Only God Can Save Us Now – Oliver Anthony Written By Adam Delahoussaye
It’s not by sheer coincidence that the most underprivileged of our communities are typically the ones closest to their savior. Religion and strife are inextricably linked; Appalachia may be serving as a prime example of this phenomenon stateside. It’s especially true for acts like Oliver Anthony, an act born out of a sundown town, who has been brandishing his less-than-ideal upbringing throughout his career, serving as a stand-in champion for a fed-up working class. Early criticisms of Anthony suggested his rise was whiny, that his anger was misdirected, that his small-town servitude didn’t have the wherewithal to bring forward rurally educated comments on cosmopolitan political problems. It’s unfair to assume that Anthony heard those remarks. Still, it’s important to acknowledge them in light of his best work coming as a reflection of the literature he’s the most well-read in. Contrast those soft, dejected cries of desperation with gothic undertones and chords that chirp like the birds circling over his neck of the woods; you’ve got a fully realized expression of where the South’s central focus remains as its surrounding provinces seem to grow more and more unrecognizable by the day. In the chorus, we get a warbled speculation from Anthony, stating “I think that time’s just about run out,” a two-fold realization on both the artist and the colors he’s covering his canvas with. “Only God Can Save Us Now” is Anthony’s most powerful song to date, seeing open hands directed at the sky rather than closed fists and index fingers pointed toward friends and neighbors.
7.4
My Kinda Saturday Night – Luke Combs Written By Adam Delahoussaye
Like any good weekend culmination, the first track and jukebox standout from Luke Combs’s newest EP sputters into existence. It’s almost as if he’s pulling together fragments of energy from throughout the week to piece together a sporadic, one-take tune in the spirit of improvisation, which the best night-out stories are always a product of. It’s not nearly as meticulously crafted, concocted, or formula-bound as his lead single “Back In The Saddle” was. Combs sort of stumbles into a good thing, rattling off a short but crucial checklist of what makes the party great and matches the tempo rather than exhausting it. His head is left spinning as a frenetic keyboard solo mimics the brain being jumbled by a few too many substances of choice, and he hones his focus back in with the rest of the band with startling precision in between those fun little riffs. Even as commercialization threatens to cannibalize select superstars, there’s still a concerted effort to center Combs and his barn burners as a north star in a genre that’s paving new side-roads and detours by the day. “My Kinda Saturday Night” mimics that sticky, sweaty sound Combs cut his teeth on to get here in a line drive to get the crowd back on their feet.
8.7
The Chair – Braxton Keith Written By Jack Humphrey
There aren’t many country music singers working today who have the poise, pipes, and pedigree to cover George Strait as effortlessly as Braxton Keith. With his signature blend of timeless sincerity and the slightest touch of slyness, he saunters up to an unassuming girl in the bar armed with his best pick-up lines. The waltzy 80s country groove and steel guitar are nearly identical to the original recording, making it especially remarkable that this cover doesn’t come across as retro karaoke. The X-factor is Keith’s nasal crooning; his voice is manifestly different from George Strait’s warm baritone, but his commitment to the character he’s playing is just as compelling. His version of our narrator strikes you as perhaps a bit less honest, though just as earnest. Our Texas troubadour’s original material, from his viral throwback tune “Cozy” to everything that’s followed, has prepared him for this moment: releasing a cover song that actually feels like an “event” single of sorts. We’ve always known that the ’80s country boots fit Keith, but openly inviting comparisons to the King projects a different level of confidence in his craft. This is his brand of country music, just as it was his forebearers’. In a country music landscape where genre-agnosticism and malleability are favored, it’s nice to have constants; right now, it certainly feels like Braxton Keith is one of those.
8.8
People Hatin’ – The Red Clay Strays Written By Max Buondonno
A catchy hook, slick guitar riffs, and a milque-toast take on ‘agreeing to disagree’ with others is the Red Clay Stray’s method of kick-starting world peace. While the band generally abstains from commentary on political or social issues, it seemed to have recently felt the urge to make a statement. After writing “People Hatin’” back in April, the Strays were driven to release it, complete with plenty of drum-up on social media. The result? Almost exactly what you’d expect from a middle-of-the-road perspective on how to fix our current political climate: stop arguing and love each other. Between not addressing a single, specific issue and expressing personal frustrations with how people are treating each other (all while keeping politics to themselves, apparently), this song is no different than any other “activist” anthem that refuses to establish itself outside of some awkward middle ground. It fails to bring a unique perspective to the topic it covers; instead, it tries too hard to sound politically neutral, leaving this song feeling void of any life or purpose. It’s only saving grace? The Strays’ production and vocal delivery are enough to get this song stuck in your head. Beyond that, “People Hatin’” sounds like one of the members of the band just bought a “Coexist” bumper sticker and realized it would make for a good song, which it definitely does not.
4.5
Days Like These – Luke Combs Written By Max Buondonno
The build-up to Luke Combs’s next album is officially underway, and one of the three new tracks from the project we’re getting a glimpse at is “Days Like These.” Written by Combs, Aaron Raitiere, and Brent Cobb, the song focuses on treasuring ordinary days that may not seem like much, but have a more profound impact than they appear. Driven solely by acoustic guitar, Combs’s voice takes center stage as tales of quiet days with the one you love are shared. Between the gentle instrumental and strong vocal performance from Luke, there’s a soothing backyard-campfire element to the vibe, almost demanding to be picked up by every novice guitar player you know. The track’s lyrics do a good job of setting the scene and reminding you of the ordinary days that feel extraordinary, yet they also remain somewhat spiritless. Vague references to “days like these” can bring forth personal memories for each listener, but don’t consume your attention enough to give you a peek inside Combs’s head. Still, this ballad serves as a good indication that there will be plenty of heart on this future project, which is something Luke Combs regularly pulls off well.
