Winner At Losing – Gavin Adcock Written By Adam Delahoussaye
For what could be a final round in the constant barrage of new releases he’s fired at listeners over the calendar year, “Winner At Losing” might just prove that Gavin Adcock’s excess is the selling point of his celebrity. His latest, a cut from the soundtrack of the hit show “Landman,” is about as close in proximity to Hollywood as the Georgia boy’s ever got, or may ever care to go. Its production is pristine, his vocals are well-timed and tempered, with crescendoing choruses that culminate with a feeling of flicking a cigarette onto gasoline, strutting away from an explosion. Even if his tit for tat lyrics aren’t primed to hold an entire record up by its shoulders, that loud and linear delivery makes for a more cinematic approach in his songwriting when placed in front of the fire and gunsmoke whooshing in the corners of the studio. Adcock has never been keen to get too complicated with his persona; still, in an environment that prioritizes the performative aspects of the country’s biggest stars, he doesn’t really have to make his point. Compact, punchy lines about botched card games and shaky tightropes tell the whole story. The rest of the narrative is purely felt in this dynamite-laced thumper, the first entry in a growing back catalog that’s truly oversized enough for Adcock’s brash bravado to feel at home.
7.8
Secondhand Insane – Taylor Demp Written By Adam Delahoussaye
It’s one of those warbles that ring off tall cavern walls, which immediately placed Taylor Demp on a shortlist of female artists that are hard to ignore. She’s playing into that eerie, holler-entrenched presentation from the first few banjo plucks here on “Secondhand Insane,” a plunge into the cold end of the creek that immediately makes neck hairs stand stiff. It’s a sound that’s Dolly Parton by way of Kacey Musgraves, dreamy in its early morning mildew yet honing in its focus on the five senses as she worries over her other half’s waning attention. The singer uses buzzing porch lights, allowing for an easy escape and vices blocking formerly luxurious taste as indicators of a homegrown horror movie in her own log cabin. Appalachia has always had an ominous outer coating, and Demp knows how to weaponize those whimsical aspects of her appeal while retaining her more human traits through pretty standard breakup fare. Even if her main story beats don’t deviate too far past familiarity, there’s a morbidly comforting approach in how those goodbye notes on the kitchen counter are delivered.
7.5
Take Me Home – Kaylee Rose feat. Mackenzie Sol Written By Max Buondonno
Take away the finesse and personality of Megan Moroney, leave Ella Langley’s songwriting skills at the door, and beg for more virality than Graham Barham. Out pops Kaylee Rose, a Floridian turned country act who seems to have one goal: party with the girlies on Instagram and TikTok. This market demographic (which is fine to cater to) is oftentimes flooded with poor excuses for good songs that, admittedly, can take off and fill stadiums with anxious fans dying to hear them. Here, we see an example of this, minus the egregious excitement. A collaboration with Mackenzie Sol, “Take Me Home” leans heavily on a very pop-centric production that wouldn’t sound out of place on a Chainsmokers album in 2015. Here, Rose fills the lyrical void with vague references to missing home, reliving memories, and longing for love. Between Rose and Sol, vocal performances seem to have been left on the cutting room floor as well. Why attempt to sing a note at all when computers have autotune? The vaguely twangy pop instrumental further elevates this song’s desire to have a moment on social media, whether that comes now or in the summer of 2026. It’s about on par with what you might find from a female version of Adrien Nunez, except somehow with less character. Other than making for good background noise for slow-mos of you and your friends jumping on a white-sand beach, there’s virtually nothing to latch onto, even for fans of bland pop songs.
2.5
Farmer – Brett Kissel feat. Lee Brice Written By Max Buondonno
Paying tribute to hard work and dedication in country music is oftentimes harder to pull off than it seems. Not because writers can’t seem to quantify what it’s like to work taxing jobs from the comfort of a writer’s room on Music Row, but because it oftentimes sounds inauthentic if sung by someone who can’t create a feeling of authenticity when reciting the tale. That’s the fate of “Farmer,” the latest single from Brett Kissel. Collaborating with Lee Brice to bring a spotlight to the farmers across the country who work hard every day, the song fails to impress on either the lyrical or vocal fronts, almost sounding like a lazy anthem written in protest of a rise in anti-farming sentiment. Many country songs pay enough attention to working on a farm and the life lessons that come from it, oftentimes with more impactful perspectives and interesting stories. “Farmer” tells you how hard it is to be a farmer than to be an actual farmer, which is confusing and leaves nothing worth remembering once it ends. If farmers ever come under attack, this song will be worthy of putting on rotation, but not anytime soon.
4.6
Masterpiece – Benny G Written By Joel Reuben Pauley
It’s the time of year when releases slow to a crawl, and much of the music industry slips into holiday mode. With limited output from established country artists, the spotlight naturally shifts toward emerging voices still willing to release music at year’s end. Benny G meets that moment well. His new song “Masterpiece” serves as a clear statement of both his writing instincts and vocal command at an early stage in his career. Carrying a soulful voice reminiscent of Ty Myers, Benny delivers each line with confidence and control, navigating notes and runs with a discipline that feels learned rather than accidental. In terms of the actual narrative being sung, he keeps things safe but far from mundane as he describes how his lover has nearly achieved perfection in his eyes. Fully enveloped by a bluesy arrangement that is equally moody and mature, this track contains the necessary elements to support Benny G’s continued growth and emerging star potential.
