Friday Night Heartbreaker – Jon Pardi Written By Ryan Lippe
The first release since his Mr. Saturday Night album, Jon Pardi is looking to return with his now-iconic neo-traditional sound. With more pop-rock elements than 90’s country, some fans may be thrown for a loop upon first listen. Produced by Jay Joyce, the song’s arrangement and structure immediately feel different from Pardi’s past songs. Written by Chris Tompkins, Daniel Ross, Jessie Jo Dillon, Josh Miller, and Ryan Hurd, one would expect the song to have a little more substance. However, the two short verses feel empty and don’t build up to the kind of anthemic hook often found in a Jon Pardi song. Even though “Friday Night Heartbreaker” may not align with Pardi’s brand, it doesn’t sound objectively wrong; if anything, it’s disappointing to know his capabilities. The one redeeming quality of this song is Jon Pardi’s voice, which still carries the nasal tone in his upper range, which helped catapult his music into the spotlight years ago. For a lead single, this song will struggle to draw in new fans and get returning ones excited.
5.7
I Don’t Know How To Say Goodbye (Bang Bang Boom Boom) – Dwight Yoakam and Post Malone Written By Ryan Lippe
Dwight Yoakam has his eyes set on his first album in nine years, and he kicks off the new era with the biggest musician in the world right now. Written and produced solely by Yoakam, this track feels straight out of the 80s and 90s when he was tearing up the charts. The chorus of “bang bang boom boom” might feel gimmicky and cheesy to some, but that’s simply the nature of a Dwight Yoakam song. Post Malone has performed with Yoakam’s band at Stagecoach and during an online charity event that first solidified the idea of a Post Malone country project. Still, now he’s working directly with Yoakam himself. Yoakam originally wrote the track specifically for Post Malone, and it feels more natural and authentically country than many of the crowd-pleasing contemporary country featured on F-1 Trillion. Blending diverse generations is often a daunting task. Still, Dwight Yoakam and Post Malone can bring genuinely authentic 80’s country into the 21st century with enough flair to keep fans engaged for Yoakam’s forthcoming Brighter Days album.
8.8
Riley Green & Ella Langley -“Don’t Mind If I Do” Written By Adam Delahoussaye
After the duo’s viral breakout hit of the year graced radio waves just a few months ago, the bar has been set incredibly high for Riley Green and country newcomer Ella Langley. The song effectively put Langley on the map as a name to keep an eye on while also bolstering Green’s reputation as a curator of his now-immensely reputable catalog. It’s a trend we’ve seen a lot this year, with the old guard helping usher in the young guns, yet Langley and Green’s chemistry might be the most undeniable example of that rapport concocting something explosive. Now, the pairing is on the title track of Green’s upcoming L.P., “Don’t Mind If I Do.” Here, we get a much more reserved look at that bubbling romance presented in their first collaborative effort. Slow dances take a backseat to slow burns as whiskey turns into missed calls and unannounced visits to the home of those former flings. These two narrators are bouncing off one another with pinpoint accuracy. Langley’s contributions here aren’t nearly as generous, though they don’t need to be. She never seems overshadowed by the timbre that bellows from behind Green’s mustache and mullet, proving that she can still size up to her male counterpart no matter how broad his shoulders may be.
7.9
Honky Tonk Hall Of Fame – George Strait (feat. Chris Stapleton) Written By Creed Miller
After touring together, George Strait and Chris Stapleton have finally teamed up for a twangy duet. “Honky Tonk Hall Of Fame” was the 8th and most anticipated track of the King’s new album, Cowboys And Dreamers. Right off the bat, you feel like sitting in a saloon, tapping your foot to the 90s country beat. George Strait has impressively stayed consistent throughout his career, and it would be impossible to guess he is 72 based strictly on his vocals. Chris Stapleton and George Strait have dominated any room they’ve recorded throughout their careers. Both artists have strong vocals that just seem in competition with the others. It’s like there is so much “star power” that they both take control instead of being complimentary. There is no chemistry throughout the chorus as they are trying to sing over each other. It’s too much in certain areas but not enough in different places, such as having harmonies. The song is delightful and will surely find its way onto your playlist, but it doesn’t necessarily meet the expectations of a George Strait and Chris Stapleton song because of the lack of chemistry. Regardless, there’s still something remarkable about two legends coming together for a recording, especially when it’s the King with one of the finest vocalists in the genre’s history.
