Lost Highway – Kacey Musgraves Written By Adam Delahoussaye
Much like some of her recent studio efforts, “Lost Highway” finds Kacey Musgraves going at ease, no hurry getting nowhere. The track, penned initially by Leon Payne before Hank Williams shot it into iconography in 1949, crackles into existence. An eerily eternal radio personality introduces our on-the-hour artist as she croons on a lot of country’s long-standing beats. A life on the tracks, before mysterious forces, and wanting to pursue superficial pleasures, leads to spiritual solace. The themes have been iterated by many throughout time, and the main diversion comes from how this sorrowful subject blends into Musgraves’ delightful complacency, which she’s been building seemingly her whole career. Sonically, it’s warped in ways that blend it with the traditional muses she’s summoning, but Musgraves feels less sad to be here than they were. Her tranquil tone and sharp whine of steel instruments set a warm, fuzzy overcoat over these desperate lyrics. The retro-fitted rendition of the country classic marries her cozy state of being with the wry and dry delivery, her influences interpreted as rock bottom. If she is lost, as the title implies, she sounds effortlessly in tune with the middle of nowhere.
7.2
I Don’t Want You – Hailey Whitters feat. Charles Wesley Godwin Written By Adam Delahoussaye
The emotional extremes we jump back and forth from in “I Don’t Want You” are represented fairly by two staggeringly different vocalists. Hailey Whitters is flighty and almost frolicking through her heartbreak, continuously returning to the guy who’s no good yet always good for her. Charles Wesley Godwin, her duet partner, pairs his strong and stoic boom of a voice with the emotional makeup of a Jenga tower; one wrong move, and he’s toppling over in sorrow. It’s halfway to a song like “A Life Where We Work Out,” in its prairie heaven production, every instrument and facet of sound ringing like there’s a divine glow coming out of the studio. This version of the love story is a bit more tarnished and toxic in its wanting and the conflict that sometimes comes with desire. It’s an easy-listening, gut-wrenching read of a track that feels like a warm cup of coffee trying to ward off the Sunday scaries after a night with the person you shouldn’t have called the previous evening. In its ruminating nature, “I Don’t Want You” paints a pretty picture of an ugly scene, like many relationships with mixed feelings.
7.0
Asking For a Friend – Brendan Walter Written By Creed Miller
Brendan Walter will be a force to be reckoned with, and his release, “Asking For a Friend,” is the latest evidence of why. Penned alongside David DeVaul, Walter sings about the classic story of shooting his shot with a girl at the bar. He asks questions about her life, but insists he’s definitely asking for a friend if she’s not into it. It is a lighthearted, playful track you don’t have to think too much about. While Grady Smith may not be widely known as a producer just yet, he does an excellent job with this song. It starts simply with a crisp acoustic guitar and smoothly transitions into a more plugged-in sound with some slick electric guitar courtesy of Shaan Greenberg. The punchy bass and twangy steel guitar also stand out as one of the song’s better aspects. They may be subtle, but they help take it to the next level. The bridge into the chorus is the best part, as the final chorus features alternate lyrics to keep it engaging and close the song out nicely. It puts Walter’s voice on display as the music takes a step back. He ties up any loose ends the song may have when he reveals he’s not actually asking for a friend. Walter’s vocals continue to be one of the strongest aspects of his artistry. Not only do they sound pure, but he has an effortless range that really sets him apart. Brendan Walter is off to an impressive start to his young career, and “Asking For a Friend” should excite listeners for what’s to come.
8.4
Backup Plan – Bailey Zimmerman & Luke Combs Written By Creed Miller
Luke Combs and Bailey Zimmerman don’t seem like the best duet partners on paper, but “Backup Plan” was a much stronger effort than initially expected. The upbeat track is full of thrilling intensity that will undoubtedly prepare you to run through a brick wall. Written by Jimi Bell, Jon Sherwood, and Tucker Beathard, the inspiring track tells listeners to follow their dreams and passions no matter how often they get knocked down. “Gettin’ back up, that’s the only backup plan you need” is the perfect lyric to summarize the entire song. Sometimes, it can feel slightly corny and over-the-top, but it’s easy to overlook. Both BZ and Luke Combs have many rowdy songs like this, but it never seemed like they would mesh as well as they did for a collab. Given the rasp that each of them has, it seemed like a lot of the same sound would come from different artists. However, it wasn’t the case, as the chemistry between the two was very impressive, and it sounded like this collab had been years in the making. Their similar passion and energy worked so well together that it felt like they had been singing together for some time. Luke’s vocals are much more powerful than Zimmerman’s, but BZ could still bring the heat, even with one of the most powerful voices in country music. “Backup Plan” is the perfect song to get you fired up, whether for a big game or even a night out. Even if you’re in a dead sleep, you will be up and active after blasting this tune.
