Cloud 9 – Megan Moroney Written By Jack Humphrey
Though the Cloud 9 era started a bit wrought and plasticky, its title track serves as a nice return to form for Megan Moroney, channeling some of “Tennessee Orange’s” lovestruck euphoria with a pristine, 70s-indebted groove that shows shades of Kacey Musgraves’s “Golden Hour.” Producer Kristian Bush deftly matches the glitzy, expensive aesthetic that’s defined this era so far with shimmer and wistfulness in the mix. Crucially, Megan Moroney doesn’t try to be overly sassy or wisecracking, which has sorely hampered Cloud 9’s earlier singles from being more likable. Meg is at her best as a sentimental singer-songwriter, not an extraverted pop star, and “Cloud 9 (the song)” finds her in a much more comfortable creative lane. By the second verse, it does start to feel like the metaphor of being high off the ground has run its course, and more real-life imagery about our subjects’ perfect romance would carry the song a bit better. This is definitely more of a “vibe song” than a traditional love ballad, a la Moroney’s breakout hit, but as such, it elegantly fulfills its assignment.
7.2
In Loving Melody – Waylon Wyatt Written By Aishwarya Rajan
Noticeable rhyme schemes and easy-to-love melodies have long upheld the ethos of country music’s most enduring artists. Still, a songwriter reaches something rarer when that familiarity fades into the background, allowing the narrative itself to take center stage. Waylon Wyatt’s new single achieves precisely that. Carried by the somber rise and fall of a pedal steel guitar that quietly slips between verses, Wyatt draws the listener into the deep sorrows of loving memories. At first pass, the song reads like a tender love letter. Yet as the story unfolds, its true message emerges: while a celebration of love is held, it’s also a tribute to love lost. Lines like “Roses for my baby, to cover my lady” expose sorrow by enabling artistic interpretation that is subtly guided toward descriptions of loss. The brilliance of “In Loving Melody” lies in this quiet trickery lyrically and sonically; “Melody” is both muse and metaphor, threaded through lyrical details that intertwine so seamlessly in lines like “thoughts of you still hummin’ along,” and“feel it runnin’ through the harmony.” While the tune brings a joyous beat and a playful piano arrangement, the sadness is accentuated by the subtle steel guitar and Wyatt’s layered storytelling, which reflect the same lessons of grief. While there is joy in memory and, hence, in melody, there is inherent sadness too. The power and intimacy of this love story are deepened by his subtle dips into his lower register and the tasteful whine that curbs his enunciation. On this single, Wyatt crafts a song as intricate as it is devastatingly beautiful.
9.8
Pardon Me – 49 Winchester Written By Adam Delahoussaye
The things that most country bands stumble at when trying to make a rock record are the same moments where 49 Winchester can flex its biggest muscles. It makes the effort that much more profound to not only have an affinity for outside influence but also an innate understanding of where those sonic bridges can be built. There’s always been some serious power behind Isaac Gibson’s voice, but it’s able to hit its real high notes when engulfed in big, brutish chords from guitarist Bus Shelton that beckon the frontman to match that energy. Crafting a strong narrative structure and accenting it with an intoxicatingly loud backdrop is nothing new to the band, so when they start to drink from the fire hose on “Pardon Me,” the heavier elements that should sound foreign feel like they’ve been in the mix the entire time. After their rendition of Ozzy Osbourne’s “Changes,” it already felt like 49 Winchester may move in a more rock-centric direction, with this follow-up single only emphasizing that notion may be possible. Still, this song retains that grand romanticism that Gibson is a master at illustrating. “I have found the place where I am free,” he cries anthemically, amidst an environment that dresses a common story up in vibrant clothing.
8.5
Get To Drinkin’ – Zach John King Written By Adam Delahoussaye
There’s a concerning amount of consideration given to how music sounds in spurts nowadays. How quickly attention can be snatched, the way that time frame diminishes by the day, it’s an online trend that’s bled into not only how music is consumed, but sometimes it feels like it’s breaching the way it’s conceived. Moments like this are at their most blatant when a song like “Get To Drinkin’”, which has several, separated Zach John King early career highlights, can’t quite get the structural puzzle pieces to connect. The narrative string runs pretty seamlessly through an otherwise spliced-up arrangement, with that classic case of liquor amnesia rolling through a hook whose lyrics and melody somersault. But aside from an absolute earworm as the second chorus glides into the bridge, the four main quadrants of the track start knocking against each other like bumper cars. There’s this filmy, hastily added coating over the whole product that sounds like it’s attempting to wrangle in a project that thought of the many well-rehearsed, ear-grabbing snippets first, letting fluidity fall through its fingers on the way down. A litany of big, propulsive moments for Zach John King feels incomplete without a sonic throughline or a structure that’s decipherable in the context of three minutes, rather than half a second.
