Bratmobile – Kassi Ashton Written By Adam Delahoussaye
If it wasn’t for Kassi Ashton’s opening one-liner, you might have mistaken the sticky riff at the top of “Bratmobile” for a cut off of an early Black Keys record. But the energy doesn’t stay there, as we quickly shift gears and cuts through Ashton’s thick drawl with some razor-sharp licks and stiff hits of the kick drum. “Don’t beg forgiveness, don’t ask permission,” she quips from the side of her mouth, clearly still in the same devil-may-care state of mind she found on her previous single “Bitches” a few months earlier. It’s a good fit for the singer, who seems to flex her biggest muscles flipping off whoever is left in her dust. The swaggering apathy is even better suited for a leathery, riff-laden fastball like this one. This direction can get a little glossed up, sure, but Ashton seems to have a knack for pulling what could’ve been a bland bar anthem back down into real rocker territory. She doesn’t seem too sure of where her final destination in the Bratmobile might be, but it at least sounds like she’s having a hell of a good time getting there.
7.7
Hits Me – Hudson Westbrook Written By Adam Delahoussaye
You can practically see the horizon falling out of view as the opening chords of “Hits Me” bring a brooding baritone from Hudson Westbrook. Despite its played-up, pop-ballad production, the main space of the track’s verses feels purposefully empty. There isn’t a whole lot of feeling, save a few monotone recitals of the day’s work, until Westbrook flips the script and the sound thunders to life once things start to get too quiet internally. It’s a clever trick, playing up the monotony only to have what should be the most peaceful parts of his day come crashing down around him. But aside from the dramatics, there’s not much new ground to tread when it comes to mulling over old flames. Westbrook is adept at showing off where his mind retreats to in the silent moments, but he can’t seem to articulate it in a way that reveals anything unknown about either side of this romantic equation. The atmosphere of “Hits Me” is much more engaging than the narrative, which at times reads like a jumble of footnotes in the margins. Westbrook’s star power is far from a debate this far into his career, but his ability to distinguish himself gets called into question on tracks like these.
6.1
So Long – Solon Holt Written By Adam Delahoussaye
If the next wave of nostalgic revival is to stem from the sleazy pop ballads of the early 2000s, then Solon Holt is eager to let everyone know that it’s a subgenre he’s read up extensively on. He hits the mark with the admittance that he “could probably use some kind of therapist,” on the first verse of “So Long,” before breaking away with another rough melody of a chorus that runs through those sad boy signature moves. It’s Mayer if he was a little more on the nose, with Holt spelling out the flaws that normally got left in the subtext by the artists he’s attempting to emulate here. But if his style flits between boyfriend country and barefoot pop, his voice is still what makes the music singular and far from one-note. That deep, drawn-out gravel digs for some form of the conflicted emotion that’s been vaguely explained yet largely unexplored up to now. It’s a stark contrast between that and the glowy ivories brushing on the outside of the mix, visualizing that discrepancy between an imagined outcome and the harsh reality of having to move on. Not only does Holt like to put his taste on display, he knows how to make the homages still feel inventive.
8.0
Fly – Nicholas Jamerson Written By Joel Reuben Pauley
Nicholas Jamerson captures the remarkable essence of love in his new duet, “Fly,” which features uncredited background vocals from his wife, Emily Irene Davis. Short and simple, the lyrics work to pinpoint a feeling rather than attempt to tell a linear story. Together, the two sing about their mutual love and the urge to escape, painting a picture of leaving the real world behind and going “up into space.” The vivid imagery of clear air and ideas of flight evoke a yearning, youthful spirit in the dreamlike world Jamerson spins up. Still, that youthful perspective is paired with a low-pizazz production style and vocal delivery that feel delightfully old-fashioned. Amplified by the dry tone of the acoustic guitar, the intimacy between both vocalists is by far the most appealing characteristic of the entire piece. Jamerson and Davis’s raw, charming voices intertwine in a way that recalls timeless duos like Johnny and June Cash, which is refreshing to hear from today’s talent.
