Bailey Zimmerman, The Kid Laroi – Lost Written By Joel Reuben Pauley
Maybe it’s just growing tolerance, but are cross-genre collaborations getting a little better? In his new team-up with The Kid Laroi, Bailey Zimmerman trades in his usual mainstream radio-country style for something sharper and faster, meeting Laroi halfway on a high-tempo heartbreak anthem that feels surprisingly natural. While this track sits in the same ballpark as “I Had Some Help” from Morgan Wallen and Post Malone, this one feels more deliberate in its concept, with a melody that stands much stronger. Lyrically, the song circles around the uncertainty that follows the end of a relationship. It’s arranged like something off of the soundtrack to a high-speed race scene — as if they’re in a desperate rush to answer the question, “Where do I go from here?” Typically, a genre-bending release like this wouldn’t demand much effort in the writing or execution, as the shock value of pairing two big names is often enough to generate streams. In this case, though, their goal seems to have been creating a genuinely compelling song, and to that, they delivered. You probably never expected to see The Kid Laroi on a “country” song, and if you closely follow the genre, you likely didn’t foresee it being anything of substance, but “Lost” reminds us that every once in a while, lightning strikes where you least expect it.
8.2
Gavin Adcock – Turn Down The Lights Written By Joel Reuben Pauley
Gavin Adcock is the king of hillbilly rizz, and that can’t be taught. His charm grabs you like a tractor beam, pulling fans in hard whether they want to be or not. Tracks like “Turn Down The Lights” keep things simple, and while they may be the simplest love songs around, they’re irresistibly catchy and made for belting out loud. Like a rowdy sailor’s tune, his songs are raw, honest, and impossible not to join in on. The lyrics to his latest single are stupid simple, but that is precisely why they work. There is no beating around the bush. Laying it out plainly, Adcock is quick and direct to make sure his love-making intentions are clear. No fancy tricks or overthinking, just straight-up honesty from the Georgia native. Covering all his bases, he adds, “If we get home and it’s daylight, well, don’t worry, girl, we’ll throw them shades.” The melody and instrumentation on this song feel very familiar, almost like he just smashed together “Four Leaf Clover” and “Almost Gone,” yet more than likely, his fans probably won’t care. Every release from Gavin is like heroin for his following, built on a formula that’s as addictive as it is genuine. If it ain’t broke, don’t fix it.
7.8
Really Wanna Know – Ole 60 Written By Adam Delahoussaye
“Really Wanna Know” starts off by hitting all the marks of most alternative country tracks. There’s the slow hum of the rusted guitar, a few mutterings of how it’s been and where it’s going in the context of a relationship that ran its course. As that first thump from the drums in the back makes an appearance, however, we start to shift course in a far more interesting direction. Ole 60 has always had a knack for pulling from various musical modes close in sentiment to country, but here is where passion in delivery seems to shift the scene completely. The crash of our previously subdued arrangement and, by extension, its emotion reaches a climax that conveys the track’s core ideas, propelling us towards pent-up frustration, which ultimately comes crumbling down. Even Jacob Young’s vocals feel a tinge more whiny, mimicking shades of a soft-spoken emo troupe that’s weaponizing the simultaneous freedom and confinement that comes from moving on. It’s a sure step in a more unique direction for the crew, as they’ve always danced around yet never seriously engaged with a blend of genres they seem to be tied to by association. Their understanding of what makes country music so special is impressive, but even more so is an aptitude for contorting that into something far more singular than the sum of its parts.
8.3
Bowery – Zach Bryan feat. Kings of Leon Written By Adam Delahoussaye
As far as studio releases go, we haven’t heard much from Oklahoma’s wunderkind over the summer. A few understated tracks that may or may not grace a future record were all Zach Bryan had to show by August, as the world continued to watch and wait for his next move, dissecting the few we did get ad nauseam. But on “Bowery,” where the singer teams up with his preeminent idols and maybe his greatest influences, you get the sense that Bryan has grown restless from the recharge. From being shot out of the cannon in the first few measures to a cruise control found in the disparate harmonies of this chorus, he still feels steady at the wheel even after a zero to sixty launch. Perhaps more so than in past collaborations, he relies on his extra set of hands for assistance. Both Bryan and Kings of Leon frontman Caleb Followill play off of each other like old friends, with vocal chemistry stirring into a final product that’s strikingly familiar for both tones. Bryan is arguably at his best with a match in hand, ready to burn the house down. Conversely, his counterparts flex their biggest muscles in moments that build toward seismic sonics, mixing folk roots with contemporary rock flourishes. The blend here is nothing short of complementary for both camps. Almost incessantly studious to those who most inform him, Bryan is able to give a “just add water” feel to this mash of modern juggernauts.
