Running On E – Wyatt Flores Written By Adam Delahoussaye
It’s been a minute since Wyatt Flores mustered up a real rocker, but then again, it’s been a while since we’ve heard from him at all. Just as the 24 year-old’s career was starting to take flight, the singer entered a hibernation from the public, seldom seen or heard from until hitting the gas with “Running On E.” The single is a high-octane catch up session with the young star, immediately alluring in its brevity and lane switches out of the cruise control 2024’s Welcome to the Plains sat in. You hope the irony isn’t lost on Flores, that his return to the studio is a declarative statement on how tiring his state of existence seems to him. It feels like a drive-by observation: Flores glimpses the outside world, traps those snippets, and uses them as fuel for his own psyche, which he tells us is in a perpetual state of sputtering along. “All my friends are getting married, or having babies,” he croons under clenched teeth, with a rallying cry to what’s left of the misfit bachelor’s club in the chorus. That “just-missed-the-bus” mindset is only the start of an edgier outer layer for this new Flores, who sounds closer in contact with a Sterling Elza or Southall here than he did with himself just a few years ago. Flores packs an anthemic punch on his first outing in a new era, painting a hopeful picture of an artist willing to dissect his sonic tendencies to get to the bottom of his psychological ones.
8.2
Hey Dallas – Hudson Westbrook Written By Adam Delahoussaye
It’s worth noting that Hudson Westbrook’s confidence peaks when his situation is kept casual. Then again, maybe it’s not a total surprise, with “Hey Dallas” finding the singer in his comfort zone, two drinks deep and just two hours north of the small town he grew up in. He gets word that an old flame is wheels down in the neighborhood, and from there, the tornado sirens start blaring in anticipation of their eventual collision. But Westbrook sounds like he could take it or leave it, or maybe that’s just the big city britches talking. His lyrics, while a word to the wise, sound more off-the-cuff than his previous tales of entanglement, and the vibe of the track takes things just as easy. Over sleepy steel and an easy chord progression, Westbrook sets the scene of a Lone Star late night pretty effortlessly, playing into some of the strengths that he’s very quickly learning to share with both his outlaw ancestors and his Music Row peers. They say to write what you know, a mantra that carried some of the biggest radio rabblerousers in Texas to national prominence by cutting their teeth on tales of dry heat and women wearing boots. The 21-year-old is certainly similar to his predecessors in that regard, with this local story having him as laid-back as ever. For a guy who loves singing about ladies dressed to the nines, Westbrook might be at his best when he gets to kick his boots off.
7.6
Dream Chaser – Willie Nelson Written By Joel Reuben Pauley
There’s something to be said for the youthful spirit at the center of Willie Nelson’s new song. “Dream Chaser” is upbeat from the start, fondly reflecting on how his younger days still feel just within reach. With the full weight of his legacy, and at 92 years old, that perspective lands with an extra-inspiring notion. Lyrically and sonically, Nelson has long carried a subtle thread of hope through even his saddest material, but here, the downtrodden heaviness is largely absent. Instead, he leans into reflection without regret, recalling “moving to Tennessee with an old guitar and eyes full of stars,” as if it were a mission statement that never left him. From an arrangement standpoint, the decision to sit in a steady, middle-of-the-road full band country pocket throughout is a curious one. It’s a sound more commonly associated with prime George Strait, or newer artists like ERNEST or Jon Pardi, where a blend of traditional and polish feels more native. Even so, the approach’s simplicity holds up; the track leans on an easygoing charm that never overreaches, letting the sentiment carry the weight rather than the production. Ultimately, “Dream Chaser” plays like a window into Willie Nelson’s present-day reflections, grounded in the same spoken honesty that has always defined his writing.
