Hope You’re Happy – Megan Moroney Written By Will Chapman
Soaring to new heights at breakneck speed, Megan Moroney continues to be one of country music’s fastest-growing stars. The ACM New Female Artist of the Year is quickly becoming known for her ability to deliver sad bops better than just about anyone in the industry. “Hope You’re Happy” displays that deftness with a warm melody, showcasing Moroney’s distinctive rasp and melodic sensibility. The production is saturated with traditional and contemporary sounds; twangy pedal steel is intertwined with polished keys and bright acoustic guitars. The lyrics are a refreshing testament to healthy breakups and space; they are mournful, but there’s slight bitterness. Vince Gill lends his iconic tenor, which blends beautifully with Moroney’s vocals, elevating the song to a whole new level. With a sophomore record this strong and a slot opening for Kenny Chesney and various headlining shows, it’s no secret that Megan Moroney is here to stay.
8.8
Tickets To Turnpike – Muscadine Bloodline feat. Kyle Nix Written By Adam Delahoussaye
Texas country and its red dirt roots continue to pop up like weeds far past the state border. Here employed by Alabama’s Muscadine Bloodline, “Tickets to Turnpike” spruces up the rollout for the duo’s upcoming project with some jig and fiddle that will surely get boots stomping. With the help of Turnpike Troubadours fiddle player Kyle Nix, the track pays homage in word and style to their brothers by the border, ultimately concocting a feeling that resembles “Kansas City Southern” in both soul and sound. Though the single borders on imitative, it’s never apparent enough to detract from Charlie Muncaster and Gary Stanton’s infectious and consistent pairing. If anything, a dive into a more Western sound solidifies how natural the partnership of these two and their vocal abilities are. Hopefully, this display of variety especially down the red-dirt path is the first of many for the duo, and sets a precedent for collaboration with some of the genre juggernauts, regardless of geography.
7.5
Black Beans & Coffee – Levi Turner Written By Will Chapman
Currently, on a stadium tour with Zach Bryan, Levi Turner was catapulted to massive heights at a rapid rate after a slew of viral videos last spring. Zach Bryan quickly discovered him and signed him to his record label, Belting Bronco Records. As their first artist, Turner went on to have some success with his debut album, Allergy Season. Since then, he has been relatively dormant on social media. His first release in over a year, “Black Beans & Coffee,” is musically unlike anything from Allergy Seasons. The track is a rowdy jam with a somewhat unpolished production style, reminiscent of the Jason Isbell-era Drive-By Truckers. The thumping bass and dry snare sounds make it impossible not to bob your head back and forth. The fiddle and guitar further bring out a rambunctious side of Turner that we have not seen until now. The song sees Levi continue his streak of solo writing his whole catalog, an impressive feat in today’s era of co-writing culture. Turner also teased a potential release next month. If “Black Beans & Coffee” is an indication of what is to come, it’s pretty safe to assume we can expect more outlaw jams from a young man who does things his way.
8.1
Didn’t I – Dasha Written By Max Buondonno
It stands to reason that if you have a knack for creating catchy music, it’s in your best interest to make more. That’s what Dasha has done with her newest song, “Didn’t I.” Her first new music since her debut album, What Happens Now?, dropped in February, “Didn’t I” revolves around slipping back into a relationship that ended on anything but good terms. Written by Dasha, Ben Johnson, and Emily Weisband, the catchy track combs over a mix of emotions and flashbacks to the relationship in question, hinting at a disillusioned state of mind that’s perfectly relatable if you’ve ever gone backward in your dating life. The production shares Dasha’s now-signature boot-stomping aesthetic with booming kicks, a complimenting fiddle, and a banjo riff that gives the single a similar energy and feel to her smash hit “Austin.” While it’s tough to say whether lightning can strike twice, “Didn’t I” is at least as appealing its follow-up, though it won’t convince anyone who hasn’t jumped on the Dash-wagon to climb aboard. Still, it’s enjoyable enough to spin and test your line-dancing skills.
