If I Don’t Leave I’m Gonna Stay – Carly Pearce & Riley Green Written By Aishwarya Rajan
Joining the “Church Girl,” Carly Pearce in a duet that plays out like a steamy chick flick, Riley Green lends more than just his voice to their new single, “If I Don’t Leave I’m Gonna Stay.” However, rather than the tense passion sold to those following along with their music video snippets, listeners are taken through battles with fleeting temptation, underscored by a down-tempo backbone. Entering with the disarming clicks of a piano organ and acoustic strumming, Pearce brings orchestral melodies to life as she sings about the impotence of an act that lies somewhere between longing and regret. Further, what truly mesmerizes in this duet is the harmonies. Green’s tender, soft tone sands down Carly Pearce’s plaintive vocals, reinforcing the piece’s message. While Pearce’s attempts to defeat desire by reasoning through church and repentance of their lustful decisions, Green pleads, “we’re so good at striking matches, but we’re no good at ever putting out the flame.” This concept of falling into bad habits in a cyclical nature encompasses the toxicity of a relationship close to insanity. Both individuals repeat to each other concepts worn thin, but never learned from, “if we don’t stop, we’re gonna start all over again.” It is as though the same hollow words, repeated before moments of weakness, could finally be enough to keep them from ‘dancing in the ashes.'”
8.8
Problem For Tomorrow – Rhys Rutherford (ft. Lauren Watkins) Written By Aishwarya Rajan
In Rhys Rutherford’s moody new single, “Problem for Tomorrow,” the story’s melody and lyrical narration unite in a beautifully choreographed interplay. Both aspects communicate the same slow-draw narrative of a tempting phone call leading to inevitable bad decisions that they’ll consider “problems for tomorrow.” Seamlessly, the backing instrumentals transform into an acoustic ballad with strumming that feels like a tribute to Frank Sinatra’s “Somethin’ Stupid.” One in which a sunset stroll on a summer night in Italy meets scandalous escapades. While Rutherford has claimed his territory as the beholder of a charming tone that invites the listener into his whirlpool stories of romance, it is unfortunately not enough to elevate his latest work. Lauren Watkins’s voice, although perfect for her other exploits in the country music scene, comes across as incredibly pitchy. The song “Pretty Please,” and duet “STRAIGHT TO MY HEART” accentuated her sweet southern twang, but “Problem for Tomorrow” drowns it with an ill-suited register that only plays to her favor once, in the closing line “for tomorrow.” On the other hand, this single finds a sweet spot for Rutherford, where his evocative sound is demonstrated repeatedly; “Pick up the phone” and “that’s a problem.” It is equally haunting as it is enchanting. Perhaps one of the more redeeming aspects of the track is the piggybacking vocals and the moments when they sing to each other. In the end, however, the song culminates in a very promising duet, with the wrong pairing.
6.3
Hanging on Hope – Buffalo Traffic Jam Written By Aishwarya Rajan
Beginning with the gentleness of a nursery rhyme, Buffalo Traffic Jam paints a starry sky purple and blue in “Hanging on Hope.” As the gentle picks of a mandolin and acoustic guitar unite with the ballroom play of a cello, powerful drum beats transport the listener into an intensely passionate rhythm. The single’s emotional direction grows from the embers of a campfire, warm, hopeful, and comforting, to a burning red despair. The desperation to feel love permeates every aspect of the song. Lyrically, it stems from fleeting recollections of hopefulness; the band’s adroitness shows up in several powerful moments, peppered with tear-jerking familiarity. In particular, the line “love me, hear me, turn around and see me” is a capitulation of love that is anything but quiet, and instead dramatic. This concept is underscored by Frankie Cassidy’s delicate yet smoky tone, one that incites even more darkness and drear in a song riddled with toxicity and ruin, yet presented as a compelling fervor for love, mislabeled as such. After 3:43 minutes, one must conclude that Buffalo Traffic Jam devised this decade’s “Ophelia” by the Lumineers, with its folksy melodies and messages of extreme emotional despair.
