I Ain’t Trying – Braxton Keith Written By Adam Delahoussaye
Are cultural shifts in country music pushing Braxton Keith into more traditional sentiments, or is the 25-year-old just finding more favor in between the shuffle of old school swagger tunes? The Texas native, fresh off his mega-viral George Strait cover late last year, is having far too much here to care about where the songs are coming from. While he typically hopscotches between eras, playing with more modern flourishes while keeping an eye on his nominally traditional North Star, “I Ain’t Trying” spares any confusion about Keith’s current preferences. It’s a bouncy, animated take on the Western swing pool-hall soundtracks the Lone Star singer aspires to get some airtime in. There’s little, including the singer himself, that feels like it’s from this era on this tune. The lyrics, slick and suave as the title suggests, make that blasé attitude feel natural while nasally vocals and humming fiddle fills meld like clay in the ridges of an old boot. Keith and his crew provide a refreshingly well-mannered, unserious, yet never patronizing take on a specific subgenre of country music; it’s one that Gen-Z lacks a serious catalog in, and one he’s just recently dove headfirst into. A student by second nature, it’s a grounding moment for the artist that feels effortless. By the time we’ve arrived at his runny and reminiscent “I ain’t trying not to,” at the end of the chorus, it’s evident how intentional doing the homework is, even if he can jot down the answers with his eyes closed.
8.5
Never Comin’ Back – Flatland Cavalry Written By Adam Delahoussaye
There’s something lovably animated about the way Cleto Cordero’s reedy demeanor nestles against the imagery his songwriting creates-a sun-kissed version of a moment whose existence is totally idealized. His scribbles, forlorn and clung to out of desperation, accentuate the storybook settings Flatland Cavalry has found a hidey hole in. They constantly pit themselves in fantasy as they try to wrestle with reality that rewrites itself the further removed from it they become. “Never Comin’ Back,” a jangly pop-laced funeral for those footprints, paints its best memories in bright colors to distract from those drab admissions of heartbreak. The litter in the yard is crimson red, while the foundation of the wrap-around porch wobbles under Cordero’s feet as he pushes out those warbly, waning extensions of its lamenting chorus. Warm arrangements paired with frigid, lonely pictures of the present double down on the group’s commitment to transportation, a final chapter to a not-so-wholesome storybook journey. Few acts can make heartbreak sound like something to be missed with such poignancy as Lubbock’s most accessible sextet.
8.0
Message to You – Ty Myers Written By Aishwarya Rajan
In yet another attempt to invite listeners into the sorrow-lit corridors of his empath-guided mind, Ty Myers shares “Message to You,” a quiet prelude to the much-anticipated, Heavy on the Soul. It fits seamlessly with his devotion to writing from fragile places of love; at a time when country music increasingly borrows from folk and pop more than from soul and blues, Myers has managed to preserve the raw twang of his Texas drawl, with storytelling elements that feel strikingly modern while also aged. Instead of cavalierness, he offers a confession. Where pride is closeted for honesty, you can hear desperation in every careful lift of his low register. Still, it lingers around and shapeshifts into the rises of the steel guitar, filling the silences Myers leaves behind. It’s those moments after “sure I spare you a detail now and then” and “I don’t know when I’ll see you again” that create a warm earworm impossible to shake. By the second verse, the arrangement subtly shifts, ushering the listener into a new harmony: one that feels lighter, warmer, almost hopeful. The simple production is both deeply honest and reflective, which enables Ty’s voice to carry the storytelling. Its execution is unmistakably reminiscent of the blues approach, true to artists like John Mayer. This quiet admission of truth, expressed through melody and lyricism, aligns with the narrative expectations of his upcoming album. Ty Myers once again proves his ability to write music that doesn’t just weigh on the heart, but sits heavy in the soul.
