Blame Texas – Cody Johnson Written By Aishwarya Rajan
Response to Ella Langley’s “Choosin’ Texas” or not, Cody Johnson’s “Blame Texas” is yet another entry in his repertoire that he neither wrote nor co-wrote. However, he inhabits it so personally that it feels autobiographical. There is nothing restrained about the single’s instrumental arrangements: instruments strong-arm the melodies and Johnson’s brooding accentuation, leaving little room for subtlety, emblazoning its position as a true country song, in which crossover or genre-blurring does not exist. The southern sounds are immediate. Usually, it is his cavernous baritone that allures listeners first; in this single, the hypnotism begins with the strike of a fiddle. It becomes a central force, and rather than tucked between verses, it glistens and strikes throughout the track. Even the electric guitar delivers a honky-tonk sound that feels country at its core. The song’s infrastructure throughout the chorus is unmistakably reminiscent of “Neon Moon” by Brooks & Dunn. However, he trades broody solemnity for toe-tapping buoyancy. CoJo is typically no stranger to a slow and romantic love ballad; in fact, they stand to be his greatest hits. Yet, “Blame Texas” may change the tide. The lyricism catalogs failed romances, alcohol-related mistakes, and streaks of outlaw temperament, all of which are invariably shrugged off as side effects of being from Texas.
8.7
Borrowed Time – Sam Barber Written By Aishwarya Rajan
The bewitching charisma of Sam Barber’s strong, almost punk vocals has been marred by unclear enunciation, which has often enhanced the value of his portfolio hits. His latest venture, “Borrowed Time,” appears no different. In fact, Barber appears to be experimenting further toward a sound closer to alternative rock, following in the footsteps of “Fear in God” or “Man of the Year.” The layered electric guitars swell around the melody, wrapping the song in an undeniably addictive atmosphere, something like a sonic sarong that tightens a little more with every verse. Barber has always proven himself to be chronically bent in inconsolable grief, and this new single is no different. Lyrically, however, the song is far more elusive. Instead of unfolding a clear narrative, the lyrics amount to a collection of dense metaphors and emotional fragments that feel only loosely tethered together. While this abstract approach certainly opens the door to interpretation, it also leaves the song too adrift. Lines appear disconnected, occasionally even contradicting each other. The opening lyric, “Achy hands, I wake up just to find,” suggests exhaustion from holding on, while later he insists, “You think this hurts me, dude, I’m so far from losing sleep.” Perhaps that tension is intentional. If pieced together loosely, the song may circle the experience of loving someone consumed by a disease, likely mental. The relation to “old white blank washboard” suggests an unsettled mind grappling with memories it can neither fully hold onto nor completely be liberated of. Understanding people who “fake what they know” still fails to resolve the issue.
6.9
WHITE FLAG – Colby Acuff Written By Adam Delahoussaye
Acts like Sturgill Simpson, Brent Cobb, and JR Carroll have already started stirring up a movement of Americana-leaning acts trading in their acoustics for Flying V’s and Les Pauls. Colby Acuff’s “WHITE FLAG,” a kindred spirit of that southern rock renaissance, begs a pretty simple two-part question. If it feels like you’re up against the world, is it actually cooler to punch the world back in the teeth rather than turn the other cheek? Acuff’s always been positioned as a bit of an underdog, aligning with more mellowed-out modes of production and writing that air grievances in a therapeutic, pacifistic sense. We rarely see him, or any of his peers in the new underground, start to gnash their teeth at the hand that’s constantly feeding them scraps and watching them pick at the bones. But there’s a lot of bark to “WHITE FLAG,” both in its electrified first few chords, making a bid for the top of the setlist, and in Acuff’s menacing delivery and frantic, unguided poems of protest. There are plenty of injustices for the singer to shake his fist at; knowing where to direct that anger is the singer’s biggest struggle, despite his sentiments being well-tempered. Even if Acuff has a little trouble focusing his sights on a specific target, the energy is far from a burst of pent-up aggression. It’s constant, wild-eyed but well-tempered through that galloping drum run under Acuff’s repeated roar that “the reaper’s got my name.” Everyone loves rooting for the little guy, but the real fun begins when they start letting fists fly.
