Slowly – 49 Winchester Written By Adam Delahoussaye
Contrasted with the symphonic urges of their bigger, more explosive boot stompers, 49 Winchester falling back down to Earth is as much of a personal artistic flair as it is a way to pace a good country record properly. When they display those morning afters, where warts are visible, and sweat has shirts sticking to their backs, they sink into their sweet spot between being one of the most talented and approachable bands in the business. It’s part of the reason that “Slowly,” while offering a pretty ethereal production coating, is a little more than just a rehash of the unconditional love the group has spilled ink over before. As frontman Isaac Gibson’s bawl of a baritone starts stifling sobs around slamming Gatorade and bloodshot eyes, light steel and simple chords start to wrap around that voice like a pair of wings shielding his vulnerability from the world that takes advantage of it. It’s a memorable moment not just because it’s a definite tearjerker, but also a clear example of how the group doesn’t let a slower pace infect their intentionality. It’s an ironically poignant choice to have the woes and reassurances of the Sunday scaries narrated over warm keys that sound like the backseat drive to a backroad Baptist church. Given how precise 49 Winchester can be, it’s safe to assume that conflating the two is exactly the point. “Slowly” suggests that salvation is naturally occurring, already in the atmosphere, and does a commendable job of illustrating what the realization that you have a second chance sounds like.
7.8
LIPSTICK ON A PIG – Colby Acuff Written By Adam Delahoussaye
“Well, it’s all a competition for the next rendition of a song that you already heard,” howls Colby Acuff four bars into his newest, aptly titled single “LIPSTICK ON A PIG.” There’s no thinly veiled allegory here, or really any allegory at all, to the songwriters’ pointed jab at the churn-and-burn creative cycle that chews up and spits out prospective talent by the day. “Prospective” is an important word there, because “LIPSTICK ON A PIG” doesn’t seem convinced that much of his competition is worth gussying up in the first place. But as rock-adjacent country acts like Sturgill Simpson have taught him, he knows that his cynicism is most likely to be listened to when it sounds like a party coming from the other room. The singer’s growling, gravely high notes are far more commanding than the worries that exist within them, and his backing band is as blunt as its lyrical toppings need it to be. Unmanicured, frenetic, and frenzied, Acuff sounds like a roadside preacher that gets some salient analysis out in between ramblings of golden turds and tearing up the status quo, the definition of which is delightfully unspecific. Is Acuff taking shots at the system, or trying to convince himself to be a little more discerning as an artist eyeing down his eighth record in eight years? The evidence presented could support either hypothesis, but it’s fun to hear him shoot from the hip either way.
8.3
Don’t Let Go – Clayton Nile Young Written By Joel Reuben Pauley
For those unfamiliar, Clayton Nile Young is an up-and-coming artist in the country and bluegrass scene, raised playing music from a young age. Once you’ve heard his work, you’ll likely agree that his fiddle sings just as much as he does, carrying the same sense of intention and phrasing, almost like a second voice alongside him, or even an extension of his soul that words alone cannot speak for. In “Don’t Let Go,” Young tells a story rooted in the tension between past baggage and future romantic opportunities. He imagines seeing an entire life in his partner’s eyes, while still wrestling with the hesitation that comes from knowing his own history. The song itself is beautiful, unfolding in a steady, intentional build that feels reminiscent of the way Charles Wesley Godwin structures his records. It almost sounds like you’re listening to the Allegheny High, with each section adding just enough to deepen the feeling without overplaying its hand. As the instrumentation gradually swells, “Don’t Let Go” leans further into that internal conflict. Thoughts of tomorrow begin to take over, quietly urging him forward, whispering the titular phrase as a reminder to move beyond who he’s been and step into what’s still possible. The fiddle, while it takes lead moments, where a hook might typically be, is awesome, although it’s not the only instrument that shines on this track. The entire band is totally in sync in this song, and it’s especially impressive to hear the speedy rhythms of the drums in the highest energy driving moments. Considering Clayton is still mostly unknown to the everyday mainstream country fan, showing so much instrumental talent across each band member, as well as the perfectly poetic writing, he makes a great first impression for new listeners. Providing exquisite displays of efficient, high-quality art, Clayton Nile Young proves he deserves a place in conversations about some of the most talented artists in today’s roster.
8.9
On Our Way Along – Billy Ray Cyrus, Noah Cyrus Written By Joel Reuben Pauley
To give the sound of Billy Ray Cyrus and Noah Cyrus’s new song any kind of positive feedback, you’d have to either ignore or outright romanticize the completely out-of-place vocal sitting front and center. It’s too loud, too low, and unsteady in a way that ends up overwhelming everything around it. That kind of shaky, in-your-face delivery feels like it’s reaching for the late-era Johnny Cash aesthetic, but lands closer to something far less controlled and far more distracting. Instead of adding character, it pulls focus from the song entirely. Noah, whose voice sits much more naturally in the mix, sounds like she’s trying to carry the weight of her father’s poor performance; the track, although in the final mix, her volume level stood no chance. Whether intentional or not, she comes across as the stabilizing force, while the imbalance between the two performances never quite evens out. Lyrically, “On Our Way Along” is all about reflection, as the two artists wish they had more time together on earth, and also look back on the many battles that were fought with each other. Towards the end, when everything is built up to the max, the band is really rocking out, which is arguably the most entertaining section. After a full listen, there are certainly pros and cons, but waving away the sonic imperfections of this track can offer a very intimate look into a father-daughter relationship that hasn’t yet been this public.
