Neotraditional country (also known as new traditional country, hardcore country, or hard country) is a country music style and subgenre that emphasizes the traditional country instrumental background (i.e. fiddle and pedal steel guitar) and traditional country vocals found in subgenres popularized in the 1940s-60s such as honky-tonk, Western swing, and the Bakersfield sound by artists such as Hank Williams, George Jones, Loretta Lynn, Buck Owens, Tammy Wynette, Kitty Wells, Bob Wills, Ernest Tubb, and Merle Haggard. as well as often dressing in the fashions of the country music scene of the 1940s-1960s.

The neotraditional country movement was ignited by artists George Strait, Ricky Skaggs, and John Anderson in the early 1980s as a rebuke of the Urban Cowboy-based pop-country scene of the late 1970s and early 1980s, and became popular in the mainstream country scene by the mid-1980s into the mid-1990s with artists such as Randy Travis, Clint Black, Dwight Yoakam, Alan Jackson, Highway 101, Patty Loveless, Kenny Chesney, The Judds, Brooks & Dunn, Mark Chesnutt, Toby Keith, and Keith Whitley. By the mid-to-late 1990s, the neotraditional country movement was overtaken in popularity by "stadium-sized" pop-country performers like Garth Brooks, Shania Twain, Faith Hill, Billy Ray Cyrus, LeAnn Rimes, and Tim McGraw, who integrated aspects of the neotraditional style with the musical and theatrical components of arena rock, adult contemporary music and 70s-90s pop music.

Western music performers of neotraditional style music often emphasize their heritage genres – examples include those associated with the late Al Hurricane in New Mexico music, and modern honky-tonk acts such as Zach Top, and bands like the Turnpike Troubadours and Midland in the Texas country music and red dirt scenes.

Neotraditional country rose to popularity in the mid-1980s, a few years after the so-called "outlaw movement", a previous "back-to-its-roots" movement, had faded in popularity. Neotraditionalism was born as a reaction to the perceived blandness of the mainstream country music at the time, which had been influenced by the rise of the "urban cowboy" fad. New (or "neo-") traditionalism looked to the elders of country music like Ernest Tubb, Hank Williams, Kitty Wells and George Jones for inspiration, and was a precursor to the more general categorization known as new country. The creation of neotraditionalism was also done in contrast to the more pop-oriented acts of the 1970s and 1980s, such as Ronnie Milsap and Anne Murray, along with the flood of former pop acts (see B.J. Thomas, Billy Joe Royal, The Osmonds, Bill Medley, Dan Seals and Exile) switching to "country" to revive their careers.

In 1981, George Strait had made his musical debut with the album Strait Country. The album was based on an approach towards traditional country music and its subgenres of honky tonk, Western swing, and the Bakersfield sound. The album was considered a sharp contrast to the then current trends of country music, at the time relying on the "urban cowboy" country-pop scene. AllMusic critic Stephen Thomas Erlewine observed:

And that's the genius of Strait Country—it showed how it was possible to be planted firmly in traditional country yet flexible enough to play softer stuff without losing that hardcore stance ... by blending the hardcore honky tonk, Western swing and Bakersfield country with a few melodic ballads that weren't designed for the barroom, he set the template for years and years of modern country.

It is with Strait Country that George Strait is credited with starting the neotraditional movement.

In the early 1980s, Ricky Skaggs, a picking prodigy who took his inspiration from Bill Monroe and Ralph Stanley (Skaggs was a Clinch Mountain Boy as a teen), began making music that he believed brought country back to its roots; Skaggs' style drew heavily on country's bluegrass vein.