Drag – Silverada Written By Adam Delahoussaye
Mike Harmeier used to say that when he gave up music, he’d give up drinking. It sounds like another vice has stepped into the fray for Silverada’s frontman and the rest of the band on “Drag,” as they take an exhausted puff of a cigarette before admitting that the lifestyle they’ve been outpacing for nearly two decades might be a few strides away from grabbing them by the shoulder. “I’m getting tired, baby, and I’m getting older,” Harmeier exclaims in the pre-chorus, with a little less bite and growl in these stanzas than he chomped with on the group’s self-titled LP just two years ago. The pieces behind him sound a little fatigued, too, the arrangement sounding like it’s sputtering along rather than having the band in full throttle like they’ve become accustomed to after a life on the road. It’s tough to say whether “Drag” and its subsequent Living Proof album are a last lap or just a moment where the crew is in cruise control, though the attitude seemingly centered around in its few singles points to some gear shift. As the group trudges along, drums and keys dragging behind them, you can’t help but wonder if they’re about to play with the notion that a true cowboy can only be found on the road. If one attribute has remained constant, however, it’s their optimism. Far from broke or dead, as Harmeier wryly states, Silverada realizes that exhaustion can be a blessing when looking at it in the rearview window.
7.2
Country Music – Charley Crockett Written By Adam Delahoussaye
In his 1997 memoir, Johnny Cash posited the question that’s become so perpetual that in 2026 it’s almost a punchline: What exactly is country music? He goes back and forth between the label being a lifestyle and an aesthetic, knowing that, in his case, the lifestyle made the music, but later admitting that it’s now the accessories that tell the whole story for a large swath of the genre’s participants. “Maybe that’s okay, I don’t know,” he humbly admits at the end of his case study. Thirty years later, Charley Crockett has positioned himself at the center of that question as it again arises amidst cosplay convictions and questions of who really gets to call themselves a card-carrying member of the fraternity. The aptly titled “Country Music” might be a thesis statement to the conclusion that Crockett has been trying to draw for his whole career, beckoning his die-hards and naysayers alike with the brief but broad line of “it’s a feeling, lean into it.” He goes on to argue that the definition could rest in several abstract ideas. Country is a story shared between two parties killing themselves to survive, a rough sketch of the place you grew up in, shaded by nostalgia, or knowing how to “work like a dog, and live like a horse thief,” as he describes it in the opening verse. Crockett’s guidelines are sprawling yet specific, shrouded in steel and a steady rhythm as he attempts to lay down the law on the back end of the turf war. But with Cash’s aforementioned quote in mind, it’s safe to say that this is far from the final word on the matter.
9.0
Go Again – Riley Green feat. Hannah MacFarland Written By Max Buondonno
It’s clear that at this point, Riley Green will never be able to turn down a sultry country duet. The artist has built his entire career on the charm and charisma he brings alongside a female feature. This time around, it’s Hannah MacFarland sitting next to him for his latest single, “Go Again.” Hazily remembering a rendezvous with someone passing through town and realizing you might be in love, Green leans into the same themes that have worked for him in the past: one too many glasses of wine, missing clothes, passionate feelings, and that small voice that tempts you to stay when you know you shouldn’t. The Jacksonville, Alabama native has a knack for melting down risque subjects into tracks that are both moderately suggestive and still safe for the radio. Here, he follows a similar path to songs like “Don’t Mind If I Do” and “Worst Way,” aiming for a seductive ballad, but regularly falls short of his destination. For her part, MacFarland does a fair job at balancing out his vocal performance, lightening the load enough for it to still sound airy and not quite as seductive as other songs in his catalog. But at what point does the schtick run out of juice? Sure, Green has proven he can pull off these steamier tracks with good writing and production, but “Go Again” feels more like he’s feeding some unconscious hunger his fans have for a PG 50 Shades of Gray than making an interesting song. He doesn’t sound tired or uninterested here, but it’s hard for “Go Again” to stand out when most of his top-streamed tracks are so topically similar. It’s not time to exit the bedroom just yet, but eventually the sun will come up, and Green’s hangover will be kicking in.
6.8
Jimmy Buffett Summer – Brian Kelley Written By Max Buondonno
If you’re going to let yourself stay in the same musical box that your fans demand, it might be worth avoiding backing yourself too far into a corner. That way, you can avoid songs like “Jimmy Buffett Summer,” the latest single from Florida half of FGL, Brian Kelley. Deep somewhere in his subconscious, it occurred to him that to have a fun summer, one must resurrect the memory and habits of legendary beach bum Jimmy Buffett. While that may be the goal for many when the weather gets warm, it’s virtually impossible to make a song about it without coming off as corny or repetitive. Kelley’s call-outs to Buffett’s hits and slogans can be heard without even pressing play, while the hook and vocal performance both lack the energy and prowess you need to make this song the summer anthem he was aiming for. Its light-heartedness allows Kelley to not take things too seriously, which makes it fun enough to add to your beach playlist. But unless you’re a serious Parrot Head that gets tanned and drunk on Buffett references in songs, it’s evident that Kelley’s Beach Cowboy persona could use some revisiting if he’s to reach the same heights as his first solo record.