8.7
Hell At Night – BigXthaPlug & Ella Langley Written By Creed Miller
Whether it’s surprising or not, the Big X country collabs have actually been quite impressive, and his latest one with Ella Langley is no different. “Hell At Night” opens with Ella Langley’s signature twang that immediately hooks you into the rest of the track. Ella sets the stage, giving Big X the perfect launchpad for a standout verse. He steps up as a generational hater, wishing the absolute worst on an ex, from getting their car stolen all the way down to their heater blowing nothing but cold air. Langley’s approach isn’t quite as petty, but she still sings about leaving a memory that will keep the ex up at night. The toxic energy feels right in Langley’s wheelhouse, similar to some of her other hits like “Never Met Anyone Like You” or “Better Be Tough.” There are obviously some differences, considering this is a rap collab, but it weirdly feels like a natural fit for her style. One of the more baffling aspects of the song is that it has eight writers; the lyrics seem surprisingly simple with that in mind, but it ultimately worked out, considering it’s a fun listen. While “Hell At Night” doesn’t seem to make sense on paper, it was such a pleasant surprise and should absolutely get people excited for the rest of his country crossover album, I HOPE YOU’RE HAPPY.
8.1
Fragile – Cameron Whitcomb Written By Creed Miller
With mighty vocals leading the charge, Cameron Whitcomb quickly grabs the attention of anyone listening to his new track. Written by Whitcomb alongside Cal Shapiro, Jack Riley, and Nolan Winfield Sipe, the song reflects past trauma and how it impacts him as a person and in his relationships. “Fragile” expresses so much raw vulnerability that’s not just echoed through the lyrics but also through the passion within his delivery. His noteworthy range through the chorus feels effortless and should easily turn the head of everyone in the room. It isn’t necessarily a country song, as it takes more of a soulful approach, but still feels like its own thing. As the song reaches its final descent, a buildup emerges, lending it a “coming of age” feel despite the sadder lyrics. Cameron Whitcomb isn’t a household name by any means, but “Fragile” has the potential to become a household song.
9.0
Circa 1943 – Chase Rice Written By Max Buondonno
The southern rock-influenced, Americana-laced sounds of Chase Rice’s last two albums are continuing with his next project, Eldora. “Circa 1943” is what you’d expect from Rice at this point in his career: an expertly crafted love story backed by masterfully raw production. Loosely based on his own grandparents, “Circa 1943” unravels the tale of a soldier falling in love with the woman who helps rehabilitate him after suffering an injury. Its poetic verses paint a vivid picture in your head as the song plays, as if you’re standing in the first aid camp yourself. The emotionally provoking twist at the end continues the same momentum as the rest of the track. At the same time, Rice delivers softer, grittier vocals to convey feelings of loss and a story’s end. With the right amount of distortion on his microphone, acoustic guitars blaring, and a room-filling chorus in the background, “Circa 1943” takes you on a journey through time with as much charm and passion as Rice’s other music from the past couple of years. If there’s more poetic storytelling and rich acoustic signatures like this on Eldora, it could be a contender for album of the year.