8.5
Break Your Heart – Chandler Walters Written By Joel Reuben Pauley
Other than the repeated and logically flawed first line, “I don’t wanna break your heart, ‘cause baby, that’s what I do,” which essentially translates to “I don’t want to break your heart because I break hearts,” Chandler Walters’ new song is pretty likable. Aiming for a classic country sound, Walters checks all the boxes he’s set for himself with a traditional arrangement that reflects the lyrical playboy energy running through the track. Written with the iconic Rhett Akins, “Break Your Heart” carefully settles into familiar, honkytonkin’ territory with a steady, deliberate touch. A big strength of the song is the space it creates for Walters’s voice. Several moments take advantage of lower dynamics, allowing his delivery to sit at the forefront, while touches like the accordion keep the arrangement from feeling stale. Compared to his previous releases, “Break Your Heart” leaves a more lasting impression. The loudly energetic, somewhat spunky attitude that has defined his catalog remains, but it feels most fully realized here. At this point, a sleazily cowboy-riding-away anthem makes sense. Still, it will be a treat to hear some of the slower, more endearing songs Chandler Walters has in the vault, especially since listeners have so far only been exposed to his more high-energy, sort of unserious material.
7.9
Hey Mississippi – Jackson Dean Written By Aishwarya Rajan
In soulful surrender and a plea of salvation, quite possibly one of the dearest and most vulnerable odes to a woman is on display with Jackson Dean’s “Hey Mississippi.” His deeply soulful ballad serves as an homage to his divine conspirator: a blue-eyed, mesmerising woman from Mississippi. It performs like a modern-day, southern spin on Greek mythology, where men fall under the spell of women. In this single, Dean captures what it feels like to be disarmed by a fidelity that is both safe and unrivaled. That same sanctity breathes through the instrumentation: bluesy guitar chords that ring with quiet reverence before giving way to powerful howls and ringing piano scales. The instruments conspire with his tone, rising and falling in devotion to the very same message he imparts. Elevating the lyricism through subtle rhyming structure, such as “sweet like that magnolia bloom, I hope we never leave this room,” is perfectly executed as Dean moves through his rich vocal registers. Further, by adorning her with the magnolia, the most pristine of southern blooms, Dean prescribes a sense of tenderness to his admiration for Miss Mississippi. There is no doubt that this Maryland native wields the ability to convey a sincerity that infiltrates every fiber of the listener’s being. Hence, in every dimension of its craft, from instrumental ensemble to vocal rasp and lyricism, “Hey Mississippi” substantiates the talent that is Jackson Dean.
9.3
Red Wine Stains – Ethan Garner Written By Aishwarya Rajan
Arriving on Nashville’s Broadway scene, Ethan Garner offers a return to an era that lies somewhere between Taylor Swift, 5 Seconds of Summer, and Troy Cartwright. In his debut single, he introduces spirited melodies that are more than enough to serve as the opening track of a high school Netflix show. It’s the kind that rolls over clips of lockers slamming, a cheerleader and her snooty group of friends, and a childish romance that will inevitably go terribly wrong. Acoustics become playfully electric as they settle into stealthy rock-tinged guitar-playing that found the rest of the track’s direction. However, what makes the listening so effortlessly enjoyable is the way the electric guitar is strummed. It shifts in layers: from a bright foundation to sharper and more textured runs that eventually slow and deepen. Garner’s method of lyricism follows a similar instinct toward simplicity. Lines like “you stole my bestie’s shirt” and “late night talking in the dark” speak to a younger generation of listeners, keeping things relatable. As the final chorus digresses, echoing lines create a communal moment, as though a room full of people were meant to clap along. Garner’s young, modern tone, as well as his creativity, place him squarely in a promising position to succeed as a fresh sound in the industry and maybe a bit outside of it.
