Last One To Know – Gavin Adcock Written By Adam Delahoussaye
“Who’s Gavin Adcock?” is a question that’s flown around honkytonks and job sites with his rise to infamy over the last year and a half. Sadly, it’s rarely followed up with “how’s Gavin Adcock?” later down the line. Because, as flashy and intoxicating as it looks to be, the life of the party, no one really cares to hear about the toll it takes on those who bear the weight. In “Last One To Know,” Adcock accurately describes the wild-child persona that’s chewing him up and a few chomps away from spitting him back out. Laid back in a haze of smoke and sunrises, it sounds like he’s giving some tired sidebars as the rooster crows, minutes away from crashing, only to jolt back to life when the sun sets again. It’s a dreamy haze instrumentally, only interrupted when our host reaches for the top of his strained, rough, and rowdy register. The claustrophobia persists when fuzzy backing vocals and slinky solos close in on us, totally engulfed in the hysteria that clouds a worn-out mind. Even if the wounds are self-inflicted, there’s applause to go around for Adcock’s full-throttle approach despite the circumstances. You don’t have to ask how he’s doing; he’ll show you.
7.0
Good Does It Do – Solon Holt Written By Creed Miller
With just three songs to his catalog, Solon Holt has already proven he’s the real deal, and his latest release, “Good Does It Do,” is the strongest evidence yet. The track is about as soulful as it gets, and Holt flexes his impressive range, showing off his passionate vocals with each note. There is a very clear John Mayer influence both vocally and production-wise. It’s an incredibly polished song, but Solon’s raspy voice balances out. One of the track’s highlights is the organ, which helps carry the production and is a major piece of what makes the song feel so soulful. The track would still be decent without it, but the expressive organ makes it that much better. Penned by Holt alongside Malachi Mills, the protagonist finds themself fighting for a dying relationship, wondering what good it’s doing to put themselves through it. You can hear the raw emotion in Holt’s vocals, making it feel like he’s truly living every feeling he sings about. “What good does it do?” A better question would be, what good doesn’t it do? This is a strong candidate for Song of the Year.
9.5
I’ve Never Met Anyone Like You – Ella Langley (feat. HARDY) Written By Creed Miller
After tons of anticipation over the last couple of weeks, Ella Langley hit fans with a major plot twist in “I’ve Never Met Anyone Like You,” which features HARDY. The song starts smoothly and implies cute and happy lyrics about a boy who initially seems great. The opening lyric, “All of my friends can’t quit talking about you. They’ve never been like this before,” coupled with the warm and inviting production, assumes a positive story. By the song’s end, you learn she hasn’t met anyone like the guy because he’s actually a horrible human, hooked up with her best friend, etc. This is where the HARDY feature comes into play; throughout the track, HARDY only sings background vocals; his musical talent is prevalent primarily through production. When the lyrics take a sudden turn, so does the overall sound. It jumps from the simple guitar plucking to HARDY’s signature country rock sound, which also feeds into the energy we’ve seen from Ella. It definitely catches the listener off guard and is very different, but it also doesn’t entirely hit. The track was off to a good start, and the switch-up kept it interesting, but the added production made it feel like a bit too much, as it feels all over the place and chaotic. “I’ve Never Met Anyone Like You” will grow on you with each listen; it just leaves you wanting a little more.
7.3
Rattlesnake Preacher – Ashley McBryde Written By Will Chapman
Ashley McBryde’s “Rattlesnake Preacher” sounds like it was born in a tent revival and raised in a honky tonk. Written by the late Randall Clay, “Rattlesnake Preacher” has been a staple of McBryde’s live show for some time now, but this recorded release is a tribute to one of her early collaborators. From the gritty fiddle opening to the crashing drums and snarling slide guitar, John Osborne’s production is enormous, blending country, rock, and gospel in a charismatic, chaotic, soulful, and a little dangerous way. The lyrics sketch out a preacher who’s part savior, part outlaw, spitting “90-proof truth” with firewater on his breath and a Bible in his hand. It’s larger than life, almost theatrical. “Rattlesnake Preacher” is about legacy, and how belief, especially in the South, gets passed down like a family heirloom, whether or not you asked for it. That last line, “Yes, Jesus loves me / My daddy told me so,” is quietly unsettling. It reflects that strange, unquestioned religious inheritance so many kids grow up with, where faith isn’t discovered; it’s enforced. Doubting what your daddy told you about God feels almost sinful. Knowing that McBryde cut this song in honor of her late friend and collaborator Randall Clay adds another layer of weight. It’s a song she’s lived with for years; you can hear that history in every note.
8.7
Morgan Wallen – Graveyard Whistling Written By Joel Reuben Pauley
Of the few songs Morgan Wallen has covered, “Graveyard Whistling” is by far the most daring. The track, originally recorded by English rock band Nothing But Thieves, throws Wallen into uncharted territory. His wide vocal range takes center stage as he leans into runs and melodic turns, unlike anything in his original catalog. Although bold, the cover feels surprisingly natural, especially with the instrumentation, closer to the sounds of Dangerous, tailored to suit Wallen’s style more than the original. One of the standout instrumental elements is the electric piano that creeps in during and after the chorus, perfectly supporting the haunting tone throughout the track. Written around the classic “whistling past the graveyard” idiom, the lyrics dare the reality of the unknown, stating, “If you don’t believe, it can’t hurt you,” which Morgan delivers like it was written for him. Although it can only be heard on Amazon Music, “Graveyard Whistling” is worth the effort, offering a fresh new sound that pushes Wallen into territory fans haven’t heard from him before.