6.0
Rollin’ – Tyce Delk Written By Joel Reuben Pauley
Tyce Delk’s new single “Rollin’” is an easy standout and a clear sign of an artist hitting his stride. He’s a rising talent who certainly has a great deal of forward momentum, and with each move, he seems to be just as innovative as he is nostalgic for traditional sounds. Delk’s energetic side comes through clearly in this release, with a quick, swung beat that creates a feel that matches the track’s title. The chorus melody is especially strong, and Delk sounds completely in the pocket, delivering with the kind of confidence that makes the song feel effortless. When the call-and-response sections in the verses come in, though the background voices seem a little loud and overpowering in the mix, Delk’s cool, controlled vocals shine through, keeping the swagger alive. Releasing music so polished this early makes you wonder where Tyce came from in the first place. Like many of the country’s greatest legends, in Delk’s case, the answer is Texas. Lyrically simple yet perfectly direct, “Rollin’” explains feeling like a “high roller highway rebel” when driving to various locations. The marriage of lyrics and dynamics here makes it seem as if you can feel the wind and the road leaving beneath your feet as you listen. When an artist takes you from where you are and places you in their own story, they’ve done their job right.
9.0
Pieces – Tayler Holder Written By Joel Reuben Pauley
Whether you recognize Tayler Holder’s name from influencer content, creator-house culture, or his music itself, his online presence has long preceded his songwriting. With the “influencer who tries out music” connotation behind a name, it’s always hard for long-time country fans to get on board. Still, if listeners can put that aside, they’ll find that his new song, “Pieces,” is surprisingly sincere, offering a full, intimate story. The single centers on new love and how it can pull you out of a moment when it feels like a dead end. The last few lines of the chorus sum up the thesis of the song perfectly, stating “pieces when I met her… she saw what I didn’t… turns out she was the last piece missing.” Catchy and engaging, the heart-wrenching melody throughout the track is the other core positive; it matches the lone piano perfectly in the mix, keeping things mellow, even when the musical energy is high. The one drawback of “Pieces” is the lack of more instruments. Clearly, it doesn’t need a large arrangement to stand strong, as it’s already in great condition as is, but it would be interesting to hear a bigger version, maybe with drums, guitars, etc., in the future. If any of Holder’s music holds potential to take off with a larger country audience, this is one of the best candidates.
8.0
If I Was California – Redferrin Written By Max Buondonno
A breezy, mid-tempo trope about wishing you were from the West Coast to impress a girl is on-brand for a lot of beachy country acts, but it’s a bit out of left field for Redferrin. Acknowledging his dreams of a relationship won’t work out, given he’s firmly in Tennessee, “If I Was California” stands out as an unexpectedly fun single that doesn’t try too hard to impress you. Written by Redferrin, Jake Saghi, Brinley Addington, Pete Good, and Scott Stepakoff, it blends clever wordplay throughout, helping the song feel light on its feet. There’s something about the brisk production that feels repetitive, however, which is on brand for Redferrin. Reflecting on a poor change in a relationship, set to an energetic, road-trip-ready instrumental, is a juxtaposition all too familiar to anyone who’s heard Morgan Wallen’s “Need a Boat” or Tucker Wetmore’s “Already Had It,” which this song sounds unapologetically based on. Paired with Redferrin’s reliably unimpressive vocal performance, “If I Was California” begs for more substance and artistic creativity to stand out in today’s traditional-leaning country music landscape. The lightheartedness of the song makes it relatively enjoyable, but it doesn’t prove that Redferrin is artistically capable without first copying someone else’s work. Still, it’s miles in the opposite direction of other songs like “Mossy Oak,” which we can all be thankful for.
6.2
93 In the Keys – Brian Kelley Written By Max Buondonno
Brian Kelley’s latest attempt to cloud your mind with sunny thoughts and coastal vibes comes in the form of “93 in the Keys.” Expressing his desire to hit the Florida Keys with his partner, Kelley leans into warm melodies and laid-back production to fuel familiar summertime feelings as you cruise through its 2:57 runtime. While the song works well for Kelley’s Beach Cowboy mantra, it fails to deliver a more memorable excursion to warmer climates and activities, something that many of his other songs effortlessly pull off. The lyrics offer very surface-level visuals for a tropical escape, and Kelley’s relaxed vocals blend so much that identifying the hook and chorus takes a couple of listens actually to land. This makes it feel like filler at best for the next edition of Kelley’s Sunshine State of Mind album series, which ultimately could work if you’re playing it in the background. As a single, however, it’s one of Kelley’s weaker beach-themed tracks that still manages to capture a cool vibe, just not one that stands out on its own.
