Parker McCollum – Hope That I’m Enough Written By Joel Reuben Pauley
In June, Parker McCollum will release his fifth full-length record, a self-titled album that marks a potential return to the organic sound of his early career. His latest single shows that “The Limestone Kid” is still alive and breathing. “Hope That I’m Enough” is the most stripped-down, emotionally raw version of Parker that he’s shown in years, scratching the itch for longtime fans who’ve missed this side of him. Unlike the more polished style of his last album, the new track features subtle instrumentation, with a soft electric guitar and an organ spicing things up. Lyrically, the song stays simple, saying little beyond the meaning found in the title; however, the “ooh” sections in the instrumental speak for themselves, carrying a weight of emotion that reaches beyond words. As the second single from his upcoming project, this release sets the tone for what could be a familiar yet refreshing chapter in McCollum’s career.
8.2
Morgan Wallen feat. Post Malone – I Ain’t Comin’ Back Written By Joel Reuben Pauley
When you think country music is out of metaphors, someone comes along and proves you wrong. In a surprisingly inoffensive twist, Morgan Wallen and Post Malone introduce a fresh analogy: unlike Jesus, they “ain’t coming back.” Wallen’s verse reflects on leaving a town that sees him through a tainted lens, perhaps a nod to his complicated reputation in Nashville. Meanwhile, Posty’s verse explains how he can’t be the “saving grace” of a relationship soon to end. Both verses effectively lead into the chorus; however, Malone’s verse feels more scattered, weighed down by cheesy lyricism and an overuse of religious references, with lines like “ain’t no need to wait three days.” The instrumentation of this song blends polished mainstream country with modern-feeling accents like electric keys and other effects that prove how country-pop can be done right. Their second collaboration, “I Ain’t Comin’ Back,” capitalizes on the chemistry between Wallen and Post. While it meets radio standards and will likely climb to the top of the charts in no time, it would be interesting to hear them explore a more traditional country sound in the future.
7.8
Well Well Whiskey – Dierks Bentley Written By Creed Miller
Dierks Bentley steps towards his old sensibilities with his latest release, “Well Well Whiskey.” The third drop from his upcoming album is very bluegrass-driven, a lane in which Bentley always thrives. It’s a refreshing change of pace from Dierks as it strays away from the radio-heavy sound he generally leans towards. Jon Randall’s production has a strong bass that feels heavy, giving the song a cool cowboy-type feel. Bentley’s low vocals fit the production so well that they go hand in hand, creating a different feel than what we’re accustomed to. It’s not overly mainstream for a mainstream artist, but seeing him work in a different direction is cool. Written by Seth Ennis, Devin Dawson, and Jordan Reynolds, the lyrics tell the classic story of the guy who keeps finding himself right back at the bar drinking whiskey. It’s not the most groundbreaking storyline, but that’s fine. Not every song has to be that deep, and it feels fresh as the production doesn’t echo every other song with this plot. Usually, these types of songs are very radio-friendly and complemented by snap tracks or trap beats. “Well Well Whiskey” has some aspects of that, but thankfully, it isn’t overwhelming and mixes in bluegrass well. This isn’t Bentley’s best effort, but it is most definitely a huge step in the right direction and should stoke excitement for Broken Branches.
7.0
We Can Always Move On – Cole Swindell Written By Creed Miller
Cole Swindell is back, and unfortunately, he brought his classic bro country sound. Written by Kyle Fishman, Michael Tyler, and Thomas Archer, the song tells the story of a struggling relationship getting along like nothing is wrong, because if all fails, they can always move on. This story is as old as time in country music, and there is no real twist on this track to make it more interesting. It’s a very pop-sounding production, accented with snap tracks that feel corny and overly polished. The dobro and steel guitar allow the song at least a little bit of country flair, but still not a ton. Cole Swindell was an incredibly popular artist in country music at one time, but it just doesn’t seem like he has evolved with the genre. As a matter of fact, he seems like he is straying further and further away from a more base-level radio country sound and, ultimately, relevance. In his prime, songs like “Break Up In The End” and “Middle Of A Memory” were right up the alley of most country fans. Now, his songs feel inauthentic, as it feels like he’s shooting for radio success more than anything else. Cole Swindell has much better music in him; unfortunately, “We Can Always Move On” is a miss.
4.4
the f word – Ashley Cooke Written By Max Buondonno
Novelty in songwriting can take many forms, often in wordplay and double entendres. Ashley Cooke tries her hand at spinning a reference to a certain expletive in her latest single, “the f word.” The song, written by Emily Weisband, Gordie Sampson, and Lori McKenna, attempts to be cheeky and playful by referring to “forever” as a word you shouldn’t use so early in a relationship, especially around others. But instead of being a catchy, clever take on falling quickly in love with someone, the song comes off as drab and unappealing. The production is sleepy, leaning in an understated pop direction while trying to bring enough country twang to be consistent with the rest of Cooke’s discography. Meanwhile, Cooke’s vocals leave much to be desired, although the song itself doesn’t leave much room for an impressive vocal performance or an intriguing chord progression. Instead, “the f word” offers little substance and fails to leave the listener craving more. Perhaps the correct “f word” here is “forgettable.”
