Dear Miss – Zach Bryan Written By Creed Miller
With an Eagles Super Bowl victory comes another Zach Bryan release, this time with the highly-anticipated “Dear Miss.” Bryan teased the song over two years ago, and it began to seem like it would never see the light of the day. Now that the track is finally out, it met the expectations. There are a lot of similar qualities to his American Heartbreak days, which makes sense, given that Eddie Spear produced the track. When Spear takes the helm of production, it leads to some of Bryan’s finest work. “Dear Miss” feels smooth, especially when the drums take charge of the chorus. They keep things moving by being the standout instrument and, ultimately, a highlight of the song. Much like his other songs, “Dear Miss” was written entirely by Zach Bryan, and it echoes themes similar to those of his other music. It’s mainly a love song, but in classic Zach Bryan style, it circles back to how he feels undeserving of the girl. One of the cooler aspects of the track is that the chorus is a note written to the girl’s mom, hoping she can look past his flaws, giving the song a much more personal feel. “Dear Miss” is a refreshing call-back to Zach Bryan from a few years ago, which is an incredibly nice breath of fresh air.
8.8
Chickasaw Church of Christ – Muscadine Bloodline Written By Adam Delahoussaye
From our exposure so far, much of what Muscadine Bloodline has been up to as of late has remained consistent with their critically and commercially acclaimed 2024 LP, The Coastal Plain. Anticipated as a spiritual B-sides to that record, the inklings of what’s next that we’ve gotten to …And What Was Left Behind seem to be watering seeds in that same garden. “Chickasaw Church of Christ” doubles down on their world-building, cultivating imaginary and lived-in moments to concoct a raw and real sentiment seldom found in the mainstream. It’s a classic tale of sinning in the back pew, hoping the Lord doesn’t see you as you give that last goodbye to a relationship running on fumes. It’s a story we’ve heard many times, yet Muscadine plants their niche seeds in the corners of this story that feels like it could’ve been uttered in any backwoods chapel on their side of the Mississippi. Maybe it’s the specifics that make it more intimate, being in their presence sonically making us feel like we’ve wandered these winding roads and stepped through those halls before. Exemplified through Gary Stanton and Charlie Muncaster, their vocals and Stanton’s pen steeped in the sorrow of that Delta drawl. It’s yet another showcase of how effectively they’ve modernized an age-old sound, sprinkling hints of the genre’s diversity in almost every corner of the coast they call home.
8.5
Bad State of Mind – Treaty Oak Revival Written By Adam Delahoussaye
Narratively, Sam Canty and his band of misfits are at their best when they get in their own way. Temptation, muddied feelings, and a refusal to let go are all at the center of the success of the red-dirt retrospective they’re bringing to a far more crusted and angsty outer layer than most in the Lone Star State. “Bad State of Mind” is no different. It may even epitomize that stripped of all their trappings, George Strait and Vic Fuentes ultimately strike the same basic chords. What you want isn’t always what you need, but when has that mindset ever led to anything worth writing about? Here, Canty and the boys are crushing analog pedals and whiskey sours as they try (and fail) not to call that good time that’s undoubtedly a bad idea waiting to happen. Intentionally juvenile in its presentation, we get growling guitars from Jeremiah Vanley and Cody Holloway attacking rapid-fire drum solos with reckless abandon. Build-ups and breakdowns peppered throughout feel like a group giddy with excitement to present their sound, exuding radioactivity through the crackle of their amplifiers. Where other acts flirted with that grunged-up country sound, Treaty Oak is eloping with it. This track and tentatively their new album will hopefully play into the quarter-life crisis that has a chokehold on Texas, normalizing a far more fluid approach to the scene than we’ve seen in years.
9.0
Bad Reviews – Sabrina Carpenter Written By Jack Humphrey
Sabrina Carpenter has never presented herself as a country-curious pop star. Unlike the Bebe Rexhas and Julia Michaels of years past, she doesn’t pay lip service to “country storytelling” or flaunt loose connections to Nashville. However, by quietly burying awesome country songs on the back halves of her LPs, she regularly proves herself to be a better friend to country music than any of those self-congratulatory has-beens. Musically and lyrically, “Bad Reviews” picks up where “Slim Pickins” left off, with Sabrina self-consciously lamenting the poor choices that fuel her pursuit of happiness. Like “Slim Pickins,” it rolls crisply along with bluegrass tempo and plenty of fiddle and acoustic chicken pickin,’ but adds a countrypolitan string section that might remind some seasoned fans of 1970s “pop-country” a la Glen Campbell or Barbara Mandrell. Regardless of whether she ever commits fully to a country project or sends a single to country radio, Sabrina Carpenter is a fan of good music first, and tasteful songs like “Bad Reviews” invite pop listeners into country music far more effectively than any flimsy crossover single ever could.
