Outsider – Josh Meloy Written By Adam Delahoussaye
Despite dwelling amongst a densely populated crowd that’s ever-growing in popularity, Josh Meloy’s always existed on the outskirts of the big-name, mainstream Oklahoma country crowd. Harboring a rough and tumble vocal presence that comes with a lot of edgier acts in the red dirt space, he’s been positioned as a blend of both worlds in both posture and presentation. He’s reserved, rarely climbing to the top of his register, and always remaining pretty bare bones in his studio presence. While just east of early Zach Bryan’s stripped-down sonics, and a hair west of the more rank and file Okie orators, the lane he’s in feels pretty unoccupied. But on “Outsider,” Meloy’s newest and a declaration of that divided persona, it feels like the black sheep mindset rests between his shoulders rather than his lips or somewhere within the six strings he so heavily relies on. This cowboy, like many, fancies himself out of the mold on a more psychological, abstract level that isn’t as quick to be recognized by a cursory glance. It’s unclear how convincing that notion really is; Meloy seemingly still dances between raspy and delicate through his two main elements of storytelling. That rugged outer coating’s attempt at branding himself is, at the very least, up to standard with his peers. Maybe it’s the psyche of an outlaw that molds them rather than the expression.
7.0
Tumbleweed – Drake Milligan Written By Adam Delahoussaye
On his 2022 freshman album, Dallas/Fort Worth, burgeoning Texas star Drake Milligan was able to prove an aptitude on both sides of the field when it came to reverence for his roots. Half suit-and-loafer sixties fare, half slick and swanky barn burners, the record was nothing short of a pinstripe earning moment for the new traditionalist aiming to separate himself from the long line of so-called cosplay cowboys. Since then, his timeline of influence has inched forward in ways that reveal the singer as less of a fresh-faced tribute act. That display of versatility comes in spurts and moments, like on “Tumbleweed,” where Milligan’s silky smooth timbre is placed in front of radiant arrangements to put a flourishing finish on an already hearty dish. Akin to the suave and solid outlaw persona of a 2000s George Strait, and no doubt a side effect of rubbing shoulders with Tim McGraw, the song clings to those last semblances of true establishment country in some really fun ways. A glossy piano part painting a picture of the constant drift these Texans find so mystifying, it’s a refreshing change of pace to see a mishmash of eras that fails to skip a beat, both for Milligan’s personal career and the crowd he’s continuing to croon on behalf of.
7.3
East Texas and You – Solon Holt Written By Joel Reuben Pauley
With his fourth career release, Solon Holt reinforces the growing belief that he could be among the most promising new artists in today’s country music scene. Infused with bluesy, soulful sounds, his songs have quickly inhabited the playlists of thousands of music fans. His quiet, raspy vibrato that appears at the end of his softer vocal runs seems totally unique, and in “East Texas and You,” it’s all over the track. Highlighting the stark contrast between East Texas and his new home, where everything “smells like gasoline,” Holt questions if leaving home was worth losing the “soft skin and black hair” he had grown so fond of. More than regretting his relocation, he is flinching at the very name of his lost lover, whose memory endlessly inhabits his mind. Produced by Eddie Spear, the mix perfectly accentuates this portrait of loss and love as the song unfolds. With a soft bass, a snare that snaps sharply, and a groaning fiddle, Solon delivers his emotions like a haunting lullaby, guiding the listener into a dreamlike state that hovers between a comforting dream and a lingering nightmare. Even without a complete multi-song project, Holt is building a discography worthy of an artist who’s fully come into his own, far beyond this Texan’s years. With “East Texas and You” and his previous releases, Solon’s fans have every reason to be excited as he continues to roll out new singles.
9.6
Days Are Numbered – Vincent Mason Written By Joel Reuben Pauley
Whether you know it or not yet, Vincent Mason has shown he has a lot more in the tank than just “Hell is a Dance Floor.” Over the last year, he has come out swinging with breakout songs like “Wish You Well,” “Damned If I Do,” and “Painkiller,” which prove his writing ability and further cement his knack for producing consistently catchy, high-quality tracks. In his latest release, listeners get a peek beneath the surface of the rising star. It is no easy task to be an artist, and Mason brings his struggles with it into the light. The song explores using alcohol to calm his nerves while working to ensure his ninety-minute live set keeps fans interested. When the “5 AM sunrise” starts to feel more like a sunset, it becomes clear where your limits lie, which is the heart of the song’s message. With the energy kept low, Vincent’s epiphany comes across with an importance that could be lost if buried in a louder, more distracting tone. While Mason has his upbeat moments, his intentional choice to turn the volume down makes the track hit with maximum impact. As he sings, “It’s now or never, boy, don’t you slow down,” it’s easy to hear the toll that relentless drive is taking on him. Fans can now look forward to Mason’s upcoming album, There I Go, which promises more of his honest, hard-earned storytelling.
