Through A Screen – Ty Myers Written By Adam Delahoussaye
It should go without saying, but true mainstays of country music’s first-year class are the ones that will push the needle both in style and subject. But for Ty Myers, the legal drinking age still ahead of him and his teens barely behind, finding or drafting material he could sink his teeth into was always the missing piece. Late mortgage payments and one-night stands, while relatable to his predecessors, never really satisfied the craving for that juice his mind-boggling stage and studio presence was already bringing to the table. But on “Through A Screen,” a Gen-Z love tale of soulmates eagerly awaiting those three little text bubbles, the moment feels like it’s finally arrived. Myers is settled, confidently relaxed even, in a story that brings digital feelings into far more soulful spaces than they may even deserve. It’s soft-spoken, early 2010s pop ballad production personifies the cusp of the iPhone era and the beginning of social isolation that’s bred this kind of fable ad nauseam for over a decade. There’s a delicate wall of separation between Myers and his run-on melodies and tapestry of backing instruments, not unlike the one he’s breathing to life through his lyrics. The bigger Myers gets, the more self-indulgent he seems to become, and it may just push him into a league of his own before that next text message from his stranger of a soulmate pulls him back into the blue light.
8.7
Late Great Heartbreak – Old Dominion Written By Adam Delahoussaye
There’s a thin line between psychosis inducing, Wal-Mart pop fluff and jaunty late-80s Elton John toe tapping on “Late Great Heartbreak.” The group has always been known for their even-keeled, soft serve hits that permeate radio waves yet rarely inform the modes of modern songwriting. Here, instead, they feel like they’re recycling old ones, taking the youth and young love that would’ve had a sharper cut for a younger group, and dolling it up to fit one that’s more than established. The bare bones of the track itself, while a tight fit for an older crew, are fairly inoffensive. The piano-driven arrangement almost immediately breaks the track out of its shell, where frontman Matthew Ramsey’s kicked-back tone can really get into the groove of skipping past the pain points that we’re led to believe had absorbed him before the record button got hit. But despite liberating lyrics and all the pieces to concoct an over-the-hump triumph track, the end product hits a lot of the same pressure points as background music in a commercial for heart medication. Calm, calculated, and with none of the vigor that its leading man is attempting to convince us is present.
6.6
Gavin Adcock – Outside Dog Written By Joel Reuben Pauley
It’s safe to say Gavin Adcock knows exactly what kind of music his fans want from him. His new album, Own Worst Enemy, is carefully careless, filled with various defiant angles and lawless stories, but at its core, Gavin excels at justifying his reckless ways. That thread runs through “Need To,” “Actin’ Up Again,” and now carries into his latest track, “Outside Dog.” Blaming the song’s antagonist, the girlfriend, Gavin shows that his impolite and messy lifestyle comes with the territory of being with him, claiming “you brought in this outside dog” while taking no responsibility for his disorderly behavior. However, because of the delivery and Gavin’s natural charm, the song doesn’t feel bitter or mean-spirited. Instead, it plays like a crooked anthem, a way of laughing off his flaws while making them sound like part of the fun. Adcock’s pronunciation of the word “swallow” is almost enough to put the song on loop, and when you add in the sheer catchiness of the chorus, it becomes nearly impossible to dislike. Although it doesn’t extoll the greatest values, “Outside Dog” thrives because it leans fully into Gavin’s public persona. It’s another track where he proves that imperfection can be magnetic if it’s delivered with the right mix of wit and swagger.
8.1
Waylon Jennings – The Cowboy (Small Texas Town) Written By Joel Reuben Pauley
As the second installment from Songbird, an upcoming album of never-before-heard tracks by Waylon Jennings, “The Cowboy (Small Texas Town)” blazes a trail that runs directly back to the outlaw country era, where Jennings ruled. The first crack of Richie Albright’s drums and Waylon’s steady strum bring a rush of nostalgia that feels immediate and alive. Penned by Johnny Rodriguez, a pioneer for Mexican-American voices in country, the track feels like the thesis of Waylon Jennings’s life: a Texas kid out of place in polite society, who built his world on music and truth. “But the cowboys, they still come to see me… And the hippies all gather around,” Jennings sings, distilling his rare ability to speak to both sides of a divided culture. Although he may not fit in at the “fancy ball,” Waylon seems to be happy singing and playing “with boots in a small Texas town.” For diehard fans of Waylon Jennings, this track scratches an itch that once felt impossible to satisfy, bringing more music from a legend long gone. That desire only found new life when his son, Shooter Jennings, unearthed this recording along with many others. With Songbird being only the beginning, Shooter has plans to release two more albums of unheard material in the coming years, and this track is proof of the care and respect he’s bringing to his father’s legacy.
9.4
Famous Back Home – Russell Dickerson Written By Max Buondonno
Russell Dickerson may love to kick out mindless pop songs for having fun at his shows, but on his latest single, we see a side of the artist that should present it far more often. “Famous Back Home,” the title track of his upcoming album, ditches catchy hooks and trap beats for a tender, heartfelt tribute to his love of being a father. Reciting all the reasons he’s now ‘famous back home’ more than ever before, Dickerson glides through memories of seeing his children grow, from learning another is on the way to coming home after life on the road. Between his emotional vocal performance and simplistic production that emphasizes the lyrics, Dickerson conveys his admiration for the life at home he has as he ponders its stronger meaning compared to his musical career. It’s a far more vulnerable side than what we’re used to seeing from him. While he’s no stranger to showing his family life on social media, it’s rare for it to seep into his music. Given how enjoyable “Famous Back Home” is, perhaps it’s time to dive deeper into those emotions.
