The Giver – Chappell Roan Written By Will Chapman
The country music community can be tough to crack; we’re a finicky bunch. Generally, when artists from another genre attempt to cross into the country format, they are met with sideways looks and sometimes downright anger. Country music is a hot commodity, and we are seeing more and more artists from the pop and hip-hop worlds dip into the scene. More often than not, it looks like a quick cash grab, so it would be easy to roll your eyes at the news that Chappell Roan released a country song. However, her latest work, “The Giver,” might surprise you. The track sounds straight off of Shania Twain’s Come On Over. It features a fiddle, a stomp-clap drum beat, silly innuendos, and an irresistible melody. “The Giver” is catchy, fun, and still a Chappell Roan song. Is it the most traditional country song in the world? Not. Is it just as traditional as most country music coming out of Nashville? Absolutely. Humility and authenticity are the keys to a successful genre crossover, and Chappell Roan’s attempt at a country song feels genuine and respectful. She is not trying to be something she’s not, and she’s not trying to disrupt or save country music; she’s just here to “twirl and do a little gay yodel.”
8.0
Like I Do – Dylan Gossett Written By Adam Delahoussaye
There’s a pureness to Dylan Gossett’s voice that breathes in effortless comfort when whistling away on childhood nostalgia. “Like I Do” takes a turn back into the poignancy that kickstarted this young Texan’s career, giving a glimpse of his upbringing as he wrestles with perception and its relationship to memories. A deep, almost innate sadness comes from driving past the street you grew up on. Those emotions permeate the twangy chords and stifled sobs in his falsetto that Gossett pits against each other. That desperation of wanting things to be how he remembers them but not even being sure if that’s how they were in the first place takes “Like I Do” to a new level of emotion for his discography. Co-written with Colton Forrest Hardy, the two work wonders in crafting that artificial shine that comes with memories we harbor. That gut feeling of not being able to go back to the good old days. He’s cutting his heart open and just bleeding onto the page here. With a voice poised to join the Mount Rushmore of red dirt feelers, a release like this only positions Gossett for greater success.
7.8
Cold Beer Can – Dierks Bentley feat. Stephen Wilson Jr. Written By Adam Delahoussaye
Dierks Bentley and Stephen Wilson Jr. should be a match made in heaven. On the one hand, Bentley may be the gold standard for roots-infused sounds in the mainstream. On the other, Wilson is quickly becoming a pioneer for the alternative scene and capitalizing on cheeky writing that speaks to an often underrepresented, more left-of-center sect of country music. What happens when these two minds commiserate and quench their thirst? Not much. “Cold Beer Can” is pretty light compared to the two’s weighty repertoire, and the subject matter does little to tell listeners what they don’t already know. Beer is awesome, and its cures are many, but do we need to be reminded of that, especially by these two? It’s a subject covered endlessly, and “Cold Beer Can” does not bring any new flavors to the mix. Like the beverage itself, songs about beer are an assured good time, but to keep the tab open, you’ve got to give patrons a reason to keep coming back to the bar. At least in the musical realm, redundancy and reliability can reach a point of becoming formulaic. Thank God, beer itself isn’t like that.
6.0
You Don’t Even Know Who I Am – The Castellows Written By Ryan Lippe
With such a limited catalog, The Castellows have made a strong name for themselves quicker than most. Their second release of the year is a cover of a classic Patty Loveless song about relationships falling apart due to distance. Written by Gretchen Peters, the track details two sides of the story in a relationship that has become broken as time goes on, using intense storytelling and capturing the moment in time perfectly. The Balkom sisters can convey the same raw emotion that Loveless did years ago with their incredible harmonies. Although their last song was a collaboration with Flatland Cavalry, this track would have been a stronger choice for that partnership, adding an extra depth of authenticity and heartbreak. Produced by Chip Matthews, the song has the same heartbreaking tone but shines in a more contemporary light. The bridge is a decisive, climactic moment that encapsulates the peak emotion and struggle discussed in the song. With their heartfelt delivery and signature harmonies, The Castellows continue to show the world why they have what it takes to be country music’s next great trio.
7.3
Honky Tonk Blues – William Beckmann Written By Ryan Lippe
William Beckmann’s soulful, jazz-infused approach to country music caters to a specific corner of the country music community, while others miss out on a masterclass in vocal artistry. Produced by Jon Randall, the song can bring life into a room desperate for a spark. Its infectious cadence is sure to get feet tapping, while the smooth guitar slides make it impossible to resist the urge to dance. Written by Chris Stapleton and Brice Long, the demo had been floating around Nashville’s writers’ rooms for many years until Beckmann decided to put his unique spin on the track. The lyrics are like any run-of-the-mill breakup song, but it’s when Beckmann delivers the tune that the value of the song is made abundantly clear. Reminiscent of many of his previous releases, it’s doubtful that this track will stand out in his catalog. Still, it deserves to be recognized amongst other releases in the genre this week for being uniquely creative with the infusions of many different genres.
