Flip–Flop – Zach Top Written By Adam Delahoussaye
Let’s call a spade a spade and say that “Flip–Flop” is, at its very core, a bargain bin beach song that feels like the soundtrack for every Florida beach bar opening shift since the first Bush administration. But to leave it with such a cursory analysis would be an immense disservice, despite the density of like-minded tracks it’s now in the company of. Because after all, deviation has never been, and never should be, the cardinal sin of country music. But where most artists spend their whole life trying to perfect the recipe, they often forget the secret ingredient was never on the covers or in the contents of Grandaddy’s vinyl stack to begin with. What makes a song like “Flip–Flop,” and by extension Zach Top, so effortlessly great is smack dab in the middle of the pudding. The song is a tonal exercise and a musical one, in that Top not only knows his source material, but also the way that the homework his revered, retired beach bums handed down to him still finds new and invigorating ways to arrive at a generally unvarying final answer in his hands. The sundown steel and sandy snares still mark their territory under the brim of a straw hat, all while Top flits between Buffett bravado and the heartthrob hits of the early ’90s. Lyrical rug pulls worthy of a belly laugh, razor-sharp wordplay, and a sense of self-assuredness that comes with a sophomore record all make the skillet sizzle to create a dish seasoned with age yet boasting flavors you didn’t even know could be revised. Top’s most time-frozen tune is charmingly on brand as his most creative and inspired effort to date.
9.5
Wind Blows – Braxton Keith Written By Adam Delahoussaye
It’s always refreshing to get a new outing from one of Gen Z’s more predominant traditionally minded performers, even more so when his swing pattern gets unpredictable, aimed toward varying directions of the outfield. Braxton Keith, more than most of his counterparts, isn’t morosely wallowing in a past that he’s desperately clinging to. He’d rather bring the days of old into the modern spotlight, applying a fresh coat of paint to the body of a vehicle that screams with character every time its engine roars. It’s exactly the line of thinking that makes “Wind Blows,” a halfway to the next town tale, simultaneously feel like muscle memory and an exercise outside of his comfort zone. Whining guitar licks, emphatic drum fills, and a drawn-on twang display an unashamedly boot-scootin’ attitude. Keith is no stranger to brandishing across his guitar strap. Paired with a wind-struck hair mix echoing a piece of every pie in the country music bakery, the result is another consistent addition to a growing and confident catalog. His most exciting, and maybe his most palatable entries, which are the ones that are sure of themselves, despite where the wind may take them.
8.0
Splitsville – Zach Top Written By Creed Miller
One of the major standouts from the project was the heartbreak twanger, “Splitsville.” Penned by Zach alongside Carson Chamberlain and Paul Overstreet, the protagonist of the track finds himself in “Splitsville” as his relationship comes to an end. He sings about “Splitsville” as a location, but if anything, it’s more so a state of mind, trying to navigate the breakup. Production-wise, it sounds like a classic Zach Top song, leaning heavily on the steel guitar to give it a traditional country sound. One criticism is that it doesn’t do much to differentiate itself from his other tracks; many of them sound very similar. He sticks closely to the ‘90s country template that he’s been working with throughout his career. Thankfully, the song’s concept and the idea of “Splitsville” make it interesting and keep the listener engaged. There are moments where it feels like Top is just doing karaoke of ‘90s songs, and this one isn’t necessarily different, but that doesn’t mean it’s not good. It may not feel like the most original song in the world, but it is, without question, a worthwhile listen and one of the better releases of the week.
7.6
Space – Zach John King Written By Creed Miller
Since most people were busy listening to the other Zach, you would be forgiven for missing Zach John King’s innocuous single “Space.” Despite the Morgan Wallen co-sign, fans weren’t missing out on much as ZJK’s new single just slips into the void of song releases. “Space” as a whole is just an incredibly forgettable track, as there are no qualities that make it stand out. It’s impressively average as the song plays, evoking zero emotion of any kind. Thanks to wrote writing and underwhelming production, it’s hard to take a real interest. He sings about needing some space with basic lyrics that feel like a checklist, including needing front porch beer sipping, fishing, and more. If it has anything going for it, it’s the uptempo beat. It will get your foot tapping, and could definitely be a really strong addition to his setlist in a live show. Zach John King is still a relatively young artist and has a lot to learn, and he has even shown some signs of potential through songs like “Slow Down.” That being said, “Space” isn’t going to be the song that gets the needle moving.
4.8
Love Me Like You Used To Do – Margo Price (feat. Tyler Childers) Written By Ryan Lippe
Margo Price has been a hidden gem of the Americana scene since her 2016 debut, but for those who are plugged into the genre, know that her Hard Headed Woman album is just the latest addition to an already fantastic catalog. The 10th track on this project, the heartfelt duet with Tyler Childers, is an exceptional example of a collaboration where the partner truly elevates the song, rather than just singing background and cashing a check, as many do in contemporary music. Both Price and Childers have phenomenal voices, and when they come together in harmony on the bridge, they create a listening experience like no other. As Price enters the atmosphere with her falsetto, Childers remains comfortably in his tenor range, making for a delightful performance. Produced by Matt Ross-Spring, the track blends smooth soul and soft jazz into the rich landscape of Americana and country, giving it both warmth and musical depth. Clocking in at nearly four and a half minutes, the song never feels drawn out; instead, its clean, cohesive production transports the listener to a calm and serene state of mind. If this is the first exposure to Margo Price for some people, they’ll be happy knowing that the rest of her discography is crafted with the same attention to detail as this track.