5.6
Good At Leaving – Stella Lefty Written By Joel Reuben Pauley
Since her country debut earlier this year, Stella Lefty has been constantly involved in controversial conversations about authenticity amongst listeners and critics. While many skeptics spew out accusations of Lefty being an “industry plant” or a product of nepotism, there’s comparatively little public critique out there of her actual music. However, her latest track, “Good At Leaving,” displays great technical strengths and weaknesses, which merit more serious consideration in discussions of legitimate criticism. The new single brings the bubbly personality that was visible in the viral videos and put her on the map. That energy makes each of her songs more listenable. Other than the contradiction of claiming she is a “product of too many heartbreaks” while also adding that she has “no good reason” for her trust issues, there are few lyrical complaints to be made. Lefty doesn’t jump through hoops to get her point across, maintaining a to-the-point style of communication that feels reflective of the anxious urge she has to escape. The biggest shortcomings come from the overly countrified production, which isn’t naturally suited to Stella’s voice. At some points during the verses, the vocal tuning becomes noticeably flat and robotic, which is pretty distracting. All that aside, “Good At Leaving” is a catchy, inoffensive listen that isn’t deserving of the harsh, non-music-related criticism that you may see in comment sections.
5.3
Looking Forward To Looking Back – Paige Fish Written By Joel Reuben Pauley
Paige Fish’s new single feels truly one of a kind. “Looking Forward To Looking Back” blends classic R&B sounds with country, opening a door to an unexplored musical landscape. Similar to Solon Holt, her bluesy, soulful style is totally unorthodox yet refreshing in country music. Fish brings shimmering chimes, steel guitar, and even a nylon guitar solo together into the same room, which blend seamlessly behind her vocals. Her deep vibrato sings out her excitement to reminisce on future memories she hasn’t made yet. The chords and melody, which are actually quite complex, seem like a direct result of her non-country influences, adding a dreamlike effect to the fantasy she’s describing. Paige explains her openness to being swept away as if she’s under a spell. Begging “dance me over to that door,” she charmingly pleads her willingness to dive into her newfound love. Rather than clashing with country music’s traditions, Fish’s blend of R&B and country expands them, creating something both familiar and entirely new.
8.8
We’re American Made – RaeLynn feat. Rhett Akins Written By Aishwarya Rajan
Ask a non-listener to picture the essence of country music, and they’ll likely conjure tractors and cheesy lyrics, the exact trademarks that saddled the genre with a negative reputation for over two decades. RaeLynn’s “We’re American Made” has a bouncy sound familiar to her style, and it falls into that same category, right next to songs like Toby Keith’s “Red Solo Cup” or Jason Aldean’s “Big Green Tractor.” The only difference is that those songs give you something to smile at; there’s a self-aware lightness built into their unseriousness. This one doesn’t have that luxury: dropping the weekend of the Fourth of July all but guarantees it’s meant to be played earnestly, all weekend long, on a boat, at the backyard BBQ, surrounded by friends and family celebrating what it means to be American and free. This isn’t to say the song lacks merit. It’s highly listenable, following a catchy backbeat with claps and twangy dobro and banjo swipes. However, aside from RaeLynn’s first few verses before the initial chorus, the storytelling isn’t spectacular in any real capacity. For most, this is an easy listen that feels closer to Broadway than the Opry, following the trajectory of a Christmas song: played once a year, if at all.
5.5
Boots By The Wrong Bed – Blake Whiten Written By Aishwarya Rajan
Within eight seconds, your ears play some sonic trickery, convincing you that Zach Bryan just dropped a rock intro to “Crooked Teeth.” That illusion scrambles away fast, though, as Blake Whiten’s growly vocals burst in on his new track, “Boots By The Wrong Bed,” with a whirring electric guitar. Striking a balance between alt-country’s rugged, punchy riffage and contemporary pop-country styling, Whiten strikes gold, landing on a sound of his own. That’s exactly why “Boots By The Wrong Bed” works: it leans into the same husky drawl that’s very en vogue these days, right down to how the lyrics are enunciated and phrased. Whiten echoes those elements rather than carving out something distinct, yet it still fits the young artist’s repertoire like a glove. Carried by foundational drum beats and channeling the slick, energizing guitar work of songs like Bryan Adams’s “Run to You,” Whiten delivers a steamy track about being powerless as he continues to fall into the bed of a girl who isn’t good for him, instead of his own. This track defines Whiten’s place in country music, and if people weren’t listening before, they sure will be now.
8.8