Changes – 49 Winchester Written By Adam Delahoussaye
The notion of change has always been abstract. Still, it’s never quite been represented artistically in the whirlwind of instances that 49 Winchester comes ready to attack this Sabbath staple with. The group announced a major shift in representation early last week; they’re knee deep in a genre whose cultural climate grows more hostile by the day, all with the death of the original “Changes” spokesperson still looming large over black sheep rockers everywhere. None of those elements may be correlative, or relate to one another in any meaningful manner. Still, it’s that swell of unbridled emotion that’s able to concoct the precise amounts of controlled chaos the group started harnessing in moments on 2024’s “Leavin’ This Holler.” On their first track of 2025, those feelings are given a powerful, uniquely pronounced vessel through Isaac Gibson’s guttural, soul-snatching belts and moans. Pianos are slid across, guitar strings are punched, voices are somewhere between stifled sobs and senseless screams on the group’s cover of a track that’s expertly mixed yet palpably felt. The crew has always blended honky-tonk attitudes with chain-wallet tendencies, and fully satiated both crowds in a way that is so inclusive while still retaining its own signature quirks. As Gibson’s falsetto soars, you’re reminded of the heights this group has reached and how many more iterations of 49 Winchester are still waiting to be fully realized.
9.0
Travelin’ Soldier – Cody Johnson Written By Joel Reuben Pauley
Since its debut in 1996, “Travelin’ Soldier” has been covered by several artists, but The Chicks’ version remains the most well-known. For the past few years, Cody Johnson’s stripped-down rendition has circulated on social media, where it became a fan favorite, but it never reached streaming platforms until this weekend. With so much anticipation surrounding its release, it’s worth noting that the new adaptation sounds a little different from what was expected. It’s slightly faster than the one fans fell in love with, and while the added instruments aren’t necessarily a bad thing, the original’s simplicity is what made it stand out the most. Cody Johnson has a powerfully smooth voice, often paired with highly polished and crisp production. So when listeners first heard a more gritty, imperfect sound from him, they appreciated it. The somewhat harsh, overcompressed guitar strums and the louder vocal harmonies made his arrangement stand out. While there’s nothing wrong with the structure or production of the new recording available to streaming services, it’s fair to say the impact doesn’t quite reach the same level. Because Johnson’s original cover set such a high standard, it’s hard for any reimagination to carry that same spark.
7.5
Prairie Lament- Ian Munsick Written By Joel Reuben Pauley
On Ian Munsick’s most recent album, Eagle Feather, he included what he called ‘Prairie Laments,’ short interludes that helped separate the record while reinforcing its Wyoming theme through sound and lyric. On Friday, Ian released a full version that incorporates the sounds from all three tracks. Unlike most of what country fans typically hear today, this format is more like an anthem or a battle cry, full of power and almost cinematic. Singing “If I draw my final breath when I am roaming, Lord, let Wyoming be where they bury me,” Munsick wears his home state across his chest, showing off the great adoration he feels towards his land. There’s also a new verse that helps the compilation feel more like a complete song. In the new section, he adds more imagery of mountains and stallions, and writes, “This ground soaks up my blood”. Those who enjoyed Eagle Feather will likely agree that these ‘Laments’ helped the album stand out and added a special richness to the recent project. Now welded into one, the beautiful harmonies, weeping fiddle, and swinging guitar complement one another in a seamless blend. As the main creative mind behind everything he releases, it’s fascinating to watch Munsick follow his vision this far, creating a musical masterpiece that feels distinctly his own.
