3, 2, 1 – Tucker Wetmore Written By Adam Delahoussaye
The self-referential countdown on “3, 2, 1” perfectly mimics Tucker Wetmore’s hurdle onto main stages and radio waves nationwide. When he first landed, it was with an awkward thump. Synths and trap drums populated around a voice that didn’t ever feel like a fluid fit for the pairings he was being set up with. Thankfully, his latest release emphasizes how quickly Wetmore has found his footing since breaching our sonic stratosphere. His sharp baritone fits much more comfortably in the confines of these glistening guitar strings and sandy-sounding percussion chugs, whisking us off along with his “one that got away.” His Rolodex of ‘isms’ is now full of country staples such as drowning in whiskey, bringing the gal you love to tears, and even watching sinking sunsets, knowing they bring more stakes than a simple day’s end. This track sounds like an ice-cold beer while basking in your freshly mowed grass. It ain’t much, but it’s honest and true. Where previous efforts folded up Wetmore to fit the mold, on “3, 2, 1,” he’s bending the rules to his needs, crafting a catchy hook and snappy sing-along just a heartbeat away from being a household hit.
7.5
Game I Can’t Win – Charley Crockett Written By Adam Delahoussaye
As archaic a performative persona he presents, it’s almost impossible for Charley Crockett’s “the whole world done me wrong” jig to get old. “They don’t like it when you’re free,” he bellows over a trotting percussion and chirpy steel guitar. The Son of Davy has opposed the establishment since his early days. Back when he was busking on street corners, begging for pennies from The Man and seemingly getting shrugs of indifference in return. Now, all eyes are on him, and that chip on his shoulder still sits proudly adjacent to his guitar strap. While many of his sounds and styles have become homogenized on later releases, there’s still a singular air at the heart of every Crockett track. Like the cowboy killers of old, he’s swinging through saloon doors and blasting six-shooters at anything in his way. The best part? He revels in it like a pig in mud. “Game I Can’t Win” is Crockett at his most palpable. Amending the scriptures of the outlaw for a modernized commentary on where the genre was left once his heroes exited stage right. Here, he’s satirical yet never sleepy within the arrangement or evading the gravity of the tale of constant struggle he continues to tell. Crockett’s constant losing streak is a continued victory for the genre’s future.
8.5
I’d Be Delighted – Waylon Wyatt Written By Joel Reuben Pauley
From the first note of the baseline that leads into the song, “I’d Be Delighted,” has you hooked. Again, the same heartfelt lyricism that made “Arkansas Diamond” shine is on full display, showing that Waylon Wyatt truly has a way with love songs. While it isn’t full of deeply profound lyricism, it’s quite poetic and effectively illustrates the eager dedication of young love. With its full band production, the single feels like an evolution of Waylon’s previous solo releases. The live instruments complement Wyatt’s raw, organic sound without overpowering the mix, keeping the focus on his voice and guitar. Looking ahead to Waylon’s future releases, more of these fully-produced tracks will help him stand out as he graduates from the sort of unplugged sound that put him on the map.
8.3
The Bullfighter – Noeline Hoffman Written By Joel Reuben Pauley
After performing the song countless times on the road, Noeline Hoffman released her own rendition of “The Bullfighter” with a nod of respect to the late Luke Bell. Originally released in 2016, this track is sung from the perspective of “the bravest bullfighter that ever dared the pen.” The song’s storytelling and imagery align well with Noeline’s mysterious artistic identity, complementing the gritty Western themes of her debut EP, Purple Gas. Her rendition takes a more stripped-down, slowed approach than the original, allowing the lyrics to take center stage. Above all else, this song served as a tribute of honor to Luke Bell, capturing the spirit of his original work while marking another strong single in the early stages of Noeline Hoffman’s career.
8.6
One More Place I’ve Never Been – Preston Cooper Written By Ryan Lippe
One of the newest signees to Big Machine Label Group, Preston Cooper’s second release is an anthemic break-up ballad that shows his vocal range is expansive. Full of emotion, the 21-year-old has a spectacular tenor voice that he’s masterfully learned to harness at such a young age. “One More Place I’ve Never Been” is arranged cleverly, allowing Cooper to show off his range and belt the longer notes, but it is done in a way that isn’t annoying or tacky. Produced by Brett Warren, the song has a strong southern rock edge that may not be for everyone, but for those who enjoy it, it will surely be blasted at full volume. It should garner success on the radio and mainstream playlists but likely will not make it beyond contemporary-minded listeners. With an entire career ahead of him, there’s a lot of room open for Cooper to put out a slower track and draw in fans who may not be enticed by crowded productions like this one. Overall, the track beautifully showcases Cooper’s talent, blending raw emotion with a bold, radio-ready sound.
7.3
All I Forgot (Feat. Joe Jonas) – Ashley Cooke Written By Ryan Lippe
Ashley Cooke has a stunning voice, which makes it all the more frustrating to hear it buried under an over-produced contemporary sound—Joe Jonas included. It’s an odd pairing for sure; their harmonies are by far the best elements of the song, but a cheap drum loop overpowers them, rendering them frustratingly invisible. This collaboration would have been lightyears better if it had slowed down and morphed into a ballad. And the odd pairings don’t end with the performers; pop icon Charlie Puth joins longtime Morgan Wallen producer Joey Moi in the production booth. The song will be quickly pushed to the top of both pop and country radio, but Cooke’s fans who know her for songs like “Your Place,” which highlights her vocals, may be left feeling disappointed. Throughout Cooke’s limited career, she’s released a plethora of radio-friendly tracks with contemporary production that have overshadowed her stellar voice.