7.4
Steal My Thunder – Conner Smith feat. Tucker Wetmore Written By Max Buondonno
As the official release date for the Twisters soundtrack quickly approaches, we’re getting another taste of what’s to come with “Steal My Thunder.” A collaboration between Conner Smith and Tucker Wetmore, the song lies somewhere between Smith’s “Creek Will Rise” and Wetmore’s other single off the Twisters soundtrack, “Already Had It.” Detailing the intense love and attraction the protagonist feels toward his partner, the track perfectly plays into the Twisters theme with various thunderstorm metaphors laced with the lyrics (lightning kisses, rainy days locked inside, “girl you stole my heart, so steal my thunder”). Smith and Wetmore’s voices blend well on the track, and the back-beat is worth bumping your head to. But while early snippets of the music teased a single with a lot of energy, the final product doesn’t exude the same excitement or drive, leaving the listener feeling emptiness from what could’ve been. If the master had been better produced, perhaps it would’ve been a standout from the other songs released, but it doesn’t quite land the mark.
7.3
Overdrive – Thomas Rhett Written By Creed Miller
In his second release in as many weeks, Thomas Rhett is back again with “Overdrive.” The single serves as his fourth offering from his upcoming album About A Woman and continues the trend of disappointment seen in its predecessors. The chorus would be the perfect fit to play over the speakers at a Hollister store. With a dated, 2014 millennial pop sound, it feels like Rhett is chasing hits instead of creating them as if he’s done so well in the past. “Overdrive” would’ve been a perfect candidate for a country pop song at the beginning of his career, but the country music scene has changed a lot since then. This style has taken Rhett away from some of his best music, which is fully displayed in Country Again: Side A. The wordplay is cheesy at best, especially with lyrics like “On that “Baby, I’m coming over” drive,” which was the main punchline to the track. Thomas Rhett has repeatedly proven his talent, which makes the release of “Overdrive” all the more disappointing.
3.6
The 3rd – Mitchell Tenpenny Written By Creed Miller
On the fifth release from his upcoming album, Mitchell Tenpenny showed his vulnerable side with the title track, “The 3rd.” Written by Tenpenny himself, along with Andy Albert, Devin Dawson, and Paul DiGiovanni, the song is very open and honest about his insecurity carrying the name James Mitchell Tenpenny. Tenpenny finds himself questioning if he’s done enough to live up to the name and wonders if the name will end with him or continue. It’s an excellent concept with writing that’s as real as it gets as he attempts to carry the legacy left by his father and grandfather. The major downfall is that the music betrays the intimacy of the thought and ultimately takes away from the song’s best part. Unnecessary additions like a church bell when he says “church” are just out of place and create a sense of awkwardness. In a situation like this, less is more because it allows the weight of the situation to captivate the listener. As a result of the production, the story begins to feel tainted, removing the one thing the listeners had to grasp. The idea behind “The 3rd” had great potential, but unfortunately, the poor execution made it disappointing at best.
3.8
How Do I Feel Alive – Colby Acuff & The Castellows Written By Ryan Lippe
A collaboration that seems like a perfect fit on paper falls flat as the vocals off each share too many similarities. Both acts have developed an identity in their upper registers, but unfortunately, they make for awkward harmonies when combined together. Colby Acuff’s voice is so dominant that he drowns out the Castellows each time they come in for vocal support; it almost feels like a waste of collaboration, given the talent of the Castellow sisters. However, their similarities benefit the song’s lyrics a great deal. This up-tempo tune, written by Acuff and all three Balkom sisters, details the narrator turning towards various substances to numb life’s constant struggles and pains. Produced by Eddie Spear, he blends various elements of Acuff’s previous album, Western White Pines, and adapts them for a track that would still fit in the universe of The Castellows’ catalog. In their own right, Colby Acuff and The Castellows are both young acts that have paved their own way using mainstream resources but show their indie roots in their art. Regrettably, combining the two just made for an odd mix, and not an adequate showcase of their talents.
7.3
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