5.9
paloma – Ashley Anne Written By Aishwarya Rajan
Just as quickly as your ears are met with the delicate whispers of a banjo and whimsical strumming, the tamed powerhouse vocals of Ashley Anne draw your attention toward the story she tells in her new single “paloma.” A narrative in which comparison is the thief of joy, and a fine line between admiration, insecurity, and jealousy is exposed. On the surface, a song built around that wound should feel insufferable and cliché, the kind girls never admit to, replaying in their rooms. At the same time, they sob into a pillow, favorite pajamas on, stuffed animals swallowing the space around them. What keeps it from going there is the nuanced frame Anne brings and the gentle acoustic melodies layered beneath her vocals. This wispy, vulnerable new track breathes gentle acoustics to life with a modern country twang. The mesmerizing character of her upper register as she reaches for “the girl with the Paloma,” the twang curling around “tattoo“ in each chorus, pulls the listener under, immersed in her pool of insecurity and recognition. Surface-level comparisons send her in a tailspin: “I thank my lucky stars that I left my man at home,” because the girl with the Paloma is that captivating and beautiful beyond what she thinks of herself. Her sound sits comfortably in the sonic sphere of Olivia Dean, Kelsea Ballerini, Laci Kaye Booth, and Kacey Musgraves, and this lively track is proof of a star in the making.
8.8
Lavender – Landon Smith Written By Aishwarya Rajan
It doesn’t take long before you’re picturing cinematic flickers of a small dive bar hosting an open-mic night in Landon Smith’s latest venture, “Lavender.” Idle chatter and the energetic hum of a night out fill the scene as his gruff vocals take flight. However, the slight agony of his pitchy introduction ten seconds in, carried through the repeating lines of “my dearest,” isn’t enough to cut through the noise. Though the pitchiness feels deliberate, as if Smith is expending nerves in a live and unfiltered environment, it’s merely a jumping-off point before he stills the room and then rips the tension open. With one strike, acoustic strumming swells into the commanding architecture of electric guitar and the scaling of beautifully executed piano progressions that swoon the room into chants, whistles, and cheers. The story he tells is one of yearning, a girl embodied by the idea of “lavender” whose memories still linger, and his curiosity about her prevails. Bursting with energy at every turn and change of verse, rapid strokes build into powerful electric shredding, pulling the listener through an exhilarating, fun experience. By the end, Smith’s gravelly tone becomes vulnerable and shaky, leaving room for a final eruption of the bar scene’s rowdy choral singers. Closer to the Lumineers and farther from his usual Zach Bryan sound, “Lavender” is his best work yet, showcasing a husky sound that is unmistakably his.
8.7
Footlights – Cody Johnson Written By Jack Humphrey
In common country music discourse, the term “traditional country” usually refers to anything with a modicum of fiddle and steel that avoids the vanilla conventions of mainstream radio, such as overprocessed guitars and heavy vocal layering. However, songs like Cody Johnson’s rendition of “Footlights” are a nice reminder of how nuanced the format’s subgenres were before buzzy, broad-brush terms like “pop-country” and “red dirt” dominated the conversation. In fresh contrast to The Hag’s bluesy, Bakersfield recording, Cody Johnson takes “Footlights” into the dancehalls of West Texas, with swoon-worthy fiddle and his usual gutsy cowboy delivery. Where Merle’s version felt like a sullen, solo soliloquy shared over a gloomy, late-night beer, CoJo gives the song a bit of slow-dance potential, more ripe for a Friday night at the honky tonk than a weeknight at an empty bar room. That said, Cody finds common ground with his predecessor in their world-weary delivery, showing off a whole movie of emotions, from fatigue to self-disgust to outright frustration. It’s not a one-to-one recreation of Merle Haggard’s 1979 standard, but somehow feels classic in its own way. Cody Johnson earned his devoted following saluting his heroes in and out of the Texas country tradition, and at the peak of his powers, he still impresses whenever he does.
7.5
Give ’Er Hell – Josh Ross Written By Max Buondonno
Another day, another impressively boring song from one of country radio’s recent standouts. “Give ’Er Hell,” written by Ross, Matt Geroux, and Mason Thornley, wants to rile you up and light a spark under your butt to keep pushing along and face all of life’s challenges headfirst. But despite the uplifting messaging and the “no-holds-barred anthem,” objective, the whole song feels like a letdown rather than a positive setup for the future, with a mundane production that feels like a cheap Brantley Gilbert throwaway and void lyrics that fail to provoke you in the name of “appealing to everyone”. Josh Ross is as run-of-the-mill for mainstream country music as you can get, and between the crystal-clean sound of each of his records and his unimpressive vocal abilities, it’s hard to find an area where his unique artistic qualities can shine through. Instead of striving for a fresh aesthetic or pushing musical boundaries, Ross would rather take the safe route and make the same song over and over again, while tweaking subject matter enough to avoid copying himself too often. “Giver ’Er Hell” might be motivational for his die-hard fans, but it’s hard to ignore how simple and plain the shape is that it takes. It’s the audio equivalent of driving a Honda Civic at 25 miles per hour, while you outpace a galloping thoroughbred moving in slow motion alongside you. Yeah, man… give ‘er hell.
4.7
