Hudson Westbrook – “Mine Tomorrow” Written By Joel Reuben Pauley
In under a year, Hudson Westbrook has made quite a career, holding the torch of Texas country as he becomes an increasingly popular name in mainstream country music. Along with the recent release of his self-titled EP, Hudson has already explored a wide range of subjects, from the pain of heartache to the heat of love, with songs like “House Again” and “Dopamine.” In his most recent single, “Mine Tomorrow,” Westbrook takes on the role of a committed man, promising to stay true as long as he knows the feeling is mutual. This is one of those songs that could go on to be sung at countless weddings. The new single reveals a fresh side of Hudson, reminiscent of George Strait, particularly in its thematic similarities to iconic songs like “Carrying Your Love With Me.” Such a dependable spirit is refreshing to hear from Westbrook and adds another layer to his artistry. While somewhat unexpected, this new mature sound in this track takes Westbrook in a good direction, giving hope that his next release will provide a similar satisfaction.
8.1
Kashus Culpepper – Jenni Written By Adam Delahoussaye
Kashus Culpepper is a fascinating case study on the subject of modern musicianship. With a lot of virality and just a few tracks to his name, he’s achieved in a year what some acts spend a lifetime working toward. A new signee to Big Loud Records, the Alabama native has successfully headlined his own tour and played at the Grand Ole Opry, catapulting him toward the top of the mountain. Amidst that busy schedule, finding his own sound has seemingly played second fiddle to getting on stages watched by people keen on molding it for him. His voice and its words have always felt like they knew where they were headed, though the whispers around him seemed to knock him off course, intentionally or otherwise. “Jenni” is a sure step in a more self-assured direction. This campfire love ballad has sparks flying as Culpepper’s rasp roars through the smoke and embers. That undulating mumble paired with the piercing tone of the harmonica exudes warmth. It emulates being cozied up in the cold, with that newfound love, flames, and feelings equally working to make ears red. With his last few releases, the simple southern soul Culpepper has been aiming for feels like it’s getting closer to the mark, finally figuring out how to steady himself at this new pace.
9.0
Kane Brown, Brad Paisley- “Things We Quit” Written By Will Chapman
Kane Brown’s latest album, The High Road, is a little inconsistent, full of ups and downs with some highs and very lows. Brown has been criticized his entire career for his flashy hip-hop-inspired production. The High Road as a record, with its Marshmello, Jelly Roll, and Khalid collabs, does not definitively take a step away from that narrative. However, the album’s backside features the most country songs Kane Brown has ever released. “Things We Quit” is solid country gold. Written by an all-star lineup of Brad Paisley, Jesse Frasure, Josh Osborne, Hardy, and Morgan Wallen, the song follows the themes of so many country songs before it. Reminiscent of a modern version of Hank Williams Jr.’s “Old Habits,” it draws clever connections between alcohol, cigarettes, and exes. The most intriguing part of the composition is the chord progression, which strays from the typical pop country format of I, V, vi, and IV by using secondary dominants to add a sweet sense of harmonic depth and movement. Even the most staunch traditionalists can’t help but smile when Brad Paisley’s signature telecaster, accompanied by fiddle and pedal steel, kicks the track off, providing a strong instrumental bed for Kane Brown’s rich baritone to take center stage. Brown and Paisley delivered solid vocal lines that complement the arrangement nicely. Overall, “Things We Quit” proves that Kane Brown is capable of making traditional country music and sounds great doing it.
9.5
Haunted – Kane Brown feat. Jelly Roll Written By Max Buondonno
Jelly Roll always seems to find the worst songs to guest on. Kane Brown’s “Haunted” is another collaboration nightmare that annoyingly moans about the struggles of being famous and wanting to take one’s own life due to failing to handle it. With flashbacks to Mr. Roll’s previous lifestyle and Brown’s pondering how happy he’d be if the voice in his head didn’t haunt him, the song comes off purely tone-deaf and fails to make a meaningful statement about the challenges that fame can bring. Written by Brown, Jaxson Free, and Gabe Foust, “Haunted” is far from self-aware and comes off as nothing more than a platform to vent about checks notes, having everything you could want, and (for reasons unexplained) wanting to end it all. It’s backed by an ominous production that, admittedly, isn’t terrible toward the end during the guitar solo. But there’s no denying this song is a missed opportunity to reflect on real-life struggles and explain them meaningfully. Instead, it sounds like someone messed up their Erewhon order for the last time.
2.2
Place They Call Home (feat. Flatland Cavalry) – The Castellows Written By Ryan Lippe
Perspective has always been an integral part of songwriting in country music, with people constantly looking for new angles to tell a story. The Balkcom sisters and Cleto Cordero have written a beautiful tune from the point of view of our planet Earth. With the Earth as the narrator, it could address a vast range of topics, from climate change to issues of war. This is The Castellows’ third collaboration, and each release has brought out a different side of the band, but it’s time for their diverse range to be projected on future solo projects. Produced by Dwight Baker, it’s a very safe sound and doesn’t take many risks, playing to the strengths of both parties. The soft guitar and percussion, joined by some fiddle during the bridge, feel very on-brand for both The Castellows and Flatland Cavalry. When Cleto Cordero initially opens the song, fans instantly know it’s him, but once the Balkom sisters come in, their pleasant soprano voices compliment Cleto. It’s hard to see this song gaining much commercial sense, but with a message as important as this and such a soothing vocal pairing, it deserves to reach as many listeners as possible.