8.3
Couldn’t Care Less – Priscilla Block Written By Ryan Lippe
After kickstarting her career in a cringeworthy TikTok environment, Priscilla Block is hitting the reset button with an introspective tune that analyzes the stress and difficulty of being in the constant spotlight. With a production style more in the realm of soft-pop, it still features a delicate fiddle throughout that acknowledges her country roots. With so many party anthems behind her, this David Garcia production is a slowed-down self-love ballad that suits her voice far better, giving her space to stretch her range and move seamlessly into her falsetto and upper register. Written by Block, Alex Maxwell, Cole Taylor, and Trannie Anderson, the track reflects on her journey of self-discovery while also resonating with anyone facing similar struggles. As Priscilla Block embarks on a new musical era in her life, calmer moments like these give a stronger insight into who she is as a person and as a musician.
7.4
Not There Yet – Evan Honer Written By Creed Miller
Surprise, surprise, Evan Honer has dropped yet another new song. If you’ve lost track, you surely aren’t alone, as it feels like every week he’s releasing new music. While each release feels like a solid showing, they’re getting drowned out, “Not There Yet” included. It feels like vintage Honer with minimal production, but the touch of piano and electric guitar goes a long way. The main premise of the track revolves around the protagonist’s love interest, who has already won over his friends and family. Yet, he remains hesitant, torn between their approval and his own uncertainty. While this is a more unique concept, all Evan Honer songs are starting to blend together. As talented as he is, when you release a million songs a year, they can’t all be highlighted with whiny vocals to accent a depressing song. That’s why “Everything I Wanted” was such a refreshing change of pace as he leaned more into an alt-rock angle. There are no big takeaways from “Not There Yet.” It’s solid, but only because of Honer’s talent at its base, there isn’t much to grasp other than that. Fans should never complain about getting more music, but it just isn’t gonna hit the same until the Arizona native pumps the brakes.
6.8
Coming Home Tomorrow – Dylan Marlowe Written By Max Buondonno
In bombastic, head-banging fashion, Dylan Marlowe reminds his better half that he’ll be home from the road soon. The “Boys Back Home” singer’s latest single, “Coming Home Tomorrow,” flips the script on Marlowe’s typical sound with energetic, country-rock flair that’s engineered to get you moving. The track has an appropriately mid-tempo build-up that leads to an energetic chorus that’s undoubtedly fun to rock out to live. As more than a concert-favorite or new entry in your gym playlist, though, it doesn’t do much to impress. Harping on the challenges of loving someone who’s constantly touring, longing for them to come home, “Coming Home Tomorrow” offers familiar self-reflection we’ve heard artists go through before as they navigate their love for performing and having a normal life. Written by Marlowe, Joe Fox, and Johnny Clawson, its catchy chorus is the reason you may find yourself coming back to the song. But beyond that, it doesn’t have the same “earworm” quality you’d find in some of Marlowe’s other singles.. Nonetheless, it’s a solid track from someone whose artistic direction still needs definition, but is clearly willing to go in a different direction when the right song comes along.
7.1
Chris Young – Jesus, Mama, Country Radio Written By Will Chapman
It’s no secret that Chris Young has one of the finest voices in modern country music. He has a generational baritone, which is why it’s always a little disheartening to hear him locked into the shallow pop-country mold, as is the case with his latest single, “Jesus, Mama, and Country Radio.”The song sounds just like every other pop country song, following the formula to a T: distorted guitars, big drums, layered acoustic guitars, and a down chorus at the end. The hook ties together faith, family, and music in a straightforward package that’s radio-ready by design. The biggest issue is that it fails to showcase the depth and resonance that make Young’s voice so special. Chris Young’s voice was made to sing traditional ballads, but tracks like “Jesus, Mama, Country Radio” feel like clipping the wings of a bird. Young’s talent is too extraordinary to be tethered to material that doesn’t rise with him. “Jesus, Mama, Country Radio” is simply undeserving of a voice like Chris Young’s.
6.0
Will Banister & Jake Worthington – Honky Tonk Talkin’ Written By Will Chapman
Though Big Loud Texas’s Jake Worthington has become a recognizable name in the realm of modern neotraditional country, his duet partner here, Will Banister, may be less familiar to some listeners. A New Mexico native raised on Merle Haggard, George Strait, and Brooks & Dunn, Banister has quietly built a career steeped in traditional country sounds, even landing a song in Clint Eastwood’s Cry Macho. His latest track is a mid-tempo burner that leans into grit and swagger without ever losing its sense of fun. The track rides a groove that’s just plain irresistible, driven by a phaser-clad Telecaster in a drop D rooting around soundscape. That filthy, stank-laden tone that gives the song its edge. The result is an outlaw-tinged number that recalls the attitude of Charlie Daniels’ “Long Haired Country Boy” or Chris Stapleton’s “Nobody to Blame,” but with its fresh punch. The interplay between Banister and Worthington seals the deal. Banister’s smoother vocal presence grounds the track, while Worthington’s signature whine gives it charm. Their voices complement each other well, turning the back-and-forth delivery into a highlight. Even if you come in not knowing much about Banister, he leaves a strong impression here. Lyrically, the song taps into typical honky tonk tradition: barroom bravado masking heartbreak. The “that’s just the honky tonk talkin’” refrain cleverly acknowledges the role of the jukebox, the beer, and the atmosphere in fueling all that false toughness, a timeless theme that is always right at home in the genre.
8.7
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