6 Months Later – Megan Moroney Written By Adam Delahoussaye
From weepy intro guitar slides to the jaunty drumline, evoking that skip-through-the-tears homeostasis Moroney sits in, “6 Months Later” encores her sappy, sparkly shtick. The Emo Cowgirl’s last record was lauded for its country-textured, pop-tailored fit that had its seams tied together by Moroney’s personal inflections. Her first solo effort since does a good job of sticking to the script, yet allowing some space in the margins for personalization. As Moroney puts it in the chorus, the tune itself is a “tale as old as time” that pushes and pulls between love and hate, plaguing the twenty-somethings and their graveyard of a “no contact” list. But like most Moroney numbers, the broad-scale chronicle is only half the story. The real page-turning happens in the footnotes, where her vocals dance between rasp and roar while she takes ownership of a blanket statement of heartache. More than most of her peers, she’s mastered using clever one-liners and quick quips as a through line of personality within her catalog, regardless of what the credits look like. It is punchy and personal, and includes all the accessories of a southern swoon while draped in pop music’s swanky outerwear. As an ambassador for the former, Moroney now gloats as she toes that line between pomp and personality.
8.2
Take Yer Meds – Brent Cobb & the Fixin’s Written By Adam Delahoussaye
Alternative medicine has surrounded rockstars since the golden years, but from Holly to Hendrix, the first cure was always found in the spaces between the measures. The genre itself is a release, pairing rebellion and a relinquishing of the soul in a vivid, dynamic blend of otherwise at-odds ideas. So it’s probably no surprise that Brent Cobb, docile as he is, is looking to get his fix off a seed that’s been slowly sprouting in the corner of his sonic garden for years. The rollout for his latest has been chock-full of head-bangers and foot stompers, a tour through history given by a guy itching to take country charm to more grungy spaces. The result here is fairly self-referential, as the music and medicine mesh into a wild concoction. Through its quick peaks and syncopated melodies, the chaos is engulfing yet controlled, like a 12-round boxing match on Cobb’s newest track, “Take Yer Meds.” Punchy drum lines thump at us like a head-pounding jab before the high sets in for those few brief moments in between the slump from the euphoria and the inevitable chase to get it back. A double track of our frontman’s vocals and some of the backing band is palpable enough to blur vision, but despite the whiplash, it’s a productive trip. Cobb’s possession of rockstar pinstripes was never really a debate, but here, he gets to the root of the noise to attack more cleverly than most. His hillbilly insight gives an otherwise bleak artistic outlook the juice it probably needs to sustain itself.
8.3
Not Like I Used To – Jake Worthington Written By Creed Miller
Jake Worthington holds to his throwback sound in his latest release. The Texas native doesn’t get the credit for it, but he has one of the smoothest voices in country music today, and it completely glows on this track. It’s no secret that Worthington has a twangy traditional sound, but this track specifically carries a lot of similarities to artists like George Strait in terms of vocals, production, and lyrics. It sounds exactly like something that country music legends would cut. It’s not forcing the ’90s sound; it effortlessly achieves it. Written by Worthington, Monty Criswell, and Derek George, “Not Like I Used To” reflects on a past relationship, with the protagonist grappling with the fact that he no longer knows his former lover the way he once did. This song is compelling because it parallels many iconic songs, but it’s not a copy-and-paste of them. Worthington takes the listener into a time capsule, allowing them to appreciate that old-school influence on his sound. “Not Like I Used To” is yet another strong release from the 29-year-old as he continues to solidify himself in country music.
9.2
Normal Day – Brendan Walter Written By Creed Miller
Newly signed to RECORDS Nashville, Brendan Walter returns with his second single in as many months. Walter teamed up with Jack Rauton and country music connoisseur Grady Smith to write the track, focusing heavily on awakening reflection. The song’s main character finds himself in a position where he isn’t quite where he thought he’d be at this point in his life; he feels like he needs to step up and get himself together. This is the most honest songwriting from Walter so far in his young career, as he expresses real vulnerability, which he hasn’t always explored. As always, Walter’s vocals are a strong suit. “Normal Day” is a bit more relaxed than some of his peppier tracks, like “Fallen Angel” or “Gassed Up,” and everything feels effortless and smooth, especially in the last chorus when he shows off some range. Brendan Walter is still a developing artist, but has massive upside as “Normal Day” is some of Walter’s most impressive writing to date, and is yet another strong release to kick-start his career.