8.0
Here Lies The Fool – Kameron Marlowe Written By Creed Miller
Over the last couple of years, Kameron Marlowe has been one of the most overlooked artists in country music. His raw and powerful vocals are right up there with some of the genre’s best. On his latest release, “Here Lies The Fool,” his singing is unquestionably the track’s highlight, as they are smooth and stand out in a song where not much else does. The steel guitar is another positive aspect, as it creates a slick sound and helps keep things relatively interesting. Outside of those two aspects, “Here Lies The Fool” is a bit of a nothing burger. It’s good, but that’s about it; it is missing an “X Factor” that will make the listener want to go back for more. While Marlowe has some unbelievable qualities, a lot of his music (this one included) is just flat-out boring, ultimately preventing him from taking that next step up as an artist. The potential is there, and he could have a long and successful career, but “Here Lies The Fool” proves he still has room for improvement.
6.4
Isn’t She Country – LOCASH Written By Will Chapman
When MGK and Jelly Roll released “Lonely Road” last year, it was widely criticized, and rightfully so; the song was downright awful. While their desecration of John Denver’s “Take Me Home Country Roads” was horrible, it was harmless. MGK is not a country artist, and “Lonely Road” seemed like an unserious song for MGK to dip into the country world. If “Lonely Road” taught us anything, iconic vocal melodies should be revered, not lazily interpolated for a pop-country cash grab. However, LOCASH has developed something far worse than “KellyRoll” could ever imagine. “Isn’t She Country,” an appallingly awful parody of Stevie Wonder’s iconic “Isn’t She Lovely,” is an insult to country music fans or anyone with ears. The listener is immediately met with a cringe-fest after the track starts. It’s tough to take any song seriously when the first verse begins with, “She like my Chevy, beer in a Yeti, pickin’ them berries fresh right off the vine.” If we were to ask ChatGPT to “write a country version of Stevie Wonder’s “Isn’t She Lovely,” it would almost certainly come up with something a bit more classy than “isn’t she blue jeans.” It’s embarrassing that the bar for success in country music is so low that a moderately successful group can get away with releasing something this bad. The only redeeming quality is the melody and chord progression, which are much better performed on Stevie Wonder’s original tune and should have never been repurposed. The production of the song was also incredibly poorly executed. It lacks any liveliness that Stevie Wonder masterfully conveyed in his original composition. The vocals are so over-processed that it hurts, and the choir of robots accompanying Chris Lucas and Preston Brust is rather uncanny. “Isn’t She Country” is a garbage cash grab that should never have been released. The trend of ruining classic melodies with thoughtless pop-country nonsense needs to end now.
0.5
Crickets – John Morgan Written By Max Buondonno
An infectious melody, guitar riff, or chorus can do wonders for sub-par country songs; it’s how many of them wind up going #1 on the radio. John Morgan’s newest track, “Crickets,” fits that bill nicely. Written by Morgan, Lydia Vaughan, and Zach Abend, the song details the talkative nature of a love interest who always has something to say until they wind up in a certain, privacy-friendly part of town. The track tries to be a bit edgy and playful in its lyrics without going too far into detail, while the storyline itself doesn’t carry much weight or anything worth paying attention to. Instead, this is a song that fits the trajectory of where Morgan wants his career to go: mainstream fame and fortune. The instrumental is groovy and easily forces you to bob your head to the beat, but if you’re unimpressed with the way it sounds, this song has very few redeeming qualities to latch onto. It’s a fine mainstream track that could stand on its own one day, but it’s worth lowering your expectations if it indicates how Morgan’s upcoming project, Carolina Blue, will sound.
6.0
Marry Me Again – Rodney Atkins Written By Max Buondonno
As Rodney Atkins attempts to revive his career, his music doesn’t seem to have the same desire. His latest single, “Marry Me Again,” is a slower, more introspective track compared to his most recent release, and it manages to feel a bit more authentic to where Atkins is at in his life. Paying tribute to his wife of over 10 years, the lyrics offer a glimpse into the artist’s personal life and falling in love, ultimately expressing his wish to marry her again and build upon their connection. Written by Atkins, Adam Craig, Jaxson Free, Jim McCormick, and Russel Sutton, the song focuses on Rodney’s story and keeps it unique to him. However, it ultimately fails to drive home an emotional impact thanks to its surface-level lyrics, leaving the listener feeling void and unfulfilled. Atkins’s vocal performance also leaves much to be desired, resulting in a forgettable listening experience that won’t favor Atkins. While the song certainly has meaning to him, he fails to make it relatable or enjoyable enough to return to, which won’t bode well for this Hail Mary attempt at a career in 2025.
5.5