8.0
Scratching Out A Living – Emily Ann Roberts Written By Creed Miller
Emily Ann Roberts is one of the most underrated artists in country music, and her latest release, “Scratching Out A Living,” is yet another reminder that she deserves far more recognition. The track is straight from a honkytonk and will immediately get you up and wanting to jump in a line dance. Throughout her career, Roberts has always had a knack for the 90s sound, and she deftly feeds into it with an upbeat tempo that perfectly matches the whitty energy of grinding out a hard living. She has a bit of an attitude in her vocals that matches the vibe of the song and helps convey the message of getting the job done and paying the bills. Written by Roberts, Shane Minor, Jordan Larsen, and Torey Harding, it explains the life of someone who doesn’t have the time to have fun because they are so busy “Scratching Out A Living.” This isn’t a song where you need to pay full attention to the lyrics to enjoy it, but if you do, it makes it that much better. Mac McAnally’s lively production helps feed into the hustle and bustle mentality as it feels jam-packed in the best way possible, with the fiddle leading the charge. If you aren’t caught up on Emily Ann Roberts, it’s time to start paying attention because few artists do it better than her.
9.1
Bar Names Jesus – Adam Doleac & Thomas Rhett Written By Creed Miller
Adam Doleac and Thomas Rhett’s Bar Named Jesus is an emotional ballad about redemption and finding Jesus, penned by Doleac, Josh Jenkins, and Chris LaCorte. It highlights the simple truth that everyone makes mistakes, but people can always return and find love in Jesus. The songwriting is really impressive, as tackling heavy subjects like this cannot be easy. The general idea is great, but the song isn’t great overall. Rhett and Doleac seem like they would be a perfect combo given their similar styles of radio-friendly country music. But there just seems to be something missing with the chemistry of the two artists. Not only that, but the production in the chorus takes a lot away from the track. It opens as a mainly acoustic song, which is perfect and allows the listener to focus on the story. Once the chorus hits, the shift to an electric-driven sound kills the momentum and undermines the rawness that made the song so compelling. While the chemistry between Doleac and Rhett isn’t the best, Rhett’s verse is one of the most outstanding aspects of the song. This is the sound we have wanted from TR, so hopefully, he can continue to feed into it in his solo ventures. Overall, “Bar Named Jesus” isn’t bad by any means; it just misses a few key aspects.
7.2
She Drives Away – Jon Pardi Written By Joel Reuben Pauley
Over the years, Jon Pardi has built his career with a unique style, leaning into a neo-traditional honky tonk sound reminiscent of the nineties. However, after songs like “Friday Night Heartbreaker” and others, it’s clear that he is capable of more than the reliable muddied-up boot-stomping music that fans have grown used to. This Friday, Pardi released “She Drives Away,” which traces the bittersweet moments of a father watching his daughter grow up and eventually move on. In the song, Jon takes the role of the narrator, although something in the perspective of the song changes, making everything overly confusing. At first, he addresses the young man dating the daughter, speaking directly to him in the second person. In the chorus, he sings, “She drives away, and he’s scared to death… You hold the wheel, he holds his breath,” which mostly makes sense unless you take “she drives away” literally because the boy is the one holding the wheel. By the third verse, all of a sudden, the narrator has a baby of his own, delivering a twist that completely scrambles understanding of the song up to that point. It’s possible that Jon was addressing the young man as “you” while reflecting on his past self—showing how his views changed as he grew older and became a father. If not, maybe Pardi is singing from the place of a concerned best friend, who doesn’t think the boy is considering the father’s feelings. While the song’s meaning is truly heartwarming, the more you try and follow along, the more you feel your brain melting. At the end of the day, this is one of those “a song’s meaning is up to the interpretation of the listener” moments.
5.0
Tyler Pigg & Brian Kelley Pedal to Metal 2.0 Written By Joel Reuben Pauley
It’s officially been one year since the release of “Kiss My Boots” and four years since Florida Georgia Line parted ways. In that time, Brian Kelley has spent his solo career force-feeding fans with political songs, diss tracks, or whatever else he thinks keeps him relevant. Most recently, the “Florida man” is dipping his toes into hick-hop, releasing a new rap song with country rapper Tyler Pigg. “Pedal to Metal 2.0” is just a remix of Pigg’s top song, which now features many regrettable new lyrics. Boasting, “We get the bag like Hefty,” Brian shows just how trashy he can get, forgetting that he once made songs with Bebe Rexha. In addition to the array of stereotypical country lyrics, there are several voice cracks in Kelley’s verse, with one of the most notable beings in the phrase, “We spin the block like Talladega: Round and round!” On a serious note, Kelley seems to be still pretty upset with Tyler Hubbard, adding, “Before I cross that Florida line, Imma grab my Smith & Wesson,” which comes across as an oddly aggressive flex in this competition of redneck ratchets. To the people waiting for Sunshine State of Mind Season 2, don’t mind this track; it isn’t for you. However, if you’re looking for a few laughs, this track could be just what you’re looking for. Lastly, if you stumble across “Pedal to Metal 2.0” looking for country rap, you may be better off listening to the original version.
2.0
I’m The One – Jake Worthington feat. Marty Stuart Written By Will Chapman
If you had a time machine and returned to the 1960s and dropped off some modern-day recording equipment with George Jones, the result would probably sound very similar to Jake Worthington’s latest effort, “I’m The One.” The track is a clinic in classic country music put on by Worthington and living legend Marty Stuart. Written by Worthington, Stuart, and Jenna LaMaster, the song is steeped in twang from the opening notes, when a Telecaster motif sets a vintage tone before being joined by some rowdy fiddle and steel. Lyrically, “I’m The One” isn’t groundbreaking, but it doesn’t have to be. Country music thrives on simplicity, and the beauty of this track lies in how the melody lets Worthington’s whining vocal shine. If a plate of cornbread and green beans could sing, it would sound like Jake Worthington: pure country. At a time when mainstream country feels pulled in different directions, Worthington remains a steady voice of tradition.
8.8