6.2
Standstill (My My My) – Max McNown Written By Max Buondonno
For an artist who can’t quite decide whether he wants to be the Lumineers, John Mayer, or a Christian-pop star, Max McNown keeps making songs that sound like a strange hybrid of all three. “Standstill (My My My)” is a new spin on meeting the love of your life and watching everything change, from the speed at which you were going before to where your priorities now lie. Written by McNown, Trent Dabbs, AJ Pruis, and Ryan Beaver, there’s very little here that fits into any sub-genre of the country category, leaning more into a cheery Shawn Mendes-style orchestration and hopeful attitude that belongs on Joel Osteen’s mega-church stage. Love songs come in all shapes and forms, and McNown has found a weird pocket for younger audiences who don’t want all the twang and “southern livin’” references of his peers. Instead, McNown sounds like he met a nice Christian girl, and his world came to a halt. Is that a bad thing? Not at all, but it’s getting a little stale for his catalog. Max McNown hasn’t evolved much since he burst onto the scene with songs like “Better Me For You (Brown Eyes),” and there’s no indication he plans to try to challenge himself in the near future. Corny, contemporary-Christian-adjacent music is working for him at the moment, and his fans will likely eat this song up. It’d just be nice not to want to roll your eyes at one of his songs, whether with different production or lyrics, so that it doesn’t sound like #35 in the Top 50 on K-LOVE.
5.7
Wind My Friend – Parker McCollum Written By Max Buondonno
As one of the most abstract songs on Parker McCollum’s deluxe version of his self-titled album, “Wind My Friend” leaves tradition at the door and opts for a mysterious instrumental that conveys a sense of confusion. Blending it with lyrics of choosing the lonely road instead of one spent with someone you love, the track is bewilderingly emotional, which drives home the entire point of its story: “how could you be so stupid to make this decision?” It’s what makes “Wind My Friend” an epic epilogue to Parker McCollum, which already had a virtually perfect ending in “My Worst Enemy” on the original version. The chaos of the off-beat guitars, drum patterns, and piano chords makes it feel like your mind is racing, yet remains complacent in the choices you’ve made. It’s unlike any other song on the album, save for perhaps “New York is on Fire” and its ballad-like tendencies. While the song doesn’t boast the same replay value as other entries on the record, it remains one of Parker’s most artistically challenging songs to pull off. It’s a great example of his willingness to try something new, one of the shining qualities of the album itself.
8.3
Loving Life Again – Ella Langley Written By Aishwarya Rajan
If you’ve been here since “nicotine” and “If You Have To,” then you’ve seen the darker side of a coin that is Ella Langley. One shrouded by scorned romances and broken friendships. Introspection is her native language as a songwriter, yet she’s previously leaned into the negativity of it all and towards a life that felt more city and less countryside. “Loving Life Again” embraces the essence of joy and freedom through the trials and tribulations that define living. It’s a song that takes listeners through moments that characterize who Ella Langley is, aside from being a musician. Her analogies, such as “riding on the wind,” develop the idea of an imaginative state that keeps her grounded despite an ever-changing lifestyle on the road. Meaning aside, production and instrumentals create a framework with the same narrative goals. Brief organ strikes and gentle escalations are married to simple language, providing listeners with an immersive experience of visualizing hillsides and horses. It’s transcendent, and even liberating for the listener. While this single doesn’t quite match the lyrical masterfulness of her previous work, it showcases a gentler side of her repertoire. It reinforces the hopefulness of the melodies and expression in her upcoming album.
8.7
Luke Combs, Alison Krauss – Ever Mine Written By Will Chapman
Some duets work because the voices match; “Ever Mine” works because they don’t. Luke Combs and Alison Krauss sit on opposite ends of the spectrum. Combs’s heavyweight gravel leads the charge while Krauss’s iconic glass timbre glues the arrangement together in a way that only it can. Alison Krauss has always had a knack for elevating songs simply by showing up, and this is no different. There’s a reason “Whiskey Lullaby” still holds up after 23 years; her voice is effectively an instrument, blending into the fabric of the arrangement; in a way, she’s much like a session musician adding color and texture. Penned by Combs, Hailey Whitters, and Charlie Worsham, the song leans on a familiar device of a soldier writing home. However, it’s handled with enough restraint to feel sincere rather than overly sentimental, carrying real weight, and landing with conviction. The production follows suit. Mandolin sits up front, with Alison’s fiddle and other acoustic textures filling in around it. Everything is clean and organic. There’s a steadiness to “Ever Mine” that never lets up. It knows exactly what it is from the start, and by the end, it’s left its mark without ever having to reach for it.
7.9