7.5
Scared of Heights – Wyatt Flores Written By Joel Reuben Pauley
Since the start of the rollout for his new album, Wyatt Flores has been revealing a very different artistic style from his unique, organic debut sound. Considering the writers and producers credited on this new music, including some who have worked on Post Malone and Morgan Wallen’s recent projects, it’s not very surprising to hear that everything is a little shinier now. In his new single, the title track for the upcoming record, Flores delves deeper into a polished, heavily processed production style, which has its pros and cons. It’s always cool to hear Wyatt implement so many vocal layers, although at many points, it doesn’t sound like his voice matches the overbearing singing army behind him. As the track slowly progresses and the busy arrangement builds, the loud battle for center stage rages on, and if this plays while shuffling all of Flores’s music, you’ll likely bump the volume down a few times. In the latter half, the lead vocal sounds overly auto-tuned and robotic, and the huge wave of highly compressed background vocals is almost calling for a beat drop that never truly comes. There’s questionable phrasing in head-scratchers like “Can we stay here in this place before I find a reason not to walk away?” but for the most part, the sentiment of being “scared of falling” comes off honestly, allowing loyal listeners to resonate as easily with their favorite Oklahoman as they always have.
4.7
Love’s Insane – Morgan Wade Written By Aishwarya Rajan
Sometimes you come across a track that draws you into the warm ambiance of a vivid daydream. Coming off some deeply dreary rock ballads on her 2025 album, The Party Is Over, Morgan Wade appears to have found the magic she once bottled in Reckless: lyrics rooted in love-drunk passion and longing, balanced by her husky tone and the subtle nuances that define alt rock. In her newest release, shuffling drum beats are elevated by grandiose electric guitar swipes and piano strikes, conjuring a magnetic pull that drenches you in a dopamine rush, projecting the same daydream Wade herself seems caught in. The opening verse paints a scene of longing from afar, Wade picturing someone she desires, “You’re sittin’ on a beach, I’m jealous of that sand. That salt on your skin, that drink in your hand.” The sole flaw that mildly diminishes the appeal of this track is the hurried intensity with which the story unfolds, paired with the tone Wade reaches for when igniting the chorus. Despite embodying passion, it inhabits a mild pitchiness more emblematic of punk music than the powerful contralto and inflated pitch that made songs like “Wilder Days” or “Last Cigarette” so enticing. For listeners who keep circling back to Reckless in search of flavors that have yet to be replicated, this track is a step in the right direction toward being fully bought into Morgan Wade’s craft all over again.
7.4
Makin’ Me a Liar – Kameron Marlowe Written By Aishwarya Rajan
Recognized for being oddly addicted to name-dropping Marlboros in a song, but more importantly for nailing concepts about steamy desire, harrowing sadness, and gentle romance with precision, Kameron Marlowe has built a career using his soulful drawl country audiences today should be wildly familiar with. In his new track, “Makin’ Me a Liar,” Marlowe taps back into the same compelling pull that made We Were Cowboys his breakout moment. Leading as the 3rd single to his upcoming album, Marlowe entices listeners by cradling them between quick-stepping verses and drawn-out note holds, a push-and-pull that lets his storytelling breathe while still transporting you into an atmosphere charged with the same unshakeable fervor. Carried by a lingering pedal steel and slow-rolling guitar plucking, Marlowe admits to folding under the whims of a woman, doing things he swore he’d never do. There’s an intentionality in the way he enunciates, too, each word landing without arduousness and instead with uncontrollable feeling. The evocative imagery and lush sounds running through this track stay consistent with the striking foundation Marlowe has built his career on, puissant highs balanced against cavernous, weighted lows. It’s a quality reminder that his place in country music isn’t just about the stories he tells, but the vocal range he tells them with.
8.0
Who Told You That – Tucker Wetmore Written By Max Buondonno
You could make the case that Tucker Wetmore’s brand and onstage personality have cast such a deep shadow on his earlier work that he’s barely the same guy who sang “Wind Up Missing You” just two years ago. But on the other hand, it’s abundantly clear that a shirtless heartthrob with a puffy mustache and a lust for nostalgia seems to fit him better than anything he’s tried before. Between “Proving Me Right” and “Sunburn,” Wetmore has hit a stride in making pop-adjacent tracks that are impossible to avoid dancing to. Case in point, “Who Told You That” carries the torch even further, leaning into Maroon 5-esque vocals and an infectious groove for a song that demands to be lodged in your memory well after you listen to it. From the opening guitar riffs to the effortless swagger Wetmore exudes throughout it, the song feels jazzy enough for his “Loverboy” era while remaining true to where he’s staked a claim in country music: not afraid to drown in whiskey, heartbreak, and meaningful storytelling on occasion, but wants to move his hips every chance he gets. There’s this sense that no matter the subject, Wetmore wants to disco. Here, he’s trying to convince a girl that things she may have heard about him are untrue, whether from bad actors or exes from his past. This could’ve been a tiresome, mid-tempo ballad with that kind of story, but Wetmore’s ability to dress it up and make it this fun to listen to needs to be studied. It may stretch Tucker farther into the pop direction than some might tolerate. Even still, it’s yet another example that he’s one of the very few artists who can put a fresh spin on the pop-country phenomenon without just using a digital drum machine to make it feel modern.
