Damned If I Do – Vincent Mason Written By Adam Delahoussaye
As our starting progression comes into focus, “Damned If I Do” immediately separates itself from an exceptional yet increasingly homogenous pack. A lot of Vincent Mason’s discography up to this point has hit its marks and read its lines in typical country fashion, not even a toe straying past a paved-over trail of classic schemes and sounds. And while his latest may leave an aftertaste of Treaty Oak or Sterling Elza’s reheated nachos in your mouth, the detour from his own, safe route leaves a lot to sit and simmer with. Hearing that silky smooth baritone hit up against noxious growls and a thrumming heartbeat of a drumline keeps his rosy, innocent demeanor in check, all while his options for companionship prove to be a double-edged sword. As Mason warbles in the chorus through that final, decisive “won’t,” the smoke clears and the jaded scars begin to reveal a new picture. He feels less bright-eyed and bushy-tailed than we’re used to, more worn down by the weight of the constant heartbreak he’s always crooning on. That happy-go-lucky smile is now gritting his teeth through the pain rather than cutting them on a more hopeful tune. It’s a welcome sign of maturation and, if nothing else, a blank canvas of a voice finding strokes of genius in other palettes to mix into his brush. The diversion Mason creates, while unexpected and maybe even slightly jarring on first exposure, gleams with promise.
8.0
Baby You Do – Braxton Keith Written By Adam Delahoussaye
Slinky and swanky, the Midland native’s newest track is a solid entry into a catalog and personality that are slowly finding their footing. In between Gen Z’s affinity for nostalgia and true-to-form showmanship, Braxton Keith is becoming something of a beacon for the “new old sound” that’s taking dance halls across Texas by storm. On what feels like a middle-of-the-setlist shot in the arm, Keith is swooning in aggravation as his blood starts to boil in time with our increasingly urgent backing band chugging him along. Much like the ghost of old flames past that he’s chasing here, Keith has always seemed in search of an ageless spirit in his music that’s particularly evasive. A stone’s throw from Strait’s narrow storytelling while still informed by the more pop-leaning yearners of his generation, “Baby You Do” soars in bravado to compensate for what it lacks in creativity. Even if he has seen that girl enter the bar a thousand nights before this, a solemn and poised delivery still keeps his ‘fresh factor’ in place. As Keith begins to fully settle into a skin that can change like a chameleon, keeping his bearings intact is crucial, as an act who prides himself on history and heritage more than most.
7.8
Madeline – Zach Bryan feat. Gabriella Rose Written By Creed Miller
Zach Bryan seems to be making headlines for everything but his music, but he continues to deliver hits, this time with Gabriella Rose in “Madeline.” Rose, who blew up in the last year with her song “Doublewide,” wasn’t announced as a duet partner until the song dropped, but she meshes effortlessly well with Bryan through their collectively melancholy tone. A collab with Zach Bryan could serve as a coming-out party for any artist, but it feels like an even bigger turning point for Rose. People may have heard some of her other music, but her soothing falsettos in the track prove her talent and that she is a legit artist beyond her viral moment and this duet. Unsurprisingly, the writing in the song is top-notch. It finds the two protagonists longing for each other after their relationship comes to an end. The song’s imagery is part of what makes it great, as it allows you to imagine the situation vividly. The way Rose and Bryan feed off each other is what makes their relationship more unique, and it feels like the two protagonists are talking despite their physical distance. One knock to the track is the length. At just over 2 minutes, you will find yourself craving more of the story. “Madeline” is arguably ZB’s best recent release, and it serves as more proof that maybe being blacked out at 6 am isn’t always the worst thing.
8.9
Home Tonight – Sam Barber Written By Creed Miller
With the announcement of his upcoming EP, Sam Barber signaled with “Home Tonight” that he’s taking a ‘back to basics’ approach to the project. The track is heavy on the acoustic guitar, but does have some accented piano, which is refreshing, so it’s not just his raspy vocals yelling over a guitar. It does, however, feel a little messy and like a lot is going on, despite it mainly featuring acoustic, piano, and drum elements. Each instrument feels like it’s working to overpower the other instead of working in unison. Once the beat picks up, especially in the last chorus, it sounds like The Lumineers have put out a country song, which makes sense given that Barber draws from the folk sound as well. The Lumineers’ feel will get you up wanting to dance, and is probably the best part of the song. Penned by Barber and Jonah Kagen, the lyrics are another positive aspect; they aren’t surface-level and actually reveal the desperation of a breakup that goes beyond simply drinking away the pain at the bar. Vocally, Sam Barber is starting to feel like a one-trick pony, and that’s the big downfall to the song. He hasn’t shown real vocal development since he got his break a couple of years ago. Songs like “Man of the Year” aren’t very exciting vocally, and the production is what makes it interesting. His vocals feel so one-dimensional, making them feel repetitive. He has impressive moments, such as in “Indigo,” but not much else outside of that. Barber is very talented and has a loyal following, but “Home Tonight” won’t likely resonate with many listeners outside his core audience.
