Maddie & Tae from having a massive country hit was the bro-country takedown “Girl in a Country Song”). But that doesn’t mean that it cannot make an impact on the country charts—there is precedent for this.
Before Lil Nas X’s breakthrough “Old Town Road” became arguably the Song of the Summer of 2019, it was effectively a cause because of its relationship to country music. In March 2019, the song charted simultaneously on the Billboard country and R&B/hip-hop charts; when it was unceremoniously dropped from the country chart for supposedly lacking sufficient elements of country music. When it came to Lil Nas X, a young African-American man from the South, there was a very obvious elephant in the room—his race in an overwhelmingly white musical genre. But in the defense of the country establishment, which had elevated the likes of Darius Rucker and Kane Brown in recent years, “Old Town Road” was marginally country-influenced at most. I don’t have a strong opinion on whether it should have been on the country charts either way, but it featured a strong trap beat built around a Nine Inch Nails sample—even when Billy Ray Cyrus was invited for a verse on the remix, this was still very much a hip-hop-forward song at its core.
Last year, in contrast to the newcomer Lil Nas X, one of the biggest pop stars in the world, released her first true forays into country music, with Beyonce’s Cowboy Carter. And while the album as a whole was somewhat varied by genre, with heavy R&B and traditional blues elements very much present, debut single “Texas Hold ‘Em” was a reasonably straightforward country song. There was initial controversy when country radio stations would not play the song, but it’s not unreasonable that those who had not yet actually heard the song would dismiss it, not because of an assumption of lack of quality nor because of an assumption of Beyonce’s inability to make country, but because of tons of precedent suggests that Beyonce is not a country artist. “Texas Hold ‘Em”, a country song, was a #1 hit on the Billboard Hot 100 and on the Billboard Hot Country Songs charts, but it peaked at only #33 on the Billboard Country Airplay chart, the same spot as it peaked on the Adult Alternative Songs chart.
Genre divides are not nearly as strong as they once were. It is reasonable to have genre-based radio stations, but vanishingly rare is the country radio listener who listens to absolutely nothing but what is being fed to them on country radio. I think a lot about the diversity of charts on which Adele’s “Rolling in the Deep” appeared in 2011—in addition to being an omnipresent #1 hit, it charted in the top sixteen on the charts for Dance Club Songs, Rock Airplay, Hot Rock & Alternative Songs, and Latin Pop Airplay. On one hand, this is confusing on the basis of genre (for those who somehow have not heard this song, it treads closer to soul than any of these genres), but on the other hand, it makes intuitive sense if you work under the correct assumption that the song’s popularity largely transcended race, gender, age, or any other demographic. A white woman from London didn’t chart on the Latin Pop Airplay because she steered into Latin Pop culture so much as she made an undeniable banger.
Chappell Roan is a white woman from Missouri (as a Missourian, I was legally obligated to mention this within the first 1200 words or face criminal punishment), so in terms of pure demographic destiny, her as a country star isn’t unusual. As an open lesbian whose stage show is littered with LGBT influences, however, she is arguably more at odds with conservative country culture than Beyonce, who is famously in a monogamous heterosexual marriage. I have no doubts that plenty of country music enjoyers will enjoy this song—plenty were enjoying her decidedly non-country music anyway. But exactly what the country establishment makes of Chappell Roan should be genuinely fascinating.