Lean In Kiss Me – Stella Lefty Written By Adam Delahoussaye
When it comes to criticizing Stella Lefty, the buck always seems to stop at her silk-sheet-draped upbringing and the easy on-ramp it granted her to four or five viral tracks in a row. What’s never really discussed is that, at her core, Lefty has the talent and panache of a hitmaker if she can figure out how to flex her biggest musical muscles. “Stick Season” influenced “Boston” to a point of Noah Kahan’s name being scribbled in the margins after the fact, “Good at Leaving” felt like an audition for a Zach Bryan feature, and now “Lean In Kiss Me” gets to a more girly-pop destination that feels equally as undecided in its identity as the sum of her career before this point. Folky in its outer dressing, the track gets halfway to early Bieber fever by the chorus when Lefty starts gushing over a potential friends-to-lovers situation. It’s not necessarily that the mix of influence makes the track sound too wonky or spliced together; it’s just that it feels like another example of the singer undergoing an identity crisis under the biggest spotlight in the venue. Lefty has the bare-bones makings of a star if she can unlearn the impersonal narratives and trend chasing that plagues the silhouettes of pop music.
5.0
Trying to Love You – Sierra Ferrell Written By Adam Delahoussaye
The crux of her career has always been focused on what felt like a past life, but Sierra Ferrell is rarely this determined to pull those memories in all their great and gory detail to the front of her mind. “Remember me gentle, remember me kind,” she continues to ask, with instrumental cues from a drum and fiddle section that feel like they’re in conversation but speaking some language only her subconscious can fully grasp. It’s nowhere close to the fantastical and time-stamped numbers Ferrell normally finds herself in; there’s a self-seriousness to “Trying to Love You” that strips away the sideshow sensibilities while remaining orchestral and grand in scale. The track feels a lot more intrinsically focused even if it’s missing some of the core components that have defined the singer’s personality since her breakout record, Long Time Coming. But Sierra’s voice can do most of the heavy lifting, as she glides past harmonicas in an attempt to find that long-lost love. It’s not in your face, but it doesn’t really need to be to get the point across. Ferrell sounds tired, a former vagrant trying to find her way home even when she can’t quite place it on a map.
7.6
Signs – Luke Bryan Written By Joel Reuben Pauley
It’s a bit wild to peer back at the eras that produced irritating, yet viral songs like Luke Bryan’s “One Margarita.” Back then, it seemed like Luke had stumbled upon his worst material and leaned into it at max capacity. Little did we know, we had plenty of room to descend even further, with “Georgia Ways,” “Fish Hunt Golf Drink,” and now his latest, “Signs,” all waiting in the wings. There’s a newfound level of obliviousness in the writing and execution of this new single, and it’s almost an insult to his listeners to include such elementary grammatical errors and despicably clunky non-rhymes. Before letting you know that “It’s half past cold beer o’clock,” he delivers the sentence, “I found out I’m better ever since you’re gone,” which should correctly read “you’ve been gone.” For the average, semi-educated listener, that’s annoying enough. But it barely compares to the idiocy of Luke’s attempt to rhyme “Chevrolet” with “Lucchese.” Everything feels out of place and deeply disappointing from an artist who should be expected to deliver a product that reflects his experience, as well as the resources available to him. There are plenty of great songwriters in Music City who would likely give an arm and a leg for Luke Bryan to record one of their songs, not to mention all the producers who wouldn’t have let this sound so flat and GarageBand-made. If, for some reason, Luke isn’t able to receive any worthwhile songs or ideas from his current hub, maybe he needs to evaluate what he’s actually getting out of his team and advisors. Better yet, he should consider the actual benefits of releasing heaps of terrible material, which continues to drop in grammatical and musical functionality, rather than just hanging it up altogether.
0.3
You Only Call When It’s Raining – Lucas Ball Written By Joel Reuben Pauley
If you happen to stumble upon Lucas Ball’s new single, you’ll likely stop in your tracks. “You Only Call When It’s Raining” proves that some acts can be influenced by classic country music and utilize modern production techniques at the same time. Off the bat, you can hear some high-quality, crystal-clear vocal processing. Other than Ernest, not many artists come to mind who similarly embrace such a progressive mix while simultaneously calling back to an earlier form of country music. There’s so much to like about the way this song was written and arranged; the way the chorus continues to build upon itself, after he sings lyrically “You only call when it’s raining… It only rains now and then,” is pure and alluring for both active and non-attentive listeners. As the chorus comes to a close, there’s a descending melody on “and then you’re gone again” that carries into the verse, and it’s such ear candy. The pedal steel, guitars, and drums all play together with a cohesive, tight relationship that makes everything feel fluid and organized at the same time. Overall, “You Only Call When It’s Raining” makes a great case for Lucas Ball, proving he’s worth paying attention to.