6.2
Jason Isbell – Should I Go Missing Written By Joel Reuben Pauley
Jason Isbell’s Something More Than Free (10th Anniversary Edition) arrived as a welcome surprise this year. The final track, “Should I Go Missing,” is a long-shelved gem that was originally recorded during the album’s initial sessions and left unreleased until now. Produced by Dave Cobb, the song carries the same warm, vintage character that defined their earlier collaborations. Full of slide guitar runs that echo Isbell’s vocal melodies, the track could almost pass for a Tedeschi Trucks Band cut, possibly even drawing direct inspiration from them. Playing around with a combination of blues and southern rock, “Should I Go Missing” is all about confronting the urge to disappear. It sketches out a game plan for living off the grid, cutting ties, and slipping into solitude before the world hardens you beyond recognition. The only hiccup is in the intro; the opening note functions as a pickup into the first measure, but it’s tough to decipher exactly where the beat lands, making the beginning tempo sound off even in repeated listens. That ambiguity may frustrate fans trying to follow the groove, especially those who aren’t inclined to drop it into Logic Pro and tempo-map it to figure it out. If you can get through the shaky early rhythm and move into the verse, you’ll find that this is a super fresh sound for Jason, which hasn’t been heard before.
8.5
Randall King – I Keep Your Memory Around Written By Joel Reuben Pauley
Nothing hits like a good ol’ Texas heartbreak ballad, and Randall King proves he’s a master of the craft on “I Keep Your Memory Around.” With his heart wide open, King leans into the ache of lost love, choosing the warmth of old memories over the cold comfort of letting go. The lyrics are plainspoken but cut deep, convincing listeners that in some situations, holding on hurts less than moving on. The arrangement unfolds gradually, building toward a powerful bridge where the melody soars alongside the swelling instrumentation, carried by a cadence that can only be described as heartbroken. As for the production, Randall’s vocal feels a bit overcompressed and subtly tuned, leaning into a modern polish that’s unexpected for an artist with such a traditional sound. Yet, somehow, it still fits, offering crisp clarity where every note is distinct and nothing gets lost in the arrangement —a quality not often found in this style of country music. For fans who have yet to discover Randall King‘s catalogue, this track is a perfect introduction, offering some of the most appealing elements of traditional Texas country: gut-wrenching lyrics, mesmerizing melodies, and an undeniable hunger for more.
8.0
Ain’t a Bad Life (feat. Jordan Davis) – Thomas Rhett Written By Max Buondonno
Thomas Rhett has proven that you can eventually hit on something decent enough to listen to if you keep putting out mediocre pop-country songs. Case in point, Rhett’s lead single from the second deluxe edition of his 2024 album About a Woman is surprisingly enjoyable. “Ain’t a Bad Life” celebrates life’s little things and stops to smell the roses, with an instrumental with stronger country energy than most of Rhett’s previous singles. Jordan Davis appears in the second verse, but feels absent given the low contrast between his and Rhett’s voices. The track, written by Rhett, Ashley Gorley, Blake Pendergrass, John Byron, and Mark Trussel, is full of the optimistic vibes you’d expect from a song engineered to make you feel good. While it’s far from a return to the neo-traditionalism or depth of Country Again Side A, “Ain’t a Bad Life” has enough charm and catchy melodies to make it one of the more memorable singles out of all 22 songs on About a Woman (And a Good Ol’ Boy).
7.1
Let It Run (feat. Snoop Dogg) – Zac Brown Band Written By Max Buondonno
If there’s a chance a new trend sparks up where country artists invite Snoop Dogg to make a guest appearance on their songs, let’s ruin it right now. The Zac Brown Band, who decided it would be cool to write the first country song about smoking weed, felt weirdly obliged to include a rap performance from the Doggfather himself. “Let It Run,” a song about smoking pot no matter the quality of the joint, is filled with uninspired 420-friendly references and offers nothing beyond “let’s all partake in the indulgence of inhaling marijuana together!” The result is a song that sounds like it was written by someone who’s never smoked before. It then worsens when the bridge approaches and suddenly switches to an underproduced trap beat, over which Snoop Dogg regurgitates bars about smoking weed that sound like throw-away lines written on rolling papers. It’s a boring, poorly-produced attempt at a stoner anthem that Zac Brown Band seems to think will help give their career the spark it needs, what with a new album and residency at The Sphere on the way. Instead, it leaves you in a stronger haze than hot-boxing for 12 hours with Snoop, only this is a haze that’ll make you question your life choices.
4.20
FTMF – Trey Lewis Written By Ryan Lippe
A song that was initially seen as nothing more than a songwriting joke on TikTok in 2020 has catapulted Trey Lewis into semi-popular country singer status. Still, since his viral moment, none of his subsequent releases have clarified why he deserves the fame. “FTMF” is a rehashed anthem for folks who have a special distaste for their boss, wherever their workplace may be. Written by Lewis, Alex Maxwell, and Christian Yancey, the track is utterly devoid of creativity and fails to offer any meaningful perspective on most aspects. By not providing specifics on a particular job or type of work, the song does nothing more than allow listeners an excuse to release frustration and scream obscenities about their superiors into their stereo or headphones. Produced by Billy Turner, the loud drums and guitar sound like countless other mass-produced songs looming on the radio and every other track that Lewis has released. As the bridge rolls around, the listener would expect a clever guitar riff to add a last-ditch effort to create some value on the track. Still, Lewis’s whiny voice enters a redundant refrain that leaves the listener cringing even more than when the song first started.