4.7
Nobody Likes Your Girlfriend – Nate Smith feat. Hardy Written By Max Buondonno
If you’re having girl problems, I have some news for you, son: Nate Smith and Hardy will tell you to cut ties and help her get gone. Smith’s latest single, “Nobody Likes Your Girlfriend,” is about keeping the boys together by reminding a member of the friend group that no one cares for their significant other, what with her promiscuous lifestyle and seemingly ungrateful attitude toward her boyfriend. The message of this song is, admittedly, rarely covered in country music, but that doesn’t mean it should be covered. Smith and Hardy go back and forth throughout the track, surfacing various points about why the relationship can’t work and should end, but ultimately, it goes nowhere and comes off as venting more than a thought-out story. If anything, its purpose is reminiscent of Florida Georgia Line’s “New Truck:” Send it to your friend when you think they can relate. Written by Ben Johnson, Hunter Phelps, Jesse Jo Dillon, and Hardy, this bro-country atrocity sounds exactly like a song Hardy would record and go, “Wait, this actually sucks; I can’t put this out,” before realizing Nate Smith will sing anything he’s handed.
3.5
I Don’t Wanna Know – Chase Matthew Written By Max Buondonno
As Chase Matthew’s album rollout completes, there continues to be a complete lack of hope that the artist will produce something worth listening to. “I Don’t Wanna Know,” one of the 13 tracks on his latest LP titled CHASE, the song begs his love interest not to tell him when she’s spending the night in someone else’s bed. While that concept could be tied into a larger narrative about finding resolution or forgiveness in a relationship, it sounds like Matthew is venting and complaining about an unfaithful partner. But the song isn’t even good at venting; you’d think you might feel remorse for Matthew or, to some extent, a level of concern, but because of the annoying trap beat that graces nearly all of his music, you’re left wondering why you hit play in the first place. It’s no secret that Matthew has been in the same spiral for years, producing songs that explain why people don’t respect the country genre. But even as filler for his album, it should’ve been left on the cutting room floor.
2.2
F-150 – Kidd G Written By Will Chapman
Kidd G was one of country music’s first “hype-beasts” on TikTok in 2020. I loosely use the term “country music” because everything he’s ever put out is just subpar rap with an over-emphasized Southern drawl. His latest single, “F-150,” seems engineered purely for TikTok virality, complete with “slowed down,” “sped up,” and “instrumental” versions designed to maximize algorithmic reach rather than artistic merit. The track sounds like it was cobbled together using exclusively free GarageBand samples. The intro and first verse are rough, but any semblance of credibility vanishes when the skittering hi-hats kick in. When the second verse of this cringe-fest starts, Kidd G digs deep to sell a manufactured southern accent, which sounds unlike anyone in the South actually speaks. Listeners will get second-hand embarrassment from the way he says, “I’m on top of the world when I got you with me, sipping J7, feeling butterflies when you kiss me.” Unfortunately, this track has zero redeeming qualities, and it’s unclear what the vision for “F-150” ever was.
2.5
Prodigal Daughter – Hailey Whitters (feat. Molly Tuttle) Written By Will Chapman
Hailey Whitters has teamed up with bluegrass sensation Molly Tuttle for “Prodigal Daughter,” a boot-stomping banger with a clear biblical reference to the story of the Prodigal son from the Book of Luke. The track starts off with a filter that sounds like an old, scratchy record; then, it unexpectedly crashes instead of a traditional downbeat, bringing a sense of musical whiplash that effectively captures the listener’s attention. From then on, Molly Tuttle’s driving rhythm guitar, paired with a strong, full kick and pumping bass, keeps the song mashing along. Penned by Whitters with the help of Bryan Simpson and Paul Sikes, the lyrics and melody work together to bring out an angsty coming-of-age tone. Jake Gear’s production is exceptional, layering a wide range of textures without ever sounding cluttered. Fiddle, steel, acoustic and electric guitars, slide guitar, drums, bass, dobro, and a jaw harp weave together seamlessly, creating a rich sonic tapestry that feels organic and dynamic. “Prodigal Daughter” is a step away from Hailey Whitters’s usual brighter-sounding hits like “Everything She Ain’t,” showcasing a grittier side of her artistry that we haven’t seen before.
8.6
Mr. Predictable – Avery Anna Written By Creed Miller
After collaborating with Sam Barber, Avery Anna turned many heads last year, and she’s starting her 2025 with a new release, “Mr. Predictable.” Right off the bat, there is an immediate resemblance to Olivia Rodrigo. A lot of this can be credited to her super-strong vocals, but there are also a lot of similarities in the lyrics and production. As things progress, the electric guitar gets involved, serving a punch in the mouth and creating a burst of enthusiasm. When the song gets a little more calm, it relies heavily on the piano, which beautifully accents Anna’s voice. “Mr. Predictable” is so polarizing and seems like two different tracks, but it has a weird way of hooking the listener and staying engaging. Lyrically, the song is about a boy who continues to do the protagonist wrong, but it isn’t even shocking, deeming him “Mr. Predictable.” The one knock is that “Mr. Predictable” is a bit all over the place, but it’s not even a bad aspect as it fits the mood and theme here. Avery Anna has been grabbing the attention of country music fans everywhere, and “Mr. Predictable” is only fueling the fire.
7.4