8.6
Workin’ Man – Gavin Adcock Written By Joel Reuben Pauley
Any new song from Gavin Adcock is usually, at the very least, a passably enjoyable listen. More than that, his lyrics are often clever, his voice is believable, and he’s always got new subject material to help round out the sort of hillbilly-hog persona he’s upkept thus far. His newest song is a reflection of some of the most lovable parts of his personality. Wishing he was playing the role of a tough, blue-collar provider for a woman of interest, he kindly offers his assistance should she ever get fed up with her current boyfriend “swiping Mom and Dad’s credit card.” Similar to Morgan Wallen and HARDY’s “He Went To Jared,” there’s a clear contrast between Gavin, the classic good ole boy, and the other guy, who’s more the suit-and-tie type. You know a song is doing its job when you find yourself dropping your morals and rooting for a homewrecker. That’s exactly what “Working Man” does. There’s a charm to the way Adcock phrases “Credit Card” and “Steady Heart,” where he’s not really singing, but more yelping and hollering, which meshes with his titular “working man” character. With Gavin, you don’t always have to take his lyrics super seriously, but almost everything is delivered in a way that almost convinces you he means each simple word. Ultimately, “Workin’ Man” is no different.
7.8
if you wanna know – Evan Honer Written By Joel Reuben Pauley
In one of the new songs from his surprise EP, Evan Honer’s fans get a clear, honest glimpse into the most vulnerable parts of his mind. “if you wanna know” shows Evan pouring out his feelings for a relationship he wishes he’d had more time with. The dance between curiosity and partial clarity within his perspective makes for a compelling listen as you quietly root for Evan to get his second chance. Asking questions like “Did you find yourself?” Honer reflects on the distance between them before revealing how far he’d go to close that gap. In a way, these lyrics read more like a letter than a song, and in this case, that’s what makes it great. You feel like a fly on the wall as Evan forms a message, hoping to find closure in a connection that’s been lost. The low-key production is soft and soothing, mostly serving as a supporting backbone behind Evan’s words. As the song progresses, it gradually builds, swelling larger as his vocals become increasingly louder and more passionate. As he often does, Evan Honer steps outside of his comfort zone, creating something deeply personal and honest that he can surely be proud of.
8.0
Jaded – Koe Wetzel feat. Ella Langley Written By Jack Humphrey
Though Koe Wetzel has been cultivating his ride-or-die fanbase for the better part of a decade, he and Ella Langley hit the Nashville scene at relatively the same time, both a bit unwieldy and rough around the edges in their own ways. Three years after their first duet “That’s Why We Fight,” they’ve each finessed their sounds a bit, and consequently found widespread commercial success, leading to a very different collaboration in “Jaded.” The silky-smooth reverb and synthesizers fit right in with Ella’s recent ’80s pop proclivities, but continue to create questions about Koe’s musical identity. His status as a rocker is kind of dubious, but he also doesn’t seem entirely comfortable as a true crossover act. Narratives aside, “Jaded” is something of a mixed bag; the melody is infectious and accessible, and Jordan Schmidt’s presence in the producer’s chair is a big net positive, adding some shimmer to Gabe Simon’s usual, plodding formula for Koe’s output. Peeling back those glossy layers, the text of the song is decidedly beneath the caliber of both artists, and you would’ve hoped for a more interesting study in the bleakness of being callous to love. It almost feels impossible for a cadre of creatives as bright as Koe, Ella, Jordan, and Ernest to produce something this pedestrian together; then again, it’s also easy to imagine that lyrical intrigue was less of a priority than giving these two stars something catchy to sing.