7.8
American Trail – Dylan Gossett Written By Ryan Lippe
The first single from his upcoming debut album, Westward, Dylan Gossett is here to establish himself as a mainstay bridging the Texas and Nashville music scenes. Produced solely on his own, Gossett incorporates influences from his Austin roots while keeping everything modern and digestible for a wide array of fans. The listener is immediately greeted with a banjo feeling reminiscent of a younger Turnpike Troubadours track. Still, more elements are quickly introduced into the song, feeling on brand with many of Gossett’s previous releases. With so many different sounds involved, it’s easy for things to get lost, but he did an excellent job of balancing each instrument to play a unique role in the build-up to the bridge, where everything comes together for a strong ending. Written by Gossett and Colton Forrest Hardy, the narrator details a coming-of-age saga for a younger person battling with the struggles of where to take their life. The lyrics contrast the main character’s optimistic readiness to venture into the unknown and the narrator’s underlying tone of concern and uncertainty, creating a tension between hope and hesitation. There are moments in the chorus where Gossett’s voice reaches the top of its range and feels very strained, making it a difficult listen, but he quickly reels it back in and returns to a comfortable state. A strong glimpse into the July release of Westward, it readies listeners for the heartfelt stories that will be incorporated into the 17-track album.
8.4
Monsters – Take 2 – Low Gap Written By Ryan Lippe
First released on their self-titled album in 2022, this reimagined track symbolizes the journey the Johnson brothers have gone through as a band. Taking the lead on vocals, Gus Johnson presents himself as a much more experienced singer with a far stronger grasp on his range as a tenor and doesn’t push his voice to heights it doesn’t need to be. Gus has a distinctive twang and has mastered annunciation and maneuvering in and out of each line with a stellar grace that takes some singers far longer to achieve. Now fully produced by Eric Tuffendsam, the song has a fuller and more mature tone overall. Each instrument is arranged to serve a distinct purpose in a very tightly woven production. Every note feels deliberate and contributes to dynamic shifts in tone, which creates a seamless and immersive experience for the listener. The mandolin instantly kicks off the song and then is joined by an anthemic fiddle and percussion section that will surely draw in the listener for the rest of the track. Both still young in age and in their career, Phineas and Gus Johnson continue to grow in every aspect with each new release.
8.9
Car That Drove You Away – HARDY Written By Max Buondonno
If HARDY is anything, he’s a clever songwriter who can put a fresh spin on age-old topics. “Car That Drove You Away,” one of the tracks from his new EP COUNTRY!, sounds exactly what you’d expect from his pen game, which makes it quite surprising that he didn’t write this song at all. It’s the work of four guest writers: Drew Parker, Geoff Warburton, Matt Roy, and Zach Abend. Despite no writing credit, this song fits HARDY’s musical personality and novel approach to writing perfectly. Regretful breakups can be found throughout country music, yet when HARDY speaks about one in this song, it’s much more expressive than just drowning your sorrows in whiskey. HARDY pleads to become whatever he needs to stop his now ex-girlfriend from leaving, whether it’s the car she drives away in, a traffic light that never turns green, or a drink at the bar that’s a bit too strong. The production is a welcome change of pace from HARDY’s most recent work as well; this is country HARDY, after all, so we can take a break from blaring electric guitars and obnoxious screams. As a result, “Car That Drove You Away” works as an above-average breakup song, leaning into clever storytelling that HARDY is known for, blending it with a traditional Nashville sound. It’s a rudimentary “good HARDY song,” at the end of the day, that’s all we can ask from the guy who brought us “JIM BOB” just a year ago.