6.6
Time Goes On – Koe Wetzel Written By Aishwarya Rajan
Threading the line between rock and country lives the heavy production and crispy-brooding voice of Koe Wetzel. Two years since the well-acclaimed 9 Lives, his latest single, “Time Goes On,” feels as though Wetzel is one step closer towards recapturing the status and grunge-country sound of his hit “High Road.” That is, if you ignore the major storytelling aspects of this new single. The song’s meaning, with its redeeming intent, reflects on the quickness of life, shaped by decisions and change. While this narrative is true to many, its meaning is dulled by revisiting the same emotional markers: “coulda done a lot of things wrong,” followed moments later by “through the mistakes.” Its repetition reads less like hard-earned honesty and more like uninspired recall. Worse, is the opening line, “feels like yesterday I just got laid.” While we gain a modicum of insight into his past aspirations, the lyrics remain muddled by repetitive verses and largely poor storytelling. Additionally, by the time the chorus approaches, production and instrumentals overpower the Wetzel twang that listeners have grown attached to in songs like “Sweet Dreams.” Despite this, the linchpin of this track remains the electric guitar, compensating for the rock-steeped melody with a powerful, somber tone.
6.7
I Gave Her The Moon – Kenny Whitmire Written by Will Chapman
Kenny Whitmire’s “I Gave Her The Moon” has been making the rounds online in a way that feels bigger than the usual TikTok buzz, catching the attention of country fans and artists alike. The most interesting cosign, though, came from pop star Charlie Puth, who took the original audio and essentially built a full traditional country production around it. The official release closely follows Puth’s demo, which is notable considering he isn’t credited as producer (that goes to Lee Starr). Still, whoever gets the credit, the approach is smart. The production is warm and undeniably traditional, with steel guitar aromas wafting throughout. The composition is what really sets the track apart. The chord progression is just interesting enough to keep the listener stimulated, and the melody has a dreamy, old-school familiarity. Lyrically, the chorus is doing most of the heavy lifting, which is pretty typical for a song that went viral off a hook. And to be fair, the concept isn’t groundbreaking; country crooners have been “hanging the moon” for decades. This version doesn’t necessarily bring anything new to the table narratively, and the second verse in particular feels like it was written to connect the dots after the chorus already proved it had legs. However, the hook still stands, and the appeal to nostalgia is stout. “I Gave Her The Moon” isn’t some generational piece of songwriting, but it is a well-written, well-produced traditional country track with a chorus that sticks, which is much more than you can say for most internet breakouts. If he plays his cards right, Whitmire sounds like an artist who can turn a viral moment into a career.
8.1
A Month, A Week, A Day – Jack Wharff Band & Solon Holt Written By Jack Humphrey
“A Month, A Week, A Day” sees two of country music’s brightest young upstarts unite for an intensely catchy duet ripe to light up a stage. Neither the Jack Wharff Band nor Solon Holt would be immediately identifiable as country music artists in any other decade, and this stomping single shares more DNA with Mumford and Sons than anything. That said, it avoids most of the pitfalls that made the tweed vest-wearing folk-rockers of 2012 so obnoxious; it doesn’t rely on overbearing percussion and repetition (though it most certainly could’ve), and while its centerpiece is that sticky, titular refrain, “A Month, A Week, A Day” shows out in its urgent, straightforward verses too. Our narrator nervously frets over when he’ll have the chance to see his lover again, with both Jack Wharff and Solon Holt offering some of their most versatile vocal performances to date. Eddie Spear delivers a masterclass in the producer’s chair, mixing tremolo-laden western guitar notes with an alt-pop omnichord interlude to conjure up a spirited sound befitting this tense track. From top to bottom, “A Month, A Week, A Day” shows off the best of what both artists have to offer, with a little alternative, a little country, and a whole lot of heart.
8.4
Colorblind – Gavin Adcock Written By Jack Humphrey
It’s hard to characterize “Colorblind” as a “special” song or even a very remarkable one, but the latest cut in Gavin Adcock’s rambling cavalcade of releases does show some sense of direction for the Georgian rabble-rouser. Fitting right in with the Y2K epoch in country music, a la Blake Shelton or Montgomery Gentry, “Colorblind” admirably plays to Adcock’s (limited) strengths as a vocalist, as he rests in his casual southern drawl in the verses, and lets out a snarl or two in the song’s punchy hook. Sure, it’s a pretty pedestrian breakup song, but it unlocks a few long-lost traditions from an era of mainstream country radio gone by: heavy drums and guitars without suffocating filters, and a fairly smart metaphor absent the eyeroll-inducing quips or double-entendres that Shane McAnally or Josh Osborne like to shoehorn in nowadays. In many ways, its banality makes it nostalgic for a less polished style of radio country that offered a bit less crossover appeal. In that time, the likes of Chris Cagle were topping the charts with easy-listening singles just like this. Unless he’s cutting an unreleased Brent Cobb track or something, Gavin Adcock is never going to floor us with his lyrical prowess, but “Colorblind” suggests he might have carved out an artistic niche as well as a public persona.
7.1
