Baggage – Kelsea Ballerini Written By Jack Humphrey
In the last three years, Kelsea Ballerini’s career arc has been equal parts country-pop crossover and a chronology of relationship drama fit for reality TV. Along the way, it feels like she’s embraced the salacious nature of her personal narratives and is happy to discuss them in her music as long as people will listen. However, at a certain point, it’s time to start telling new stories. No song on her new album symbolizes that better than “Baggage,” which serves as a rote recap of the Rolling Up the Welcome Mat era leading into her next relationship. Overall, this song should be satisfying to no one; lyrically, it treads over most of the same flimsy themes about moving on and healing from a bad breakup. Those hoping for new tabloidy nuggets about her love life will have to settle for more of the same bittersweet banalities that defined Welcome Mat. Meanwhile, musically, this is just another flat radio song, no more interesting than “Yeah Boy” or “Dibs” from years past. Kelsea has been preaching growth, healing, and evolution, but time and again, it doesn’t feel like those are tenants she’s observing in her recent output.
4.8
This Party Sucks – Ryan Hurd Written By Max Buondonno
Ryan Hurd has a new home at Big Machine, and to celebrate, the “Chasing After You” singer has released a new anti-party anthem. Co-written by Hurd, Brinley Addington, David Garcia, and Ryan Beaver, “This Party Sucks” follows a couple who attend a party and quickly realize it’s a bad way to spend the night, leading to a desperate attempt to escape and disappear without anyone noticing. It’s a more pop-rock track from Hurd, who’s been experimenting with different sounds since the release of 2021’s Pelago. Musically, the song pulls off its concept pretty well, but lyrically, it’s disappointing. With nothing more than surface-level references to reasons you’d leave a party (a good-looking dress, not recognizing anyone, disliking the taste of champagne), the track doesn’t offer much to latch onto. The phrase “let’s get out of here” is repeated far too many times to count, but coupled with the loud production and Hurd’s punchy vocals, “This Party Sucks” quickly turns into a guilty-pleasure earworm after a few spins. You’ll catch yourself singing along far quicker than you think, even though it’s clear you’re not supposed to think about what you’re singing. Sometimes, that’s okay, especially if you just want to jam out.
6.4
Scared To Death Of Dallas – Trey Lewis Written By Will Chapman
In late 2020, it was nearly impossible to scroll through social media for more than a few minutes without encountering Trey Lewis’s viral hit, “Dicked Down in Dallas.” The song, known for its absurd and lewdly comical lyrics, quickly became one of country music’s first viral TikTok moments. Its humorous, over-the-top nature earned Lewis the title of the “Dicked Down in Dallas Guy.” While the song brought him immense attention, it painted him in a corner. Now, Lewis has taken a bold, clever step with his latest single, “Scared to Death of Dallas.” Where “Dicked Down in Dallas” was playful and irreverent, “Scared to Death of Dallas” is introspective and reflective, showcasing a side of Lewis we haven’t seen before. “Scared to Death of Dallas” is steeped in heartache and regret, telling the story of a professional musician who is horrified of running into a former lover at a show in Dallas, TX. The song makes a few subtle nods to “Dicked Down In Dallas,” namely the cities mentioned in the bridge. What makes “Scared to Death of Dallas” so compelling is its ability to lean into the joke by blending familiarity with maturity. In an expertly executed marketing move, Lewis retains his sharp wit, but this time, it’s paired with emotional weight rather than novelty and shock value.
8.9
Know You Like That – Jordan Davis Written By Creed Miller
Jordan Davis has quietly become one of the most successful artists on country radio of the 2020s, and he’s back with a new breakup song, “Know You Like That.” Written by Ray Fulcher, Thomas Archer, Jordan Rowe, and Michael Tyler, the track reflects on the memories of an old flame who moved on, got married, and had kids. Even though he didn’t write the song, Davis impressively paints a picture of her new chapter by contrasting it with their bygone days. However, the song is pretty generic overall. Davis doesn’t do much to make the song stand out, forcing it to blend in with the hundreds of other tracks that tell this exact story. Production-wise, it sounds like a classic Jordan Davis song, but the addition of a 12-string guitar was a nice touch that mixed up the sound a bit. Even though Davis doesn’t venture too far from his comfort zone, this formula has worked for him and will continue to do so. He’s consistently shown a knack for choosing songs that feel tailor-made for him, and “Know You Like That” is no exception. That said, it’s just good enough but lacks the distinctive elements needed to make it truly memorable.
