Watching Windmills – Max Alan Written By Adam Delahoussaye
It’s no secret that Appalachia is growing. Just ask any talent booker or real estate agent up in the hills, and watch the stress start to fill their face. However, as the scene and its subculture continue to evolve, artists like Max Alan seem to hold the key to presenting this kind of music to an audience beyond these cavernous valleys. On “Watching Windmills,” he pairs Charles Wesley Godwin’s quiet desperation with the quick-footed schemes of an early 2000s chart topper. Airs of Alan’s upbringing are found in chill-filling fiddle runs and warbling wanes through vocal progressions that remain somewhat stoic in the face of immense emotion. A child of cold winters, Alan is poised. From his piercing blue-eyed gaze to a softly spoken rasp that’s grown tired of uttering the same wish of amnesia on plenty of nights before this one. It’s a pleasant, unwavering sense of self-assuredness that takes these frigid feelings and warms them up like a cup of coffee on the back patio. As executives everywhere scramble to find ways to plant their listener at the top of these mountains, Alan feels like he’s playing to a base far more vast and approachable than most would realize.
8.0
Back in the Saddle – Luke Combs Written By Adam Delahoussaye
Reeling from his critically lauded, yet commercially underperforming, Fathers and Sons LP, it seems that Luke Combs’ return is getting fans back on board, playing to the rafters. “Try to stop it, but I can’t, it’s calling my name,” he roars on “Back in the Saddle,” a single giddy to get back on track and point wheels toward a more familiar, raucous, boot-stomping territory. Combs was debatably in need of a statement track, as an artist who rarely veers off course and seems to suffer only slight indifference when he does. Still, as much fun as his return to form can be at times, there is a sense that he put a little too much pressure on himself to hit a grand slam when a line drive would’ve worked just fine. The production on “Back in the Saddle” is spic and span in its Monday Night Football mix, carrying very little of the Average Joe mess and muddiness that similar songs of his leaned so heavily on. Its timing and urgency feel rehearsed and perfectly pieced together, a stark contrast from the previous mantra of cutting it live and rolling with the punches his previous record wore as a badge of honor. Maybe its picture-perfect outer coating is far from the meat and potatoes of past efforts, but regardless, the landing has been stuck. This thunderous, sweat-laden anthem, dedicated to getting back in the groove, is perhaps overdone intentionally. It could be that Combs is seeking to cover all his bases before he makes a read on his next pitch.
7.3
Moonshine Man – The Jack Wharff Band Written By Ryan Lippe
The latest newcomer from the Blue Ridge Mountains of Virginia packs a mighty punch with this latest release as they continue to plant their flag in a region of the country that has so much talent waiting to be discovered.. Blending a stark combination of bluegrass, country, and rock, the group has enraptured fans from all over the country. The track instantly draws in the listener with fiddle and banjo that set the scene for an intense story, creating a cinematic tone that is both intense and compelling. Produced by Charlie Worsham, each element of the band complements the others, making for a delightful listening experience. With their catalog barely eclipsing a year old, it’s wildly impressive that they’ve been able to create such cohesion in their music, with every instrument understanding its role. The entire time, the listener is immersed in a rich story written by frontman Jack Wharff, showcasing his ability to draw the listener into the moment with the character. Set deep in the hills of Virginia, the listener is instantly transported right next to the main character as he recounts his journey, miles away from home, and waits for a love interest to return to him. While not necessarily an original troupe of finding solace in music and alcohol, the song doesn’t feel like an old cliche, but rather a whole story with character development, investing the listener in the outcome. The Jack Wharff Band has injected a youthful spark into the bluegrass genre without reinventing the wheel, continuing to craft thoughtful tracks and establish a definitive brand for themselves.
