Shame – JR Carroll Written By Adam Delahoussaye
JR Carroll spent his first and most formative years in country music as a disciple of one of the genre’s hottest stars. Despite the tornado of notoriety that engulfed his peers, sentiments of small towns and big dreams failed to evade his poise in the best of senses. That’s becoming increasingly evident as this small-town Oklahoman gears up to release his first major LP in the coming weeks. In “Shame,” he shows us that simple life still comes with complications, which are best unpacked in open terrain. His vocals have been lauded as a strong point by fans and critics, dancing that fine line between the pain and love he cites throughout the track. Carroll takes a delicate, almost straining flight on every line as he reflects on where things went wrong and if he has it in him to mend those broken bridges. More so than his arena-filling counterparts, Carroll’s intimacy, both in posture and production, continues to highlight the underlying want and need for voices in country music who are yet to hit the red carpet. Red dirt is far more conducive to Carroll’s style than the glitz and glam some of his peers pine after, and he seems much more comfortable with it under his feet.
8.9
Stones – Brennan Edwards Written By Adam Delahoussaye
Singer-songwriter and Virginia native Brennan Edwards has become pretty good at placing his problems in someone else’s hands. The unwavering pair he transfers them to do not get weighed down, inviting the pressure and stress that sit like stones in our pockets. In theirs, those worldly woes disintegrate and sift through fingers like sand. Edwards’s faith is no secret in his music. It’s a focal point in understanding his artistry, especially on his newest EP. The flighty, deliberately simplistic production on this title track from Edwards and Grady Smith pinpoints a weight lifted off our shoulders by realizing that there’s no good reason to hold onto worry. More than that, our singer has found someone to battle it for him. Warmth exudes from each string plucked as Edwards drops the pebbles from his pockets and regains that bounce back in his step. He’s had the pleasure of learning from some of the scene’s best and brightest while remaining wholly singular in his approach throughout an already storied career. Free of that dead weight, there’s a lot still left for Edwards to explore in the genre. While inspiration may be derived from worldly sources, it’s clear he’s only ever trying to emulate one man in particular.
8.2
Jesse Daniel, Benjamin Tod – A Few Good Ole Country Boys Written By Will Chapman
One could make a compelling argument that George Jones and Randy Travis stand alone as the two greatest vocalists in the history of country music: Jones with his heartbreaking, soulful whine and Travis with his sweet, resonant baritone. Covering a song by either of these giants would be rather ambitious; tackling a duet by both is even more daunting. However, Jesse Daniel and Benjamin Tod have done just that. Their take on Travis and Jones’s 1990 single “A Few Good Ole Country Boys” reveres the original recording, echoing its traditional production with a strikingly similar arrangement. The strong dobro lead, the snappy twang of a telecaster, and an alternating bass line create a soundscape that feels both nostalgic and fresh, thanks to a stern traditional arrangement and the clarity of modern recording technology. While no one will ever sound as smooth and agile as Randy Travis or as expressive and haunting as George Jones, Daniel and Tod blend nicely, delivering a heartfelt tribute to two icons who helped define the golden eras of country music.
9.2
Pour Me Out – Kashus Culpepper Written By Joel Pauley
With only three prior singles, Alabama native Kashus Culpepper has already generated significant buzz for his newest song, “Pour Me Out.” Written with Diego Urias and Ben Burgess, Kashus uses this release to incorporate jazz and blues tones into his sound. If “After Me” or “Who Hurt You” weren’t what some listeners were looking for, this may be the song to solidify them as diehard Kashus Culpepper fans. The piano and guitar tastefully complement the drums in production, creating the perfect space for Culpepper’s voice to fulfill the song sonically. It’s evident that Kashus has much to say and has shown raw vulnerability through everything he’s released. In “Pour Me Out,” the Navy veteran keeps his heart on his sleeve, displaying his innermost thoughts. Comparing himself to a drink, Kashus makes good use of wordplay like “‘Cause I know I’m not the only drink in town… Can’t just be another round” and delivers a well-written message of desperation, pleading, “If you don’t want to drink me baby, don’t sip me baby… Just pour me out”. Kashus Culpepper takes his style further with a new bluesy twist, using this track to express pure, unfiltered honesty.
9.1
Almost Gone – Gavin Adcock and Vincent Mason Written By Creed Miller
After touring together for most of 2024, Gavin Adcock and Vincent Mason teamed up for their highly anticipated track, “Almost Gone.” Given Adcock’s raunchy redneck style and Mason’s much softer approach, this seemed like an unlikely duo. Surprisingly, the Georgia natives sound complete and polished together. One of Adcock’s biggest songs to date, “A Cigarette,” highlights his more subdued delivery, which he taps into here, matching Mason’s gentle contribution. It’s much more refined with less of a kick factor than what we’re accustomed to hearing from Gavin. Since the production is much more of Vicent Mason’s vibe, he thrives on this song. His verse sounds like his other music; a little goes a long way with his vocals. That being said, while the chemistry between the two wasn’t clunky, the song as a whole was. There isn’t much of a flow, and it gets repetitive through the chorus, making it somewhat easy to zone out. With the track likely wrapping up the year for the two, “Almost Gone” is a nice cherry on top of their impressive 2024. It’s not the best part for either one, but it’s still a good addition.
7.6
Run It – Jelly Roll Written By Max Buondonno
The soundtrack for a live-action, CGI-filled movie about a hedgehog who can run fast must match the energy of the characters, the storyline, and–most importantly–the vibes. Wiz Khalifa and Kid Cudi were responsible for tracks that appeared in the previous two Sonic films, and now, it’s Jelly Roll’s turn to deliver something meaningful. But instead of a genuinely fun song that feels like the perfect fit for a film of this caliber, it falls on its face as nothing more than a marketing ploy that isn’t catchy. “Run It” sounds like Ryan Tedder wrote a song for the Sonic franchise and was originally supposed to sing it but then got laryngitis on the day of the recording session, and the only other person in the room who knew how to sing was Jelly Roll. Even then, it would’ve been better to scrap the song altogether. While it’s undoubtedly fast-paced enough to feel like a movie about running, Jelly delivers a predictably weak vocal performance that even a soundtrack for kids doesn’t deserve. The song is also technically “country,” but play it once, and you’ll realize it’s only country because Jelly sings it, and he says “one-horse rodeo” a couple of times. Let’s hope this song only plays while the credits roll as folks leave the theater; should “Run It” find its way into a montage, it might be an opportune time for a bathroom break.
3.0
Christmas To Me – Riley Green Written By Ryan Lippe
In the past, Riley Green has been a significant culprit of simplistic checklist songs, needing to evolve as a songwriter. Despite the plain song structure, the lyrics paint a heartwarming picture in listeners’ minds. The title may imply a specific sentiment surrounding Christmas, but it can be applied to a family gathering any time of year. Green’s songwriting is straightforward yet deeply resonant, centered on timeless country themes like family, love, and belonging. Its simplicity enhances its authenticity, creating a powerful connection with listeners through relatable and heartfelt storytelling. Nothing about this song revolutionizes Riley Green’s career; the same can be said about the production. Dann Huff blends a soft fiddle and guitar into a pleasant sound that compliments Green’s voice perfectly. Still fresh off his last album, Riley Green heads into the holiday season with a crowd-pleasing track that tells a heartwarming story.
7.5
