Come On Over, Baby – Ty Myers Written By Adam Delahoussaye
The term “boyfriend country” seemed to gain a second iteration when acts like Hudson Westbrook and Vincent Mason first began making strides in mainstream circles. Defined by fresh faces and sappy, soulful lyrics, it officially became solidified as its own subsect of southern culture early in the year, after a full-fledged release from the youngest gun of the bunch, Ty Myers. In his freshman LP, Myers seemed to pine after more Mayer-esque mantras than the true cowboy techniques his peers had planted a flag in. It’s a mode that his newest effort seems to epitomize, maybe even giving Myers the true title of the new generation’s “boyfriend blues” preeminent founding father. From its first, piercing licks to its final exasperated crash of a release, “Come On Over, Baby” is the singer’s core skill set in its most concentrated form. Bedroom-driven and propelled by undercurrents of Stevie Ray Vaughn or Eric Clapton in its footnotes, the marriage between Myers’s silky smooth voice and tactically rabid guitar skills comes to life through a delightful “don’t overthink it” writing process. Sultry, sexy, and downright blood-pumping lyricism that sticks to a script is perhaps preferred when the less explicitly defined devices at this kid’s disposal are left to do the talking, or in some cases, the screaming. Confidence, not complication, is any young artist’s greatest strength, something Myers is viscerally aware of in this instance and hopefully keen to continue in the next.
8.7
Prescription – Braxton Keith Written By Adam Delahoussaye
Braxton Keith was in desperate need of a real barn burner. Since “Cozy” cemented his street cred through suave and swagger-filled anecdotes rather than traditional tonk-filled numbers, a shot in the arm was long overdue for one of the Lone Star State’s most frenetic and whiskey-fueled performers. Those withdrawals are met with a fix on “Prescription,” a by-the-book case of the most common addiction known to man, and an endorphin flood that finally hits when those needs are met. Keith is sort of a cultural sponge, cherry-picking those mainstream melodies that encapsulate the rolodex of love junkies that came before him and packaging those licks and shouts in a risqué, toeing the line of taboo manner in his writing. It’s a perfect blend of the young gun, the curse outside the church persona that the Texan has been perfecting on stage, yet perhaps shying away from in the studio in past efforts. He certainly cleans up nice, but by the sounds of it, he’s the first to admit that even behind a perfectly waxed mustache, the urges that zag between love and lust are identical to any fast-firing cowboy on the block. The track’s use of guitar and steel is sharp, wrapping big sounds around his otherwise warm voice for a heavy, sticky sound that gets boots tapping in time with thumping hearts. Keith is, above all else, a swaggering and stout performer. It’s time his catalog reflected that fact.
8.2
She’ll Dance for Whiskey – Parker McCollum Written By Max Buondonno
A surprise release from Parker McCollum is nothing short of exciting, and this single from the Landman soundtrack is a stand-out hit. “She’ll Dance for Whiskey” recounts the disparaging reality of a dancer at a gentlemen’s club and the clientele who get too easily attached. McCollum leans in the same acoustic direction as his most recent album, relying on reverb and a profound vocal performance to convey emotion in a song that, admittedly, doesn’t have a lot of depth. It’s the southern charm and smoky atmosphere that make it so enticing to listen to. Combined with the risque subject matter, it’s one of those songs that demands to be played live late at night. McCollum’s newfound artistry in a neo-traditional vein has produced some of his best music of his career, and “She’ll Dance for Whiskey” is yet another example of that.
8.3
Solid Gold – Billy Currington Written By Max Buondonno
As Billy Currington gears up to release his first country album in ten years, glimmers of a previously lost star continue to shine through in promotional singles from the record. “Solid Gold” is a good example of this: compare it to any of Currington’s older material, and you’d be remiss to find a difference in quality. Classic Billy makes an appearance once again, bringing his signature twang and gentle vocals for yet another ride. This new single sees Currington pleading to return home to his love through lyrics that are among the simplest of the year. Written solely by Miles Miller, the hook and verses are catchy and easy to latch onto, avoiding boredom or tiredness despite being repeated numerous times throughout the song. Meanwhile, Currington’s signature instrumental takes you right back to 2005, recalling the charm of songs like “Pretty Good at Drinkin’ Beer.” It’s an enjoyable trope about making your way home, one that proves that while he’s been away, the Billy Currington fans who know and love him haven’t gone anywhere.
8.5
Aaron Watson – Pontiac (So Tell Me Momma) Written By Joel Reuben Pauley
Texas country legend Aaron Watson brings a mix of vulnerability and courage in “Pontiac” that goes deeper than its high-tempo arrangement. The new track, written solely by Watson, lives in a conversation with his “mama.” The entire concept revolves around the story of his mother’s healed marriage, as he seeks advice on how to heal his own. As he describes “She told me she was leaving,” he begs, “What did Daddy do to make you turn that Pontiac around?” It’s pretty impressive how well the story comes across, as there are four characters involved between both couples, with the use of “he” and “she” never getting mixed up. From a listener’s standpoint, there are too many popular songs where the pronouns get mixed up, but Watson penned this song with concentration and excellence. His writing shines in the way he layers details throughout the verses, drawing the listener in and leaving them curious about the song’s direction, until the chorus lands with a twist that ties it all together as a reflection on his own relationship. For whatever reason, the best bands seem to be trapped in Texas, and Watson’s arrangement for this song leans on the kind of traditional sounds the Nashville scene has been starved of. The song’s double-time rhythm fuels its urgency without losing its country roots. It’s probably easy to recall one or two pop-country artists who attempt to utilize this double-time style, but completely ruin it with autotune and modern trends. In this fun yet heartfelt track, Watson teaches today’s country music scene how it’s done.