8.8
Make It Rain – Riley Green Written By Max Buondonno
It’s almost impossible for Riley Green to miss on a mid-tempo sad song. “Make It Rain,” one of the new tracks on the deluxe version of Green’s Don’t Mind If I Do album, has a similar energy to other breakup tracks in his catalog, harping on a fractured relationship that doesn’t seem to have hope of restoration. Written by Green, Blake Pendergrass, and Nick Walsh, the song puts a clever spin on a phrase synonymous with bragging. Without any resolution toward the end of the track, disparaging emotion keeps you enticed as Green reflects on his inability to fix what’s broken. The acoustic guitar-driven production complements Green’s vocal delivery well, with enough simplicity to avoid overcrowding the soundstage and highlighting the lyrics nicely. It’s a formula that works reliably well for Green, but at this point, it’s starting to show signs of fatigue, if only because some of his biggest songs are sonically similar. That being said, “Make It Rain” is a delightful track that continues to showcase Green’s strong presence in the country music scene.
8.0
Luck of the Draw – Laci Kaye Booth Written By Max Buondonno
Almost as haunting as “Daddy’s Mugshot,” Laci Kaye Booth continues her artistic journey down a more mysterious path with “Luck Of The Draw.” Written by Booth, Ben West, and Ryman Wooten, the track accentuates her raspy falsetto as tales of poor luck in life are shared left and right, putting all the blame on fate itself. There’s a dire tone to the song that follows the same direction as Booth’s most recent releases, yet it doesn’t grab your attention in the same way. Instead, this song plays more as a vibe than a story worth following. The chorus is structured such that the words sung almost feel like a reaction to the dusty instrumental, which feels like it could make its way onto a neotraditional Chappell Roan country album someday. The result is indeed worth swaying your head to, but not quite as catchy or revealing as we’ve heard Booth in the past. It’ll have its time and place on whatever project it winds up on in the future, but as a standalone single, “Luck Of The Draw” got dealt a mediocre hand when it comes to standing out.
7.4
Back in the Bottle – Pecos & the Rooftops Written By Joel Reuben Pauley
Six years on from their breakout debut single, “This Damn Song,” Pecos & the Rooftops continue to build their catalog, now returning with a brand new album. Of all the elements in sound that were showcased back in the early days of their career, they’ve leaned into the rock side the hardest, and it shows on “Back in the Bottle.” Grungy, dirty, and full of energy, the new track places Pecos Hurley’s voice in the best range for his low-toned voice. It sounds like the sort of relapse described in this song isn’t the worst-case scenario for the Texas singer, and if you follow the band’s music closely, you’ll see that drinking is a commonly used solution for them. However, deeper than the usual “drinking the pain away” approach, this song vaguely describes a lustful love affair like a drug or addiction, yearning, “Well, here she comes running, like a needle to the vein.” When reading the title, it may come off as a surprise to hear the raunchy lyrics, hearing how Pecos describes “peeling off the label” before, let’s say, having himself a drink. The guitar and vocals make some bold melodic choices, shifting between major and minor in ways that can feel inventive but also jarring. This creates dissonance, as seen in the instrumental section immediately following the first chorus, where it feels like a sudden change of course with a rough transition. Other than that, the overall sound maintains a polished, yet tame simplicity that doesn’t quite taint the quality of the song. However, there isn’t anything that feels executed with excellence. This leaves the track to be nothing more than a well-produced, three-minute innuendo that may have been better delivered in private.
5.8
Haunted – Logan Michael Written By Joel Reuben Pauley
If you haven’t noticed, we’ve reached the beginning of spooky season, and Spirit Halloween isn’t the only one prepared. Logan Michael’s new single, “Haunted,” arrives just in time, with a dark energy that matches the title. If you only know Logan from his bigger hits, you likely won’t expect the heaviness that’s debuted in the new release. It’s nowhere near as poetic as songs like “Angel Wings,” but it doesn’t feel like that was his goal. If a notable, significant vibe shift was the target, Michael hits the bullseye, with an all-new, digestible form of country rock that will likely still appeal to his longtime fans. Even with sounding natural in its ghoulish manner, It’s a sharp contrast to “Make It,” with its spacey acoustic production and fiddle, raising the question of how these two singles might fit together on a future album. “Haunted” may come across as out of place. This type of issue has become more prevalent with the success of country-rock acts like Koe Wetzel and Treaty Oak Revival, who have found mainstream success in recent years. Although there is obviously no rule against creating such a diverse mix of musical styles in a record, it would be a smart move for Logan to explore hardcore country elements further that he’s now uncovered for himself.
7.9
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