8.4
If I Can’t Have You – Gavin Adcock Written By Ryan Lippe
Officially less than a month out from his third album and fresh off his rollercoaster year of success, fans have either completely bought into the Gavin Adcock hype or couldn’t care less. Much like his personality and stage presence, Adcock’s voice is nearly unfiltered and feels very unrefined, which has stifled his appeal amongst critics and fans. There’s a fine line between having a unique rasp and putting your voice in an uncomfortable area that makes it difficult to listen to. Within the first ten seconds of the song, Adcock’s voice begins to drone on about drugs, alcohol, and poor decisions, three things that have become synonymous with the Gavin Adcock brand. Despite the frustrating vocals, producer Jay Rogers has crafted a track that draws inspiration from the early days of Foo Fighters and the broader grunge and punk rock scene of the early 2000s. Even though they don’t quite drown out the vocals, the anthemic guitars and drums fill the scene, giving the listener something else to focus on. Some fans love and adore the raunchy quality of his voice, while others are simply following his career for whatever trouble he gets into next. This may not be rock bottom for Adcock’s catalog, but it’s a difficult jumping-off point with less than a month to go until his album Own Worst Enemy is out.
5.6
Graham Barham – BAD NIGHT – KARMA Written By Joel Reuben Pauley
If you’re a Graham Barham fan, you’ll love his new song, but if you’re a fan of country music, consider yourself warned. Because it is listed as a country song, it will be judged accordingly. Aside from what has been trampled to death by outrageous amounts of audio processing, there are hardly enough actual instruments to be able to evaluate the “instrumentation” of “BAD NIGHT – KARMA.” Sonically, this song sounds like it was mixed to mimic the tranquil sound of a blown-out JBL speaker at full volume played out of a paper bag. Lyrically, there’s not much to complain about; in fact, it’s a pretty good attempt at trying to rewrite “Thinkin’ Bout Me” by Morgan Wallen sneakily. The song is like a cheap sandwich: recycled, already-heard-it lyrics as the meat, and way too many slices of cheap 808 white bread. And make no mistake, this isn’t country music. Not even close.
1.5
Morgan Wallen – Miami (feat. Lil Wayne & Rick Ross) Written By Joel Reuben Pauley
It’s an impossible task to fathom the level of audacity it must’ve taken for Morgan Wallen to willfully bludgeon Keith Whitley’s “Miami, My Amy” in the first place. It seems once wasn’t enough for the “Last Night” singer, because he went ahead and added two rappers to the song, bringing an apparent unawareness of the country music legacy with them. Keith Whitley is a true country music legend whose voice defined an era, leaving lingering melodies that lasted long after his untimely death at the early age of thirty-four. Today, he remains one of the most influential voices in the history of the genre. As of Friday, “Miami” further cemented itself as one of the most disrespectful, unaware attempts at genre-blending in recent memory, taking a lyrical shovel to Whitley’s grave just to spit on it. If you pretend not to hear the vocal sample, you’re still met with a pretty vulgar rap song that Morgan Wallen happens to sing on. As far as the rap verses themselves, they don’t sound any better than Wayne or Rick’s recent releases, and they certainly don’t feel fit for the beat, which even uses chopped snippets of electric guitar from Keith’s original 1985 hit. Giving any credit to this song would be a moral defeat for anyone with even a moderate respect for the history of country music, as it looks down and spits on the very pillars that hold up the genre today. Its blatant disregard for tradition renders it not just disappointing, but completely unlistenable from start to finish. You can’t control the world around you, but you sure can choose not to give this track any streams.
0.0
Surrounded – Koe Wetzel Written By Max Buondonno
Opening with a haunting guitar riff that sets the tone for the entire atmosphere of the song, Koe Wetzel’s latest single is a solid representation of the rawness he can bring to his music. Harping on themes of loss, confusion, and admitting defeat, “Surrounded” plays to Koe’s musical stylings well, with scratchy vocals and the Texas rockstar’s electric instrumentals. Here’s the thing, though: it feels immobile, almost stagnant in a way that doesn’t seem to take Koe to any new heights or explore territory he hasn’t already. That being said, it’s far from a bad song. All of the character of a Koe track is here, with the familiar passionate storytelling fans have come to expect. Still, it’s hard to ignore the almost cookie-cutter-like nature of it, given its aura of a B-side on a record instead of a lead single for something coming. It doesn’t blaze its own path in Koe’s discography, nor does it show much evolution for his artistry. But it’s a good Koe Wetzel song; play it and you’ll hear the grungy Texan in his natural habitat. That’s enough to make “Surrounded” a fun song for fans to blast, and at the bare minimum, enough to tease something on the horizon.