9.8
Dry Spell – Kacey Musgraves Written By Adam Delahoussaye
It’s been a while since Kacey Musgraves had a good lay. 335 days, to be exact, which she blurts out at the top of her newest single’s first verse (not that she’s been keeping track). However, her abstinence isn’t exactly an outlier in the sex-having census. Fewer and fewer people are engaging in intimacy than ever before in the modern era; therefore, the decline in dropped pants feels increasingly urgent to address. Musgraves, almost as if she’s over the angst at this point, rather coolly recounts her own experience in the loneliness epidemic. She seems to trivialize it, prancing between innuendos that flirt with a PG-13 rating while keeping that cowgirl composure under swinging classical guitars, evoking a racier Nancy Sinatra. The energy Musgraves brings to the track is enchanting, filled with signature flourishes of retro structures, dressed in the spirit of the age. It’s easy to believe she’s scribbling down frustrations from some sparsely populated border town with pickings that are slimmer than the vultures circling them. But between “I think it’s time for me to take the bull by the horns,” and “Ain’t nobody’s tool up in my shed,” the exhale of the lines and wink after they’ve been uttered is almost complacent. The singer is caught somewhere between a morning-after debrief, lamenting over a bone-dry inbox, and a true Texas two-step for the era that’s slowly slipping off the saddle, and the generation that never bothered to ride in the first place.
8.0
Can’t Sit Still – Lainey Wilson Written By Adam Delahoussaye
Lainey Wilson says that her friends describe her as a “suitcase with legs.” While that designation could be given to any number of touring musicians, “Can’t Sit Still” imagines her more as a billboard with a built-in speaker. The 33-year-old’s latest, which made a soft debut through a promotional partnership with Ford, isn’t too far off from being the backdrop to an on-screen family road trip in a glinting F-150, the kind you skip after five seconds to get to the YouTube video on queue. It’s probably as in-character as Wilson’s been in recent memory, in that it’s so obsessed with the initial pitch that it forgets good art can sell itself, no bells or whistles needed. Wilson, rattling off dime-store antonyms under an equally scatterbrained arrangement of stomping drums and flashy riffs, feels pretty directionless, which is ironic given the declaration of the ants in her pants. The whole thing reads like a tease to the next thing, which will, in turn, dangle the carrot even further down the line as the country singer continues on a path of trying to cover as much ground as possible while saying nothing of any real importance. You can almost imagine the line “girl, you gotta chill!” being given at a table read for whatever promotional vehicle “Can’t Sit Still” will drive next.
6.4
Slow Hand – Hudson Westbrook Written By Joel Reuben Pauley
Given how influential and captivating Conway Twitty was in his time, it goes without saying that he does not receive enough credit today compared to many of the genre’s other legends. However, over the weekend, on the new collaborative album Country Never Dies, Hudson Westbrook tipped his hat to the icon with a cover of “Slow Hand.” As one of the faces of the new generation of country music, the stakes for a cover like this were high, but Westbrook sounded completely dialed in for the task. Throughout the track, there is a smooth, cool confidence to his vocal approach, sounding effortlessly relaxed. Aside from a few minor melodic changes in the verses that catch you slightly off guard, the structure and arrangement of the song stay largely the same. Even beginning with the same ascending guitar riff as the original, every catchy and memorable element of Twitty’s version is maintained. Intimate and endearing, Westbrook uses his own Texas-made sound to pay homage to one of his influences, for an audience that may not recognize “Slow Hand.” In doing so, he creates a perfect gateway for new fans to discover the music that shaped him and continues to inspire his own artistry.
8.4
Kentucky Bluebird – The Creekers Written By Joel Reuben Pauley
At a time when Keith Whitley is once again on the lips of younger generations discovering his music, The Creekers could not have chosen a better moment to share their new cover. From the recently released collaborative project Country Never Dies, the song feels both authentic and deeply respectful of tradition. If the overly processed Morgan Wallen track “Miami” was a complete disgrace to Whitley’s name, this cover sits on the complete opposite end of the spectrum. The band presents “Kentucky Bluebird” as a true treasure, carrying every note and lyric with grace and gratitude. The way The Creekers integrate such rich elements of bluegrass into the song elevates the track from a simple cover on a side project to a heartfelt tribute. It is also one of those recordings that almost makes you wish for an a cappella version, simply because the harmonies sound that good. With how naturally their sound fits Keith Whitley’s legendary hit, it would not be surprising to hear them return to it again and again for years to come, and if Whitley were around to hear it, he would likely approve.
