Cowboy Goodbye – Chase Rice Written By Adam Delahoussaye
The new and improved Chase Rice continues to surprise and impress; his grab-bag of live sessions is no exception. On “Goodbye Cowboy,” he’s crooning on that timeless tale of bidding farewell as a means of emotional self-defense. His voice isn’t the most pronounced or polished of his peers, but that plays into the everyman shtick he currently has going for him. An intimate barroom set of him laughing and talking ball with patrons gives an impression vastly different from the pop-infused brochacho delivery of his early work. Rice is, truly, just one of the guys. He’ll grab a beer or a guitar and lay down a few tracks, unafraid of the burdens that culture and perception may lay on him. As for the arrangement, it’s airtight and sparse enough to let him breathe and move freely as he needs to. The fiddle almost sings its own harmony to accompany his gruff baritone, insinuating the girl he’s leaving in tears on the porch as he puts wheels up to anywhere but here. The track is a delightful addition to the growing ethos Rice has been cultivating since 2023’s I Hate Cowboys & All Dogs Go To Hell.
7.9
Break Itself – Randy Rogers Band Written By Adam Delahoussaye
Longevity and a revival of those once-traditional sounds have been kind to the Randy Rogers Band. The hyper-dramatized, mid-2000s feel they bring to most efforts, including “Break Itself,” never really feels dated. We’re now in the genre where the band’s bread and butter may be what aspiring stars start gunning for in the next few years. “Break Itself” tells the story of a relationship split in two, slowly realizing that heartbreak is a two-way street. It shows poignant awareness to have frontman Geoffrey Hill spill his regrets over this beautiful, albeit crowded, arrangement. This isn’t an evolution of the band’s sound but a continuation of a movement they seem to capitalize on. When their peers drifted into more modernized waters, they stood strong, producing Hallmark-level theatrics to arrangements and writing that captivates and captures some keen observations on love and loss. It’s hard to say if new releases will carry the weight their prime-era recordings did, but at the very least, it’s never going out of style.
6.9
Future Tripping – Kelsea Ballerini Written By Creed Miller
Kelsea Ballerini is deservedly one of the top female artists in country music, and that’s what makes “Future Tripping” off PATTERNS (DELUXE) all the more disappointing. The track is very Taylor Swift-coded, which makes complete sense for Ballerini as there are a lot of similarities in their career, especially with their breakup songs and die-hard fan bases. However, this sound leans more towards Midnights-era Swift, which is heavy on glossy pop production. Ballerini has always leaned towards the pop side, but “Future Tripping” takes it up slightly. The production by Kelsea herself, alongside Alysa Vanderheym, features snap tracks and synthesizers that feel cluttered and take away from Ballerini’s talent. Through all the chaos, it becomes hard even to figure out the message she is trying to convey, making it feel like there are no real takeaways. The song ends, leaving no real feelings behind other than disappointment. Ballerini has shown she is much better than “Future Tripping,” even in her more pop-oriented tracks like “Blindsided.” Even as her impressive career leans further into pop, her standards should remain high—but this track will leave you expecting much more.
3.8
Girl I Never Met – Corey Kent Written By Creed Miller
In his first release since his 2024 album, Corey Kent is back with “Girl I Never Met.” If you didn’t already know it was a Corey Kent song, it wouldn’t be a shock to find out, as it sounds similar to his other music. Penned by Kent alongside Casey Brown, Jordan Minton, and Travis Wood, it tells the classic breakup story of wishing you had never met the girl you can’t forget. It’s undeniably relatable, considering it’s a situation that pretty much everyone has been in, but that isn’t enough to give the song what it needs. There is no real “it” factor to make it stick with the listener. The production isn’t particularly notable, and it bleeds into a very similar sound as some of his other tracks like “Wild As Her.” Thanks to his raspy voice and kick-start chorus, it’s a mainstream style but a bit rough around the edges. As a result, it feels more like “just another Corey Kent track” instead of something more outstanding. One cool aspect of the song is that the chorus feels like the flip of a switch. The verses are relatively subdued before the chorus takes a shift and gets things going. “Girl I Never Met” isn’t a bad song, but it’s not necessarily one you will return to.
