Hammer Down (feat. Scott Avett) – Charles Wesley Godwin Written By Ryan Lippe
Whenever Charles Wesley Godwin selects a cover, he looks to sink his teeth into it and reimagine the song as his own. In the closing track of his EP, Lonely Mountain Town, Godwin is joined by Scott Avett of The Avett Brothers. The idea began to develop on tour this past summer with Luke Combs, and the two bonded over the desire to showcase Jason Molina’s intricate writing. With Godwin’s signature dark voice and tall vowels, Avett does an excellent job balancing him out with a softer, warm tone, making the pairing easy for listeners. Godwin called Avett a “musical hero,” making this collaboration especially meaningful for him. Al Torrence produces the song and gives it a new life that fits neatly into the EP, where the original doesn’t fit neatly into any one genre mold. This song perfectly illustrates that idea, with Godwin and Avett joining forces to record it and highlight a songwriter they believed deserved recognition. This song is the perfect closer to an EP of songs Godwin felt didn’t line up with a specific album and found a home on this project.
8.8
Talk With Me – Kashus Culpepper Written By Adam Delahoussaye
Somewhere between a slow dance with the prom queen and a front pew revival comes Kashus Culpepper as he tightens that rugged soul on “Talk With Me.” Culpepper’s approach to love in past exposures has been passive, simply yearning for it or smooth-talking his way into romance. Now, he’s in the driver’s seat. A regal gospel choir backs up our chorus with a demand of desperation from love at first sight while our frontman reaches new heights vocally and within his soulful rap sheet. He cites his religious upbringing, which has become common throughout his tracks. That profusely passionate yank of breath from the bottom of his lungs, though this one feels like it’s reaching a little farther into the psyche. The “last call” feeling this track takes on also heightens its stakes a little further. Orchestral swells fill in the gaps while Culpepper is seen delivering his preemptive goodbyes to chances he might not get again. You can imagine the credits beginning to roll on a love story ending in wilted flowers or even speculations of a happy ending once the lights go up. It’s another thrumming entry for this Delta-laden, blues-brandishing rising star that proves his diversity both in tenacity and tone.
8.0
Keepin’ Country Alive – Dillon Carmichael Written By Adam Delahoussaye
City slickers everywhere are now trodding concrete jungles in cowboy boots, cosplaying as cowboys as the genre continues its chokehold on the zeitgeist. Amidst that cultural dominance, guys like Dillon Carmichael seem reminiscent of when Ariat Leather knew red clay and grass fields. “Keepin’ Country Alive” is an ode to his rural Kentucky upbringing, citing the small-town staples that made him and so many other rednecks incredibly passionate about the rural roots they were raised on. It’s par for the course in its subject material; Carmichael croons about filling the boots of those who came before you and carrying on the traditions of the rugged, small-town working man. Our singer, who looks like he’d be normally found at a bonfire, barbecue, or revival church, fits the bill perfectly. The radio-friendly, rock-infused arrangement pumps up the energy to a point where we imagine sitting in the passenger seat of his pickup truck on a hot summer day in search of some cold beer and a good time. While not entirely defined or unique in his messaging, Carmichael still seems poised to join the growing list of good old boys keen on keeping their culture at the forefront of a genre amid its biggest identity crisis to date.
6.8
Not At This Party – Dasha Written By Ryan Lippe
Since “Austin (Boots Stop Workin’)” went mega-viral in 2024, Dasha has been looking for that next moment to show fans that she’s more than a “one-hit-wonder.” Dasha’s music sparks debate over whether it’s pop or country, but many overlook the strong country elements in her songs, including her latest release. While the cadence and loud percussion certainly add a pop energy, the heavy banjo, and stomping create a barn-burner feel that is undeniably country. Written by Dasha, Ben Johnson, and the iconic Ashley Gorely, it has the exact makings of a radio-friendly summer anthem. With a simple but broad story, there will surely be enough people who can relate to the song and play it on repeat in their cars with the windows down. This isn’t a track gunning for Song of the Year at the Grammys next year, but it’s certainly gunning for a good time, which is all that many are looking for. Going into Dasha’s next release cycle, she’s looking to incorporate elements of why “Austin” connected so well with fans but still create a new era of her music.
8.2
Heavy Metal – Austin Snell Written By Creed Miller
After teaming up with Brantley Gilbert earlier this year, Austin Snell is back with his latest release, “Heavy Metal.” Overall, this track is an empty-calorie slog that goes in one ear and straight out the other. Despite the title, this song isn’t heavy metal by any means; rather, it’s a boring play on words, combining heartbreak and trucks. As a result, the lyrics come off as incredibly corny, exaggerating the heartbreak as if it weighs a thousand pounds and sending the protagonist to put “memory lane miles” on his truck. On top of that, the track feels excessively overproduced, especially in the power chord-fueled chorus. As we enter the second verse, so much is going on that it forces Snell’s vocals to be completely drowned out by all the instruments. It’s all so chaotic that you can’t relax when listening. Weirdly, that’s a positive aspect of the song, as the chaos seems to capture the emotions within the lyrics. Considering that, it doesn’t do enough to elevate the song in any capacity. Not only does “Heavy Metal” feel dramatic, but its disjointedness on top of that makes the song a complete miss.