7.9
Burning Bridges – Southall Written By Adam Delahoussaye
Southall can’t wait to skip town and, like most real rockstars, they’re causing such a commotion that the neighbors are counting down the days too. The band sinks its foot on the gas and yanks us by the collar right out of the gate on “Burning Bridges,” where a zero-to-sixty gear shift across county lines displays their rock and roll credentials by leaving any potential skeptics in the dust. “It was a hell of a place, but I was dreaming of streets of gold,” croons Read Southall, whose vocal middle ground sits between the low hum of a steady engine and the comforting crackle of an old PA system. There have been plenty of attempts to mix red-dirt undertones with a spit-in-your-face attitude, but the five-piece from Stillwater makes the marriage feel as seamless as it ever has. “Burning Bridges” has the song structure of a ballroom barn burner, the tone of an old issue of Thrasher, and the mix of a freeform garage-rock bender. If “this town ain’t big enough” is now a parody quip of the frontier’s biggest personalities, this new crew of Okie stars-to-be has co-opted it into something refreshingly modern-minded; less of a warning, and more of an affirmation.
8.0
The Crown – David Nail Written By Joel Reuben Pauley
Since his recent return, David Nail has leaned further into the emotional depth that has long been a hallmark of his catalog, delivering songs that prioritize weight and substance over commercial polish. That said, there’s not a moment where either the production or the lyrics of “The Crown” fall short. Produced by Anderson East, the track carries a somberness that balances sadness with a quiet sense of hope. The story centers on Lisa, a woman newly released from prison, and unfolds through the perspective of a narrator from the same hometown who reflects on the girl she once was and the person she might still become. Referring to her as a queen, David recalls the early moments of the addiction that bound her, stating, “Started out as just a taste, then you had the craving night and day,” which hits with extra impact as the melody swells through audible shades of melancholy. The longer you sit with this story, the more profound it becomes. David’s willingness to broach this narrative shows his dedication to exploring lives and stories that often remain in the shadows. The instrumentation behind Nail’s vocals moves with a dynamic duality, alternating between soft, intimate passages and moments of stirring energy that enrich the sonic setting. The bass stands out, especially in the second verse, delivering quick, short notes that add momentum without ever overwhelming the mix. Full of depth and texture, “The Crown” not only comes as a success in David Nail’s discography but also further showcases Anderson East’s skill as a producer in crafting sounds that create a perfect space for even the saddest scenes while still keeping everything perfectly balanced.
8.5
Tumbleweeds and Chewing Gum – Lily Meola & Willie Nelson Written By Joel Reuben Pauley
Lily Meola, raised in Maui, Hawaii, grew up immersed in music and surrounded by mentors who nurtured her soulful voice and love for songwriting, including longtime family friend Willie Nelson. In her new song, “Tumbleweeds and Chewing Gum,” Meola reflects on life’s fleeting moments and simple joys. The arrangement has a playful quality, featuring nylon-string guitar set in a spacious, shimmering soundscape, accented with soft reverb, delicate bells, and touches of steel and electric guitars. Free from overproduction or overpowering instruments, the two voices feel intimate, relaxed, and full of soul, radiating a bright warmth. The descending melody on the hook is majestic, drifting like a daydream and perfectly complementing the song’s reflective, wistful mood. Listening to the song feels like waking up to sunlight streaming through the window, bright and effortlessly uplifting. It’s contemplative without being heavy and heartfelt without feeling sorrowful. Willie Nelson, who is about to turn 93, is the perfect collaborator, his voice seasoned with decades of experience, adding extra weight and honesty to the song’s gentle reminder to cherish the small, meaningful moments in life.
9.2
Nothings What It Seems – Tyler Nance (ft. Jackson Dean) Written By Aishwarya Rajan
When the artistry of two solemn voices collide, dangerously beautiful storytelling and harmony are bound to unfold. In Tyler Nance’s new single, “Nothings What It Seems,” featuring Jackson Dean, the duo gives a voice to the quiet frustrations of life. The song leans into the familiar archetype of disillusionment: the feeling of chasing a dream that begins to resemble fiction more than promise. Lyrics such as “bloodshot-eye traditions” represent the dissipation of hope, which once inspired grit, while despair follows the tumultuous battles of “fighting [a] fire for what feels like too long.” These descriptions point strongly to the poignant explanatory power Nance draws throughout his songwriting. Both artists’ tones are drenched with pain and sultry, weaving together almost indistinguishably, in perfect cadence. Nance’s compelling vocal fry asks questions like, “Am I the man that I need to be?” while Dean’s smoky admissions enter with grief-tinged lyrics. Beneath this dynamic lies an arrangement anchored in acoustic foundations, a subtle pedal steel, and a piercing violin that carries the emotional gravity of the track. Through repeated instrumentals and vocal manipulation, the song draws the listener into the same darkness that Nance and Dean inhabit.
