Think as You Drunk – Riley Green Written By Aishwarya Rajan
In a resurgence of 1990’s country music storytelling, certain production styles are re-entering the country scene, reminiscent of the transformative “hat acts” of country music’s golden age. Country fans don’t need long to catch the essence of Toby Keith. Encompassing jumpy melodies and fatuous lyricism, Green embarks on a mission to offer listeners a careful balance between vapid, tongue-in-cheek lyricism like Keith’s “I Wanna Talk About Me” and witty flavors adjacent to “Who’s Your Daddy.” The resemblance is uncanny as it carries the same electric rock intro and playful bravado. The subject matter, you might ask? Being undoubtedly drunk, slurred speech and all: unable to recite his “C-B-A’s” or manage the “stand or sit.” Attempting to embody the country legend himself, Green tries to re-create the twangy country flourish of that 90’s old-timey sound. However, the 37-year-old singer occasionally exaggerates his drawl in the first verse and lacks the gentle low register that made artists like Garth Brooks and Toby Keith such talented vocalists. That aside, the lyrics alone make a listener wonder how many studio takes the track took, because singing something with purposefully poor grammar can’t be easy. Perhaps the star of the show is the production: the slowed instrumentals and start-stop melodies guided by an eclectic group of instruments, including bouncy piano scales and fiddle riffs, culminate in the inclusion of Keith’s own posthumous vocals.
7.9
Take Me Back (Leave Me There) – Cody Johnson Written By Jack Humphrey
Sharing some musical DNA with Chris Stapleton’s “You Should Probably Leave,” the swaying, sultry “Take Me Back (Leave Me There)” sees Cody Johnson stepping out of his lane as a straightforward, Texas country performer. This may be the least traditionally oriented production CoJo has released so far, but the rhythmic country-soul groove on this track is a pretty ideal complement to the unrequited yearning of its writing. Compositionally, “Take Me Back” is very clearly a pop song, leaning far more on the infectious desire of its hook than any actual memories racing through our disquieted narrator’s mind. Aside from scattered references to his lover’s bedroom, this single, whose whole premise is supposed to hinge on a feverish addiction to the past, doesn’t offer much to really put you in that place with Cody. Much like the preceding single “I Want You,” our Texan troubadour himself is the song’s primary saving grace, bringing the right blend of romantic intensity to make it fun and believable. Though we’re still waiting for a true standout on the forthcoming Banks of the Trinity, the reigning ACM Entertainer of the Year is certainly allowed to release a pop song, and “Take Me Back” deserves some props for letting CoJo stretch his legs creatively.
5.7
Mad About It – Dasha Written By Max Buondonno
The pursuit of another hit on the level of “Austin” never seems to escape Dasha’s ambitions. Between the familiar boot-stomp production intertwined in many of her recent singles and the approachable, somewhat basic lyrical compositions, it feels like too many of her recent singles are begging for the virality of “Austin” just by sounding similar. “Mad About It” takes another swing at this. A story about the man you love leaving you for your own best friend, the track blends early Carrie Underwood revenge themes with Dasha’s signature sass and swagger, intently asking to be your new favorite girl boss anthem. While it’s certainly energetic and can easily relate to anyone experiencing a tough breakup, the song’s ease makes it feel unnecessarily boring. Each verse feels predictable by the third bar, while the chorus cruises by without reaching a climax worthy of the TikTok dance it seems to want, thanks to its uncharacteristic booms and claps. By the end of it, you’re left wondering if Dasha’s producers just used stock loops in GarageBand to conjure up another song about vengeful tidings. Is it abysmal? No, and it’s probably going to sound good live. But if another hit is what she’s after, a different path than “ho-hey, I’m gonna key your car” could be a smart move.