9.1
Cowboy Cold Beer – Jason Scott & The High Heat Written By Adam Delahoussaye
From the first, deep plunge into dusty licks with a little more deep south seasoning than their usual red dirt panache, Jason Scott & The High Heat fully tilt into something almost Delta-driven while retaining their status at the alt scene’s most palatable melting pot. Somewhere in between the backbeat for the “Sinners” soundtrack and a bid for a Coors commercial, we find “Cowboy Cold Beer,” poised for cinematic snippets and future pool hall brawls that its thumping rhythm invites. While maybe lacking the lyrical variance that has occupied most of their recent catalog, the twist and twang of the arrangement still invites the notion that there’s room for discoveries, even as the crew continues to blend the niches of cowboy culture into a sound that’s utterly infectious, easily recognizable yet still so far-reaching. Even in its brevity, which never truly culminates into a defining moment, the track is light enough on its feet that it still feels like a prelude to something larger to come. As handily as the group has molded formalities of genre up to this point, detouring into blues-backed waters is probably a telltale sign that their exploration of country music’s many undergrounds is, hopefully, just getting started.
7.0
There I Go – Vincent Mason Written By Max Buondonno
Vincent Mason’s debut album has finally arrived, and when you hit play, you get one of the best album openers of the year. “There I Go” carries certain expectations as both the opener and title track of the LP; you almost assume it’ll be a more personal song compared to the rest of the tracklist, and you hope that it manages to set the stage as an introduction to Mason’s artistry. Whether you already know him from hits like “Hell Is a Dance Floor” or this is your first time hearing his music, “There I Go” hits those expectations and encapsulates his soulful approach to melodic country music. With a boot-stomping orchestration and lyrics that perfectly represent his storytelling ability, Mason reminisces on his growth through his young career, touring for the first time, and explores how his life has changed. The track dives into Mason’s subconscious and paints a vivid picture of his current state of mind, detailing his emotions around barely having any songs recorded at all to performing massive hits on stage. As someone who’s on the brink of his next headlining tour and opening for Morgan Wallen in 2026, Mason sounds borderline complacent with being on the fast track to country music stardom and watching his life change before his eyes, all while reluctantly humbling himself and questioning whether he’s doing any of it right. Between these revealing lyrics and the plucky instrumental, “There I Go” serves not just as a great introduction to his album, but also to Mason as an artist. It’s abundantly clear that he’s here to stay, and songs like this continue to prove that point.
8.7
Help You Remember – Jason Aldean Written By Max Buondonno
As Jason Aldean jump-starts the rollout for his 13th studio album, gentle glimmers of hope that this project won’t be as bad as the last few came to light with his first single, “How Far Does a Goodbye Go.” With one of his latest releases from the LP, we see a more meaningful side to Aldean that hasn’t revealed itself in what seems like forever. “Help You Remember” tackles the difficult subject of watching a family member battle dementia, presenting scenarios and questions throughout the song that could help jog their memory. As a rare Jason Aldean co-write, the lyrics are subtle enough to let the raw emotion of experiencing something like this with someone you love come through. The result is a touching tribute to one of life’s greatest battles, and Aldean should be commended for that. It would perhaps benefit from an alternative instrumental to really draw out the vulnerability in the words Aldean sings, rather than sounding like a My Kinda Party deep cut. Even still, it’s a rarity for Aldean to get this deep and personal on a song at this stage in his career, and he delivers one of the most unique and authentic tracks he’s released in over a decade.
7.7
Sink or Swim – Vincent Mason Written By Ryan Lippe
Finally gifting listeners his debut album, There I Go is full of tracks that perfectly encapsulate an honest contemporary country sound. The third track on the album, “Sink or Swim,” is a good example of the creative team borrowing elements from the pop-country world — like the basic percussion pattern — while still incorporating steel guitar, brush drumsticks, and, of course, Mason’s buttery smooth voice. Going into this album, one of the most common critiques of Mason was his tendency to lean on sappy, slow-paced heartbreak songs. While this track still revolves around a failed relationship, it’s delivered with a noticeably lighter spirit and higher energy. From the first few seconds, the upbeat tempo sets a very catchy pace, keeping the song fresh and vibrant throughout. Written by Chase McDaniel, Devin Dawson, Jack Hummel, and Mason, each verse was wonderfully developed, playing into the strengths of Mason’s voice as he’s able to maneuver in and out of each line. With this one track being a small taste of the colorful sounds presented throughout the album, the rest of There I Go is also worthy of many repeat listens.