8.4
No Way Out – The Jack Wharff Band Written By Joel Reuben Pauley
If “Best Landman Soundtrack Release” were a competition, The Jack Wharff Band would be firmly in the winner’s circle. “No Way Out” opens on a slick, confident groove from the rhythm section, briefly convincing you you’re about to hear a new Charley Crockett cut. From there, the track stays fully open and self-assured, carrying a ‘cool factor’ strong enough to paint its own scene even outside the Landman context. Like most songs written for television, the lyrics of this track don’t work to tell a story; instead, they are intended to pinpoint a particular feeling or attitude, and if something like “small town boy driven by work ethic and carrying a heavy chip on his shoulder” was the target, the band hit the bullseye. For those familiar with Landman, it is easy to picture the kind of conflict this song would underscore. For everyone else, it is safe to assume someone is about to make enemies while drilling for oil. Lines like “Some city boy trying to raise his voice, telling me ’You gotta pay your dues’” provide rich imagery without being too specific, and that’s exactly what is asked of songwriters in the making of a TV/film score, apart from its association with the series, the new single stands as another strong addition to a consistently high quality discography.
8.8
The Devil’s Not In Hell – Maggie Antone Written By Aishwarya Rajan
If RaeLynn and Dolly Parton ever conspired to make a little chaos, the sound they’d leave behind might echo something like Maggie Antone. Rhinestone Cowboy was just beginning to showcase her lyrical prowess, and hidden in this impressive album is the addictive tone that vibrates throughout this new single. Her voice is uniquely characterized by a distinct, tasteful raspiness, one that is equally tantalizing as it is sweet. It permeates through any melody with the punch of several falsettos, which, while soft-edged, are sharp enough to deliver the pained messages of a scorned woman. In a sea of female country artists whose voices veer towards a smooth, sweet tone, it is this tension that sets Antone apart. With this single, Antone exudes confidence in her confessions about an egotistical man whose height was the tip of the ever-so-slippery iceberg. She sings as though below that plastic smile hides a bitter and angry woman, one who compares Hell to the adulterer that she once swooned over. For such a honeyed tone, this up-and-coming artist channels the sound of a woman pushed just far enough. There’s madness, but it’s controlled and wrapped in snide remarks, dipped in country sass, and prepared for attack. The lyricism itself showcases the charisma and charm of someone who will be a sensation.
9.0
Drive Me To Drink – Ben Burgess Written By Aishwarya Rajan
Burgess may have unintentionally proven that Sam Hunt is the lone artist capable of speaking-singing without committing a crime against a catchy melody. Within the first fifteen seconds, your ears are assaulted by the merciless eruption of a pitch-starved voice. A noise so unforgiving it practically leaves your eardrums begging for mercy. While this pitchiness is perfect if Burgess was inspired by parody and intentionally developed the premise for a flat and boring story, the melody somehow lands even flatter. For a voice that once carried the grit and weight of “Heartless” and “Outlaw,” this is a genuinely shocking regression. Maybe it’s time to return to the fundamentals, Ben. Perhaps those earlier triumphs and collaborations were the product of autotune wearing a convincing disguise. Unfortunately, the only thing this track ‘drives’ the listener to was a drink and a moment of silence to mourn those past three minutes of their respective life. If there is talent here, it lives in collaboration. In duet form, he elevated “Outlaw,” blending with Morgan in a way that felt rare, effortless, almost transcendent. After that, it seemed inevitable that Nashville would be clawing at his door. After this miss? Similar attention is hard to imagine going forward.
1.8
Hell I Have – Benjamin Tod Written By Will Chapman
It would be impossible to listen to a song like “Hell I Have” and ignore the elephant in the room, that is, Benjamin Tod’s ongoing internet feud with Gavin Adcock. The two are the perfect embodiment of the tension between real-life country and Nashville’s hollow, manufactured “outlaw” scene. Tod may be a little overly outspoken online, but “Hell I Have” sees him putting his music where his mouth is. This song is a rally for the underdogs who’ve crawled through “hell” and come out tougher for it, but also a “bless your heart” for those who haven’t struggled. Lines like “I can make do with a train and a tune / ‘Cause at least I ain’t in jail / But you were raised for finer things / And Nashville’s now for sale” land as a reality check for anyone chasing industry gloss over substance. The production gives every instrument room to breathe. “Hell I Have” sounds like it could’ve come off the stage of an old honkytonk with a plywood dance floor. Its rhythm section: a traditional alternating bass line and very human drums lay the foundation for steel and fiddle shine throughout, trading lines with the jangling Telecaster, perfectly carrying the grit of the song. You can hear Tod’s frustration, pride, and the chip on his shoulder throughout.
9.1
