Feral Goddess Energy in Rhinestone Boots

Okay. Hear me out—I wasn’t planning to write about country music today. I was not!

But nothing else was working.

And I needed somewhere to put all this—whatever-the-hell this is.

 

You ever have one of those days where you're just off?

Raw around the edges. Carrying too many feelings with no place to put them. Just this hot, twitchy static under your skin. Like you’re about to cry or start a bar fight, and you’re not sure which would help more.

 

That was me today.

It was all too much and nowhere near enough.

 

I tried music. The good kind. The heavy stuff.

The albums I’m supposed to review.

The beautiful, layered, soul-destroying post-doom sludge records I usually get off on.

Nothing landed.

 

Even my go-to playlist of devastation anthems felt hollow.

Hell, even Type O Negative couldn’t reach me—and when Peter Steele can’t uncoil your ribcage, something’s wrong.

 

So I did what any woman does when her soul is glitching and her brain feels like a kicked beehive—

I threw myself into chores.

Because however lonely or unmoored you feel, laundry’s always there.

You can be falling apart in every direction—but there’ll still be boxers to fold.

There’s something almost comforting in the sheer mundanity of it.

 

So I hauled three full baskets of clothes into the kitchen, poured myself a glass of chilled white, and started folding.

And because I can’t do silence anymore—and because I was desperate—I pulled up a random “female rage” playlist on Spotify.

 

Just needed something. Anything.

A sonic match for the emotional combustion threatening to detonate in my chest.

And then it happened.

 

| "Right now, he's probably slow dancin' with a bleach-blonde tramp

And she's probably gettin' frisky

Right now, he's probably buyin' her some fruity little drink

'Cause she can't shoot whiskey..."

 

Frisky. She said frisky.

She said fruity little drink.

Babe. BABE.

 

I felt her hate. In my bones. Like heat rising off pavement.

 

It was petty.

It was messy.

It was simple.

 

And it was perfect.

 

|  "Right now, he's probably up behind her with a pool stick

Showin' her how to shoot a combo..."

 

YES. YES, GIRL. SAY IT.

 

| "Right now, she's probably up singing some

White-trash version of Shania karaoke

Right now, she's probably saying 'I'm drunk'

And he's a-thinkin' that he's gonna get lucky..."

 

We all know this guy.

We all know that bleach-blonde tramp.

We've all seen this exact karaoke bar in our nightmares.

 

I didn't care that this wasn't my story.

That it didn't match my actual situation at all.

It hit the emotional target so cleanly I almost folded the same pair of pants six times.

 

This was feral displacement.

The slow unravelling of feelings I don’t even have words for.

And this—this ridiculous, twangy, baseball-bat-to-the-soul song—gave me somewhere to put them.

Because sometimes, when your usual heartbreak anthems fail you,

when the doom doesn’t reach deep enough,

when metal can’t hold the mess you’ve become—

 

You don’t need complexity.

 

You need a woman with mascara tears and an Oklahoma slugger.

You need feral goddess energy in rhinestone boots.

 

Let’s talk about why it works.

Let’s talk about why it hits.

Let’s talk about how country music out-heavies metal when you’re emotionally compromised beyond all reason.

Country doesn’t hide what it’s feeling.

It doesn’t shroud heartbreak in six layers of metaphor or drown it under distortion.

It just says it.

 

You did me wrong.

I’m hurting.

I’m furious.

And I’m going to sing about it in perfect pitch with an acoustic guitar slung over my shoulder.

 

There’s a strange kind of freedom in that.

Metal is all scale and atmosphere—it builds cathedrals out of pain.

You can dissolve in it, lose the edges of yourself.

But when your nerves are raw and your brain’s been gnawed to threads, you don’t want transcendence. You want truth.

You want someone to name the thing out loud.

 

Carrie Underwood. Taylor Swift. Faith Hill. Shania Twain.

They all have that same magic: clarity.

Those voices are weapons. Polished steel and absolute control.

They name emotions with surgical precision—no metaphor, no veil.

Just—

"Here’s me. Here’s my guitar. Here’s exactly how you wronged me, bastard. And here’s me spitting in your drink."

 

You remember my Kelly Clarkson moment during the Ghost Bath breakdown?

Same phenomenon. You’re already halfway to emotional ruin, and then that one song—that one voice—lands squarely on the bruise and goes: "Yeah, girl. We’ve all been there."

 

It’s not pity. It’s solidarity.

That’s the real secret of country.

Not the twang, not the storytelling—the solidarity.

 

That moment where you realise you’re not the only one folding laundry and holding back a scream.

Someone else has already lived this scene, sung it, survived it—and left you a three-minute map out of the madness.

And that’s the thing about country—it’s not just clarity or solidarity.

It’s simplicity.

 

Life is bloody complicated sometimes. You end up tangled in your own mess—half emotion, half imagination—and you need something that cuts through the noise.

 

Nothing does that better than rage-dancing to the southern drawl of a wronged woman carving her name into a car door with her keys.

Carrie swung her bat today.

I exhaled. And for a few minutes, that was enough.

 

It picked me up.

It made me brush off the debris.

Lift my chin.

 

Because sometimes the heaviest thing in the room isn’t the distortion.

It’s female solidarity and a fucking acoustic guitar.

 

And if the genre gatekeepers feel the need to shriek about it—breathe.

You were warned.

I wrote about James Blunt, for fuck’s sake.

I told you: I don’t do genre.

I am genre-fluid, emotionally unstable, and powered entirely by vibes and poor impulse control.

 

The next post will very likely be about jazz-infused avant-garde black metal.

We’re fine.

 

But today, I let Carrie Underwood hold the bat—

and honestly?

She knew exactly where to swing.