On One – Gavin Adcock Written By Adam Delahoussaye
Georgia native and retired nose guard Gavin Adcock loves to party. It’s kind of his thing. Often, those festivities are communal, letting the crowd act as an extension of the band or weaving through a rough and rowdy mob as they thrash in unison, making the space feel more like a rage room than a music venue. Those feelings get a little subverted on “On One,” a track as singular in its sentiment as the title suggests. There’s not much explored here that hasn’t been touched on by any previous Adcock efforts, but it feels declarative. He’s making a statement that his methods for his madness are his own rather than something that’s been lent to him. You feel that hard in what feels like a walk-up song for a night on the town or the first needle drop at the pregame. Adcock’s vocals grate the edges of the barroom, emulating intoxication with a random syllable emphasis and drawn-out vowel runs wrapped around his rock-ready arrangement. It’s plucky, propulsive, and more than anything, a thesis around the character Adcock seems to be cultivating. Even as the shtick gets repetitive, the charming part is still how little he cares about his perception.
7.6
Time Bomb – Whiskey Myers Written By Creed Miller
Rock-infused country music is something that Whiskey Myers has mastered, and they stuck to the pattern with “Time Bomb.” The intro may sound like the beginning of a 1970s-based jazzercise class, but from there, Whiskey Myers starts to flex their muscles with some strong, heavy metal-style guitar riffs. This vibe resembles many of their other past songs, like “Die Rockin’.” The production by Jay Joyce will have you ready to run through a brick wall with the high-energy guitar and upbeat pace. The final 30 seconds of the track are electric as the band does somewhat of a curtain call, ripping for the song’s final moments to go out with a bang. It’s one of the coolest aspects as they show off their skill set and ultimately leave a memorable mark on the song. “Time Bomb” doesn’t have the replay value like some of their other cuts, including fan favorites “Broken Window Serenade” and “Stone.” Those are obviously more tame but have better lyrics and a more compelling story to go with for listeners to resonate with. “Time Bomb” doesn’t have that same captivating writing as it’s primarily about the main character preparing to “explode” like a time bomb. The fun production will attract a crowd, but only get them to stay for so long. While it’s good, it isn’t great, but a good introduction to their upcoming album nonetheless.
6.7
Sheltered – The Castellows Written By Creed Miller
The Castellows have an angelic 2000s sound, which holds true for their latest release, “Sheltered.” The group has amazing chemistry; how they build off each other is incredibly smooth and effortless. Penned by two of the sisters, Eleanor and Lily Balkcom, alongside Daniel Tashian, the trio taps into a personal story for their family. Reflecting on their life until this point, including going to college for a useless piece of paper from a school where they learned nothing. It tells the history of their upbringing and how they may have been sheltered, but it now helps shape who they are. Being someone’s shelter can give them comfort and the feeling of being loved. While you aren’t necessarily going to dance to the song, the mid-tempo pace will make you tap your foot along to the beautifully accented steel guitar. One of the song’s highlights is the combination of guitars throughout the verses, which adds a cool element that makes it unique, as it creates a sound you don’t find too often. The Castellows are among the most exciting young groups; they have had very few misses, and with each new release, they prove they deserve more and more recognition.
7.8
Amen – Shaboozey feat. Jelly Roll Written By Max Buondonno
If you’ve heard one Shaboozey song, you’ve heard them all. By now, the artist has created a brand-reflecting formula for how his songs will sound: acoustic guitar, booms, claps like it’s 2013, and over-produced vocals speaking lyrics that he hopes people will resonate with. This time around, he’s collaborating with country music industry favorite Jelly Roll on a song called “Amen.” As you can imagine, it’s all about redemption, religion, recognizing your shortfalls, and praying for self-improvement. And it’s boring as all hell. Unless Shaboozey’s energetic production easily carries you away, this song adds nothing of interest to the crop of “praying for a better day” ballads we’ve repeatedly heard Jelly Roll preach to us. For a reason, it’s a bonus track on Shaboozey’s deluxe album. It sounds as if you asked ChatGPT to generate a Jelly Roll song in the style of A Bar Song (Tipsy). It’s a pure industry trotter that’ll undoubtedly be performed during award shows and mindlessly be danced to at festivals this summer. Considering it’s called “Amen,” perhaps it’s the conclusion to any discussions of future Shaboozey + Mr. Roll collaborations. We can only pray.