9.0
Thomas Rhett – On A River Written By Joel Reuben Pauley
After teasing fans with three shorter versions of About A Woman, he’s finally dropped the full deluxe edition, highlighted by “On A River,” which brings back the straight-up country sound his listeners have yearned for. Like much of his music, the new song is about married life, and to his credit, that’s a topic he tackles consistently well. In this case, Rhett goes into detail on the future he sees for himself, living peacefully by the water with his wife. The slowed-down lifestyle he describes is effectively matched by a chill, natural arrangement, with intentionally simple additions such as a subtle mandolin, to mimic his melody at points in the chorus. One particularly strong point in this track is TR’s low vocal register, which comes out in the verses. These elements come through with striking clarity, a testament to the song’s polished production. The full mix of this track is stellar, leaving a lasting impression that makes listeners want to explore the rest of the deluxe album. Overall, “On A River” works well for what it is, and could be a track that even the more high-brow country fans will tolerate.
7.7
Heartland – The Castellows Written By Jack Humphrey
Since their debut as a band, the Balkcom sisters have maintained a remarkable standard of excellence as writers and performers; their harmonies remain immaculate, and their uniquely ethereal pop-folk sound is still inimitable, a rare quality indeed in this copycat industry. “Heartland” is a worthy testament to all the things the Castellows do well; it’s whimsical, yet sincere, twangy, yet contemporary. You wish they had avoided the throwaway “heartland” double entendre, which is not only confusing but also strangely overdone (see “Heartland” by Hailey Whitters and “Heartlands” by Marcus King). There’s some good small-town imagery to be found here, but it would’ve also been especially satisfying if the narrative were resolved by the song’s end. Even so, from the dreamy, early 2000s-indebted production to the imaginative word choices, it’s clear that this is more a “vibe song” than a “story song.” On that score, this cut definitely delivers, putting you right in the headspace of a young person with a case of wanderlust. The Castellows are extremely good at what they do, and though “Heartland” might be simple, it’s deftly executed.
7.9
Better Man Than Me – Marshmello & Hudson Westbrook Written By Jack Humphrey
It’s been six years since Marshmello’s dark presence first menaced country music; though he’s enjoyed a pair of big singles alongside frequent pop interloper Kane Brown, neither one feels nearly as destructive as the blasé “Better Man Than Me,” which threatens to corrupt one of Texas country’s most promising young voices with the wicked allure of crossover potential. In a vacuum, this collaboration is an innocuous, forgettable effort, but Hudson Westbrook’s participation in it should concern optimistic country fans heartened by the traditionally leaning youth movement of the 2020s. It’s a grim reminder that even though earnest singer-songwriters who leave the trap beats to the pop stars are en vogue right now, the pendulum can swing the other way just as easily, and the impressive new crop of standard-bearers we’re all excited about can still disappoint us in their climb to the next big stage. Besides all that, it’s one thing for a Texas-based act like Parker McCollum to keep country radio satisfied with fluffy singles in the vein of “Pretty Heart” or “Burn It Down,” but a full-on pop crossover with the Mono-Genre™’s most dangerous agent is a bridge too far. We all root for Hudson Westbrook’s continued ascent; it’s just unfortunate that a song like “Better Man Than Me” isn’t beneath him.
3.9
Jessica, Jezebel – Meghan Patrick Written By Ryan Lippe
Full of spirited emotion, Meghan Patrick’s latest single leans into the fierce storytelling that has catapulted her to become one of country music’s most compelling rising stars. Although cheating songs are not a new concept, the track written by Patrick, Karen Kosowski, and Emma Lee shows that the narrator is struggling to understand why the “Jessica” character would come in and purposefully wreck a relationship. Despite the sorrowful situation, the rowdy tone implores listeners to rediscover their self-worth and build back a stronger, unapologetic version of themselves. Patrick has a distinct twang in her voice that instantly takes over any room she’s performing in, but as the song enters its second chorus and bridge, she remains in a stale vocal range, giving the song a mildly repetitive feel. The song kicks off with a thumping drum that instantly jumpstarts the powerful emotion, complementing the lyrics nicely. The production, handled by Karen Kosowski, is easily the most engaging aspect of the song. Her use of a playful kazoo might seem out of place at first, but it ultimately adds a vibrant burst that makes for a memorable listening experience. With her first release since 2024’s Golden Child, Patrick continues to lay the groundwork for what should be an intriguing career to follow.
7.8
Colter Wall – 1800 Miles Written By Will Chapman
Colter Wall’s new single “1800 Miles” is his first release since 2023’s Little Songs, and it doubles as both a country song and a manifesto. Wall makes it clear he’s not interested in Music Row’s rhinestones, pageantry, or politics. Instead, he plants his flag firmly outside of Nashville — 1,800 miles to be exact — declaring that the real heart of his music beats far away from radio polish and pre-packaged trends. Musically, the track oozes charisma. The bass groove alone is worth the price of admission, and it’s bolstered by a stacked arrangement: organ swells, pedal steel runs, Telecaster twang, and bursts of harmonica. It’s the kind of sound that immediately recalls outlaw-era Waylon Jennings, while the melody tips its hat to George Jones, with traces similar to “She’s My Rock.” That combination gives the song both grit and grace. Lyrically, Wall doesn’t pull punches. He mocks the cliques and trends that dominate the scene, “you ain’t cool if you ain’t counter culture weird,” taking shots at the idea of authenticity as a costume. Wall’s delivery has a theatrical charm full of confidence; he knows he’s walking his own path and wouldn’t have it any other way. “1800 Miles” feels like a pivot point. It’s a statement of independence and a reaffirmation of Wall’s outlaw spirit. It’s country music with teeth, proud to stand 1,800 miles away from Music Row, and sounding stronger because of it.
9.0
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