Heartlands – The Marcus King Band Written By Adam Delahoussaye
As splashy and stylized as the aesthetic externalities of the big picture rollout for “Darling Blue” have been, its isolated entries and preview points have done a staggeringly impressive job of honing in on individual strands of Marcus King’s character-soaked mane of hair. “Heartlands,” a sappy sonnet on the by-the-book version of good ole boy loving, continues that trend and speaks to a southern soul in sync with his more notable heroes of the honky tonk. It’s filled with all the bells and whistles one might find in a pool hall where sparks fly in tandem with cue balls: its fresh fiddles, soulful steels, and picking instruments from ceiling to floorboard for this cowboy. His beauty in neon blue, given a myriad of likenings to redneck royalty in the track’s verses, gets some real sonic service under the pinpoint arrangement despite a general lack of juice in the lyrical department. The first collaborative effort from King and his namesake backing band in seven years, there’s a clear emphasis on individual, learned skillsets rather than the self-taught stylistic choices that have defined his solo catalog in recent memory. In losing some of the real rocker energy that King brought with him in pen and posture on past releases, King and his crew seem preoccupied with redefining themselves. The result of that erasure leaves little of the previous, more vintage-steeped plan still on the paper in favor of modernizing old sounds.
8.3
Messin’ With My Mind – Cole Goodwin Written By Adam Delahoussaye
Cole Goodwin first gained prominence in the scene as a smooth-talking stalwart of traditional country principles, who abided by but was never afraid to play with the linguistic tricks his forefathers used to knock hits out of the Scrabble box. With “Girlfriend’s Got A Boyfriend” or the knee-slapping, toe-tapping “Women Want Me, Fish Fear Me,” the singer showed a knack for lighthearted takes on longstanding tradition. As he settles more into his own skin, however, Goodwin seems to be veering more down the middle lane. On “Messin’ With My Mind,” Goodwin retains a lot of that retro-fitted charm in character, with winky-wink lyricism taking a backseat to the stage being set for a presentation of a more self-serious artist. The push and pull of that psychological weapon of mystery this lady is using to wage war on the singer couldn’t be farther from his double-entendre of a good catch, but still, it suffices as a more typical entry in an otherwise parody-packed catalog. If anything, it goes to prove that Goodwin is far from the “Weird Al-an Jackson” his hits paint a picture of, and rather a budding character in its infancy stage prior to a first full record release. As Goodwin continues to define himself, his rollout remains one to keep a keen eye on as he swerves from humorous to heartfelt at zero to sixty speed.
7.0
Want You Back – Brantley Gilbert Written By Joel Reuben Pauley
You might not expect consciously listening country fans to be talking about Brantley Gilbert these days, but his new single “Want You Back” offers plenty to unpack. The track wastes no time, opening with a blatantly stereotypical bro country guitar riff that makes it imminently skippable. If there has been a real wave of authenticity in the country music community, Gilbert either has not heard it or has chosen to ignore it. It is not so much that Gilbert avoids altering his own style; it’s more like he completely stole HARDY’s sound. What Gilbert delivers here might as well be “TRUCK” by HARDY, from the ice at which the lyrics are sung to the full chord progression, and down to the exact rhythms of the drums. When you check the list of writers on this song, this point becomes even more interesting, seeing that HARDY actually wrote on it and basically ripped off his own track. Aside from the notably lazy copy-and-paste method that went into its arrangement, “Want You Back” totally works for a song with an aim to check a few boxes in the bro-country category. “I wish you had’ve keyed my truck… Sunk my boat… Drank all of my beer… Smoked all of my smoke.” Basically, you’re hearing a story about a respectful breakup, where our main character wishes he could find a reason to hate his ex for leaving him. If you listen through the track and you don’t hear much worth complaining about, ask yourself, “What is truly great about this song?”