2.5
Country in the Clouds – Dylan Marlowe feat. Conner Smith Written By Max Buondonno
Country music has a long history of sharing Christian themes, often operating in a gray area where the song doesn’t qualify as a complete worship track or one you’d find playing at a hole in the wall down south. In the case of “Country in the Clouds,” it seems to have some potential to be a decent religious-leaning track but ultimately fails to deliver any content that resonates with the listener. Best friends/collaborators Dylan Marlowe and Conner Smith have some charming production behind the song, with vibrant acoustics and a boot-stomping rhythm that help to give “Country in the Clouds” good character. However, the lyrics feel more like an excuse to say “hallelujah” after each chorus instead of telling a story. Pleading for there to be some lick of the countryside once you pass on to the next life, the song doesn’t invite the listener to reflect or relate to the overarching theme like other Christian-influenced songs do. Instead, it feels more like a vessel to promote it. Perceive that as you may, there’s no question that “Country in the Clouds” leaves you wanting more to sink your teeth into, despite the endearing qualities of the instrumentals.
6.1
Live Free (See Me Running) – Shane Smith and the Saints Written By Ryan Lippe
Written as a reimagination of the American dream, Shane Smith and the Saints have created a fantastic track about leaving the grind of the modern world and reconnecting with nature and all it has to offer. Surrounded by motifs of a nomadic lifestyle, Shane Smith and Bennett Brown worked in tandem to develop an anthem that explores the Western landscape from which their music stems. These themes are heavily present throughout their previous works of traveling across the country, and they have told many different stories since their debut album in 2013. Produced by Beau Bedford, the track is a rocking anthem with heavy guitar, fiddle, and thumping drums. While the chorus is undeniably catchy, its repetitiveness could have been balanced by a stronger investment in an instrumental bridge, allowing the song to develop the Western landscape further and make better use of its runtime. Nonetheless, “Live Free” embodies everything about the band’s identity, and hopefully is a segue into another album for one of the Red Dirt scene’s greatest groups.
7.8
Pretty Much – Lukas Nelson Written By Ryan Lippe
In the second single ahead of his June album, American Romance, Lukas Nelson incorporates influences from the legacy of his last name while still developing his own identity. More reminiscent of a Bob Dylan song than Willie Nelson, he brings a youthful energy to that iconic era of American music. Produced by Shooter Jennings, the song leans heavily into an Americana and folk tone, allowing intricate guitar-picking patterns to take center stage. The verse and chorus are arranged in a catchy, flowing manner, moving up and down the scale to showcase Nelson’s vibrato and vocal range. Written by Nelson, the song explores the intersection of death and love as the narrator reflects on the meaning of family and the lasting impact of the people he meets throughout his life. Such a complex topic can be difficult to summarize into a four-minute song, but Nelson does a stellar job compiling his thoughts into a cohesive and concise track. With such a limited catalog in his solo career, this “Pretty Much” continues to explore who Nelson is as an independent artist.
7.3
It Ain’t The Whiskey – Jake Worthington Written By Adam Delahoussaye
As soon as the drums kick us into gear, we’re jostled around by the swerves and speed bumps Jake Worthington is hitting on this latest joyride. The asphalt beneath the tires is sizzling in tandem with those white-hot guitar licks before piano keys jump into the mix, much like our stomachs leaping into our throats from the turbulence. But it’s not the drink that makes his driving so erratic; it’s a far more intoxicating substance, his darling in the passenger seat. On “It Ain’t The Whiskey,” Worthington is retreading a lot of familiar ground covered in honky tonks across time, yet in some ways, it feels like he’s the first one to tell the story. There’s a real sense of durability and shelf life underneath the twang that almost resembles a cloak. It makes it easy to believe that this joyride could’ve taken place in an F-150 yesterday or a Coupe DeVille 50 years ago. It’s nothing new, even by today’s standards; a quick look at Zach Top’s streaming numbers will tell you that much. But then again, it doesn’t have to be. Much of the grunt work for this new traditional revival comes from guys like Worthington, who interpret their nostalgia in fun and unique ways rather than soullessly siphoning it off. Worthington’s wheels don’t need reinventing, even if they’re getting a little road-worn on this latest track.