5.7
Paper Umbrellas – Tim McGraw (featuring Parker McCollum) Written By Joel Reuben Pauley
Nearly 30 years into his marriage with Faith Hill, Tim McGraw still knows how to craft a compelling “Girl in the Bar” song.” “Paper Umbrellas” is one of those beachy tiki bar anthems and plays on the idea that “paper umbrellas look good on top, but don’t help to stop the rain.” Parker McCollum is also featured in the second verse and choruses, and the two have strong, natural chemistry. This song plays like a modern “It’s Five O’Clock Somewhere” and sets a high bar for Tim’s new releases. Parker and Tim’s voices mesh perfectly with the classic country production, which is full of steel guitar and features a smooth call-and-response electric guitar in the verses. At 57 years old, McGraw is in full legend status, and this is the kind of release that keeps him firmly in the conversation as he moves into his next era of music.
9.1
Churches – Low Gap Written By Joel Reuben Pauley
Without people like the members of Low Gap stirring things up, “the saints and preachers of this world” might have a little less to worry about. With “Churches,” Low Gap delivers a high-energy track in a similar spirit of rowdy, up-tempo songs like Wyatt Flores’s “Wildcat,” bringing a barn-burning intensity to their growing catalog. In this track, Low Gap humorously positions itself as “job security” for pastors, giving congregations “something to pray for.” The overall mix is sharp, with a tasteful vintage effect on the vocals, adding a retro edge to the sound. This will undoubtedly be one of those tracks at a Low Gap show that has the crowd shaking the room. With more releases like this, those crowds will only get bigger as Low Gap continues to expand and make its mark in the country music scene.
8.7
Call Me If You Miss Me – Max McNown Written By Max Buondonno
Newcomer Max McNown is continuing to make a name for himself following the release of his sophomore album last year. His latest single, “Call Me If You Miss Me,” focuses on the same gentle approach McNown has taken to his songwriting and production across his career, although it doesn’t carry the weight you’d hope for. Written by McNown, Jamie Kenney, and Phil Barton, the song unravels difficult feelings after a relationship ends, expressing a yearning for things to return to how they were despite acknowledging it’s over. Once you hit play, the track has a promising sound, but after the first chorus, it’s easy to forget what you’re listening to. The entire song feels monotone, like white noise that aims to put you to sleep and rest your brain with no real progression or element to make it worth returning to. Sure, the song is well-structured with decent lyrics and production, but like many McNown songs, it’s a bit sleepy and fails to arrive at some point that makes you want to press play again. If anything, “Call Me If You Miss Me” qualifies as one of the best album fillers you can make.
6.9
Raining Inside – Brad Paisley & Dawes Written By Max Buondonno
Many country songs have tackled difficult topics in the past, with much of today’s modern storytelling centering around mental health and well-being. Brad Paisley has tapped into the trend with “Raining Inside,” a collaboration with rock band Dawes. Written by Paisley, Lee Thomas Miller, and Taylor Goldsmith, the track shines a light on those struggling in secret who have yet to confront their issues. By far, the most enjoyable part of the song is the production. The track leans toward blues while remaining country-rock enough not to enter the genre. At the same time, Paisley’s signature guitar riffs echo throughout the track and give it the artist’s instantly recognizable trademark. That said, the lyrics don’t offer much connection outside of saying, “Hey, I’m unwell,” which many songs have done in the past. While it’s true that an individual could relate to what’s being said, as a song with an important message, it’s hard to ignore the lack of power or conviction anywhere in the lyrics. It’s worth spinning a second time because the production is solid, but otherwise, it wouldn’t be a surprise to find this on a Jelly Roll album (admittedly with worse vocals).