5.1
Loving You Like That – Dylan Gossett Written By Aishwarya Rajan
The folky textures of a banjo, while intriguing in their own right, have become an overwhelming staple in Americana/country, and inherently segues into basic, 2010s stomp-clap melodies. In readying his die-hard audience for his new project, Dylan Gossett’s latest release follows this unoriginal lead through its rudimentary sound and repetitive lyricism. Gossett’s pained vocals worked passably well through tracks like “Coal,” which arguably weren’t that impressive to begin with. Still, he manages to sound pitchy in every attempt he makes. While his narrative storytelling method and its familiarity to Zach Bryan, Colin Lynch, or Sam Barber is the likely main attraction, the lyricism falls far off. If his upcoming album, Ramblin’, is meant to capture the essence of his songwriting, he’s succeeded, unfortunately. He ‘rambles’ nonsensically for most of the track in a collection of fragmented sentences that stem from its vagueness, apparent in lines like, “If I call, would you fall / Find me where I’m at.” Further, he oscillates between painting himself as inadequate (‘if it’s my fault for loving you like that’) and casting himself as her savior (‘I’ve been giving you the light that you never had’) without ever reconciling the two. Even metaphorically speaking, it’s almost impossible to decipher the ideas he’s compelled to spew, so rather than play it again, it would be easier to turn it off.
5.1
Small Town Heart – The Jack Wharff Band Written By Aishwarya Rajan
The Jack Wharff Band has made a name for themselves by becoming a vessel for narrative prose and each band member’s energizing musical talents. That said, in their attempt to push the envelope of their sound towards more engaging sounds, in their newest single “Small Town Heart,” they lack balance through relying on an overactive instrumental ensemble. The deft abilities of the band members aren’t in question, but for a song dense with detailed imagery about what it means to be passionate musicians from a small town, the amalgamation of instruments feels like noise rather than a complement to its meaning. There is a brief tempo change that is carried by simple acoustic strumming. Still, it only lasts long enough for you to momentarily overcome the mild vertigo before being thrown back into the ferocious chorus. One might argue that the melody is representative of the emotions being conveyed. Whether that’s meant to be passion or frustration that Jack sings about, oftentimes lyrics alone can do the talking (much like their previous work has enabled) instead of the violent glitz and glam of unnecessary sounds. For example, the meaning behind the story is much more effectively developed by the lone thumping drum beats representing a heartbeat later on in the track. That said, this track paves the way for an exciting new chapter for the up-and-coming band.
6.6
Fast As I Can Crawl – Jason Scott & The High Heat Written By Max Buondonno
The grooves and low vibrations of Jason Scott & The High Heat’s latest single add a unique twist to the band’s rocking discography. As the opener to their upcoming album, Play Boy, “Fast As I Can Crawl” explores a relationship gone haywire that leads the protagonist to dive off the deep end and struggle to get back up. The inconclusiveness of the yarn sends home a sense of yearning for normalcy, harping on the feeling of loss and confusion until the final guitar chord is plucked. The High Heat always finds a way to keep their songs catchy and worthy of a boot stomp, and this one is no exception. It’s a toned-down take on the absurdity of some of their tracks, which bodes well for the musical diversity on their upcoming project. However, the song can fade into the background fairly quickly with its lack of build-up or meaningful lyrical progression, finding new ways to rhyme “crawl” rather than putting a bow on the fate of the person experiencing the heartache. Nevertheless, Jason Scott & The High Heat don’t always need to deliver a rowdy anthem to get attention. Stripping things down and keeping things cool seems to do the trick for the band as well, which further makes Play Boy an enticing listen when it arrives next month.
7.4
Me and Whiskey – Lee Brice Written By Max Buondonno
Whoever thought it was a good idea to use schoolyard and nursery rhymes as source material for country heartbreak songs needs to be fired. “Me and Whiskey,” the latest in a sad string of releases from the once-respectable Lee Brice, doesn’t even try to convince you to keep listening. Its mediocre interpolation of the “sitting in a tree” children’s rhyme is lazy and uninspired, and it sounds plain weird when you’re talking about drinking too much to get over a breakup. To make matters worse, “Mary Had a Little Lamb” is somehow shoehorned into the lyrics as well, along with references to “Ring Around the Rosy” and “Humpty Dumpty.” The corny, overly dramatic piano chords in the background are the icing on the cake for a track that begs to be taken seriously, but clearly can’t be. Would you cry if someone told you their girlfriend broke up with them while they were dressed as the Easter Bunny? How about if they were bouncing on a pogo stick while licking a giant, swirly lollipop in a propeller hat? Lee Brice seems to think you will, which is both profoundly confusing and sad in and of itself, that he clearly no longer cares about what he’s singing.
1.3