8.3
Hudson Westbrook – Sober Written By Joel Reuben Pauley
Aside from “Johnny Walker,” every Hudson Westbrook song to date is written about love or heartbreak. “Sober” is no different, and while these themes help write most modern country songs, a few different ideas, even a truck or a small town, could help diversify his discography and make him seem a little less girl-crazy. That said, none of this impacts the quality of the track itself. However, the song isn’t perfect. With his momentum and all of the co-writers that Hudson has access to, it doesn’t make sense to put out something that feels like it’s been done so many times. Being “drunk on love” is not a new concept in country music, and there’s no major effort to present this idea differently from other songs. Comparing the high he gets from his lover to bourbon, he tells her she can “pour every bottle down that kitchen sink.” Like “House Again,” this track is written in 6/8 time, sticking to the same winning formula. Blandness aside, this release shouldn’t negatively affect Hudson’s career and will likely be popular amongst fans. While this trend of loverboy anthems makes Westbrook seem like a one-trick pony, it’s still early in his career, so it leaves little impact, especially when his songs can be as good as “Weatherman.”
5.5
Cody Lohden – Tail Light, Porch Light, Miller Lite Written By Joel Reuben Pauley
Of all the new artists at DeVille Records, Cody Lohden seems to be the beer-truck-bonfire guy of the group, and terms like “skeeter zapper” are a good foreshadowing of the type of music you can expect from him. This single, an early release from the upcoming Cadillac Sessions collaboration album, paints Cody in a good light, reminiscent of early tracks from Luke Combs. The trope is nothing new, with the plot centered around a guy on a porch, with a beer, watching tail lights fade, but you may find this song easy to listen to, with the catchy melody and Lohden’s relaxed rasp. Even mentioning his Yeti cooler, this single word paints a picture of the typical beer-in-hand goodbye with believable imagery. In 2025, it’s a little hard to imagine these hillbilly characters going shot-for-shot, paying modern bar prices to drown the memory of their breakups. But a Yeti full of Miller Lites? That checks out, assuming they can get drunk on light beer.
7.8
Chris Janson – Me & A Beer Written By Will Chapman
Chris Janson is undeniably talented; he wrote Tim McGraw’s “That’s How I’ll Always Be” for crying out loud. He has also enjoyed commercial success over the past decade, with many radio hits, including “Buy Me A Boat.” However, where “Buy Me A Boat” masterfully executed that tongue-in-cheek piece of humorous writing, his latest work, “Me & A Beer,” hits like a rough dad joke. The track sounds straight off of your local country radio station circa 2014: a thick snare, distorted guitars playing rock riffs, a banjo playing just enough notes to give it the twang necessary to pass as country, and lyrics about, well, beer. There is really zero depth to the song. That’s not to say every country song needs to reference death, divorce, or intergenerational alcoholism. Still, a few quippy lines make the listener stop cracking a smile and think, “Ha, that was so stupid it’s funny.” It never hurt. The whole premise of the lyric is that while the narrator might not be able to do *insert activity that the narrator could most assuredly do by himself*, he and a beer can. Get it? Beer can, because…well, never mind. Who knows? The track could see some success on the radio this summer. Unfortunately, it doesn’t have anything going on to make it as memorable as “Buy Me A Boat.” It’s hard to find the track funny or effective, but perhaps the listener and a beer can.
3.3
Game I Like To Play – William Beckmann Written By Will Chapman
In 2022, William Beckmann came onto the scene with his independently released debut record, Faded Memories. “Game I Like To Play” definitely got the Nashville treatment more than any of his other releases since signing with Warner a year ago. The production has a much more modern edge; it starts with a very open tom groove, ambient slide guitars, and faint piano before driving into an energetic snare-forward chorus. While this song may lack the edge of his previous releases, the most notable difference is that the vocals sound like a completely different person singing compared to his older material. The sophisticated twang in his voice, with which we all fell in love, on tracks like “Bourbon Whiskey,” is nowhere to be found in “Game I Like To Play.” The song’s lyrics revolve around infatuation and the narrator’s understanding of the female psyche, which are solid but don’t bring anything new to the table. It’s catchy enough for radio, and there’s a smooth confidence to Beckmann’s delivery, but for fans drawn to his more soulful, western flair, “Game I Like to Play” feels like a step away from what made him unique.
6.2
