When Morgan Wade first debuted on the mainstream country music scene in 2021, she felt like a natural and uncontroversial fit. At that time, fans had a real appetite for left-of-center acts that didn’t necessarily look or sound like radio stars. Still only a viral sensation, Zach Bryan was making waves while Cody Johnson and Parker McCollum were crossing over with their homegrown Texas audiences. It was a good time for outsiders, and the tattooed Virginian seized her moment with an outstanding debut and an endlessly catchy single. Producer Sadler Vaden (of Jason Isbell and the 400 Unit) seemed to have just the right feel for Morgan’s sound, finding the perfect blend of 90s pop-rock and alt-country in the vein of his own band. In sum, the album Reckless was the ideal balance of satisfyingly bittersweet songwriting and radio-friendly hooks.
As bright as her future appeared in country music, Morgan Wade’s subsequent efforts lacked the bite and originality that made Reckless so cool. Her sophomore effort, Psychopath, had some interesting moments but wasn’t nearly as grounded in its storytelling. Without the reflective self-loathing and narrative specificity, that album was left a bit toothless; however, Sadler Vaden’s shimmery production remained a bright spot, making some of the less lyrically impressive moments fun to listen to.
Unfortunately, her third full-length effort, Obsessed, was handicapped by Vaden’s absence. Songs like “2 AM In London” and “Time To Love, Time To Kill” indicated that Wade had more to say than on her prior LP, but without the sharp hooks and smooth instrumental moments of her debut, this record also felt like something was missing. Together, Psychopath and Obsessed are like two sides of the same coin, both carrying fragments of what made Reckless special, but neither one can fully put it all together.
That brings us to this fine January in the Year of Our Lord 2025. Morgan Wade has been largely ignored by Nashville for a few years now. After two albums that missed the mark commercially and the noticeable absence of her creative partner-in-crime, Sadler Vaden, fans of the Virginian need a sign that she’s willing to make a pivot towards greener pastures artistically. Right now, it doesn’t feel like she and country music are a perfect pairing anymore. More than likely, the magic of Reckless will not be duplicated, which forces the question, “What’s next for Morgan Wade?”
This past week, an unlikely source offered a suggestion (if indirectly); the rock band Shinedown announced their “Dance, Kid, Dance” summer tour, featuring support from Bush, Beartooth, and… you guessed it, Morgan Wade. To see the melancholy Appalachian rubbing elbows with a few of the premiere faces of divorced dad rock may justifiably strike you as odd. But on second thought, wander with me for a moment in the realm of possibilities and consider this: maybe these middle-aged Monster Energy poster boys could be the bridge Wade needs into her next era.
Yes, you heard that right. It’s time for Morgan Wade to chart a course as a newly-minted alternative rock artist. And no, I’m not using the term “alt-rock” like the Grammys do, as an umbrella term that also encapsulates left-of-center pop artists like Lorde and Halsey. We’re talking about drums, old-fashioned, gritty power chords, and a knack for channeling frustration into awesome, shoutable choruses. Go listen to “Glycerine” by Bush or “If You Only Knew” by Shinedown, and tell me that those monster choruses aren’t the missing piece to Morgan Wade’s fourth LP.
One thing about this proposition that seems especially appealing is how seriously both this artist and this format usually lean. There’s generally very little irony or self-deprecation when it comes to this post-butt-rock style of music. The songs are meant to convey real passion, even if they occasionally come out a bit cheesy. On the flip side, Morgan Wade presents as someone who’s extremely in touch with her own feelings, whether she’s regretting her past or battling anxiety. She has what it takes to mesh the intimacy of her inner monologue with production that won’t put the listener to sleep.
That absence of sarcasm would be a massive differentiator between a Morgan Wade rock record and HARDY’s recent efforts. Even though HARDY’s enthusiasm for rock music is obviously very earnest, the overly self-referential nature of projects like the mockingbird & THE CROW makes the heavy riffs and yelling feel more like a costume he’s wearing. We don’t need to be told repeatedly that he likes rock music; he’s proving that simply by making it.
Conversely, Morgan Wade has never been in the habit of explaining herself or apologizing for her creative decisions. The music will speak for itself if she makes an album that leans harder on riffs than singer-songwriter chords. That alone makes her a far better candidate to represent the alt-rock godfathers in 2025. After all, readers would be hard-pressed to identify a Nickelback song about how much they like to rock out. They simply do, cornily wearing their feelings on their sleeve with no apologies or explanations.
The other interesting piece is that with Morgan Wade’s thoughtful, introspective way of writing, she can shake off the dorkiness that makes early 2000s rock music feel so lame and low-brow. Marrying lyrical beats that transport the listener right into her story with fresh, accessible melodies was the core of Reckless’s cool factor. More often than not, Wade has something to say, which pretty much nerfs critics’ biggest quibble with this brand of radio rock.
The last question at play would be whether a pivot towards alternative rock would be something Morgan Wade would even be interested in. Obviously, this article relies heavily on conjecture to build the case, but the fact remains that her most recent musical interests point like a flaming arrow towards a rock and roll era. Not only is she embarking on the Shinedown tour this year, but her most recent headlining outing also offered a few clues. Her set for every tour date included three cover songs: Bad Karma by Miley Cyrus (from her short-lived glam-rock era in 2020) and a medley of Your Love by the Outfield and Jessie’s Girl by Rick Springfield. There’s no hiding it; rock and roll is in her DNA. She spent some time last summer on the road with her hero, Alanis Morisette, and punk rock legend Joan Jett. And, of course, it’s seldom, if ever, that Morgan Wade isn’t repping an Anthrax, Led Zeppelin, or Nirvana t.
Altogether, these recent clues paint the picture of an artist who’s just uncomfortable where they’re at. Has Nashville done right by Morgan Wade? Maybe, and maybe not; “Wilder Days” was everywhere for a few months but ultimately never got a follow-up single, which mostly torched her momentum going into the next album cycle two years later. Even so, Psychopath wasn’t challenging or multi-faceted like its predecessor. Now, we’re in a place where Morgan Wade doesn’t seem terribly inspired by country music, and the industry is equally uninterested in her product. On the flip side, rock and roll is calling her name, and it’s easy to see why. Her style, grit, and candor are tailor-made for it and offer her a chance to show off her best qualities and shake off the monotony that’s held her back as of late.
Ultimately, a move to alternative rock could be the proverbial escape Morgan Wade longed for throughout Reckless.
