Seven Weeks In County – Billy Strings Written By Adam Delahoussaye
The finger-picking fanatic is back as we fasten seatbelts and brace for impact along the anticipated journey set to take place in Billy Strings’s Highway Prayers LP, slated to debut in just a few short weeks. His newest preview into that journey, “Seven Weeks In County,” takes that inspired spirit Strings brings with him everywhere back to the heart and soul of the genre. Here, we get flashes of that outlaw way of living every boy who picks up a guitar has dreams of, as Strings romanticizes his galloping getaway in epic Western fashion. Even this cowboy knows that whatever comes to him can’t be run from and reconciled with. Fate encroaches on all of our journeys, for better or for worse. Just a hair past Marty Robbins and a trot away from Clint Eastwood, we now see Billy Strings, looking to stamp his iteration of the spaghetti western into existence in a move that feels as fitting as ever. As confident in the whirlwind of jam band psychosis he is, Strings can clearly grease the wheels musically in any way he sees fit. Half the fun is seeing what direction he goes in next.
9.0
Two Things – Kelsea Ballerini Written By Adam Delahoussaye
There’s been a lot of buzz around East Tennessee’s diamond-studded darling as she starts to sparsely provide details of life updates on her upcoming full-length project, PATTERNS. Here, she delves into the irony of fanning the flames of a former lover on the latest single, “Two Things,” recognizing the pattern of extreme emotion on every end of the spectrum. Vocally, she’s far more reserved here; instrumentation takes a backseat to her toil, and torment puts its foot on the gas. There’s a lot of push and pull with Ballerini and her team of writers as they wade through those waters, unsure if forgiveness or forgetting is the best step in moving forward. Maybe, in the end, the blend of both is the most natural way to attack heartache. For an artist keen on having fans deeply rooted in her story, plenty of source material is ready for this new record. A track like “Two Things” ultimately just seems like the tip of the iceberg.
8.2
LAUGHIN’ ALL THE WAY TO THE DRANK – Keith UrbanWritten By Jack Humphrey
Being a Keith Urban apologist over the last decade has been challenging. With one limp, colorless effort after another, country music’s former foremost rockstar has scorched his credibility with his diehard fans and presented himself to younger audiences as an uncreative try-hard hellbent on staying young forever. As such, listeners approached his twelfth studio album, HIGH, with some skepticism. Even though the album mostly made good on those dismal expectations, it would be simply unfair not to acknowledge “LAUGHIN’ ALL THE WAY TO THE DRANK.” Top to bottom, this song is exactly what you want a Keith Urban song to be. It’s loose, fun, and genuinely clever as he dons the persona of a blue-collar guy collecting his Friday paycheck with the same carefree zeal of “Who Wouldn’t Wanna Be Me” or “You Look Good In My Shirt.” In the bridge, he rocks out with a blisteringly punchy instrumental breakdown worthy of his best albums from the early 2000s, reminding us all that when he applies himself, no one does country-pop better than Keith Urban.
8.4
Kip Moore, Live Here To Work Written By Jack Humphrey
Months ago, when Kip Moore declared he would go at his next full-length LP solo, it felt like a natural next step for the country-rock recluse. Even though he got his start on country radio, Kip has spent the last ten years with a perfunctory attitude toward Nashville. Even though Kip regularly tours with the likes of Sam Hunt, it’s always felt like he’s had a bit of a chip on his shoulder as an artist that most of the radio bros don’t. When he announced his plans to release music without UMG, it sounded like he wanted to zig when the label wanted him to zag. Unfortunately, his first independent single, “Live Here To Work,” didn’t really pay off on that intrigue. Flatly, this song is fine, but nothing special, and it could’ve easily fit in on any of his major-label efforts. While Kip has already dabbled in southern rock with songs like “Kinda Bar,” it never fits him quite as well as his Springsteen-adjacent heartland rock. Likely, this song is far from the best Kip Moore’s new project has to offer, but on its own, it doesn’t meet the expectations of the bold, independent venture he’s advertised.