5.0
The Other Side – Brendan Walter Written By Joel Reuben Pauley
Somewhere between Shawn Mendes, the Goo Goo Dolls, and Prince Charming sits the storybook heart of Brendan Walter, with its fairytale-like expression of adoration. “The Other Side” pairs a yearning vocal with heartfelt lyrics that feel too deep to be entirely fictional. Sharing “you’re holding my heart,” Walter unveils the feeling of risk that is attached to showing his vulnerability. He describes a tender, yet restless feeling that comes during a moment of uncertainty. Teetering on the edge of hope and doubt, Brendan shares how he wants to be chosen, bearing visions of marriage and long-lasting devotion. The purity written into the narrative is mirrored in the sound, as Walter shades it with darker tones through grunge-leaning builds and unrestrained bursts of energy that reveal the full weight of his perspective. By the end, “The Other Side” feels less like a fantasy and more like a confession, leaving listeners caught between the sweetness of catching feelings and the ache of doubt. For Walter, it marks a step into a new sound that balances polished pop romance with something more raw and vulnerable, a sign of his writing and artistry continuing to develop and mature.
8.0
Whiskey Rain – Graham Barham feat. Tyler Hubbard Written By Max Buondonno
For years, country music experienced an unfortunate renaissance where artists and their labels alike felt the urge to pursue pop-centric instrumentals to appeal to the mainstream. It continues to this day, as evidenced by the nature of this collaboration between Graham Barham and ex-Florida Georgia Line frontman Tyler Hubbard. The lead single from Barham’s EP of the same name, “Whiskey Rain,” sees the lead drowning his sorrows in a bottle of whiskey over one of the most over-produced instrumentals of the entire year. With everything from trap beats to cellos in the background, the chaotic cadence of this song overwhelms the senses and dissipates any chance of finding something enjoyable about it. Amidst the fresh crop of traditional-leaning artists that’s emerged over the past few years, showcasing everything from classic 90s twang to gentle George Strait-level acoustics, it’s hard to justify “Whiskey Rain” existing. Barham’s catastrophe of a master recording makes Shaboozey sound like Kenny Rogers. It doesn’t help that Hubbard’s voice over Barham’s wannabe-trap-rapper’s beat sounds terrible and, somehow, out of place for him. The only brilliant thing about this song is that it was created in the first place, which suggests that someone sat in a room and thought, “wait, this is a really good idea.”. Fortunately, the vast array of newfound talent in the country genre can serve as your umbrella from all this whiskey rain, rain, rain, rain, rain, which you can then use to avoid all the pain, pain, pain, pain, pain.
0.1
Butterfly – Zac Brown Band (feat. Dolly Parton) Written By Max Buondonno
Zac Brown Band’s upcoming LP seems to be pretty diverse. The first single from the project was a stoner anthem with Snoop Dogg, and now, we’re getting an inspirational ballad with none other than Dolly Parton. The latest single from Love & Fear, titled “Butterfly,” is filled with words of encouragement as it does everything it can to convince you that brighter days are ahead, even though things may seem dire. Written by Zac Brown, Dan Auerbach, and Sasha Sirota, the track encourages you to spread your wings like a butterfly and soar, driven largely by an enticing piano arrangement in the background. The song leans heavily into inspiring themes and uplifting orchestration that wouldn’t sound out of place at a mega church. As a result, it dilutes the entire premise of the song to something so corny that only Church Karens will feel a renewed sense of hope. Between generic analogies about light at the end of the tunnel and Brown’s unimpressive ability to deliver the raw emotion this song demands, the track can’t help but feel like cheesy filler instead of the reason you’ll start pursuing your dreams. Luckily, it’s not all bad news: Parton delivers one of the best vocal performances she’s had in the past 10 years, if only because it’s not caked in auto-tune like on previous Dolly collaborations. Beyond that, though, “Butterfly” doesn’t leave much to write home about. If you’ve played this song looking for a sign that everything will get better, you’ll probably have to keep looking after its four-minute run time.
5.9
Mae Estes – Drunk On That Written By Will Chapman
Mae Estes has been quietly carving out her space in country music, and with her latest single “Drunk On That,” she proves why her voice is one of the most exciting in the neotraditional wave we’ve been experiencing these past few years. While the women of country are having a well-deserved moment right now with names like Megan Moroney, Ella Langley, and Lainey Wilson taking the spotlight, Mae Estes emerges as a strong traditional voice in the same conversation as artists like Zach Top and Jake Worthington, pushing forward a revival of classic country music with a modern charm. Her voice is quite stunning; it’s smooth, rich, and effortless, carrying a rich timbre and a bag of licks that recalls Keith Whitley, which makes her opening reference to him all the more striking. Every line flows through the track like a clear stream of water, bubbling and moving so naturally. The production is built on a sturdy foundation of pedal steel, fiddle, and acoustic guitar, creating a sound that is unmistakably country but with just enough modern polish to appeal to an audience in 2025. Lyrically, “Drunk On That” leans into heartbreak, framing memories and regrets as intoxicating in their own right. The turn is clever, but the delivery is what makes it compelling as Estes sticks every word with a sharp poise and a smooth ache. Country music has a space waiting for a voice like Mae Estes’s “Drunk On That,” which not only highlights her talent but also positions her to become a significant voice in today’s neotraditional movement.
