Steve Earle is an artist who commands celebration. His music is only one facet of a career marked by complexity, resilience, and a persistent voice for what he believes is right. Through his songs, Earle delivers messages that resonate deeply with audiences willing to listen. Among his extensive catalog, “Copperhead Road” stands as a landmark.
Today, we spotlight “Copperhead Road,” arguably Steve Earle’s most commercially successful song. It’s a track instantly recognizable to many, a classic from his 1988 album of the same name. While Earle’s discography boasts numerous songs with potent messages and perhaps greater obscurity, “Copperhead Road” serves a vital purpose. Its familiarity is its strength, acting as an accessible entry point to broader themes Earle explores. The song’s enduring appeal lies in its portrayal of desperation, a feeling that sadly persists across generations, underscoring a need for change.
“Copperhead Road” narrates the fictional saga of John Lee Pettimore III, a third-generation rebel. He’s less a singular character and more an embodiment of various real-life “outlaws.” Pettimore’s lineage is rooted in moonshining and bootlegging in Johnson County, Tennessee. His grandfather, a whiskey distiller, famously used a modified police cruiser, acquired at auction, for his deliveries – his illicit activities an open secret. John Jr. continued the family business but met a tragic end in a fiery crash en route to Knoxville with his weekly shipment. By the time John Lee Pettimore III emerged, the world had shifted, but the rebellious spirit remained.
After serving two tours in Vietnam, driven by a sense of patriotic duty, John III returned home with new skills and a familiar landscape. He decided to utilize the family land for a more contemporary venture: cultivating marijuana. Drawing upon techniques learned in Vietnam, he envisioned himself as part Rambo, part Tennessee farmer, supplying his community just as his forebears had.
Alt text: Quote from Steve Earle expressing concern about political polarization and the need for understanding.
However, the Drug Enforcement Administration (DEA) soon caught wind of his operation. A new battle began on “Copperhead Road,” this time on American soil. Awakened by a Vietnam flashback, John found himself facing a different kind of enemy. The government he once served now sought to stop him. This narrative highlights a stark hypocrisy: a patriot turned pariah within the shifting sands of governmental priorities. This cycle of conflict and disillusionment persists, blurring the lines of allegiance and fueling distrust towards authority. Understanding the roots of this disconnect is a complex undertaking.
Steve Earle himself offers a perspective. Openly leftist, he has been critical of political figures, yet advocates for bridging the divides that fracture society. He embodies a nuanced viewpoint, a “different kind” of voice that is increasingly necessary. For decades, Earle has used his music as a vehicle for his message. In 2017, he articulated a crucial realization:
I thought that, given the way things are now, it was maybe my responsibility to make a record that spoke to and for people who didn’t vote the way that I did. One of the dangers that we’re in is if people like me keep thinking that everyone who voted for Trump is a racist or an asshole, then we’re fucked, because it’s simply not true.”
Steve Earle
This quote underscores the challenge of finding common ground in a polarized nation. Earle recognizes the danger of dismissing entire groups of people and emphasizes the need for understanding and communication. He challenges those on the left to examine their own role in the growing divide.
He points to fundamental issues within American society. How can the wealthiest nation struggle to provide basic necessities for its citizens? Earle simplifies the solution to four key points:
- Universal healthcare.
- Accessible education for all.
- Shelter and food security for the homeless.
- Funding these through increased taxes on the wealthiest 1% and reduced military spending.
Alt text: Steve Earle performing live on stage, showcasing his passionate musical delivery.
For Earle, these aren’t radical demands, but fundamental requirements of a just society. Their absence reveals a system where the wealthy and powerful manipulate societal divisions for their own gain, exploiting the masses for profit.
There is no excuse for anyone to go hungry in the richest country in the world or without health care.”
Steve Earle
This sentiment echoes throughout Earle’s later work, particularly his album ‘Ghosts of West Virginia.’ This album tells the harrowing story of the Upper Big Branch mine disaster, where 29 workers perished due to the negligence of Massey Energy and its CEO Don Blankenship. Despite a history of safety violations and a significant fine, Blankenship prioritized profit over worker safety, leading to tragedy. His subsequent lenient sentence and failed Senate run highlight a disturbing disconnect between corporate accountability and political power.