5.1
Time Well Spent For A Man – Jesse Daniel (feat. Charles Wesley Godwin) Written By Ryan Lippe
Jesse Daniels has been one of the best-kept secrets of a neo-traditional country for many years, but it’s time for his stellar storytelling and peaceful sound to be on full display for everyone. Ahead of his Son of the San Lorenzo album, he teams up with Charles Wesley Godwin. The song thoughtfully examines a person’s life and the most valuable things to them. The track, written by Nick Foster, gives the listener a beautiful moment to reflect on prioritizing the people and things that mean the most. Maybe not the intentional design of the collaboration, but Godwin’s dark and mature voice is like an elder figure bestowing wisdom to Daniel’s youthful soul. Produced by Jesse Daniel, all the backing instruments perfectly complement both vocalists. The shakers and soft steel create an encapsulating environment for the listener, providing a sense of serenity and peace. This song can be interpreted as a celebration of life or simply a moment to pause and calm down; regardless of how the message is received, it’s beautiful.
9.1
Feather In My Hat – Ian Munsick (feat. Lainey Wilson) Written By Ryan Lippe
Ian Munsick’s voice has always been an acquired taste for many fans; the high-pitched falsetto and layering aren’t always what traditionally inclined listeners are looking for. The pairing with Lainey Wilson doesn’t make the most sense because Wilson remains in a similar vocal range to his. Their harmonies feel very forced and don’t feel complementary at all. Munsick has an amazing talent, and so does Wilson, but this is a combination that doesn’t put any of that talent on display. He produced the song with Jeremy Spillman and Jared Conrad, and it’s packed to the brim with fiddle and steel, carrying the same western, neo-traditional vibe that Munsick has been known for throughout his entire career. “Feather In My Hat” is one of two collaborations on this album, and this is definitely the weaker, with Lainey’s feature adding little substance to the song.
6.5
Ain’t Rocked in a While – Brent Cobb & The Fixin’s Written By Adam Delahoussaye
Many writers and guys with too much time will tell you that solving all the world’s problems over a beer on the back patio can get exhausting. Wars, famine, paying the bills; if you don’t blow off some steam occasionally, it’s bound to make you burst. Brent Cobb, who fits into at least one of those two aforementioned categories, is doing exactly that. He and his band, The Fixin’s, who are as soulful as the southern side dishes they’re named after, are headed back to the garage to drown the noise out. “Ain’t Rocked in a While,” the first single off of what will be a more rock-infused record for the crew, is a years-long pent-up jam sesh shaking off all the rust and getting back in the groove. Before he fancied himself a thinking man, Cobb grew up on the heavy headbanging of Sabbath and Metallica. That influence has since given his psyche and live presence its signature smoky aftertaste and hazy glow. He’s mimicking many of his idols here, though in a far more frenetic and make-it-up-as-I-go sense than most. This ain’t your grandpappy’s cover band. This crew makes ends meet on sticky floors and even stickier nights as they roll with the punches and fill in the gaps as they please. You get the sense that if a jig like this made the other kids on the street tap their feet, their parents were calling in noise complaints by the second strum. It’s playful, almost childlike, running through grubby guitar licks and sweaty drum fills with reckless abandon. You can only imagine how good the gig will be if this is what practice sounds like.
8.3
Man of the Year – Sam Barber Written By Adam Delahoussaye
Even if Sam Barber still sits in the shadows of more notable brooding poets, a song like “Man of the Year” feels like he’s inching closer to owning his lane rather than tailgating more successful acts in theirs. On his latest, there’s newfound conviction in the gravelly growl he delivers through stifled sobs on heavy hearts and finding his way. It feels like he’s putting his foot down, a chest filled with angst, and finally breathing out some of his grievances with the cards he’s been dealt. Much like his closest contemporaries, Barber is seemingly at his best when he’s sure of himself. Rather than sit and sulk, there’s triumph in the steady downstrum and stomp on creaky floorboards. But then again, the problem with Barber was never in the presentation; it’s in the fine print. When you can understand a word or phrase from his mushy, pit-of-the-stomach tone, you find a rough sketch of a million ideas, half of which aren’t fleshed out enough to be worth the ink. It feels like he’s constantly trying to craft profound proclamations on existence out of a half-baked, buzz-concocted spitball session. Maybe it’s a non-sequitur to poke holes in a subgenre clung to by the everyman over-generalizing itself. Maybe mimicry means sacrificing personal quirks. It’s hard to say with a guy like Barber, who still has miles to go before we get his full story.
7.1
Momma Don’t Pray Like She Used To – Ashland Craft Written By Will Chapman
Ashland Craft hits a sweet spot with “Momma Don’t Pray Like She Used To.” The title immediately jumps out, but contrary to the listener’s initial thought, it’s not about a loss of faith but rather it’s about growth, both hers and her mom’s. That hook, “Momma Don’t Pray Like She Used To,” represents the narrator growing up into someone her mother is proud of rather than worried about. It’s a clever twist on a common theme in country music. Sonically, the song feels very safe. It’s smooth around the edges, driven by a warm acoustic guitar with mandolin, B-3 organ, and pedal steel, bringing a well-rounded ambiance. The production gives Craft’s vocals a space to breathe and carry the story’s weight without sounding heavy. It’s not trying to be flashy; it’s just real. Ultimately, that’s what makes it stick.
8.7