9.2
Chayce Beckham – Ocean Blue Written By Will Chapman
Chayce Beckham’s “Ocean Blue” is a straight-up country song. Built on a mid-tempo groove with that classic cross-stick snare, the track leans into tradition with fiddle lines, a twangy Telecaster, and a well-thought-out arrangement where every single instrument has a place. There’s a great instrumental moment where the fiddle and steel play two parts that climb together, in a crescendo towards the final chorus. It’s the kind of production where everything feels placed and intentional. Beckham, who won American Idol in 2021 with his original song “23” (a first in the show’s history), has had an interesting trajectory since his win. Much of his material has fallen under the bro-country umbrella — sometimes tossing in steel or fiddle but more often leaning on big drum sounds and glossy polish. “Ocean Blue,” however, feels like a pivot. It’s not flirting with country; it’s a good ole’ country song through and through, even if the California native might still face questions of authenticity from some listeners. Lyrically, the song paints heartbreak in shades of ocean imagery, leaning on the metaphor without overcomplicating it. The hook “that’s why I call that color ocean blue,” ties the emotional core of the song together in a way that’s simple but effective. Beckham’s voice isn’t necessarily the standout element here, but he delivers the lyric with sincerity and weight, giving the story room to land. With “Ocean Blue,” Beckham proves he can step outside the bro-country lane and deliver something that sounds both classic and fresh. If this is the direction he’s heading, it could mark the most exciting chapter of his career yet.
8.4
Waylon Wyatt – Wishbone Written By Jack Humphrey
Looking at Waylon Wyatt’s young career, it’s pretty obvious that we’re watching an artist who’s still on the cusp of his “arrival” on the big stages. This 18-year-old Arkansan is very much a work in progress, but what he brings to the table is bursting with potential. “Wishbone” represents a gravelly step in that very public coming-of-age; it’s without a doubt Wyatt’s most composed, complete production to date, with a slow-burning country-soul groove that gives him a chance to show off a bit of newfound vocal control. Things still get a little bit warbly as he tests the limits of his range, and it often sounds like he’s saying something close to his heart, but you aren’t quite sure what it is. Fortunately, he spends most of his time in a comfortable, lower octave that perfectly complements his syrupy drawl. As he gets closer to crafting a style that’s all his own, now is the time for Waylon Wyatt (the vocalist) to take a backseat to Waylon Wyatt (the songwriter). You can tell that his best work is very much ahead of him, and though “Wishbone” is a decent offering, it suggests an artist who’s still learning to separate himself from his childhood favorites en route to finding himself creatively.
6.8
Jack and Jill Daniel’s – Emily Ann Roberts Written By Ryan Lippe
Quickly building her resume, Emily Ann Roberts continues to bring her love of traditional country music into the limelight of her young career. The latest release from her upcoming project, this lighthearted track puts a clever spin on one of the genre’s most famous talking points, Jack Daniel’s whiskey. Roberts, along with Jeremy Spillman, Ryan Beaver, and Trent Willmon, crafted a story around the creation of the iconic drink’s name, complete with characters and a backstory. Produced by Brandon Hood, the track creates a very joyful and playful tone with fiddle, steel guitar, and all the elements that Roberts has always been fond of. As always, Roberts’s vibrant vocals are simply fantastic as she can rise up and down her range with such grace and precision. Hailing from Knoxville, Tennessee, each word and note is laced with her authentic twang, and nothing about it sounds overbearing or forced. Ahead of her upcoming EP Memory Lane, this track is an excellent introduction for many to her youthful take on storytelling and traditional style.
8.3