8.9
Wish I Didn’t – Megan Moroney Written By Max Buondonno
The anticipation for Megan Moroney’s third studio album hasn’t been bubbling over quite like it did before Am I Okay?, but not for lack of trying. Her latest single, “Wish I Didn’t,” boasts a similar sassy energy to many of her other songs, informing her love interest that he better be the authentic person he claims to be to avoid facing consequences. While Moroney keeps things groovy and lighthearted in the production, the lyrics aren’t quite as catchy or clever as those of “Man on the Moon” or “Traitor Joe.” Instead, it leans toward a Carrie Underwood vibe with its tough-girl mentality, which can play well if written in a way that feels fresh and avoids commonplace expressions or analogies. This track in particular reminds you not to mess with Moroney, ultimately faling to stand out from other tracks of similar substance. It’s at least another fun bop that’ll hit when performed live, but it doesn’t capture enough momentum to make you excited forCloud 9’s eventual release.
7.2
Two Broken Hearts – Morgan Evans feat. Laci Kaye Booth Written By Max Buondonno
It’s par for the course for a new couple in the country music world to release a song together shortly after making a public appearance. Morgan Evans and Laci Kaye Booth are the latest example of such. “Two Broken Hearts” sees the duo reflect on challenging pasts and overcoming heartache to find each other and ease one another’s pain. The ballad is sweet and candid for what it’s worth, but the vocal performances leave you wanting a lot more. Booth leans into her signature smoky, mellow breathwork to add a soft, mysterious essence to the background vocals, but Evans fills in the gaps with little energy or real stage presence. Instead, he disappears, and his performance feels too void and empty to deliver the emotion this song’s concept begs for. It’s sweet to see two love birds working together, but they left a lot on the table and missed an opportunity to make a meaningful statement with the track.
4.8
American Made – Larry Fleet Written By Max Buondonno
“America First” is one of those topics you’ll never avoid in the world of country music, but there’s no denying that, done well, you can get some amazing songs from it. As for the rest of the pro-America tribe? It just sounds like waving a United States flag in front of a mic. Case in point: Larry Fleet’s lead single from his upcoming album, “American Made,” is for grandparents who tell their grandkids only to buy Chevys or Fords. Between the tradition, quality, and support you can show American workers by buying American, Fleet believes this is the true way forward for capitalism… or for just living in general. It’s a snooze fest of a song that feels too much like a generic background track for a TV commercial for a Bass Pro Shop in Murfreesboro, TN. Touting your American pride is commonplace for plenty of country artists, but doing it creatively is challenging. Fleet tried and failed, but at least there’s something new to add to the playlist for the 4th of July.
5.5
Like My Hometown – Madden Metcalf Written By Joel Reuben Pauley
With his second-ever release, Madden Metcalf reveals a new side of his sound, one that differs from his debut single, “IDWK.” That first track leaned into a noticeably pop-forward approach, built with heavy electric instrumentation and highly processed sounds. In contrast, his Friday release, “Like My Hometown,” shifts the focus entirely, embracing a beachy groove that feels worlds apart from his introduction. Raised on Florida’s Gulf Coast, Metcalf delivers a sound that genuinely mirrors the place that shaped him. To illustrate that bond, he leans on familiar markers such as potholes, county lines, and the one good bar, imagery that reinforces the song’s theme of familiarity but stops short of offering specificity that would fully set it apart. The reliance on familiar imagery does not meaningfully detract from the song’s individual quality, but in the grand scheme of things, it feels slightly generic. Coming from Panacea, part of Florida’s so-called Forgotten Coast, Metcalf has access to a setting rich with character and specificity. That depth of storybuilding doesn’t materialize here, making the song feel more generalized than its coastal origins suggest. Since he’s already writing about his hometown, it would be interesting to hear Metcalf explore the unique character of this “Forgotten Coast” in future songs, adding another layer of richness to his storytelling while keeping the approachable charm of his music.