6.5
Good While It Lasted – Jason Isbell Written By Will Chapman
In 2015, John Mayer said that Jason Isbell “lives at a level where even great writers can only visit.” Ten years later, that statement still rings abundantly true. His latest record, Foxes in the Snow, is full of top-shelf writing, but “Good While It Lasted” might be perfect. Upon first glance, a song called “Good While It Lasted” seems like it would be about his recent divorce; it is, but it is also about a new love, freedom, life, and embracing the temporary. In just over four minutes, Isbell captures the essence of the human experience in a way that might take a few hundred pages from a great author. Not only are the lyrics a genuine work of art, but Isbell’s vocal and musical performance is also captivating. How he rushes certain parts and then slows down to convey the rush of falling in love and looking back is mesmerizing. “Good While It Lasted” is one of those songs that stays with the listener, rippling out long after it stops playing. Like “If We Were Vampires,” Jason Isbell explores the beauty in the ending, but this time with a broader and perhaps even deeper perspective. The past was good while it lasted, the future will be good while it lasts, and life is special because it only lasts a while.
9.9
ANOTHER DAY – Adrien Nunez Written By Ryan Lippe
Adrien Nunez makes music for a specific group of fans that ground their musical discovery process in TikTok. Still, the sound is reminiscent of the music that comedians like Kyle Gordon parody. With a sound straight out of an Old Navy commercial, this track offers nothing of substance to the landscape of country music. This isn’t to say that the song is awful and should be disregarded by all music fans; it’s still full of energy and offers a harmless, enjoyable experience for the listener. The song’s cadence is incredibly catchy and would be an instant earworm and skyrocket to the top of the charts if it was released on the cusp of the summer months. If Nunez were to slow things down and not have such an exclamatory percussion section in the first verse of a song, his voice could be a host to a really beautiful track. Unfortunately, though, of his five singles that have been released, everything is overproduced and commercially bland, and so far, his potential has yet to be acknowledged.
4.5
If You Hadn’t Been There – Dolly Parton Written By Ryan Lippe
Following the passing of her husband and longtime companion, Carl Dean, Dolly Parton released one of her most emotional records in many years. Solely written by Dolly, her love for Dean is felt in each carefully crafted line. Produced by Kent Wells and Gregg Perry, the track starts with a soft and mournful tone but gradually becomes an anthemic celebration of life. Building to a climax with a full orchestra supporting the iconic Parton, the song provides a fitting tribute to the man who stood by her side since she was 18. There are certainly a few moments during the pinnacle of the song when things feel crowded and overwhelming for the listener; however, die-hard fans of Dolly will appreciate the fanfare that comes with it. If Dolly had released this song a few decades ago, when her voice wasn’t as fragile, this song could have been a career-defining moment for her. Nonetheless, it commemorates the steady and strong relationship between her late husband and the queen of country music for 60 years.
7.8
To The Men Who Love Women After Heartbreak – Kelsea Ballerini Written By Christina Bosch
A poignant moment in Kelsea Ballerini’s career, the fan favorite from her live shows, is available now, kicking off the expanded version of her PATTERNS album. With an all-star cast of female writers, including Ballerini, Alysa Vanderhym, Jessie Jo Dillon, Hillary Lindsey, and Karen Fairchild, this track boldly tackles what comes next after a breakup. The outstanding imagery throughout these lyrics paints a beautiful picture of silver linings and hope for the future after trauma. Ballerini and Vanderhym’s simple production with plucky acoustic guitars allows the singer’s powerful vocal prowess to take center stage. While her personal relationships and divorce have been the center of gossip and tabloids for the past few years, Kelsea took the opportunity, to be honest with her fans through her music, whether it has been her trials, tribulations, or triumphs. This track is an ode to those who pick up the pieces and love hard. It’s admirable and will certainly stand out in her catalog.
8.4