2.3
Sky Blue (Acoustic) – Max Alan, Julia DiGrazia Written By Ryan Lippe
The budding Appalachian music scene may be one of music’s greatest hidden gems, but when artists like Max Alan emerge, it gleams with a brilliance that proves its shine was never meant to stay buried. Initially released in February of this year, this new rendition of “Sky Blue,” featuring Julia DiGrazia, brings new life to the stellar story that Alan originally crafted. Even though there was already a strong sense of longing and heartache, adding DiGrazia’s delicate tone to contrast with Alan’s young tenor voice gives the song an additional layer of emotion, creating a powerful experience for the listener. Neither vocalist outshines the other, making for seamless harmonies and an incredibly pleasant duet. With Alan originally from Southwestern Pennsylvania, the track perfectly emulates the harsh wintery time of year thanks to the production of David Pugh and Grady Smith. The timeless saying “less is more” rings especially true here, as the track’s minimal elements come together effortlessly to create a sound that feels both full and refined. Although it’s the middle of July, each play of the track instantly transports the listener into the heart of the Appalachian mountains, surrounded by a still and lonesome winter.
9.2
Look What the Cat Dragged In – Alex Williams Written By Jack Humphrey
To most casual fans, dusty Texas country doesn’t have much in common with the corny, colorful excess of 1980s glam metal. As a group, those long-haired party boys chose to downplay their commitment to the craft with gleeful theatrics, from their tight leather pants and eyeliner to their rowdy, tabloid-ready lifestyles. By contrast, Texas country wears its heart on its sleeve, knowing its audiences crave something pure and sincere; it’s not escapism, but a window into someone else’s life journey or just a well-told story. However, Alex Williams found the crossroads between these two worlds on his album Space Brain, a well-curated tracklist of glam-rock cover songs that could only be selected by a real student of the genre. Williams’s version of Poison’s smash hit, “Look What the Cat Dragged In,” serves as a nice thesis for the project, intersecting hair metal and country-rock with one sensible through line: introspective self-loathing. Your well-traveled country artist and debaucherous rockstar both know what it’s like to live fast and deal with the consequences later, and every once in a while, each will have a tough sit-down with the man in the mirror. CC DeVille’s raging riffs are swapped out for a smoky, bar-ready groove, proving that while aesthetics may vary, the icky feeling of being trapped in a cycle of bad choices translates in any format, and is especially haunting for those who live on the road.
7.6
Billy Currington – King of the World Written By Will Chapman
Billy Currington’s “King of the World” is a swampy, soulful journey that feels like a breath of fresh, albeit humid, air in his catalog. The production leans heavily into a gritty, mucky feel, with dobro lines providing a rounded lead sound and electric slide guitar delivering a dirty punch that perfectly captures the essence of a lazy day near the water. It’s a sound we haven’t heard from Currington before, but it’s a bold and welcome step in the right direction after the atrocity that was his last full-length record, Intuition. Lyrically, the song sticks out with popping imagery; Currington invites listeners into his world with details like “cane poles hanging out a 4-door window,” “a box full of greasy, cold, fried chicken livers, and “a Labrador I call Earl layin’ by my feet.” These visuals don’t just decorate the song; they build a tangible atmosphere, making you feel the hot sun, smell the river, and hear the bullfrogs croaking in the swamp. It’s storytelling that’s rooted in a detailed setting. “King of the World” is an interesting but welcome evolution in Currington’s sound.
8.6
Thomas Rhett – Blake Shelton – Old Tricks Written By Will Chapman
Thomas Rhett and Blake Shelton team up on “Old Tricks” for a lighthearted look at aging, ego, and the cold, hard truth that time catches up with everyone. It’s fun, self-aware, and musically sharp. Dan Huff’s production is, per usual, impeccable. The track sways with a loose, mid-tempo feel that neither drags nor rushes. Every instrument has its place, and nothing feels wasted. There’s a ton happening in the mix: layered guitars, tight rhythm section, clever accents, but it never feels crowded or overproduced. Derek Wells’s and Kris Donegan’s guitar work deserves a special shout-out. Telecaster leads cut through with a twangy edge, giving the track a traditional backbone. Everything is right in the pocket, grooving with a subtle sway. Lyrically, “Old Tricks” is charmingly self-deprecating. Rhett and Shelton trade verses about how their old party habits and old pickup lines don’t quite work like they used to. It’s a familiar theme, but it’s delivered with a wink and a laugh, not a sigh. There’s no bitterness here, just a little reflection, a little humility, and a lot of good-natured honesty. While we probably won’t ever see Country Again: side b, tracks like “Old Tricks” scratch that traditional itch while still appealing to the pop country audience Rhett has built throughout his career.
8.4
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