7.1
Carson Wallace – Out Of My Control Written By Joel Reuben Pauley
There’s never been a better time for experimentation in country music. From Zach Top to Shaboozey, the genre’s sonic palette is more diverse than ever. In his new single, Carson Wallace blends a boom-bap drum loop with a modern pop-country production style, and it actually sounds incredible. In this song, Carson describes how a breakup left him emotionally unstable. Justifying reckless behavior, like driving by his ex’s house, Carson explains, “It’s my hand on the wheel and my eyes on the road, but girl, it’s out of my control.” Putting in his time as a songwriter, Carson is also signed to Relative Music Group and has cuts with Blake Shelton and HARDY. With such a clever idea and its fresh mixture of sounds, this new track speaks volumes for Wallace’s ability to push the boundaries and change the norm. If you haven’t heard of Carson Wallace until now, “Out of My Control” is the perfect place to start.
8.8
Brian Kelley – Palm Tree Country Written By Joel Reuben Pauley
After everything that came after the Sunshine State of Mind: Season One, Brian Kelley fans are in a vulnerable place. Due to the fatal blows that “Kiss My Boots,” “Feels Right (I Like It),” and his feature on “Pedal to Metal 2.0” made to his image, it’s probably going to take more than one rock-solid beach anthem to win everyone over again. That said, “Palm Tree Country” is a great start. The lyrics feel like a copy-and-paste of Season One, but lines like “daiquiris and Dos Equis and frozen margs” paint the perfect coastal scene. It may be easy to settle into the laid-back vibe of this song, but it’s hard to forget that Brian Kelley once teamed up with Flo Rida to butcher a Tim McGraw classic, so it’s okay if you’re having trouble trusting the guy. However, “Palm Tree Country” manages to earn back some goodwill, proving that Brian Kelley still has a little “Beach Cowboy” in him.
8.3
Graham Barham – WTH JUST HAPPENED Written By Will Chapman
Not often do these reviews write themselves, but Graham Barham’s latest single can be summed up by its title: “WTH JUST HAPPENED.” After being relentlessly bullied by the entire internet for putting out some genuine head-scratchers, you would think he might take the hint and write some half-decent material. The hate comments are warranted, considering everything Barham has ever released sounds like the soundtrack of middle schoolers who wear Drake Waterfowl fleeces and square toes despite never having been duck hunting. The pedal steel out-of-the-gate of “WTH JUST HAPPENED,” accompanied by an acoustic guitar playing a series of major seventh chords, suggests he might have done just that. He then sings a traditional parody about crying when Old Yeller died, which is ironically better than anything he has ever released. Honestly, the man doesn’t have a bad voice when he actually sings, and for a moment, it feels like Barham might finally be leaning into his potential. Then the lousy trap beat hits, and the whole thing nosedives into what can hardly be described as music. The abrupt shift into a corny skittering hi-hat is jarring, cheap, disappointing, and frankly hard to sit through. It’s hard not to respect Barham’s commitment to the bit, even if it is terrible. He is trolling listeners at this point, which is hard not to laugh at, but ultimately, he sells himself short. Whether he is trying to be ironic or just doubling down on what earned him attention in the first place, it’s a shame because there is clear vocal talent hiding beneath the gimmicks. If he ditched the trap beats and committed to real country songwriting, he might actually be taken seriously.
5.0
Eric Church – Bleed On Paper Written By Will Chapman
Eric Church has never been one to color inside the lines, but “Bleed on Paper” might be his boldest artistic statement yet. This isn’t just a song; it’s a cinematic, genre-bending experience. From the first spooky, syncopated brass hits, the orchestral arrangement grabs your attention with something rare in modern country: genuine unpredictability. The horn stabs feel like you’re wandering through a haunted forest, with unexpected twists jumping out. It’s dramatic, moody, and full of tension. The arrangement has a touch of spy-thriller energy, dark and elegant, threaded through the strings and horns. The strings, in particular, are phenomenal: sometimes sweeping, stabbing, and soaring, but always enhancing the emotion behind Casey Beathard, Monty Criswell, and Tucker Beathard’s words. Rather than relying on standard country instrumentation, the arrangement plays like a score to an emotional epic. Lyrically, Church is as raw and honest as ever, blending defiance, vulnerability, and purpose. The chorus beautifully combines musicality and storytelling with its “minor and major” metaphor. The song doesn’t chase trends. Instead, it feels entirely different and deeply personal. It’s not traditional, but it’s country in spirit. In a landscape where much country music plays it safe, “Bleed on Paper” dares to do something different. It’s weird, rich, gripping, and one of the most musically interesting things Eric Church has ever released.
9.7
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