6.1
Connie Lou – Chase Rice Written By Max Buondonno
Chase Rice continues his brigade through the hills and slumps of Americana-infused soundscapes, this time unraveling a yarn inspired by his mother meeting her soon-to-be husband at a bar one night. “Connie Lou” takes a different sonic direction than some of Rice’s most recent output, chasing a more upbeat, mainstream aesthetic than the grandiose outlaw production of songs like “Way Down Yonder” and “Bad Day to Be a Cold Beer.” The track bodes well for Rice’s catalog, giving fans something a little different to listen to, with a lightheartedness that’s endearing enough to entice everyone to turn up the volume upon pressing play. As the song unravels, its lyrical content reveals itself to be far more shallow than a lot of Rice’s other tunes, combining overfamiliar references to Coors Banquet and filling a lot of time with chants designed strictly for live audiences. While it may be the case that “Connie Lou” doesn’t achieve the same mastery in songwriting and production as some of his other songs, Chase Rice doesn’t seem willing to escape the sound and orchestration that’s garnered the respect and reputation he has today. That’s a good thing, because if this is as mainstream as Rice ever gets again, it’ll bode well for any future projects he conjures up.
7.3
Cheap Thrills – Gavin Adcock & Hudson Westbrook Written By Jack Humphrey
Despite presenting as a goofy derelict, Gavin Adcock has quickly proved himself as an extremely shrewd influencer; armed with one of the most recognizable personal brands in country music today, he’s followed Morgan Wallen and Koe Wetzel as the format’s latest bombastic bad boy. This self-styled motif is the backbone of his latest single and may, unfortunately, be one of its only selling points. If you’re new to Gavin Adcock’s brand of indolent self-assurance, “Cheap Thrills” might be an enjoyable ditty. For those of us who have stuck with the Georgian thrill-seeker for some time, this one feels just a little overwrought and unimpressive. Adcock is hitting all of the same general story beats we’ve heard in “Morning Bail,” “Outside Dog,” “On One,” and numerous other similar songs. The hook is appropriately infectious, but it does get kind of tedious after the fourth recitation. Additionally, though Hudson Westbrook is one of the format’s most promising young stars, his presence on this track is at best a net neutral, and at worst a polite, pristine damper on its roguish personality. Westbrook is an excellent performer, but the combined lack of lyrical wit and opportunity for him to get comfortable in this good-for-nothing character make him fairly ineffective here. Ultimately, “Cheap Thrills” is a “Gavin Adcock-type song” through and through, offering little to his artistic canon, though it’s not bad for a couple of passive listens.
4.8
Never Really Mine – Kaitlin Butts Written By Adam Delahoussaye
If her breakout hit “You Ain’t Gotta Die (To Be Dead To Me)” did nothing else for the current country moment, Kaitlin Butts could be credited for re-introducing classic female country’s claw-brandished snarl and spunk to Gen-Z. But Butts knows that being all bite would be to sell herself and her peers short, and that making stomach-churning realizations sound like sighs and shoulder shrugs is equally, if not more, humanizing. One undoubtedly sounds more fun than the other, until the first four bars of “Never Really Mine” kick in and we’re reminded of what makes the Okie so lovably relatable in the first place. Some dry yet laughably crass observations of where those wandering eyes landed segue into a belting chorus that reads like an internal monologue in between sips of a vodka tonic, as Butts ponders her place at the bar and in the arms of someone who might not be dreaming of the one he’s got wrapped up in his. It’s safe to say that she adheres more closely to the sonic and aesthetic rulebook of the space than some of her counterparts, but part of that leniency is simply because she looks and sounds the part more than most. Talent and personality intermingle so seamlessly into something that still feels like it has a little more to add to a told twice-over storyline. Maybe Butts feels a little more relatable because she’s speaking with the bare honesty that the Dollys and Lorettas of the world made you read between the lines for.
8.0
12 Steps – Dexter and the Moonrocks feat. Treaty Oak Revival Written By Aishwarya Rajan
Within two seconds, the slow tempo of an arpeggiated riff settles into your ears in a chilling sensation. The strums are nurtured by the gruff yet vulnerable voice of Dexter and the Moonrocks’ lead singer, James Tuffs. Just as you relax into the gentle melody, the alt-rock production is accentuated by a cascade of electric guitars, introducing the grunge-country sound that’s famous with Treaty Oak Revival. If you’ve heard the viral “Freakin’ Out,” then “12 Steps” should appear as a natural next step. In fact, this single draws a clear parallel between the two bands’ sounds: intertwining Sam Canty’s velvet vocals on “Happy Face” with the poignant introduction of “Freakin’ Out,” the two bands amalgamate two sides of the same coin into “12 Steps.” Beyond the familiarity these tracks share, the single evokes an innately comfortable feeling, something close to The Script’s 2000s music, where pleasant strumming blossoms into more intense production. This is ever-present through the lyricism as well. The concept of addiction, AA, and trying to quit someone is often overused and likely in need of retirement in country music. Think “nicotine” by Ella Langley, Warren Zeiders’s “Relapse,” or “Vice” by Miranda Lambert. However, Dexter and the Moonrocks reframe that message by tweaking the overarching concept of a fiery connection to taking “12 steps to get away from” someone whose magnetism isn’t good for them.