9.3
Louisiana Stick (with Marcus King) – Jordan Davis, Marcus King Written By Ryan Lippe
For years, Jordan Davis has been in the center of Nashville’s mainstream spotlight with radio-friendly tracks that don’t tend to reach an audience outside of suburban soccer moms. Now with this latest collaboration, his scope is extending to places that no one thought he could go as he joins forces with one of this generation’s most talented musicians, Marcus King. This track certainly wasn’t in need of a collaboration, but King’s distinct flair brings a fiery spark to an artist who typically lacks it in Jordan Davis. Written by Davis, Paul DiGiovanni, Chase McGill, and Ashley Gorley, the lyrics aren’t offensively hard to listen to, nor do they stick out in any special way. For another country pride song, it’s refreshing to hear about a different part of the region rather than the same Tennessee, Georgia, or Texas love songs, but at its core, there’s nothing that’s going to stand out in the grand scheme of Davis’s catalog. The true identity of the song comes from producer Paul DiGiovanni and wicked guitar licks throughout, incorporating the spirit of the bayou region. The last release before his new album, Learn the Hard Way, comes out, Davis and company are pulling out all the stops to reel people in.
7.3
Ordinary (feat. Luke Combs) – Live from Lollapalooza – Alex Warren, Luke Combs Written By Ryan Lippe
If users weren’t being bombarded with Sierra Ferrell singing John Anderson’s “Years,” they certainly saw Luke Combs team up with TikToker-turned-musician Alex Warren at Lollapalooza. No stranger to lending his generational voice to pop songs, Luke Combs has taken this TikTok song and turned it into a moment that has been shared across the world. For such a poor song to begin with, Combs transformed it into an experience for fans that made them forget how little intrinsic value the track holds. His signature baritone voice commands the entire venue in an instant, and the way he controls his range and the crescendo in and out of each line almost makes people forget the original version. Right before the halfway point in the recording, Alex Warren steps onto the stage only to be engulfed by Combs’s shadow, clearly taking a back seat in the moments they share the spotlight. The bridge and final chorus of the original song were already riddled with obnoxious drum loops, and even though natural drums back them, both vocalists are drowned out by the reactions from the crowd, doing them no favors. Live recordings have become a gimmick over the last five years, with everyone releasing poorly mastered snippets from their shows, and this track is no exception.
4.6
Love Was Just a Feeling – Colby Acuff Written By Will Chapman
Colby Acuff’s “Love Was Just a Feeling” revisits the universal nostalgia of being seventeen, a well-loved theme in country music, but also one of its most crowded. Acuff checks off all the boxes: small-town boundaries, cheap gas, stolen beers, and first loves. While earnest and competently written, there are a million country songs about being seventeen, and this one feels like just another addition. It inevitably stands in the shadow of genre benchmarks like Eric Church’s “Springsteen,” Brad Paisley’s “Letter to Me,” and Deana Carter’s “Strawberry Wine,” all of which have set enduring standards for the subject. The production is understated and effective. A dry, unembellished drum sound pairs with acoustic guitar and dobro, evoking shades of Tim McGraw’s “Red Ragtop.” The arrangement leaves space for Acuff’s vocals, and the production overall brings out nostalgic flavors that pair with the vocals wonderfully. Ultimately, “Love Was Just a Feeling” is a solid entry in Acuff’s growing catalog, but not a defining one. It captures the wistfulness of youth with sincerity, yet doesn’t offer a distinctive enough angle to demand repeated listens. A well-made song with strong performances, but in a genre saturated with “seventeen” stories, it lands as another chapter rather than a standout.
7.7
Charley Crockett – El Paso to Denver Written By Will Chapman
With “El Paso to Denver,” a cut from his latest record Dollar A Day, Charley Crockett adds another gem to his steadily expanding catalog. The song’s laid-back groove and easy momentum give it an almost hypnotic pull, carried by a pretty melody and a chord progression that steps outside the well-worn 1-4-5 country template while still sounding unmistakably rooted in the genre. Crockett’s vocal delivery remains as charismatic as ever, and his unforced swagger makes even a weary road feel lived-in and fresh. The real scene-stealer here, though, is the pedal steel guitar. It breathes through the arrangement, sliding and shimmering around the chords with a liquid grace. Its ambient swells and subtle turns bind the song together like a silk ribbon, lending it a touch of intangible magic that reverberates throughout. “El Paso to Denver” is Crockett at his best, showcasing his ability to create mood and texture with subtlety and precision. It’s a noteworthy piece that deepens the album’s overall impact.
9.5