7.9
WILD – Adrien Nunez Written By Max Buondonno
If a symbiotic relationship between two chameleons were possible, Adrien Nunez would be in one with Shaboozey. As if “A Bar Song (Tipsy)” is the only country song of the millennium with no other reference material available, Nunez continues to build an uninspired music career with the energy of copying one’s homework and changing it a bit to avoid getting caught. “WILD,” the TikTok-famous music release’s latest single, is yet another underwhelming track with an anthemic instrumental that sounds too much like Mumford & Sons to be on the same New Music Friday list as Charley Crockett or Luke Combs. The song paints Adrien Nunez as an uncontrollable recluse, but it never makes clear what drives him to that conclusion. Whether it’s personal struggle, hard times growing up, or mental health difficulties, we’re left to wonder what makes Nunez “wild.” Unless you’re Adrien Nunez (or one of the three other writers on the song), “WILD” will fail to speak to any part of you, while the annoying chants at the end of each chorus will leave a bad taste in your mouth. This song is meant to be skipped every time it comes on, whether because it’s too boring for virtually everyone or because it means nothing beyond… being wild?
2.5
Bitin’ List – Tyler Childers Written By Will Chapman
Do not cross Tyler Childers, or he might bite your ankles. “Bitin’ List,” a standout from Snipe Hunter, is easily one of the most bizarre, unhinged, and entertaining songs he’s ever put out. The premise alone is outrageous: if Tyler ever catches rabies, he’s coming for his enemies’ teeth-first. No metaphors, no veiled threats, just the fact that in the event he contracts rabies, he’ll go chomping at his opps. It’s absurd, it’s hilarious, and it’s also kind of brilliant. The writing is stripped-down but vivid, full of bitter honesty and dark Appalachian humor. Lines like “To put it plain, I just don’t like you, not a thing about the way you are” are perfectly blunt. The track is petty, it’s primal, and somehow, it still sticks with you. This isn’t just a diss track; it’s a feral declaration of spite, and it works so well because of how seriously he commits to the bit. Sonically, the production mirrors the descent into madness. The track starts grounded in acoustic grit, but by the end, it melts into a psychedelic swirl of warped textures and hallucinogenic noise. A banjo slithers out modal, vaguely Eastern-sounding runs as if rabies is overtaking the track itself. It’s weird, it’s tense, and it feels a bit like a fever dream. “Bitin’ List” is the kind of strange little masterpiece that only Tyler Childers could make. It’s funny, filthy, and just chaotic enough to feel dangerous. A rabid gem in a sharp-toothed record, and if you’re on the list, you’d better run.
9.4
Dust On The Dancefloor – Cole Goodwin Written By Will Chapman
Cole Goodwin’s “Dust on the Dance Floor” is country music done right. It’s soft-spoken, straightforward, and most importantly: traditional. Goodwin’s voice is smooth, gentle, and unmistakably country. He doesn’t belt or oversell; he just delivers. The lyrical imagery, while maybe lacking depth, is still classic: Merle Haggard on the turntable, a brown leather couch pushed back, the echo of a memory settling into the floorboards. The song isn’t going to make anyone cry or anything, but the novelty of it being a good old-fashioned sad country song is what makes it pleasant. The concept isn’t new, but it works. “She wrecked my heart in three-quarter time” feels right at home next to the steel guitar, and the chorus lands with a quiet kind of giddy-up. While the lyrics don’t say anything profound, with a voice like that, he doesn’t need to say much. “Dust on the Dance Floor” may not stop you in your tracks, but it confirms that Goodwin is one of the new artists worth keeping an eye on.
8.1