9.0
B.O.A.T. – Russell Dickerson Written By Max Buondonno
Russell Dickerson has unapologetically made it part of his brand to cater to country fans who only like watered-down pop records with a southern twang. Whether it’s to produce an entire album or just capitalize on others’ success at pop radio, he’s never been afraid of making boring radio slop and enthusiastically hyping it up. Case in point, “B.O.A.T.” is one of those songs – except, y’know, for summer or spring break. Admiring his devotion to his partner by describing her as the “best of all time,” the track’s hook is admittedly a bit clever, even just for the sake of having something catchy for TikTok. Written by Dickerson, Steph Jones, Chase McGill, and Matt Dragstrem, it’s clear it’s not meant to be taken too seriously, which makes it sort of enjoyable. Yet Dickerson continues to believe that, despite making songs like this all the time, he’s still a country artist at heart. It’s very unclear which aspects of “B.O.A.T” make it something fitting for the genre; call it Adult Contemporary or just straight-up pop, and its production will make a lot more sense. It’s the type of surface-level beach-pop that would fit on a playlist with tracks like “Miami” and “Body Like a Backroad,” except for being a bit more tolerable. Dickerson doesn’t seem too focused on producing almost anything for the genre where he makes his money, which seems to be working out for him. “B.O.A.T.” is surprisingly not trash, but if you were holding out hope for a Zac Brown Band-Buffett summer sound from the “Happen to Me” singer, you’ll be disappointed pretty quickly.
5.8
No Need for Leavin’ – Kameron Marlowe Written By Max Buondonno
If you put Kameron Marlowe on any track with the slightest bit of sultriness and longing, chances are you’ll get a stand-out vocal performance. “No Need for Leavin’” is a prime example of this. This latest single, co-written by Marlowe, Austin Goodloe, and Jon Decious, sees the protagonist asking the other half of his unraveling relationship to stay one more night to make it up to her. Between the electric guitar and the backbeat of the drums, the stage couldn’t be set better for Marlowe to play perfectly to his voice’s strengths. He sounds right at home on this track, delivering each verse and chorus with the right amount of emotion and gravity the lyrics demand. It’s on these types of songs that Marlowe can deliver something unexpectedly impactful; while many of his more upbeat singles can be fun to jam to, he does well when he leans into country crooning, harping on lustful desires and falling in love. He’s one of Nashville’s most interesting singer-songwriters because of it, and this track indicates he might be onto something enticing for his next project.
8.1
Spring Break – Russell Dickerson Written By Aishwarya Rajan
Known for glossy, pop-leaning country love songs like “Yours,” “Love You Like I Used To,” and “Home Sweet,” Russell Dickerson has built his brand around pop influence, devotion, and true romance. While the former hasn’t extinguished quite yet, in his latest EP, the ethos of the track “Spring Break” feels swapped out for something closer to a loose imitation of Fetty Wap than sincere storytelling. Rather than chasing down “1738,” Russell Dickerson reflects on 03-08; the trouble begins the moment you actually process the lyrics. Lines like “she was my seaside angel, I be like hallelujah” rely on mumbled phrasing and filler that might pass in a rapid rap verse but feel misplaced in a slower country piece. The result is a strange Mad Libs effect, where deciphering the vocals yields head-scratching bars like, “Two Coronas on a bar, I chafe?” Other imagery raises even more eyebrows: How does a spray tan “peek out” of high-waisted jeans? And if she said, “Come and find me,” doesn’t that indicate a modicum of interest? Despite these flat lyrics, the opening pedal steel glides in warmly, wrapping the track in a breezy atmosphere that echoes producer Devin Dawson’s smooth style. Hence, the melody remains beguiling: drum grooves that dip and pause in just the right places, but the longer you think about the lyrics, the faster the illusion fades. By that point, the song feels less like a polished country single and more like the creative output of a 21-year-old fraternity pledge from Pike trying to squirm his way into a cocktail date.
4.5