3.2
Cowboys In Heaven – Clay Walker Written By Creed Miller
Considering how long he has been doing this, it’s pretty amazing that Clay Walker continues to release music; his latest release, “Cowboys In Heaven,” comes over 30 years after his debut album. As one could assume from the title, the track is poignantly emotional as it discusses how they aren’t all that bad despite a cowboy’s rowdiness and may eventually find themselves in heaven. The lyrics are by far the best part of the song. It forces reflection upon the listener, given the subject at hand. Songs with more heartfelt aspects tend to put things in perspective, leaving the listener with a big takeaway. This time, it forces them to zoom out and look at the bigger picture in life. Even though there are so many positives, a lot is still missing. The production is soft, matches the overall somber vibe, and puts the audience to sleep. The acoustic-based ballad has no aspects that grab people’s attention and keep them fully engaged for two minutes and 50 seconds. It isn’t a bad thing; in fact, a lot of times, this could be a pro for a song. But there’s not much to grasp onto, and Walker no longer has the vocals to carry it with so little instrumental support. “Cowboys In Heaven” isn’t a bad song, but it doesn’t quite live up to its full potential.
6.6
I Know What I Want – Lily Rose Written By Joel Reuben Pauley
If there was ever a country artist who sounded contractually obligated to release such out-of-touch music, it’s Lily Rose. In “I Know What I Want,” Lily seems oblivious to what listeners might want. Stuck in a whirlwind of trap drums and telephone-filtered vocals, this single sounds like a three-minute voicemail from an empty nightclub on a Wednesday. Starved of any lyrical imagery, all there is to learn about the antagonist is that they “ain’t nothin’ new.” Reminiscent of Brian Kelley’s “Kiss My Boots,” Rose shares, “You dragged my name all over town,” which is the deepest point of context in the song. Her rough-and-tough artist image holds potential for meaningful writing and a much more natural sound, but as Lily Rose releases more music, there is increasingly little to latch onto.
3.7
Unlikely Strikes – Gavin Adcock Written By Joel Reuben Pauley
One of Gavin Adcock’s most appealing traits is his goofy, hillbilly charm. With his viral TikTok presence and rowdy on-stage personality, it’s easy to take an interest in his music. Social media promotion and live performance clips aside, the writing on “Unlucky Strikes” is equally sloppy and brilliant. Lines like “my credit got stole” might sound like redneck gibberish, but they feel refreshing compared to the mainstream country’s endless bottles, cans, and barstools. The bro-country guitar riff in the instrumentals departs from Gavin’s usual production, yet it suits the song’s good ol’ boy energy. However, this one feels like a successful release from Gavin; a song with this writing style and production would likely flop if attempted by another artist. With such a hold on his audience, Adcock unites passive and intentional listeners, leading the sheep with his sound and feeding the wolves with his lyrical creativity.
7.8
Hole In The Wall – Cody Taylor Written By Will Chapman
A good shuffle was once commonplace in country music. Still, even amid the sort of traditional renaissance the genre is experiencing, the classic sound of a walking bassline paired with fiddle and steel that defined country music in the mid-20th century has remained all but extinct. However, Cody Taylor, a little-known artist from Cypress, Texas, gained a little traction earlier this month when he took to social media teasing an original tune, “Hole In The Wall.” The track features a walking bassline with a gorgeous twin fiddle and steel dancing back and forth to a strong swung eighth note feel, just as God and Ray Price intended. Taylor put the song out this weekend as part of his first-ever release to streaming services, and while very little is known about him as an artist, he seems to be starting on the right foot. With a deep reverence for country music’s rich history and a stout voice to match, he makes a strong first impression. Reminiscent of the bygone golden age of country music, “Hole In The Wall” serves as a friendly reminder of the lost art of the country shuffle.
9.0
Granite Mills – Alison Krauss & Union Station Written By Will Chapman
Alison Krauss & Union Station all but defined bluegrass in the 1990s and early 2000s. After going on a lengthy hiatus, it was announced that Alison Krauss and the latest configuration of Union Station, with Russell Moore replacing Dan Tyminski, would be releasing an album and going on a tour in 2025. Their second single, “Granite Mills,” is a traditional tune written about the Granite Mill fire, which occurred in Fall River, Massachusetts, on September 19, 1874, claiming the lives of 23 mill workers. The song’s heavy, driving instrumentation mirrors the weight of its lyrics, with six-time IBMA Male Vocalist of the Year Russell Moore delivering a powerful yet smooth vocal performance. While the return of Alison Krauss & Union Station may stir nostalgia among bluegrass fans, “Granite Mills” takes a darker, more haunting turn, veering away from the mash sound the band perfected in the ’90s and 2000s. Dan Tyminski’s driving rhythm guitar and Adam Steffey’s commanding mandolin chop will undoubtedly be missed. Still, this new era of Union Station allows one of bluegrass’s greatest vocalists, Russell Moore, to shine. While “Granite Mills” showcases Russell Moore’s iconic tenor, its darker, haunting tone strays from the signature Union Station sound, leaving longtime fans to decide whether this new era is a welcome evolution or a departure from what made the band iconic.
7.7