The song “It’s About Blood” from ‘Ghosts of West Virginia’ encapsulates this injustice:
Once upon a time in America
Workin’ man knew where he stood
Nowadays just gettin’ by is a miracle
Probably couldn’t give it up if I could
Don’t wanna hear about the state of the economy
Fiscal reality, profit and loss
None of that matters once you’re underground anyway
Damn sure can’t tell me nothin’ ’bout cost”Steve Earle – It’s About Blood
This verse captures the desperation and vulnerability of the working class, trapped in a system that devalues their lives in pursuit of profit. Earle’s broader message is clear: society must change, and that change must be driven by the people themselves, starting with listening and communicating across divides.
So, this is one move toward something that might take a generation to change…We need to learn how to communicate with each other. My involvement in this project is my little contribution to that effort. And the way to do that—and to do it impeccably—is simply to honor those guys who died at Upper Big Branch.”
Steve Earle
The powerful elite thrives on division and chaos, maintaining their power by exploiting a working class often pitted against itself. The potential for unified action against this exploitation is a threat to the established order.
Returning to “Copperhead Road,” John Lee Pettimore III embodies this struggle. Like many working-class individuals, he feels unheard, forced to take matters into his own hands, echoing his family’s history of rebellion against the system. Decades later, this sense of limited options and systemic injustice persists. Unless fundamental changes occur, these cycles of desperation and conflict will continue.
In 2017, Devildriver, a heavy metal band, paid tribute to outlaw country by covering “Copperhead Road” on their album ‘Outlaws ‘til the End,’ further solidifying the song’s cross-genre appeal and enduring outlaw spirit.
Beyond his music, Steve Earle has been a long-standing advocate for the abolition of the death penalty. He views it as a barbaric practice, reflecting a society willing to dehumanize individuals, particularly those marginalized by race and socioeconomic status. He questions the very foundation of American ideals when considering this practice:
We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.”
Declaration of Independence
Earle urges a deeper examination of the societal factors that lead to capital crimes, pointing to inequality and a sense of hopelessness as root causes.
Keep in mind, I’m not opposed to the death penalty because I’m trying to save people on death row. I’ve been in jail — most of the people locked up needed to be there. It’s not about that. It’s about the damage it does to us. A country that doesn’t execute people is less likely to attack Iraq for no reason and is more likely to carry itself in a way that has the respect of the world. I haven’t abandoned that issue. But I don’t get involved in individual cases very much. I got too close to too many inmates, and most of them are dead. I watched one of them die.”
Steve Earle
Earle’s perspective is grounded in personal experience. He acknowledges his own flaws and struggles, arguing that these very imperfections lend authenticity and weight to his voice. His compassion and understanding are hard-earned.
Recently, Earle faced personal tragedy with the accidental overdose death of his son, Justin Townes Earle. In response, he created ‘J.T.’, a tribute album released on Justin’s 39th birthday, January 4, 2021. The album features covers of Justin’s songs and concludes with Steve’s original, “Last Words”:
Last time we spoke was on the phone
And we hung up and now you’re gone
Last thing I said was I love you
Your last words to me were I love you too”
Steve Earle – Last Words
This album joins Earle’s previous tribute albums, ‘Townes’ (for Townes Van Zandt) and ‘Guy’ (for Guy Clark), each a testament to artists who profoundly influenced him. These projects highlight music as a powerful tool for processing grief and honoring legacies.
Ultimately, Steve Earle believes in music’s power to enact change. He uses his art to provoke thought, question societal norms, and inspire listeners to strive for a better world. In an industry often hesitant to address controversial topics, Earle remains a vital voice, unafraid to challenge the status quo. Art, at its best, should be disruptive, prompting self-reflection and societal critique. Steve Earle’s music, exemplified by the enduring relevance of the “Copperhead Road Song,” helps us understand our present and perhaps, navigate a path toward a more just future.
