Country music these days often comes across as a collection of recycled songs about beer, nationalism, jeans and the occasional good pair of cowboy boots. This makes sense, as many of the songs played on radio stations tend to focus on these topics. However, country music wasn’t always so patriotic and derivative, and so the genre has the potential to return to its roots.

Country music is a uniquely American genre that stems from folk and blues traditions, particularly the folk music brought to America by poor Scottish and Irish immigrants, and the blues sung by African Americans after the Civil War. Both groups have endured many hardships, and this was reflected in their music. Often the themes of folk and blues music relate to the singer who lives despite the harsh world around him. These were songs about discrimination, loss, poor working conditions and the orchestrated setbacks these people faced. When country music emerged in the 1920s, these topics became more prevalent. It was, for all intents and purposes, a genre that belonged to the working class of the American South.

When America transitioned into what is considered the “fourth generation” of country music in the 1970s and 1980s, two major movements emerged in America: pop country and outlaw country. In pop-country music, with well-known artists such as John Denver and Dolly Parton, the themes often revolved around love, heartbreak and hometowns. Outlaw Country, on the other hand, had an attitude about it. Most commonly associated with Willie Nelson, it was angrier at mainstream American culture at the time and used Old West imagery to encourage listeners to buck the norms. Yet there was none of the patriotism that is currently the defining characteristic of the modern country.

When did that change? The short answer is 9/11. Now it’s important to understand that country has always been a quintessential American sound. After September 11, however, love for the US came to the forefront of the genre. Suddenly, a series of songs condemning the attack emerged, from Toby Keith’s “Courtesy of the Red, White, and Blue (The Angry American)” to Charlie Daniels’ “This Ain’t No Rag, It’s a Flag.” both of whom vowed to avenge the attacks. These songs were just a small example of the wave of nationalism the American public was feeling, but they brought country music back into the spotlight in the context of patriotism. Rural artists would soon discover how profitable that patriotism was.

These days, what some call “stadium” or “bro” country is full of American pride, even if it doesn’t seem to fit with the rest of the song. It almost feels like singers have to reassure listeners that they are all for the flag. For example, there’s an infamous monologue about how Americans should support the troops, sandwiched in the Zac Brown Band’s “Chicken Fried,” a song that – as the title implies – is otherwise about fried chicken.

All this being said, even for those who don’t like their music with a side of red, white and blue, there is still hope in the country music genre. Artists like Orville Peck are expanding country music’s audience for the first time in years, especially to marginalized groups like the queer community. Folk music, which has always been the more progressive twin to the more conservative politics of post-9/11 country music, has also fought to create safer spaces for sidelined Americans, with artists like Willi Carlisle writing songs about queer experiences (“Life on the Fence”), or being poor in contemporary America (“Vanlife”). All in all, the scourge of nationalism in country music may dominate the genre’s understanding today, but that doesn’t mean this overriding pride should remain.