6.3
Benjamin Tod, One Last Time (Feat. Sierra Ferrell) Written By Will Chapman
“One Last Time” marks the third pre-released single from alt-country troubadour Benjamin Tod’s upcoming album, Shooting Star. It continues to indulge in the rich traditional sounds showcased in previously released tracks “I Ain’t The Man” and “Satisfied With Your Love.” However, this time, they come as a slow, gorgeous waltz. Sierra Ferrell adds a layer of old-timey charm as the warmth and quirkiness of her backing vocals perfectly complement Tod’s strong lead. Produced by Andrija Tokic, “One Last Time” is a perfectly layered track. A talkative pedal steel weaves in and out of conversation with a plinking honky tonk piano that makes a playful contribution to their instrumental dialogue. Together, they craft a soundscape that feels both nostalgic and fresh, echoing the traditions of classic country music. With this single, Tod and Ferrell deliver a masterclass in traditional country music, reminding us of the genre’s enduring beauty. This is simply country music at its finest.
9.7
Barely Blue – Midland Written By Max Buondonno
The title track to the trio’s latest LP, “Barely Blue,” plays to Midland’s strengths nearly perfectly. The entire album was produced by Dave Cobb, which has given the project a soundscape that more authentically plays to Midland’s brand than what we’ve heard from the band in the past. It leans into Midland’s nostalgic, carefree brand. While delivering It also delivers the band’s exceptional three-part harmonies and twangy guitars, which are staples of any good Midland song. “Barely Blue” is a classic among the tracklist for two reasons: its story fits Midland perfectly, and its production is some of the best on the album because of its balance between the concepts that Midland handles best and the revitalized production that brings new life to their sound. Blissfully conveying the contentment and lack of sadness a man feels at the bar after a relationship suddenly ends, the story fits perfectly in Midland’s catalog and makes for a formidable standout. While this track (or the rest of the album) is nowhere close to the mainstream sound Midland usually chases, it’s a welcome change of pace that deserves a spot in your playlist.
8.7
Guess We’ll Never Know – Mitchell Tenpenny feat. Colbie Caillat Written By Max Buondonno
Track seven on Mitchell Tenpenny’s new album The 3rd marks his first collaboration alongside “Bubbly” singer Colbie Caillat, who has taken a few swings at the country genre over the years. “Guess We’ll Never Know” sees a couple fantasizing about their lives without each other, questioning whether they’d be the same people and what they would be doing. Written by Tenpenny, Christian Griswold, Dallas Wilson, Jaten Dimsdale, and Jimmy Robbins, the song is far from imaginative in its storytelling as the lyrics come off as bland and too surface-level for anything more than casual listening on your radio. The track’s redeeming qualities lie in the production and chemistry between Tenpenny and Caillat, which both feel effortless and breezy (in typical Caillat fashion). Their respective vocals offer a surprisingly solid balance; Caillat’s gentle, inviting delivery and Tenpenny’s raspy edge pair nicely. While it’s not a competitor for the best collaboration of the year, it’s a unique entry on Tenpenny’s album that deserves a listen.
7.1
High Road – Elle King Written By Max Buondonno
Rob Scheider’s daughter Elle King has released her second single of 2024, and it’s nothing to write home about. The title “High Road” may be associated with one of the year’s most memorable tracks from Koe Wetzel and Jesse Murph, but the Elle King song of the same name can’t match the appeal. Written by King and Paul Dominick DiVincenzo, the song takes on a more traditional country aesthetic than what we’re used to hearing from the artist, and its lyrics are a lot less risque despite admitting to smoking and drinking instead of improving your life. The track is a bit of a personal admission from King, who commented on Instagram that “it’s funny how the lyrics have played out over this year” after writing it in 2023. It’s a sleepier tune that’s pleasant enough to spin, but it begs to be more vulnerable and reflective for the topic in question. King could be experimenting more in the future with her sound, given her desire to be “my truest and utmost self,” if “High Road” is any indication, she could be on to something. Until then, this song will likely slip to the wayside as a passion project instead of a standout in her discography.
6.2
