Peter From Picayune – Muscadine Bloodline Written By Adam Delahoussaye
If the bread to a Muscadine Bloodline standout is weaving indie songwriting with hillbilly habits, then the butter is undoubtedly their picturesque placement of the proper noun. In an age when overgeneralized, diluted ditties have a chokehold on commercial appeal, this Alabama duo has made a career out of anecdotal arrangements that personalize the tree of topics from which country music often plucks its prompts. On “Peter From Picayune,” the boys from Bama tell a twice-over tale of the purpose sought in service, using its most basic story structure as a backdrop for the duo’s vignettes of the protagonist, in place of any personal injection. Hopes and dreams dashed, love lost in bloodshed, there’s a sympathetic (yet never overstated) sense of solemnity placed behind Charlie Muncaster and Gary Stanton’s chosen hero, who’s a friend or neighbor before he’s ever a cautionary or morbid tale for textbooks. When the story breaks loose right on bar one, you get the sense that it’s one of the two that has been waiting to tell. Though once “Taps” echoes us out at the song’s close, it’s clear that itch is not for any self-serving reason. In a bare yet bright arrangement, illustrating the specific side effects of one of modern American storytelling’s favorite subjects has never felt simpler as Muscadine effortlessly homes in on the life of a soldier. Still, it’s also a bag of gut-wrenching feelings for those uninitiated in the culture of camouflage, poignant and nuanced in shades unique to every man and woman behind a beret.
9.0
All I Need Is You – Chandler Walters Written By Adam Delahoussaye
Are the ’90s back in a way that even the freshman class is latching onto new nostalgia, or have we reached a level of impermanence in culture where artists are imitating the imitators? It’s the main question that strikes, and ultimately curses, Chandler Walter’s love bug-infected single “All I Need Is You,” and a two-and-a-half-minute cruise down “wait, we were just here a month ago” lane. Walters, who his predecessors and direct mentors have often heralded as one of the secret ingredients in Nashville’s dish, isn’t really new to the old school. Still, top marks on the test were never in question regarding his placement. The problem is more in performance: once out of those hallways, it feels a little too reliant on the textbook and notes, and not enough on pure gut reaction and instincts. On his latest, the lyrics are passable, fiddle and keys are peppered in places that would even make the hairs of Zach Top’s mustache stand firm, but there’s just some sort of unvaried undercurrent that diminishes any stylized take on the standard playbook. Is Walters truly a star waiting to burst into the atmosphere, or an attempt at a dramatic curtain drop that’s yet to yield the desired result? It becomes harder to tell, amidst a growing catalog that, while impressive on paper, feels like it’s struggling to find its voice beyond its most basic bullet points.
6.7
Serpent Lullaby – The Brudi Brothers Written By Joel Reuben Pauley
Most modern listeners aren’t likely to stumble onto anything that resembles what The Brudi Brothers are doing right now. Their music echoes inspiration from the early 20th century, resurrecting the raw, unpolished charm of the first “cowboy singers.” Their new track, “Serpent Lullaby,” tells a perilous story in which their main character is under a spell of irresistible temptation from a snake-like temptress. Lured into a love affair that could only end in despair, he ignores the “poison bite” that lies ahead. Entering her home, he paints it as a place steeped in “others’ tears” and “evil souvenirs collected through the years.” Every use of verbal imagery in the track paints a vivid, dangerous picture of temptation, bringing the story to life with poetic definition. Though only a trio, the band fills every corner of the mix, weaving together acoustic and clean electric guitars, stand-up bass, and a haunting harmonica that opens the song with an eerie presence. With musical style so proficiently out of the ordinary, The Brudi Brothers already stand out, but it’s their storytelling that shows the depth of their vast potential.