8.2
Dressed Down – Hudson Westbrook Written By Creed Miller
Hudson Westbrook is one of the fastest-growing artists in all of country music. He had a huge 2024 thanks to songs like “5 to 9” and “House Again,” which put him on the map. Building off that momentum, he released his second song of the year, “Dressed Down,” a track penned by Westbrook alongside Lukas Scott and Redit Haughton, which captures how, despite loving to take his significant other out, nothing quite compares to bringing her home afterward. Lyrically, it isn’t unique; we have all heard this trope plenty of times. However, some of the song’s electric guitar is slick and keeps things interesting despite the familiar story. Westbrook’s vocals have always been a high point as he carries a lot of similarities to the Limestone Kid era of Parker McCollum. Once again, this held true, as his voice is extremely pure and flows well with the song. All that considered, “Dressed Down” isn’t Westbrook’s best work by any means, but it’s a perfect Valentine’s Day release and another quality track to add to his resume.
7.6
Wish You Well – Vincent Mason Written By Joel Reuben Pauley
If anyone can pull off a solid, catchy pop-country song, it’s Vincent Mason. His new song “Wish You Well” captures all of the good qualities of modern country, avoiding any cringe-worthy trap elements commonly found in other artists’ attempts at this sort of upbeat sound. Full of steel guitar and thoughtful writing, this song stands out as a refreshing take on the genre, proving that pop country can be done without feeling like it was made in a laboratory with the intent of checking every box of formulaic radio-friendliness. A popular trend in modern country is the use of bookend hooks, where the chorus ends with a clever play on words. In this song, Mason is not only wishing the best for his lost love but also drinking at the bar, “sipping this wish you well,” playing on both the emotional and literal meanings of the phrase. A consistent feature in all of Vincent’s songs is that his voice is in the spotlight of each one as he perfectly slips into the character of their lyrics, showing that he is a true artist and master of his craft. If all you know of Mason is “Hell is a Dance Floor,” this song will feel like a good step outside that slow, rocking vibe he’s known for.
8.8
Jason Isbell – Foxes in the Snow Written By Joel Reuben Pauley
It’s a new era in the life of Jason Isbell, and it would be ignorant not to pay any mind to his personal life when reflecting on the lyrics of the title track of his upcoming album, Foxes in the Snow. Following his recent divorce, Isbell toys with the theme of new love in a way that reveals a side of him that has never before been seen. With the line “I love my love, and her velvet bed, where she’s heard me sing the words that can’t be said,” Isbell hints that his music will be the first public impression of what a new relationship may look like for him. Jason explains everything that makes this newfound lover unique and uses the metaphor of leaving “all the beasts beneath her bed” for dead, allowing her to fall asleep easily. While nearly every lyric in this song could be dissected and admired, it’s just as impressive that the instrumentation comes from a single guitar recording played entirely by Isbell. With an arrangement of chords and licks so rich and unique, this track shows off Jason’s musical proficiency. This track also stands out as one of the few where you can truly feel the excitement from the Alabama native, as he lets a love song be a love song, with none of the dark themes and tragedies that might come up in songs like “Elephant,” or “If We Were Vampires.” As the second release leading up to his solo album Foxes in the Snow, Isbell proves he’s ready to open his heart, offering a collection of vulnerably written songs that mark a new chapter in his life.
9.7
OIL MONEY – Graham Barham Written By Ryan Lippe
When this track was first teased on social media, fans were quick to beg for its release, but many more were adamant that it should never be published. The country-rap song is everything that the sub-genre exemplifies and is a peak reason why the genre will ultimately be nothing more than a fad. All the song does is glorify wealth and themes that are the furthest thing from traditional country music. With “OIL MONEY” in mind, many pop-country songs dominating radio may be more country than they seem; despite their attempt at innovation, they still incorporate traditional elements of the genre. Thankfully, the song clocks in at under three minutes because there’s no need for listeners to have to suffer any longer than they already do. The song’s only saving grace is its catchy hook. Graham Barham delivers a smooth flow between the lines, but with such shallow lyrics, the track rises only from trashy to barely tolerable. Barham wrote the song with Beau Bailey, Cole Miracle, and Sam Bergeson, and, astonishingly, it took four people to come up with lyrics like “Only ever seen the kind of club country” or “That little thing in Daisy Dukes was Coppertone from head to Tony Llamas.” It’s hard to imagine that one person could have multiple entries for the worst song of the year, but with Graham Barham, it seems to be the standard.
2.3
She Hates Me – Dierks Bentley Written By Ryan Lippe
Once a titan of mainstream country, Dierks Bentley has fallen into a very comfortable rhythm of safe and harmless contemporary tracks like his latest release, “She Hates Me.” There isn’t necessarily anything wrong with the track, but knowing Bentley’s capabilities from his early years is disappointing. The tongue-in-cheek lyrics are reminiscent of smash hits “Drunk on a Plane” and “Somewhere on a Beach,” but this track lacks any of the charms of those hits. Written by Bentley, Ashley Gorley, Ross Copperman, Chase McGill, Jimmy Allen, and Wesley Scantlin, the song will surely see some radio and streaming success with his diehard fans but nothing more. Despite debuting over 20 years ago, Bentley’s voice remains as strong as ever, still carrying the same anthemic energy. Hopefully, his next release will stay true to his bluegrass roots, as fans remain optimistic for what has been a historic career.
