Progressive Southern gospel is an American music genre that has grown out of Southern gospel over the past couple of decades. The style can trace its roots to groups like the Nelons in the 1980s, who appeared regularly on events with traditional Southern gospel groups despite their sound which was called "middle of the road" at the time.
Current progressive Southern gospel is characterized by its blend of traditional Southern gospel instrumentation with elements of modern Country and pop music. Hints of other styles are frequently employed in the mix as well. In some progressive Southern gospel, you can hear a touch of Cajun, Celtic, Bluegrass, or even Southern rock.
Where traditional Southern gospel more often emphasizes blend and polish, progressive Southern gospel tends to be presented with a more emotional tone. Vocalists are known for experimenting, stretching, scooping, slurring, and over accentuating melodies and diction.
Lyrically, progressive Southern gospel songs are patterned after traditional Southern gospel in that they maintain a clear evangelistic and/or testimonial slant. In many cases, lyrical content and/or Country diction are the only elements separating a progressive Southern gospel artist from a pop oriented, contemporary Christian music artist.
Read more about Progressive Southern Gospel: Impact of The Gaither Homecoming Series, Artists
Famous quotes containing the words progressive, southern and/or gospel:
“The history of modern art is also the history of the progressive loss of art’s audience. Art has increasingly become the concern of the artist and the bafflement of the public.”
—Henry Geldzahler (1935–1994)
“No: until I want the protection of Massachusetts to be extended to me in some distant Southern port, where my liberty is endangered, or until I am bent solely on building up an estate at home by peaceful enterprise, I can afford to refuse allegiance to Massachusetts, and her right to my property and life. It costs me less in every sense to incur the penalty of disobedience to the State than it would to obey. I should feel as if I were worth less in that case.”
—Henry David Thoreau (1817–1862)
“Resorts advertised for waitresses, specifying that they “must appear in short clothes or no engagement.” Below a Gospel Guide column headed, “Where our Local Divines Will Hang Out Tomorrow,” was an account of spirited gun play at the Bon Ton. In Jeff Winney’s California Concert Hall, patrons “bucked the tiger” under the watchful eye of Kitty Crawhurst, popular “lady” gambler.”
—Administration in the State of Colo, U.S. public relief program (1935-1943)