7.8
IYKYK – Dierks Bentley Written By Ryan Lippe
It’s hard to call two more additions a “deluxe” album, but Dierks Bentley follows up his June Broken Branches release with a couple of new tracks. With a handful of the songs on Broken Branches feeling frustratingly flat, this first of the additions kicks off with a prideful drum beat and prominent mandolin, harkening back to the days of his self-titled album and smash hit “What Was I Thinkin’” in 2003. Produced by Jon Randall, Mary Hilliard Harrington, and Ross Copperman, it delivers on the rowdy and rambunctious notes that so many of Dierks’s barn burners shoot for. This tune was penned by Dierks and Jim Beavers, with the pair developing a tale that is designed to be taken at face value. Leaning into every stereotype of a “bro-country” anthem, the song is the peak definition of “doing what we do,” but now and then, that’s all people need in their lives. More than 20 years into his career, no one is expecting Dierks to rewrite the book on songwriting. Instead, he’s given fans simple party anthems designed to provide a catchy tune to enjoy. With the summer concert season officially behind us, this track serves as a reminder of the performer Dierks has become over the years, and a reminder not to take things too seriously.
7.8
Disappearing Days – Brendan Walter Written By Ryan Lippe
A career that a passionate few have been following closely since his debut album in 2024, Brendan Walter doesn’t fit the mold of any specific genre. More basement punk than rooftop twang as of late, fans are paying attention to the energy and the emotion behind his work rather than the category he’s filed under on Spotify. Produced by Grady Smith and Lake Wilkinson, the whole thing is packed to the brim with rowdy guitars and thumping drums, creating a fantastic vibe. Jamie Dick takes control of the drumming and wonderfully complements Walter’s voice, and doesn’t try to steal the spotlight from him. Walter and Smith recruit the help of Muscadine Bloodline’s Gary Stanton, writing the song and encapsulating a strong coming-of-age sentiment that so much of Walter’s young fanbase can relate to. The listener feels as though they’re transported into the minds of all three writers and clearly understands the whirlwind of confusing emotions that come with growing up and branching away from the home where they grew up. With his sophomore album nearly a month away, the title track continues to draw in listeners just as every previous single has.
8.9
Briley King – The Night The Lights Went Out In Georgia Written By Will Chapman
Briley King’s cover of “The Night The Lights Went Out in Georgia” arrives on the heels of a viral moment that had fans begging for its release. A clip of King singing the song backstage went viral on TikTok recently. It was stripped down and intimate with soft horns and a hazy, organic atmosphere, showcasing a relaxed delivery that felt totally her own. It was one of those rare moments that made you believe you were witnessing something mystical in real time. Unfortunately, the official studio release doesn’t quite capture that magic. Featuring her husband Marcus King’s band, the track leans heavily on the structure and energy of Reba McEntire’s iconic version, but lacks the same fiery delivery. The production is clean and competent, but it feels like it traded the smoky whimsy of the viral clip for polish and familiarity. There was a real chance to reshape a classic Southern Gothic revenge tale through a new lens, maybe even with that impromptu acoustic feel that first caught everyone’s attention. Instead, it lands somewhere between homage and karaoke, which makes the whole thing feel safer than it should. Briley King is undeniably talented, but “The Night the Lights Went Out in Georgia” doesn’t showcase what made that TikTok moment so captivating. It’s a reminder that sometimes, less really is more.
5.6
BLAME JESUS – Drew Parker Written By Joel Reuben Pauley
After nearly a decade as a recording artist, Drew Parker pivots into a new lane, starting a journey in country/Christian music. The new track “BLAME JESUS” marks the first taste of his new style, and after over a year of feeling the nudge to pursue this type of music, it must feel good to finally begin this chapter. In a small but growing sub-genre of music, it’s rare to see an artist keep from swaying too far in either direction, but Drew Parker seems to walk a fine line, going fully country and fully Christian. In the new song, he holds back none of his usual twangy sound and brings a tone reminiscent of 2020’s “While You’re Gone.” The message serves as an explanation for a change of heart, involving letting go of habits such as burning bridges and breaking hearts. Like the title of the song conveys, Parker lets listeners know who to blame for the new identity he has found. Boldly declaring, “I’m forever changed,” the track serves as a perfect first step towards his new brand of Christ-centered country music, perfectly paralleling his shift in direction by expressing the powerful inward transformation that’s been guiding him since before this new chapter began.
8.9
Tyce Delk – As Long As I Got You Written By Joel Reuben Pauley
“A meteor’s looking right at the earth, we’ll just watch it crash and burn.” The line sounds apocalyptic, but in the context of Tyce Delk’s new single, it’s a perfect snapshot of how he views love. “As Long As I Got You,” his third career release, delivers two clear statements, the first being sheer adoration. In a world full of chaos, Delk finds stability in his partner, letting nothing outweigh the bond they share. As simple as settling for ham and cheese sandwiches after a light paycheck, and as far as embracing total planetary annihilation, anything is permissible as long as his partner is beside him. His second statement isn’t verbal, but you hear it all over the track in a musical declaration that there’s more range to his artistry than listeners might expect. The totally new sound of “As Long As I Got You” adds a refreshing touch to Delk’s short catalogue, showing he’s got more than 6/8 time signatures and slow songs up his sleeve. While “Adaline” and “Can’t Recall” were both powerful, well-crafted in their own ways, Delk needed something a little more upbeat before too long, and the new single exceeded expectations. The best artists give you something to cry to, and something to dance to, and with only three songs to his name, Tyce Delk has already delivered on both.
8.6
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