6.3
You Turn – Chase Matthew Written By Max Buondonno
As time passes, so does Chase Matthew’s desire to fill a void in country music left by people whose absence today isn’t noticed by anyone. From the Florida Georgia Line LPs to the stadium-rocking cuts of Jason Aldean and company, today’s modern country listener often ignores the egregious mainstream approach to writing and producing songs, save for those who only hear music on the radio. Chase Matthew continues to believe none of this matters, and he can keep issuing the same boring songs with “clever” writing he’s been kicking out since his career took off in 2021. “You Turn” is a play at a double entendre that should’ve been left on Music Row. With four writing credits, a boring story, and mediocre instrumentals, there are no redeeming qualities here. If anything, Matthew gets brownie points for not going full Graham Barham with the pop-country production; while there’s still some hip-hop flair, it sounds country enough to qualify as a “country song” in 2025. With a full-length album dropping in just a few days, “You Turn” is another sign that Matthew doesn’t seem to care about artistic excellence or at least making something people will want to listen to.
4.1
Hard Work and Holy Water – Larry Fleet Written By Max Buondonno
Newly independent artist Larry Fleet is out of ideas. His latest single, “Hard Work and Holy Water,” is the type of song many non-country fans can wield as evidence that the genre constantly trots over the same territory until each new song is completely indistinguishable from the rest of what’s out there. Yet Fleet has not only done that with cliches in country music but also in his own music. After blowing up a few years ago with “Where I Find God,” familiar themes of loving family, fearing God, and working hard seem to pop up so often that you’d think someone trained an AI model on him to produce his next single. “Hard Work and Holy Water” is full of the same one-liners we’ve heard from other artists over the years and consistently throughout Fleet’s discography. The track feels like an unnecessary reintroduction to who he is as an artist as if he was dropped from Big Loud four years ago and we all forgot about him. Instead, it’s only been a little over a year, and Fleet is still touring nationwide. While the production offers a refreshing, down-home feel that does stand out, the storytelling feels inadequate enough to assume Fleet will continue chasing big songs and deep pockets in his independent era, which is a shame given how refreshing his artistic aesthetic can be amongst today’s pop-country acts.
5.7
How Long – Caylee Hammack Written By Will Chapman
In 2021, Caylee Hammack made a striking impression on the country music world with Small Town Hypocrite, a gorgeous song featuring Chris Stapleton that showcased her perspective in a way that was so raw yet so eloquent. Last year, she began releasing a stream of singles, all leading up to her now-announced upcoming record Bed Of Roses. Her latest, “How Long,” ventures into new territory, embracing a sultry blues-infused sound, unlike anything we’ve heard from her before. Co-written with Josh Osborne and Lucie Silvas, the track explores the ache of unrequited love. At the same time, its irresistible melody sways over a smooth 6/8 groove reminiscent of a Continuum-era John Mayer ballad. Dann Huff’s perfect production allows the track to simmer and bubble with tension before swelling into an explosive guitar solo. Then a soaring vocal moment, allows Hammack to belt, showcasing both her technical prowess and emotive delivery as a vocalist. This musical crescendo perfectly matches the song’s yearning lyrical narrative. Caylee Hammack still feels a bit undefined as an artist, but “How Long” showcases a new side of her artistry, stirring up intrigue for her upcoming record.
8.9
Everything To Lose – Aaron Watson Written By Will Chapman
Aaron Watson has been making waves in Texas for over 25 years, and over the past few, he’s gained more mainstream notoriety. His latest work, “Everything To Lose,” follows a well-worn country music trope where a young man experiencing relationship troubles gets an unsuspecting pep talk from an older, wiser man at a bar. It’s a familiar formula, previously mastered by Vern Gosdin in “Chiseled in Stone,” Kenny Chesney in “The Good Stuff,” and George Strait in “I Hate Everything.” While “Everything to Lose” isn’t necessarily a bad song, it struggles to stand out in such esteemed company. Adding a memorable entry to such a crowded narrative is a tall order, and unfortunately, Watson’s take pales compared to the classics it echoes. The track is undoubtedly catchy and features a nice, cheerful production style. However, that pleasantness feels a bit counter-intuitive; the production feels too polished and bright for a song about a relationship on the rocks, failing to capture the weight of the emotions at its core. Ultimately, “Everything to Lose” is a decent listen, but its lack of emotional depth and detail keeps it from reaching the heights of the classics it echoes.
6.4