9.4
Almost Nearly There – Garrison Nunn Written By Joel Reuben Pauley
With his new album, Feather in the Wind, Garrison Nunn puts thoughtful writing front and center, guiding his pen into territory that’s both sincere and vulnerable. “Almost Nearly There,” a standout track from the project, tells a story many will relate to, expanding on the common childlike question, “Are we there yet?” Between a father and a “little boy in the backseat,” the line “We’re almost nearly there, with a little time to spare” seems simple at first, but as the story unfolds, it becomes a reminder that the value of time with loved ones grows as the years pass. In classic country fashion, the second and third verses set up the key phrase in terms of future iterations of the father-son relationship, while the final verse is set beside a hospital bed. There is an audible rush of emotion in Nunn’s voice as he belts the descending melody of the chorus, drawing listeners deeper into the story he’s telling. Supporting the vocals, the production walks the line between traditional and radio-ready, with a polished country sound that enhances the song’s sincerity without overshadowing it. In the end, Garrison’s message lingers, leaving listeners moved by its relatability and carefully crafted musicality.
8.8
After Midnight – Nate Smith feat. Tyler Hubbard Written By Max Buondonno
The number of times that Nate Smith has tried to reignite interest in unimaginative bro-country throughout his career is too many to count. And yet, he continues down that path farther than ever by bringing on one of the subgenre’s founding fathers for his latest single. “After Midnight” sees Smith partner up with Tyler Hubbard for yet another party, this time one that seeps into the next day in hopes of something exciting happening. On its face, there’s very little to get excited about, unless you’re a devoted fan of Smith’s country-rock vocals and generic Brantley Gilbert-adjacent band. Upon hitting play, all of your expectations are immediately met, and begin to plummet when you realize how lazily this song is written. There’s no clear definition of what “good” thing happens after midnight, other than presumably sticking around to see who’s drunk enough to do something crazy. Other than the first six words of the chorus, there’s nothing memorable about the track, either. Smith tries really hard to present himself as the ultimate party animal, yet fails to muster up enough charisma to convince you. Meanwhile, Hubbard is just being T-Hubb, sounding as over-autotuned as ever and adding nothing to the song beyond the swagger you’d expect both artists to carry for a song like this. It’s a boring trot down memory lane to a place where country music was evolving into something so mainstream that it lacked any character or meaning beyond beers and big trucks. At that point, you may as well throw on an FGL record and get it over with.
3.5
Holdin’ You, Lovin’ You – Chayce BeckhamWritten By Max Buondonno
Previous American Idol winner Chayce Beckham hasn’t had the most explosive career in country music. Still, his steady rise as a solid vocalist with strong writing chops has earned him decent success. His latest single, “Holdin’ You, Lovin’ You,” is a tender highlight of his entire discography. A heartfelt ballad to his just-married wife, the track takes a different instrumental approach than many of Beckham’s other songs. The soft, neo-traditional soundscape is very Midland-esque, sounding more like a tribute to someone you married in a smoke-filled bar than anything else. Written by Beckham, Andy Albert, and Cary Barlowe, the lyrics will resonate instantly with anyone in a relationship, expressing how quickly you want to return to the one you love and how you would dedicate your life to being with them. While the words themselves don’t necessarily draw similarities, the chord progression will be vaguely familiar to anyone who’s heard Jason Aldean’s “You Make it Easy,” which doesn’t help Beckham’s track feel all that original. Still, it’s an enjoyable love song that shows a different side to the artist, who seems plenty capable of creating songs that aren’t begging for radio plays.
7.8
Red Wine Supernova – Kaitlin Butts Written By Ryan Lippe
If Chappell Roan’s “The Giver” was still too poppy for some folks, this twangy take on the Midwest Princess’s smash hit should scratch the itch that fans were looking for when it dropped in March of 2025. Freshly signed to Republic Records, Kaitlin Butts injected a new life into the song after performing her rendition on tour for the past few months. With her stellar vocals front and center, the track offers her multiple opportunities to showcase her extensive range without straying into uncomfortable territory. Even though her unique vibrato isn’t the star of the show, Butts has an incredible drawl that adds authenticity to her performance without feeling campy or cheesy. Produced by Oran Thornton, it feels like a classic honky tonk barn-burner, very country at heart, but the tempo and cadence of the percussion still hark back to the track’s pop roots. The tambourine jingle during the chorus adds a distinct touch, emphasizing a light, carefree mood for the listener. Despite the record being written for an entirely different audience, Butts delivers the lyrics with a humorous, sassy tone that feels natural for her brand. This cover wasn’t necessarily something fans in country music were asking for, but once it was rolled out in her live shows, it was clear it needed to be mastered and released everywhere.
