Port A – Treaty Oak Revival Written By Jack Humphrey
Since Koe Wetzel’s emergence on the Texas music scene at the turn of the decade, country music has forged an uneasy alliance with the wild, college-rockers of West Texas. Simply put, the trade-off has been “you bring legions of young fans ready to pack every venue in the Midwest, and we give you a mainstream home to play your music.” In the 2020s, no single act has capitalized on country music’s newfound acceptance of late-90s post-grunge music like Treaty Oak Revival. As their third LP, West Texas Degenerate arrives as a coming-out party for the band. “Port A” is a striking thesis statement for the entire record; TOR pledges their allegiance to the scuzzy underbelly of their home state, cracking open the cooler for a week-long carousal. It’s one thing to write a carefree song about debaucherous partying, but to craft one that feels so intensely specific to their part of the world is impressive, even though the broader premise is so universal. There’s a better-than-average chance you’ve never heard of Port Aransas before, but Treaky Oak’s drunken account quickly gets you up to speed on this little fishing village, and the rowdy lifestyle it represents for these boys. When an artist drops a noisy single about drinking on the beach, it usually comes with the expectation that you, as a listener, accept some subpar songwriting, but Treaty Oak Revival makes no such demands. In an industry full of sameness, “Port A” comes as a refreshing original.
8.9
Just Like Old Times – Turnpike Troubadours Written By Adam Delahoussaye
Todd Snider is more of a hero in the collective consciousness for Turnpike Troubadours than he is a hometown one. Regardless of regionality, Snider provided a new lens to life and a pride in one’s warts that splashed into alternative scenes, rippling downstream to these folkie Okies not long after. You can hear Snider’s crude and crooked optimism all over elements of the band’s version of “Just Like Old Times,” in modes that are unsurprisingly not too far from true north for frontman Felker and the rest of the boys. You hear those spunky strings and creaky chords, the slurred sway through a new night with an old fling, hitting beats and bars that feel stripped straight out of a scrapbook of polaroids. All the quirks that made Snider such an eye-catching figure in his heyday start to reveal themselves effortlessly with the controlled yet perfectly calloused ticks that Turnpike finds homeostasis in. This new version of the timeless track doesn’t need to expand upon either act’s ethos; it’s a testament to that internal quiet the late songwriter was able to spit out on the page, and a show of how loudly that rocking-chair wit was translated by fellow misfits who felt like they were cross-legged on the porch with him, clinging onto every word.
9.0
Ranch Style House – Low Gap Written By Adam Delahoussaye
If it wasn’t already evident by their plucky, pastoral sound, Ohio’s hottest country duo is now speaking to their quaint aspirations directly in the aptly titled “Rach Style House.” A quiet, warm welcome to that lot at the end of the street that always has the porch light on, with crooked drawls, and mandolin flutters floating down the river to Small Town USA. The track is a half-step slower in a simpler direction for the group, honing their already deft skill set while keeping their heads screwed on tight to their shoulders, even as they are thrust into more notable circles by the day. It’s an ode to a certain strain of hillbilly optimism, watching bills and struggles rise like the tide but still treading with steady legs and eyes that keep their sights set on the unpretentious hopes and dreams of everyone who still packs a lunch pale before the rooster crows, despite it all. Their toe-tapping, jingly sound is well-suited for an experience that puts its priorities in big backyards for the dogs to play in, with vocal quirks that sell you on the sentiment from the first note. As the duo continues to grow, it’s comforting to hear that their feet are still firmly planted on the soil that cultivated their souls from the start.