8.2
Let the Lonely – Kameron Marlowe Written By Max Buondonno
Kameron Marlowe is sad again, but this time in a much more enjoyable way. The North Caroline-native’s latest single, “Let the Lonely,” sees two lovers spend the night together dancing and drinking, while ignoring the toxic traits of their relationship. Written by Marlowe, Austin Goodloe, and Joybeth Taylor, the song offers an entrancing soundscape that’s as monumental as many of Marlowe’s previous records. Complete with a vocal performance that gradually gets more momentous as the chorus sets in, it’s all too reminiscent of his 2025 album Sad Songs for the Soul, except with enough escapism to help it feel far less depressing. While this helps give the song strong legs, it’s not enough to give it an interesting edge to keep you wanting more. When it’s all said and done, there’s nothing inherently interesting about it. Toxic relationships are frequently explored in modern mainstream country music, oftentimes with more relatable lyrics that help express feelings one may not have recognized yet. “Let the Lonely” dwells in acknowledging and ignoring your problems, all while not adding depth or resolution to the situation at play. Given the lack of a catchy hook or other relatable lines, “Let the Lonely” tells you there’s something bad happening and forgets about it, all while setting a somewhat negative tone with the instrumentals. It serves as a good example of Marlowe experimenting with different sounds, but once it’s over, you’ll probably forget what you just listened to.
7.3
Too Good, Too Bad – Jason Scott & The High Heat Written By Max Buondonno
Following the release of their second album, American Grin, earlier this year, Jason Scott & The High Heat return to the new music scene with a fresh single. Entitled “Too Good, Too Bad,” the song portrays the push and pull of pursuing a relationship that seems like nothing but temptation. Driven by electrifying instrumentals, “Too Good, Too Bad” follows a similar formula to many other songs in the band’s catalog, which deters it from having a fair shot at standing out. That’s not to say it’s bad, mind you; between the foot-stomping drums and slick guitar riffs, this Americana-laced, saloon-ready single is a good representation of what’s been helping the group get on so many people’s radars. Its slick chord progressions in the chorus make for an enjoyable jam session wherever you are, and the gritty vocal performance adds a rawness to the aesthetic, making the song just plain cool. It partially feels like it could’ve been a throwaway track on American Grin, given how similar it is to the band’s catalog, but that doesn’t hinder its ability to stand on its own as another solid song from one of the most interesting new groups in country music.
7.8
ELDORA – Chase Rice Written By Ryan Lippe
The title track from Chase Rice’s latest album marks a new chapter for the Carolina native, but the gritty, earthy tones continue from his last two full-length efforts. Leaning on a heavy acoustic vibe, Rice’s rugged baritone voice creates a level of authenticity that so many fans have come to recognize. Rooted in a strong sense of place, this track reminds fans how powerfully location can shape a song’s message, like many of Rice’s songs. Written by Rice, Wyatt McCubbin, and Oscar Charles, the track does a clever job of balancing the narrator’s search for personal direction with the freedom of not being tied down to one place. Produced by Charles, the song starts slow and mellow but hardly builds up to a climactic bridge that matches the emotion of the lyrics. However, parts of the song feel very monotonous and don’t show off his powerful range. Certainly one of the slower cuts on the album, this track relies on the rich lyrics to drive home the message of independence.
7.6
Brake Lights – Chris Young Written By Ryan Lippe
It’s honestly a miracle that Chris Young’s career has lasted as long as it has, considering the lifeless listening experiences that the last ten years of his catalog have given fans. With another album coming out on October 17th, little about this latest single gives fans hope for what the project will deliver. However, Young has always had one of the smoothest voices in the game with a prominent, classic southern drawl that has drawn fans in since the early 2000s. Unfortunately, after the first chorus, his voice goes from nostalgic to cringeworthy with the unnecessary reverb that sets up the second verse. Produced by Young and Andy Sheridan, the obnoxious drums are so unbearably loud that they almost make Young’s voice take a back seat in his own song. The production creates a corny atmosphere around the song that transports the listeners to the worst part of the 2010s bro-country era and reminds fans of why the desire for such brash percussion has faded away. Written by Young, Jesse Frasure, Ty Graham, and Hillary Lindsey, the song evokes no real emotion from any direction and is stuffed with bland metaphors. Clocking in at nearly three and a half minutes, the song is so incredibly devoid of creativity and contributes to the endless pit of lifeless heartbreak anthems on country radio.
3.2
Coleman Jennings – Head Spinning Written By Will Chapman
Coleman Jennings’s “Head Spinning” is the sort of composition that simultaneously feels both homely and ethereal. His voice carries a mysterious, lived-in quality; it’s an ancient sort of enigmatic wisdom with hints of Willie Nelson in the phrasing and timbre. It’s not the sound of someone older than his years in a frail sense, but rather the weight and texture of experience, like he’s channeling something beyond himself. The production leans heavily into that atmosphere, with hall reverb washing over Jennings’s vocals and pedal steel floating through the mix like dense fog. The effect is striking: an organic blend of traditional country instrumentation and shoegaze textures. The steel doesn’t cry; it swells and lingers, pairing with the echoing space around Jennings’s voice to create something dreamy yet grounded. Lyrically, the song uses less direct storytelling and more impressionistic sketches of emotion. It works in tandem with the production, leaving the listener suspended between heartache and transcendence. “Head Spinning” is an artistic statement from Coleman Jennings; he’s actively carving out a lane that reveres tradition while remaining unafraid to blur its edges. The washed-out textures give the song an almost hypnotic quality, making it poke out in a landscape that often leans either too polished or too derivative.
9.0
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