9.2
The Others – Cody Jinks Written By Adam Delahoussaye
Integrity is hard to come by, especially in show business. When a big break or sizable payday hits, some of those who proclaim authenticity often sit and stay at the behest of the proper industry. Like a muggy dive bar, artists, too, can gentrify themselves once a good enough offer gets slid across the table. However, that “some” does not include Cody Jinks, and he’ll be the first to tell you that. He seems to muster up a whole anthem of independence about it on “The Others,” a striking single about how one voice is tasked with speaking on behalf of thousands of souls. It’s a fiery message when paired with Texas’s most menacing timbre, booming his praises for the masses he hopes to encapsulate the woes and wishes of. Endearingly, he wants his fans to know that the relationship is a two-way street. “It’s you that feeds the flame,” he roars in the chorus, pinging the praise back in our direction. But there’s a sense of finality to these no-holds-barred solos and noxious progressions that push out energy as an act of service; Jinks seems to think that holding onto any for himself would be selfish. While speculating on the trajectory of his career past or a sense of urgency in releases present is purely trivial, you can’t help but infer a victory lap of sorts for Jinks on “The Others” and whatever this future record reveals. Regardless, this rock-heavy, outlaw-inclined piece of the puzzle is an eyebrow-raiser for newcomers and reassures the regulars that they’re still in the right place.
8.0
Home (feat. Shaboozey) – BigXthaPlug Written By Joel Reuben Pauley
The time has come for BigXthaPlug to take his shot at country music. His latest release, “Home” featuring Shaboozey, opens with the familiar stomp-clap folk-pop energy we’ve come to expect from the “A Bar Song” singer. But just 41 seconds in, the track takes a sharp turn as Shaboozey hands things off to BigX. Listeners are then dunked head first into a halftime trap beat and a predictable triplet flow nearly identical to what we heard on his Bailey Zimmerman collab, “All The Way.” That said, BigX’s verses are the most interesting part of the track, not because they’re groundbreaking, but because they’re just flat-out fun to listen to. Even if his lyrics often feel like reworded retreads of songs he’s already dropped, there’s no denying he’s locked into a highly listenable sound. The same could be said for Shaboozey, whose knack for a sticky hook never misses. But on “Home,” those hooks suffer from jarring transitions into each verse, undercutting the track’s momentum. Lyrically, the song doesn’t aim high, and while it tries to sneak in an interpolation of “Take Me Home, Country Roads,” it only reminds us that this move should’ve been banned after Jelly Roll and MGK tried it. If BigX is serious about country, his next step should be experimenting with structure, maybe even rapping over the same instrumentation as his features, instead of cutting the track in half. Until then, “Home” is more of a genre mash than a meaningful crossover.
5.0
My Blue – Parker McCollum Written By Max Buondonno
As far as opening tracks go, Parker McCollum might have one of the best of the year with “My Blue.” The first track of his self-titled album, the song, unravels a tale about a man named Jackie and the hardships he endures throughout his life. Between losing his mother to suicide, killing a man, and escaping the authorities, the song is a quintessential example of the tradition of storytelling in country music, articulating a fictional tale for the sake of telling a story. Written by McCollum and Scooter Carusoe, the song boasts depth and intricacies in its lyrics and production, setting the tone for the rest of the project that it won’t be as polished or radio-centered as previous McCollum albums. The song’s mysterious, vague qualities flow through the entire tale, making it one of the most interesting songs on the album. Coupled with an addictive hook and raw vocal performance, “My Blue” stands out not just on this album but in McCollum’s discography as a whole. It’s perhaps one of McCollum’s best songs to date, helping propel his self-titled album to new heights immediately.
9.6
Can’t Say No – Colbie Caillat feat. Ryan Hurd Written By Max Buondonno
Colbie Caillat continues her slow transition from acoustic pop icon to country-folk wannabe by teaming up with Ryan Hurd, her third collaboration with a country artist this year. “Can’t Say No” serves as an appropriate canvas for both Caillat and Hurd’s artistry, showcasing the two singers’ vocals and emotional delivery against an instrumental that’s adult-contemporary enough to keep with Colbie’s brand. Harping on a relationship that’s both toxic and impossible to avoid, both Caillat and Hurd offer the right amount of chemistry to make this song a pleasant listen. Written by Caillat, Hurd, Eric Aries, and Jimmy Robbins, the song is somewhat reminiscent of “Don’t You Wanna Stay” by Jason Aldean and Kelly Clarkson, but with a more complicated story intertwined with a similar mid-tempo ballad production. After one listen, the song is difficult to recall, but give it another spin, and you’ll catch yourself humming along to the chorus with its commendable melody. While it’s not an artistically challenging song for Caillat, it’s an easy listen that’s catchy enough to intrigue you to press play.
7.2
One Mississippi – Low Gap Written By Ryan Lippe
One of Cloverdale Records’ latest signees, these boys from Ohio continue to keep their foot on the gas with their newest single. 2025 has proved to be a fruitful year for the Johnson brothers as they’ve released a string of singles that have given fans a more encompassing idea of their identity as musicians. On this impressive run, Gus Johnson has profoundly stepped into the light as a songwriter, developing some genuinely catchy licks, and the chorus of this track is no different. Counting in songwriting is often cringeworthy and looked at as lazy, but he can elevate such a simple concept into a hook full of the youthful spirit and energy that fans have come to expect from his writing. Producing much of their catalog, Eric Tuffensdam has been able to capture every instrument to perfection. The song kicks off with a mandolin that steals the show from start to finish. They’ve been able to hone in on a specific blend of modern bluegrass and Americana style of music that defines them as a duo precisely. Still one of the best-kept secrets of the Midwest, Gus and Phineas Johnson have so much room to grow in their career.
7.8