7.9
Hour With You – Conner Smith Written By Max Buondonno
Conner Smith continues to try to find his artistic footing with “Hour With You.” After going through the motions of contemporary radio soundscapes and raw, unfiltered acoustic ballads, Smith seems willing to try anything to find inspiration and feel passionate. He’s honed his writing chops and produced several solid singles recently, but with his latest, creativity takes a back seat. Harping on his love for a girl who’s worth an hour of his time over a lifetime with anyone else, Smith writes tenderly and sings in a higher register to expand his vocal range throughout the track. Still, its inability to draw a meaningful connection with the listener leaves much to be desired. Its production and structure are bland and sound too similar to a soapy early-2000s tween track, while the lack of a hook or other memorable moments makes it feel like album filler more than something that can stand on its own. On a larger project, the song might make for a sweet moment, but it’s not as strong or stable as some of Smith’s other releases. If anything, “Hour with You” sounds like it was cut purely to beef up an album’s tracklist. It’s by no means the end of the world for Smith, but it’s also telling that his chase to appeal to everyone with his music is still alive, for better or worse.
6.4
Riverbank – David Nail & Lori McKenna Written By Noah Sneath
“Riverbank” is a heartfelt closing statement to Flowers, David Nail’s first album in a decade. It will be the last word on a ten-track record that already includes four released singles, each of which is very enjoyable. Written with McKenna and producer Anderson East, the song is dedicated to Nail’s wife Catherine, whom he married the same year as his debut album. The lyrics center on a beautiful metaphor: “If life were a riverbank, mine would take the shape of you, only spelling out your name. Even when the years wash it away, my love remains.” You can hear Nail’s stated influences doing the work; the balance of melodic simplicity and harmonic sophistication is similar to how Elton John constructs a song. The verses are heavily rooted in very basic plagal-cadences, dressed up with piano flourishes and a truly spectacular voice to elevate them, then a bridge that showcases the songwriter’s ability to use multiple tools in the musical toolbelt before coming home. Structurally, it’s like a quieter country cousin to “Tiny Dancer;” McKenna’s harmonies give it the warmth of a Vince Gill/Patty Loveless duet. This song is only held back by some crunchy moments in the production (around 2:45, a fuzzed-out electric guitar muddies what had previously been clean and restrained). Ultimately, this song has no glaring flaws, but it also chooses not to take any risks. The stakes are low; Nail doesn’t reinvent anything here but treats fans to a very good, deeply sincere love song.
7.0
Seat of My Skirt – Ashley Anne Written By Noah Sneath
Ashley Anne is one of the most intriguing new artists in country music. It’s always a treat when an artist releases an EP as good as Generational Heartbreak (her best yet) and follows it up with more music shortly thereafter. Ashley Anne is a terrific storyteller, and to keep the story from her most recent project going, “Seat of My Skirt” begins with a callback to “Paloma,” the standout track. The production is a calming kaleidoscope; plenty is going on, but it never crowds her voice, keeping your ear engaged without losing focus on what matters. That intriguing voice has a timbre similar to Megan Moroney’s, but with a wider range, a jazz singer’s tinge, and real control over her melisma and phrasing. She’s part of a class of young women forging their own country identities, working a corner of the genre that leans indie rock and pop. It’s a lane Gabriella Rose occupies too with I Just Wanna Be Loved, one that deserves more attention than it gets. The chill vibe plays against a wink and a nod, lyrically (“flying by the seat” of her skirt) and in the production, where castanets land right after “two to tango.” The writing is fun, her talent is real, and this should delight anyone who loved Generational Heartbreak.
7.6