8.8
If He Wanted To – Hudson Westbrook Written By Ryan Lippe
After his viral moments “House Again” and “5 to 9”, Hudson Westbrook has quickly established himself as one of the mainstays in a new class of neo-traditional country artists. However, following the release of his debut album Texas Forever, he hasn’t been able to capture the same viral magic of his self-titled EP in 2024. Aside from his disastrous collab with Marshmello in September, Westbrook has built a phenomenal brand around a sleek, sexy vibe. Everything feels more in the same vein as his previous work, and it doesn’t do much to further his artistic growth. Produced by Luke Scott, the production style feels very copy-and-paste from previous songs, with the muted guitar strums and gradual crescendos into each chorus after the verse. The structure of the track is very predictable from start to finish, with the arrangement feeling very rooted in routine, leaving the listener little to latch onto. When he first broke into the mainstream scene, everyone was in awe of his vocals with his fantastic tenor voice and youthful range, but this track is lacking all of the impactful wow-factor that made Westbrook the star he is now. With his newest project, Exclusive, set to release near the end of January 2026, hopefully, the three tracks yet to be released have enough punch and diversity in their sound to keep listeners coming back for more.
6.8
Frostbite – Waylon Wyatt Written By Will Chapman
“Frostbite” is another entry in the ever-expanding universe of mopey, lo-fi, “for the boys” acoustic country, which is essentially music built on the idea of the “male loneliness epidemic” rather than lyrical depth or musicality. The song leans into that familiar formula: an acoustic guitar doing the same rhythmically wobbly strum pattern everyone seems to default to. In the right ear, there’s a banjo played by someone who sounds like they’ve never heard of Earl Scruggs, while an out-of-tune mandolin jangles in the left. All the while, a fiddle just kind of aimlessly wanders around without ever committing to a real role. Songs like “Frostbite” are born from a wave of performative sadness; the result is a tired trend that has quickly become style without a soul. The emotional stakes feel copy-pasted, the writing leans on familiar metaphors (cold weather, need warmth, frostbite, Jesus, the girl’s gone, etc.), and nothing about the production elevates it beyond the pack. It’s not original, it’s not musically compelling, and it doesn’t earn the weight it’s reaching for. Again, none of this is Wyatt’s fault. He’s a young artist doing what the current algorithm rewards. But the truth is, “the boys” are not sending their best. There’s definitely a space for lo-fi acoustic lonesomeness in the genre. Still, someone’s going to have to pick up a tuner, learn some semi-decent right-hand technique, write something unexpected, and breathe actual life back into this sound.
4.0
An Hour or So – Benny G Written By Aishwarya Rajan
Serving as an intermission from country music’s slow drift back to its roots, Benny G’s An Hour or So unites soul and blues, breathing new life into the Nashville studio where it was born. It’s a welcome shift from his previous release, I Got a Feeling, which wandered even farther from traditional country sounds. In this new single, Benny G tells a story of a freshly sparked romance, one reminiscent of the love stories grandparents shared over holiday dinners. What he captures effortlessly is the universal jittery anticipation before a first date, strengthened by the delivery of traditional charm. However, the song’s depth remains somewhat subliminal. The chorus circles through what feels like most of the track, but his distinctive tone almost masks the repetition. There’s a delicate and addictive rasp to his voice. A quality that makes it worn and timeless. It is one that is suspended somewhere between Chris Stapleton’s weathered tenderness and the fire of soul legends like James Brown. It’s a sound that feels older than the body it borrowed, emanating from a young man who slipped into a pair of boots and called himself country. With this latest addition to his discography, Benny G’s unique tone positions him well on the path toward developing a sound that could solidify his place as an emerging force in the genre.
7.4
