The emergence of a strikingly cohesive set of gender narratives on country radio in the late 2000s and early 2010s can be linked to the impact of globalization and economic crisis during those years.
In redneck-blueblood anthems, the country boy wins over the wealthy, cosmopolitan woman despite her material success and his limited economic and social prospects. This popular narrative extends the long-standing tradition in which down-home country masculinity is defined partly through its relationship to the character of the upwardly mobile woman who has moved from working-class to middle- or upper-class status.
Whereas some critics view country culture as articulating a form of working-class male abjection or degradation, the redneck-blueblood songs provide a narrative of success that directly reclaims the value of working-class masculinity. This narrative resonates with audiences confronting intensely threatening economic and social dislocation in the global economy.
This according to “Why ladies love country boys: Gender, class, and economics in contemporary country music” by Jocelyn R. Neal, an essay included in Country boys and redneck women: New essays in gender and country music (Jackson: University Press of Mississippi, 2016, pp. 3–25).
Above, a screen shot from Trace Adkins’s Ladies love country boys; below, Brad Paisley and Carrie Underwood’s Remind me. Both songs serve as case studies in the article.