8.8
I Sit In Parks – Kelsea Ballerini Written By Jack Humphrey
Self-deprecation is a favorite device amongst modern songwriters, whether you’re Julia Michaels giggling at your own silly irresponsibility, or Zach Bryan, dolefully sorting out your sordid soul. While it’s true that pointing the finger back at oneself can be tough, these artists rarely self-reflect at the expense of their own personal brand. In sharp contrast, Kelsea Ballerini’s “I Sit In Parks” is a harsh moment of second-guessing from someone who’s been outwardly very self-assured in her decisions over the last few years. On this short but poignant track, Kelsea laments her dwindling opportunity to have and raise children, weighing those dreams against the fruits of her career; by paralleling the community passersby she watches with her unrealized wishes, she creates a truly outstanding illustration for the listener. Simultaneously, the star expresses both her scenery and her headspace with consummate clarity; while her vacuous industry may validate her, she can’t find enough satisfaction in her freedom to feel fully self-confident. As Kelsea longs for simple pleasures, feeling like an alien amongst men, it’s all too easy to empathize with her emptiness. Though it might not receive quite as much fanfare as her last few records, “I Sit In Parks” is a perfectly sensitive portrait that feels both intensely personal and yet no less universal.
9.0
The Jukebox Knows – Jake Owen feat. Jamey Johnson Written By Will Chapman
“The Jukebox Knows” finds the former barefoot-blue-jean bro, Jake Owen, trading in the beachside bonfire for something weathered and lonesome. Penned by Jamey Johnson and William Beckmann, and produced by Shooter Jennings alongside Owen and Kendall Marvel, the track seems to be the sound of an artist making music for himself, not the charts. It leans on a soft, naturally open atmosphere: brushed drums with seemingly more overhead and room sounds rather than close mics, gentle piano, and pedal steel that feels like neon glow poking through indoor cigarette smoke curling through the air. Owen’s voice doesn’t demand attention, but the lived-in, unforced honesty in his delivery deserves respect. Something is refreshing about hearing him in this space, away from the polish and party anthems. Jamey Johnson steps in, sounding like a wise old turnip green as he plays the part of a nameless honky tonk arcanist — the old storyteller that every proper sad country song needs in a spoken-word recitation, anchoring the song in a kind of quiet reverence that only he could deliver. “The Jukebox Knows” is quality country music at its purest.
8.8
Lit – Brad Paisley Written By Will Chapman
Brad Paisley’s “Lit” feels like running into an old friend you haven’t seen in years and realizing they haven’t lost a step. It comes off his latest album Snow Globe Town, his first full-length project since Love and War back in 2017. While it’s technically a Christmas song, it’s also a return to form; the kind of witty, self-aware country storytelling that made him a household name in the 2000s. “Lit” is vintage Paisley: sharp, funny, and full of originality. He paints a vivid picture of redneck family Christmas chaos: Rudolph (white-tailed deer) in the truck bed, “medium rare” turkey, and eggnog benders all wrapped in his signature Telecaster twang. The production, co-handled by Paisley and Luke Wooten, leans traditional but with a theatrical touch. Every instrument is working together to help portray a comically accurate image of many Christmases across the American South. Paisley co-wrote the track with longtime collaborator Chris DuBois, and you can feel that old chemistry. His touring band rounds out the recording, with the addition of Gordon Mote on keys and Zac Childs adding subtle guitar textures. At its heart, “Lit” is about surviving the holidays with family…and with a little help from a bottle. More importantly, it’s also about Paisley returning to what he does best: telling the truth, laughing at it, and making you laugh too. It’s a song that feels instantly familiar, like it could’ve sat comfortably beside Mud on the Tires or 5th Gear. It’s just nice to see him back in his element again — witty, warm, and unmistakably himself.
9.3
Check out more of our reviews here