7.0
Buckle Up – Cody Lohden Written By Joel Reuben Pauley
Cody Lohden has finally released his first solo material following last year’s collaborative album from DeVille Records. His contributions to that project showcased the potential of the former firefighter and paramedic. The new track, “Buckle Up,” is a clear attempt to revamp the bro-country sound, recalling an era that still inspires mixed emotions among fans. Lyrically and sonically, the track channels elements of that FGL-era nostalgia, though it differs in noticeable ways. Lohden’s voice is powerful, slightly nasal, and smooth, giving the track a distinctive character. Matching the higher timbre of his voice, the production avoids the dense, pop-country “wall of sound” typical of the 2010s; he opts instead for a lighter, airier texture that frees up the mix and adds complexity, while still maintaining full-throttle energy. Lyrically, the song is vivid, full of differing imagery, from charming to absurd. Yes, Cody uses phrases like “I want you in my shotgun seat,” but, he also describes the sky as a “watercolor,” giving enough notion that he’s purposeful with his writing, shooting slightly above the bare-minimum list of requirements for bro-country. However, his use of the term “dirt road eyes” feels ridiculous, and maybe that’s intentional. The definite strongest aspect of “Buckle Up” comes in the form of melody, both savvy and catchy, likely to get stuck in listeners’ heads with ease, and when it comes to bro-country, that’s the main requirement.
8.3
Lay Your Heartache Onto Mine – Carter Faith, William Beckmann Written By Aishwarya Rajan
In a soundtrack carefully composed of both rising artists in country music and well-established names, Landman delivers a standout original with “Lay Your Heartache Onto Mine.” Written by Carter Faith, Billy Bob Thornton, and Jessie Jo Dillon, the track sets a remarkably high bar for show originals. In this single, the listener immediately settles into the rhythm of the duet, as though also slow dancing beneath grim “dance hall lights,” moving as if no one else exists, just two people, and their shadows stretched across the floor. This imagery unfolds through the perfect vocal pairing of Carter Faith and William Beckmann, whose voices complement one another effortlessly. Beckmann’s rich lower register grounds the song, transporting listeners to a dimly lit dance hall, where heartbreak seeps into the walls like cigarette smoke. His delivery evokes a 1970s country sound that echoes the talents of a young Johnny Cash. Faith’s uniquely crystalline high pitch and smoky rasp add a gentle sweetness that balances Beckmann’s warmth. Their voices intertwine in a way that feels unforgettably intimate, as if they’re telling the same story from different emotional landscapes. Where Faith sings from a place of swooning acceptance, Beckmann’s voice carries a fervent desperation, especially in lingering expressions like “Oh honey.” The result is a beautifully executed love ballad that cuts through stillness and silence. While emotional depth is nothing new for the “Lasso” and “Cowboys & Dreamers” artist, this song accentuates Beckmann’s abilities in a way that feels newly revealed, showcasing a tenderness not often at the forefront of his work. The melody remains soft, allowing the lyrics and vocal arrangements to carry the weight of the heartbreak. The lyrics frame sadness as a form of devotion, in which it encloses love letters written before loss. This subtle lyrical metaphor is one fold in the many intricacies that make this track so impactful.
9.7
Marlboro Man – Midland Written By Aishwarya Rajan
From the 1950s through the ’90s, the Marlboro Man was stamped onto cigarette packs to convince the public that cigarette filters could be manly just like a rugged cowboy. Midland’s newest release initially captures this archetype with striking clarity. It tells the story of an emotionally avoidant man still quietly consumed by someone he’s left behind. Yet, as the song unfolds, that compelling concept begins to wear thin. The introductory verse, which runs just under forty seconds, efficiently establishes the Marlboro Man persona. Perhaps it does so too well because its brevity and simplicity renders the rest of the song dull by leaving much of the remaining runtime to circle the same imagery. The chorus, in particular, essentially reiterates the central metaphor rather than expanding it in new or unexpected ways, much like Colten Jesse’s “Marlboro Man.” While the song, in general, flirts with cleverness, the outro almost seals the metaphor being developed, but it slightly misses. With a slight lyrical adjustment, perhaps something like, “You’ll always be that cigarette I can’t put out / Like that damn Marlboro, man,” it might’ve landed better. However, repetitiveness nor added lyrical cleverness could significantly improve the song’s impact. The main issues lie in the vocal-melodic pairing. Mark Wystrach, Jess Carson, and Cameron Duddy have built a reputation on distinctive musical choices and a reverence for classic sounds. However, this time the execution of melody with Wystrach’s vocal performance, while pleasant on its own, do not pair well.
4.8