9.0
Sunburn – Tucker Wetmore Written By Max Buondonno
Love him or hate him, there’s no denying that Tucker Wetmore can make an infectiously catchy song. Between his ability to glide over wordplay and groovy baselines and the confidence from his vocal delivery, it’s easy to find yourself tapping your foot and humming his harmonies when his music is played. It’s what’s led to a lot of fans in Tucker’s comments claiming his latest single, “Sunburn,” will be the song of the summer. It’s far too early to tell who gets that crown in 2026, but it’s clear he has a hit on his hands. The feverish production is laced with suggestive, borderline seductive lyrics about playing a show in a beach town, only to fall in love with a local and fail to keep their hands off each other. It’s warm, heat-wave vibe bolsters Tucker’s vocals and helps him slip into his most comfortable state: laid-back narration and a heavy accent flowing over clever writing from Ryan Hurd, Daniel Ross, and Jaxson Free. The best part? “Sunburn” leans into classic coastal country, which sounds more authentically Tucker than it would if it went in a more pop-leaning direction. It helps the song punch way above its weight class, giving Wetmore an unexpected standout in his entire discography.
8.2
Queen of 30A – Brian Kelley Written By Max Buondonno
The Beach Cowboy continues the roll-out of new summer-ready soundtracks with “Queen of 30A.” It’s Brian Kelley’s second release of the year, and on the surface, you’d be hard-pressed to call BK uninspired. It might be one of the most nuanced Florida Boy songs in his catalog; instead of some mystical relationship with a girl he met on the docks or on the beach, he sings about the “queen” of the famous Highway 30A, filling out her profile bio with details like a blue checkmark on Instagram and a “KD from UGA.” It’s a reference sure to be caught by locals of the Florida shores, and while it might not be immediately obvious to those who live farther north, it’s not hard to catch on. Still, while the title helps it stand out, the track’s core remains all too familiar and bland. It’s the same “how could a city girl like you fall in love with a country boy like me” schtick we’ve heard from country songs for decades, except with a Beach Cowboy flair. While it comes off as creative and fresh at first glance, it only takes a second listen to realize you’ve heard this song before, ultimately destroying its replay value. That being said, it’ll make for decent album filler on whatever project BK has on the way.
6.5
I Ain’t No Cowboy – Luke Combs Written By Jack Humphrey
For Luke Combs, his ballads are usually only as good as the penmanship behind them. He has so many under his belt by now, we almost take for granted a stirring, passionate delivery and rich, butter-smooth country production; the real X factor is whether we’re getting a truly inspired expression or a trite “list song.” Happily, “I Ain’t No Cowboy” is a remarkable entry in the former category. Putting a forlorn spin on Toby Keith’s seminal hit “Should’ve Been a Cowboy,” this song hits the same imaginative notes, wistfully wishing to be one of those free-spirited warriors of the plains. As satisfying as that concept is in its own right, Luke takes things up a notch with an extra layer of intrigue: our would-be cowboy isn’t chasing adventure, but companionship from a girl too restless to settle down. “I Ain’t No Cowboy” packs just enough metaphor and imagery to make our narrator’s breakup feel like a silver-screen tragedy, with Luke offering a trademark vocal performance against a piano/guitar arrangement that could’ve come right out of George Strait’s back-catalog. Hitting all the notes and story beats you want to hear, and landing in a comfortable sweet spot between novelty and timelessness, this cut is pretty much the archetype for a solid Luke Combs ballad.
8.0
Just Believe – Bailey Zimmerman & Brandon Lake Written By Jack Humphrey
Coming out of his sophomore effort, Bailey Zimmerman was already losing his fastball as a goofy frat dude perpetually in his feelings, and teaming with worship leader Brandon Lake takes him farther still from the impressively poignant angst that hallmarked his earliest hits. “Just Believe” mercifully clocks in under three minutes, but still manages to bore you to tears with the worst elements of contemporary Christian music: a lyrics sheet stuffed with vague “isms,” limp, uninteresting production headlined by suffocating mega-church drums, and a general sense that this exact song was made countless times already. In the short time Brandon Lake has been sniffing around country music, he seems to have decided that his bridge into the format from contemporary worship music is lazy, Facebook-ready affirmations in the vein of “don’t give up” and “get back on your feet.” Together, the pair gives their absolute all to this flimsy product, fervently spinning their wheels in place, producing precisely nothing of substance or value. It’s obvious that both Bailey and Brandon have plenty of enthusiasm for their would-be anthem, but in the end, everything about “Just Believe’ rings painfully hollow.
3.9