8.0
Funny Seeing You Here – Hudson Westbrook Written By Ryan Lippe
Continuing his upward trajectory with no signs of slowing down, Hudson Westbrook gives fans one last taste of his upcoming album, Texas Forever. Though it keeps a strong country twang, the track leans heavily on southern rock and soul influences. Produced by Lukas Scott, anthemic guitar and fiddle solos fill the song with the distinguished neo-traditional sound his fans know and love. The chorus is meticulously arranged, with each drum bang echoing Westbrook’s vocal cadence, building on the last to create a rich and immersive listening experience. Westbrook penned the track with Dan Alley, Ryan Beaver, and Neil Medley. The song follows the narrator on an ironic encounter at the bar as he meets a former lover who has run into similar troubles that he once did. Delivered in his signature poetic manner, Westbrook brings poetic confidence to each line, with every word laced with detail and intention. With his debut album on the horizon, fans are reminded of his passion for the authentic Texas flair all over Westbrook’s music.
8.2
The Jack Wharff Band – Don’t Hold Your Breath Written By Joel Reuben Pauley
In the last year, The Jack Wharff Band has gone from under-the-radar to one of the most fun acts to root for. From their debut EP that dropped this past Friday, one of the standout tracks, “Don’t Hold Your Breath,” marks a surprising shift from the bluegrass-rooted sound that’s helped build their following. While other songs still carry that raw, rootsy energy of singles past, this one leans smoother, giving each instrument more space to breathe. It’s less about grit and more about tension, showing the band isn’t afraid to step outside the lane that got them here. Lyrically, the song traces the clean break of a relationship that’s already gone too far. With lines like “I don’t want you to love me, you’re gonna love me to death,” the song isn’t just about heartbreak; it’s about survival. With the addition of the haunting yet catchy melody that runs throughout, each aspect of this track is another example of why The Jack Wharff Band is an act worth keeping an eye on.
9.0
Brian Kelley – Colorado For Hurricane Season Written By Joel Reuben Pauley
Finally, Brian Kelley’s continuation album, Sunshine State Of Mind Season Two, Chapter One, has been released. Early singles like “Palm Tree Country” made it easy to believe that the new project would be close to, or just as fulfilling as the first version. After a listen, “Colorado For Hurricane Season” immediately sticks out, delivering some of the same sonic aspects as the first beach-infused project. Although it works great as a creative choice, you may wonder, “Why leave the beach for somewhere like Colorado?” Kelley, raised in Ormond Beach, is a Floridian, and when hurricanes come through, pretty much everybody evacuates, providing a vacation-like experience. For him, Colorado is the place to go, and although the song primarily describes mountains and high altitude, the production and instrumentation, along with a few saltwater-infused lyrics, keep things at sea level, making for a fresh, unique combination of Rocky Mountain air and east coast ease. A sense of calm is woven into the melody, like Kelley knows exactly what kind of peace he’s chasing. With its Chesney-like arrangement, this song carries the best qualities from Season One without feeling like a half-cooked retake.
8.3
This Side of Heaven – Max McNown Written By Max Buondonno
Culminating the love you have for someone in a relatable way through song is all but rare in country music, and as Max McNown sees the topic, comparing it to all good things outside of actual heaven is unique enough to ship in a single. “This Side of Heaven,” McNown’s latest release, unravels how he loves and appreciates his partner, describing all the hurt and angst he’s gone through before discovering her. Packaged in a folk-leaning acoustic production like many of his other songs, “This Side of Heaven” has the classic singer-songwriter vibe that McNown is known for, leaving enough charm in his vocals and falsetto to help his music stand out. But behind all the swagger is a track that’s shallow enough to make it a fleeting memory. Written by McNown, Jamie Kenney, and Trenton Kelly Dabs, the song’s chorus is close enough to a hook for his fans to hum along to, but the rest of its contents are bland and blur with the dusty drums in the background. The 3:45 runtime all meshes together to the point you’ll forget what you just heard, leaving this pleasant ballad about being in love in a place that makes it hard to stand out. It’s decent album filler, but there are better Max McNown love songs on this side of Heaven.
6.6