7.2
Beneath The Pines – Zach John King Written By Joel Reuben Pauley
In his new song, Zach John King describes a moment that makes him feel like he’s “had it all.” With rich imagery packed into almost every line, “Beneath The Pines” places Zach in a dream date, surrounded by the smell of honeysuckle and an “Indigo Sky.” As the lyrics convey such tender intimacy, the arrangement is just as delicate, never overstepping or outplaying the vocal. In his performance, King shows off technical capabilities that some fans may not have been familiar with until now. The run on the chorus when he sings “while the whippoorwill calls” sounds quick and effortless. Another strength of the arrangement comes in the final chorus, where a newly introduced chord walkdown provides a fresh, smooth landing at the end of the song. While Zach John King is still relatively new to the radar of modern country fans, this release offers more reason for new listeners to grant their respect. Written with Rodney Clawson and Michael Lotten, the lyrics are meticulously crafted to ensure that everyone who hears this song paints a vivid picture in their minds, and anyone who can transport their audience into a world of pure imagination is absolutely doing something right.
8.2
Girl That’s How – Cole Goodwin Written By Joel Reuben Pauley
The wholesome, innocent themes of a song about settling down with someone you love are already soothing to the soul, but in “Girl That’s How,” Cole Goodwin hits the nail on the head. In the first verse of the new track, Goodwin shares how his lover, before meeting him, has “Never seen people with hearts so big.” As they drive closer to Cole’s hometown, he credits the simple way he was raised as the reason he has such a sweet, refreshing approach to romance. A big strength within the delivery of this song is that it doesn’t rely on the overuse of twang that many of the more modern neotraditionalists might deem necessary. In many cases, it doesn’t feel authentic. Instead, “Girl That’s How” feels like a natural flow of emotions that sit comfortably on the middle ground between plain and poetic. Cole isn’t attempting to prove his authenticity by talking about his “old truck” or his mother’s “sweet tea.” Rather, he’s honestly describing the way he hopes to treat this girl if she comes into his home. One brief criticism of this release is the way the chorus lands. The line “Girl, that’s how this country boy wants to love you” comes off like an afterthought, and not quite powerful or definitive enough to close the full message that Goodwin wants to convey. However, the wholehearted meaning with its delightfully fitting and simple classic country arrangement goes a long way, making this a single worth returning to.
7.4
Range Rover – Gabriella Rose Written By Adam Delahoussaye
“Range Rover” wants the white picket fence, sure, but it also knows that breaking the rules of suburbia may be what ends up eventually moving the needle. Consciously or not, Gabriella Rose’s standout track from her freshman LP is the kind of shot in the arm that culturally waning country music needs right now. In tune with its roots, but savvy and street smart enough to bend its themes into something pop-cocky, modern, and cutting-edge. Rose takes the mom car, effectively sleek and stylish while still practical, and posits that it could stand for a whole lot more than just the luxury of leather seats. It’s a suburban style dream, one where she can get “married on the 4th of July” and sleep in because the maid is doing the dishes. It’s a far more idealized, hedonistic viewpoint of the American condition than the rose-colored view of ‘traditional values’ the rule-followers of the genre may have you believe is your best bet at fulfillment. “It isn’t so bad to want it so bad,” Rose suggests, fuzz-stuffed guitar licks and speaker-splitting drums surrounding her like the sunlight in a west coast heat wave. Rose is a tinge more unfettered than a Musgraves or Moroney might be, and her latest efforts seem to take a more from-the-hip aim at the consciousness, or maybe how she’d like to be included in it. She seems fine leaving the heavy lifting to the status quo abiders, knowing that keeping country music cool will require a little more spontaneity and a lot more self-indulgence.
8.0