7.8
Damn Good Country Song – Corey Kent Written By Will Chapman
“Damn Good Country Song” is a rather ironic title. Neither good nor country, the track leans heavily into pop production, featuring synthetic percussion, over-processed backing vocals, and, oddly enough, pedal steel, which feels a bit like lipstick on a pig. The lyrics, while far from groundbreaking, are not entirely awful. The hook, “Girls like you make a damn good country song,” actually had a lot of potential. However, it’s quickly buried beneath a mound of cliches, lack of depth, and thoughtless character development. There is no description of the girl, so the listener is left wondering what it is about her that would inspire a country song. Is it her charm, her spirit, her story? Instead, we’re left in the dark. She’s reduced to a faceless stereotype—just another girl at the bar, meeting a cowboy, perhaps “drowning him in whiskey.” She could be the leading lady in many formulaic country songs from the past decade, where the song truly falters. There’s nothing unique to hook the listener or set her apart. Ultimately, “Damn Good Country Song” falls flat. Its title promises something it fails to deliver, leaving its production and storytelling lackluster and forgettable.
3.2
Chasin’ Whiskey – Jenna Paulette Written By Will Chapman
“Chasin’ Whiskey” stands out from Jenna Paulette’s new record Horseback. Written by Joe Fox and Tony Lane, it’s laced with vivid imagery from the start. There’s a sense of vulnerability and self-awareness in hard-hitting lines like “Gave him my heart and look where it gets me.” This gives the narrative a sense of credibility as it explores a theme of cowboys, rodeos, and other Western depictions. Paulette’s vocal delivery is tender and powerful, conveying a yearning that pairs perfectly with the song’s reflective lyrics. Through the first verse and chorus, the track heavily relies on a slow, lonesome fiddle, which presents a refreshing, traditional sound, while a subtle piano fills out the lower register of the mix. In the second half, drums, pedal steel, bass, and electric guitar fill the mix beautifully. “Chasin’ Whiskey” beautifully captures the essence of Western themes while delivering a poignant, and often gut-wrenching listening experience.
9.2
Sweet Appalachia – Jackson Dean Written By Christina Bosch
In country music, it’s not uncommon for an artist to focus an entire song on a geographic location, but Jackson Dean’s “Sweet Appalachia” paints a poetic picture of his hometown. To solidify his yearning for the familiar beauty he knows well, he takes the listener on a rock-and-roll country drive through the mountains. Penned by Dean with Luke Dick and Ryan Tyndell, the trio concocts a powerful ode to the terrain with vivid imagery that personifies the region. The Maryland native utilizes a heavy string section that easily complements his gravelly vocal delivery. Landing on his debut album, On The Back Of My Dreams, Jackson Dean is taking another step to prove his star power, although he’s still only 23 years old. The entire project blends his unique style of gritty rock and country, showcasing a deeper look at the artistry he’s crafted thus far in his career.
7.9
M.I.A. – Graham Barham Written By Max Buondonno
Rising up-and-comer Graham Barham has subjected the world to yet another predictably bland and shallow song. “M.I.A.” follows a similar path as other heartbreak anthems, detailing the protagonist’s mental breakdown after the end of a relationship; it uses the acronym for “missing in action” as a play on words in a desperate attempt to produce a catchy hook. If anything, the hook is catchy but annoying. It’s not the type of song you play repeatedly because it’s stuck in your head; instead, you dread it each time you catch yourself humming along. Written by Barham, Beau Bailey, Cole Miracle, and Gabe Foust, the track shares little to no resemblance to traditional or even mainstream country music. As a hip-hop-influenced artist, Graham Barham is too focused on replicating the success of songs like “Broadway Girls” and “Heartless.” He’s made his entire brand electronic drum machines and occasional southern-living references to produce flaming garbage that does well on TikTok. In reality, it’s an immediate skip at best and the epitome of why people hate the proliferation of pop country.
1.5