7.7
Ugly Sweater – Jimmy Fallon feat. Carter Faith Written By Max Buondonno
It’s virtually impossible for comedic Christmas songs to avoid feeling corny, shallow, and uninspired. Unless it was featured in a classic Christmas movie or has somehow stood the test of time, most fall to the wayside and are played solely as gags by the artists who recorded them; that’s the foreseen fate of “Ugly Sweater,” a strange collaboration between Jimmy Fallon and Carter Faith. In it, Fallon cosplays as a soulful country crooner who falls in love with a girl over how ugly their respective sweaters are. Fallon’s terrible southern accent almost beats the atrocity of Justin Bieber’s, which was prominently featured on the Florida Georgia Line remix of “Yummy.” Paired with Faith’s airy vocals and over-polished instrumentals, this track makes seeing a lump of coal in your stocking seem like a million bucks by comparison. It fails to deliver anything remotely clever or memorable, and while it’s not meant to be taken seriously, it can’t be taken as a joke, either. Fallon’s comedic presence seems completely absent here, unless you find the host of The Tonight Show speaking with a Texan drawl appealing. If this song sneaks into your holiday playlist this season, you’ll wind up on the naughty list.
1.0
Lawn Chair In The Living Room – Ryan and Rory Written By Joel Reuben Pauley
In country music, you constantly hear about toxic habits like drinking too much, cheating, or walking out on someone. That’s why a song that centers on the quiet, everyday parts of a relationship immediately stands out. In their latest single, Ryan and Rory shift the focus to the small, everyday responsibilities that would fall apart without one crucial figure in the home: their wives. With imagery that’s equally silly and sentimental, they describe all the ways their life would go wrong, and how they would spend their days, as the title reads, on a “Lawn Chair In The Living Room.” The overall sound of this song could compare to the likes of ERNEST or Conner Smith, incorporating fiddle, tambourine, and a huge snare drum over a rushing groove. After a full listen, this track may not move everyone emotionally, but for listeners who relate to its message, it lands right where it needs to. The song’s cheerful, gentle charm is undeniable, but for first-time listeners, it also creates a craving for a deeper, more serious kind of written intimacy in the future.
7.4
Outrun – Sara Berki Written By Joel Reuben Pauley
Sara Berki’s new single “Outrun” leans into a spacey, dark, western atmosphere that immediately recalls the thrilling mood of Zach Bryan’s “Open the Gate,” especially with its baritone guitar at the start. Sara’s voice has a similar gritty snarl to Miranda Lambert, with a youthful confidence of her own. The production supports the song well, creating a thunderous atmosphere that complements the western imagery. There’s a good balance of loud cinematic energy and space for the vocals to shine. In total, “Outrun’s” message doesn’t feel fully cohesive. The idea of being an untameable force ends up overpowering any story being told, and the whole track length was spent boasting in strength and independence. There’s nothing truly wrong with this sort of declarative writing, but without a counterweight or moment of clarity, it keeps listeners at arm’s length instead of pulling them into something personal. Even so, the core idea centers on a wild sense of freedom, and “Outrun’s” sound brings that feeling to life. Following the ominous vibe this song created, it will be interesting to see what direction Berki takes next as her solo career continues to develop.
7.2
Touch and Go – Drayton Farley, Sunny Sweeney, Dani Rose Written By Ryan Lippe
Taylor Sheridan has been delivering a worthwhile onslaught of content to streaming services, and with this has come a unique appreciation for country music and the adjacent worlds around it. Leaning more towards the singer/songwriter and folk scenes, his team calls on rising players Drayton Farley, Sunny Sweeney, and Dani Rose to write a gut-wrenching track recalling the hardships death brings to anyone. Reminiscent of the introspective themes from Jason Isbell’s 2015 Something More Than Free album, Farley’s delivery of each line feels very intentional and loaded with sentiment. The lyrics capture a specific moment in the grief process and remind listeners of the power of music during such hard times. While Farley’s voice is stellar throughout, the harmonies that Sweeney and Rose deliver during small portions of the chorus would have elevated the track to another level if they were more present during its entirety. Coming in at just over three minutes, parts of the song drag on, leaving the listener wanting an extra element, like a soft fiddle or somber steel, to drive the emotion home and wrap up the message. Nonetheless, it’s always a treat when major studios can shine a powerful light on songwriters that may otherwise not get the notoriety.
8.4
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