6.8
Colton Venner – Fine ‘Til You Asked Written By Christina Bosch
Newcomer Colton Venner just dropped a vulnerable project, Fine ‘Til You Asked. The title track, which closes out the EP, delves into the fragility of the grieving process and the intricacies of facing the world again. “I’ve been better, but I ain’t been worse,” he painfully sings as one of the common responses to the impossible reality of life after loss. Venner co-wrote the track with Joseph Patton, and they explored the juxtaposition of friends and family wanting to express their concern about the agonizing pain of being forced to relive each moment. It’s conversational and therapeutic for anyone going through the motions of despair, pretending to have it all together. Even though the collection as a whole focuses on mourning, the clever songwriting and dynamic production allow listeners to relate and feel like they are not alone.
8.8
Heaven in a Holler – Brian Kelley Written By Max Buondonno
As Brian Kelley turns the page on what was nothing short of a disappointing album earlier this year, the Beach Cowboy has returned with a solo-written venture that feels much more personal and authentic. “Heaven in a Holler” focuses on finding inspiration, peace, and a connection with God while tending to his land and spending time in the wilderness with family. Compared to Kelley’s previous work, the song’s production is far more reminiscent of 2021’s Sunshine State of Mind, which avoided the radio-friendly, overly-produced polishing that worked to his disadvantage. Instead, the entire track feels intentional and reflective of Kelley’s life. Admittedly, it’s still far from a lyrical masterpiece; while it’s not terrible, there’s an aching feeling throughout that some eccentric poetry or metaphorical references would add enough flair to make it more interesting. Still, it’s a step in the right direction for Kelley, who seems to be done chasing mainstream fame and fortune, far benefiting from his creativity.
7.0
Taking Shelter – Jonathan Peyton Written By Adam Delahoussaye
Clouds seem to be rolling over the fields of Woodstock, Georgia, the hometown of songwriter Jonathan Peyton. “Taking Shelter” and all its trappings are battering down the hatches. Peyton is preparing for the storm barreling his way as his fragile yet fabled vocals try to provide some stability in the world of tumult he’s seemingly created. Strikes of chords come down like lightning as the wind whirls through this track that details lost control and unimportance. There’s not a lot here that hasn’t been covered before: worries that the best is yet to come for the one you love and soft, sensitive voices projecting those insecurities onto us. Peyton makes up for what he may lack in substance with his style, doubling down on the folk-adjacent game so many of his peers and collaborators have trod before him, making the trail less rugged. He owns it well, forgoing attempts to sway us into thinking he’s one thing when he’s another entirely. For an act in his early days, you can only imagine that his palette and poise expand from here.
7.0
People, People, People – Zach Russell Written By Adam Delahoussaye
Zach Russell hasn’t changed much since we last heard from him. Not that we’d want him to, anyway. The Thirty Tigers signee broke ground in country music last year with his debut record, Where the Flowers Meet the Dew, crooning about abstract notions of love and self-loathing that eclipsed his peers’ self-awareness. His newest takes a right turn, prescribing his personal philosophies to the bigger picture. There’s an air of relief in “People, People, People” that suggests the burdens of artistry are evading Russell as of late. The weight off his shoulders is infectious, and the track is imbued with a new sparkle in our poet’s eyes. Russell seems to find inspiration in several places, but the connective tissue of his entire catalog has always been a keen sense of self. That’s yet to change here, and there’s no indication thus far that he’s trying to be anything but himself. A static soul like his brings comfort in a country landscape of ever-changing narratives and malleable identities.
8.2
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