C’mon Cowgirl – Cody Johnson Written By Creed Miller
While he isn’t known for writing them, Cody Johnson has a knack for cutting some of the best storytelling songs in the game. He again puts that on display in “C’mon Cowgirl,” a standout track from his deluxe album. Penned by Aby Gutierrez, Adam James, and Jonathan Stark, “C’mon Cowgirl” captures the journey of a father-daughter relationship, from her first day of first grade, having a baby of her own, and everything in between. It’s emotional and nostalgic, conveying the concept of growing up extremely well. There are also some similarities to “Dirt Cheap” thanks to the emotional depth and relatability; nearly every listener can resonate with this touching story as a kid or a parent. A little goes a long way when it comes to producing a song like this, and Trent Willmon did an excellent job keeping that in mind. The light production keeps the focus on the story at hand, with steel guitar and fiddle keeping things fresh and preventing the track from getting boring. Cody Johnson’s vocals are beautiful again and coincide gorgeously with the production. Even though he didn’t write “C’mon Cowgirl,” it’s hard to imagine anyone else filling this role better.
9.1
SOMETHING TO CHASE – Graham Barham Written By Creed Miller
If you’re itching for music that sounds like someone doing Morgan Wallen karaoke, Graham Barham has got you covered! His latest song, “SOMETHING TO CHASE,” completely lacks originality, from the concept to melody and production. If copying someone’s homework and changing it a little to avoid getting caught was a song, it would be this to Morgan Wallen’s “Thinkin’ Bout Me.” It carries many qualities similar to the song but comes up short in almost every aspect. And it’s not as if “Thinkin’ Bout Me” is anything to write home about. Barham tells the story of resorting to alcohol to get over a heartbreak against trap beats and surface-level lyrics. The song feels disjointed, with Barham even attempting to rap through the second verse. It’s full of inconsistencies that raise question marks and don’t allow the listener to settle into the song fully. It feels like there wasn’t much thought put into this track beyond trying to mimic the sound of more popular radio artists. “SOMETHING TO CHASE” will live in the shadow of many other songs, but hey, at least it has a cool, capitalized title!
3.2
Lubbock – Flatland Cavalry Written By Ryan Lippe
Initially teased on YouTube five years ago and released as part of their 10th-anniversary project, this fan-favorite harkens back to the lo-fi sound of the band’s Humble Folks and Homeland Insecurity albums. Written by frontman Cleto Cordero, the track is filled with classic storytelling and imagery that made his talent for songwriting so famous. The verses are a fantastic example of how Cordero can reference such specific things but deliver them in a manner that feels commonplace to fans nationwide. A line like “she’ll greet you with the welcome mat of cotton fields and a wind turbine bouquet” may not be fully understood by fans unfamiliar with the region, but his overall message is still clear to most. Produced by Scott Faris, the track is a fantastic combination of soothing singer-songwriter moments that gradually build up to the final chorus, where the full band joins in to close it out. The progression feels natural and balanced, with nothing being forced or overdone. While Welcome to Country Land and Wandering Star weren’t poor records by any means, this song brings a warm feeling to longtime fans that the red dirt staple is returning to their roots.
8.4
20-20 – Ella Langley Written By Ryan Lippe
Certainly, “20-20” is a more contemporary track from the new batch released on Ella Langley’s deluxe album, still hungover. The production isn’t flashy or overly crowded and still allows Langley’s voice to remain the star of the show. “you look like you love me” and “paint the town blue” will still be the standouts from the project; however, this track has a more radio-friendly country-rock tone that could appeal to a wider base who may not be as keen on the grungier edge of much of her other music. The hook is a simple metaphor, but it’s still clever. Nonetheless, it isn’t necessarily one of the most thought-provoking tracks on the record. However, it’s still jam-packed with rowdy drums and a catchy cadence. With four new songs for the deluxe album and two of them released as singles, all the tracks fit very nicely in with the project as a whole, but “20-20” packs more of a punch, standing strong and proud as the closer to the record before a short monologue from Langley.
8.0
Speak of the Devil – Vincent Mason Written By Max Buondonno
As Vincent Mason continues his ascent in the country music world, the 23-year-old’s latest single plays to his strengths as a tender, heartfelt artist who sounds more authentic than most Nashville up-and-comers. “Speak of the Devil” relates to some of his previous work as another track about heartbreak, where you can feel the tension and awkwardness of running into someone you fall in love with only to discover it wasn’t meant to be. The song, written by Mason, Aaron Armstrong, and Sutton Smith, offers an upbeat, catchy hook that could easily do well on country radio. From a broader perspective, it’s not quite Mason’s strongest single to date. The lyrics aren’t as clever or attention-grabbing as something like “Hell is a Dance Floor,” and while it’s a solid song for Mason fans to enjoy, it’s not going to convert anyone who isn’t sold yet on his approach to music. Still, the song delivers a melody and aesthetic that feels more refreshing than the normal trotter you’d find on New Music Friday, and it’s more evidence that Mason is quickly finding his niche in the ever-crowded country genre.
7.7
Zach Top – Don’t Cheat In Our Hometown (feat. Billy Strings) Written By Adam Delahoussaye
Few men in country music are as hellbent on preserving history as Zach Top and Billy Strings. Ironically, neither two really hail from the genre’s epicenters, yet somehow, it speaks to the direction of the format as a whole that it found them regardless of location or culture. Here, they’re taking a stab at bluegrass legend the Stanley Brothers’ “Don’t Cheat In Our Hometown” in a unity of themes and personalities that fits the pair like a glove. There aren’t many changes in their version from Skaggs’s original rendition, so what really shines through is how fitting it is for this song to be performed as a duet. Both saw their rise through bluegrass music, Top picking in bluegrass bands as a teenager and Strings still paving his own lane in the space. They seem to carry a deep respect for its impact in their work and their knowledge of those eternal sounds. More than that, they emphasize the full-circle moment they’ve been seeing in the mainstream. After being beaten and battered by over-sanitized art while citing underutilized roots, listeners need the breath of fresh air these two provide. Putting legacy at the forefront of their sky-high trajectory shows that these two are as studious as talented, though they may go hand in hand.
8.7
Ruin My Night – Redferrin Written By Max Buondonno
The irony of Redferrin’s latest song is blatantly obvious: your night will be ruined if it comes on. The first single since the release of his debut EP Old No. 7 in February, “Ruin My Night,” offers a generic glimpse into an evening spent at a bar drinking whiskey when a woman appears and is all but good for the protagonist’s willpower. Written by Redferrin, Jackson Foote, and Jake Saghi, the song offers little to be appreciated. Even if you’re a fan of his previous work, “Ruin My Night” feels far too plain and simple to listen to. The concept of a love interest “ruining” your night has been covered extensively in country music, and Redferrin’s vocal performance isn’t going to sway you to listen to his perspective anytime soon. The production leans heavily into a bro-country aesthetic that he seems to be chasing well after its popularity peaked. While it’s not as ridiculous as “Mossy Oak” or “Doin’ Good,” “Ruin My Night” lacks any serious appeal outside modern mainstream taste. Coupled with lyrics as shallow as the concept alludes to, it’s far too easy to hit the skip button if it comes up in your rotation.
3.5
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