Susan Tucker, the show’s creator says, “It’s important to draw attention to the fact that, beyond the world of the major label artists, there is a whole other realm of artists; those that are out there making great music and working hard, all without the money and support of a major record label.” Tucker, of the Nashville-based Copeland Tucker Management has certainly made the right choice of venue where such an important event could be held.

Owned and managed by the Gaylord Entertainment Company, the legendary Wildhorse Saloon is a popular country/western-themed restaurant located right in the heart of Nashville—ground zero for the country music scene. With an extremely large dance floor, open bar, and spacious indoor concert atrium, this is certainly one of the premier venues in Nashville and is perfect  for a huge event such as “Country Indie.”

“Country Indie” is actually a series of monthly shows that shall be kicked off on December 15^th, 2009, with a concert to be headlined by Kim McLean and Sage Keffer. McLean, is of course, an award winning songwriter whose beautiful country love songs have been recorded by the likes of Trisha Yearwood, Tim McGraw, Lee Ann Womack, and The Martins. Her music has also been featured on shows such as West Wing and Hope and Faith. Her “Angels and Eagles” duet with Ms. Dolly Parton, which is included in her CD, “Happy Face” won the Americana Song of the Year from the Just Plain Folk Awards. Meanwhile, Sage Keffer is a regular from the CMA Music Festival. Born in New Mexico and raised on the Colorado-Wyoming border, Keffer nabbed a voice scholarship at Lamont School of Music in Denver and continued to pursue a career in country music. Today, he is one of the most buzz-worthy recording artists from the Nashville scene. These two artists will perform in the inaugural concert, which shall be hosted by Nashville’s indie artist, Rachel Williams.

The monthly events will spotlight three top-level acts during each installment. Says Tucker, “There are so many great country singers & performers that country music fans would love to embrace, but they’re not getting the opportunity to know these artists for a number of reasons.” She further explains, “One of which is a lack of radio support. I’m hoping this series will help these hard working and talented artists further their careers.”

Tickets for the show, which will begin on December 15 at 7:00pm, are at $6.00. You may visit the following for more information and updates: www.wildhorsesaloon.com, myspace.com/countryindie, or facebook.com/countryindie.

Hank Williams III

A claim to infamy of this so-called country music outlaw is the distinction of having the first major-label country album (2006’s uncensored version of Straight to Hell) to come with a parental advisory sticker.

The spitting image of his granddaddy, Hank Williams, the direction of Hank William III’s musical destiny might have been easy to assume. Although he channels a loud and rebellious persona on stage, Hank III is uncharacteristically soft-spoken off the stage. He ruffled some feathers and defied expectations when he developed a schizophrenic style that truly isn’t anything we have ever heard before—as opposed to hillbilly, it’s been dubbed “hellbilly” for the hell-raising that he has done through his songs.

Although he has a devoted following, Hank III’s music has never been embraced by old-school Nashville. Perhaps, it is because he has been very vocal—through interviews and in his lyrics—about the shortcomings of recognized institutions in country music. In his 2008 album, “Damn Right, Rebel Proud,” he has a song with the title “The Grand Ole Opry (Ain’t So Grand)” where he censures the radio program for snubbing country heroes like Waylon Jennings, Johnny Cash, and Hank Williams Sr. His grandfather was, according to him, unfairly dismissed in 1952 as a member of the Grand Ole Opry (speculations abound that it because of his alcoholism). However, the Opry “continues to put out records saying, ‘This is Hank Williams live from the Grand Ole Opry’ and using his image and likeness,” the grandson asserts.

A sample verse of the Grand Ole Opry tune goes, “To most people listening to this sit might seem like we’re talking shit; But if you look behind the scenes to see who is pulling strings, ****** it will make you sick…”

In an interview he did last year with LA Weekly, he shares something about the reasons for writing the song. “It’s just payin’ respects where respects are due. If you’re going to have a Hank Williams impersonator, if you’re going to have a Hank Williams play, if you’re going to have Hank Williams records and pictures all over your place, and he is the first man inducted into the Country Music Hall of Fame, he’s inducted into the Rock and Roll Hall of Fame… but the little secret society in Nashville is a little too good to pat Hank Williams on the back nowadays. That’s just not right. It’s as simple as that.”