Good Girls & Cowgirls – Zach Top Written By Adam Delahoussaye
There are no major updates to share on Zach Top as an artist or orator regarding his first single of the year. In fact, we don’t really get to see the highlights of country music’s premier traditionalist at all. There are no cheeky one-liners or sly smiles at romance to be found here, only a grab bag of bored phrases that the singer delivers in a cadence that’s so comfortable with the material it’s almost self-referential (Top even references his 2024 “The Kinda Woman I Like” in the first verse). “Good Girls & Cowgirls” feels like more of a template for a Zach Top song than it does an actual Zach Top song; one where he hits a mark and reads lines that play out like a game of ’90s songwriter Scrabble. Its slick guitar slides are never too untidy, and a generous helping of a steel section keeps it on-brand, but the character starts sounding like karaoke when Top has nothing noteworthy to add to the mix himself. Because of that, it’s also indicative of a larger problem: that traditionally minded country music, even at its peak, can fall victim to the same decaf approach its counterpart in the mainstream is under constant criticism for. No one is asking Zach Top to reinvent the wheel; he has to keep it turning at a pace that keeps him focused on the road. Here, it sounds like his eyes are getting heavy.
5.0
Swarpin’ – The Creekers Written By Adam Delahoussaye
If The Creekers weren’t already card-carrying members of the Kentucky country scene, then rebranding one of the state’s cult favorites as their own was probably their final prerequisite. “Swarpin’,” as a verb, has been defined by Sundy Best and any number of denim overall-clad degenerates as the act of throwing down. The six-piece outfit from Leslie County turns that simple saying into a call to action with the help of a little fiddle and a lot of friends. The yelps and squeals of those partygoers can be faintly heard behind the band, and you can almost imagine some foot stomps on creaky hardwood keeping time with the swell of the strings in front and center. It’s a perfect example of the band leaning into their strong suit; crafting a scene that’s reverent of who got them here but willing to populate the original picture with their own cast of characters. It makes the scene pop off the page, complete with caricatures of some local legend cousin who swears he got christened with brown liquor. When Allen Hacker’s molasses-thick drawl tells the tale, it’s hard not to take that claim at face value. The Creekers might be the best sample of modern bluegrass music for the uninitiated, using modern tricks and an exaggerated flair to lend an enduring quality to an aging art form.
7.5
Once in a Mile – John Morgan Written By Adam Delahoussaye
Songwriting succeeds when it can make a twice-over theme sound like a one-of-a-kind catchphrase. It’s the trick that gets John Morgan’s “Once in a Mile” to stand out in the sea of trucks swerving through town looking for the girl to swing open the passenger door one last time. You can find his jeans in the grass by the riverbank, and the knob on the radio may drift to his jam; still, the singer can’t find it in him to run the one red light in town when there’s no longer a final destination on the other side. Morgan’s not exactly in unfamiliar territory, but that quick turn of phrase is the hook, line, and sinker on his southern star chops. Between his casual cadence delivering what should be a corny one-liner and that melodramatic, mid-2010s arrangement, Morgan makes his best case yet for being a straight-line star amongst the masses on Music Row. There’s a confidence and comfort found in one’s hometown, and for this singer, there’s a creative stroke of genius when it feels like the foundation is shaking underneath him.
7.0
The Old Guys – Dan + Shay feat. Cody Johnson Written By Max Buondonno
Dan + Shay want to be your soundtrack for any and every emotion you can think of. The duo leans into emotional subjects like there’s a pistol to their foreheads, and the result is usually a surface-level track that gets far too overdramatized, with elaborate production and subpar lyrics. Henceforth, “The Old Guys” exists. A duet with Cody Johnson, the song explores the emotional toll it could take if the person they love dies before they do. This dire subject matter is blatantly acknowledged in the first sentence, so you always know what they’re talking about… and then they somehow work in comparison to old country artists. Highlighting tear-soaked whiskey and beer that legends like Keith Whitley and George Jones would drown their sorrows in, Dan + Shay hinge the entire track on squeezing in enough references to get your attention to an otherwise sleepy, too-depressing-to-enjoy smorgasbord of sounds. Both parties perform well vocally, and the song stays true to the duo’s Christian-pop influence in its production. But there’s never a moment during its 3:14 runtime that imparts something meaningful or relatable on the subject of losing the person you love, only that there’s an excellent chance you’ll destroy your liver after it happens. Quite original in the world of country music, to be frank.
5.8
Always On My Mind – Ty Myers feat. Carter Faith Written By Joel Reuben Pauley
For Ty Myers, the goal right now should probably be to distance himself from his current identity as a nationally recognized John Mayer Clone. His latest release, a cover, doesn’t exactly provide any of that much-needed originality, though it’s refreshing to see him venture in a new direction. Bringing in Carter Faith, Ty makes his version of “Always On My Mind” stand out in a few ways: first off, the addition of Carter’s backup vocals turns this classic into a duet, as both voices complement each other exceptionally well through each inflection. Second, the instruments take a cinematic route with the strings and guitars filling the mix more noticeably than other popular recordings of the track. Although Willie Nelson made this song a massive hit, it was first recorded by Brenda Lee, then Elvis and a few others before Willie ever cut it. Still, this rendition feels different enough to remain fresh in country’s current atmosphere; after all, there aren’t that many notable artists going out of their way to cover songs from the outlaw era. As a standalone cover, “Always On My Mind” fits well into Myers’s discography; however, if he doesn’t want to stunt his growth, more original, inspired work is required.
8.5
Having One Now – Gavin Adcock Written By Joel Reuben Pauley
It’s almost remarkable how easy it is to root for Gavin Adcock through the stories in his music. It’s not like he’s presenting as a stand-up guy, and he’s likely called out an artist you like, but it’s hard to shake the undeniable charm he carries. “Having One Now” comes from the same attitude as hits like “When It Rains It Pours,” only less gimmicky. Adcock explains how he was basically down and out until he met a new lady of interest. Written with Luke Laird and Rhett Akins, it’s not surprising how easily this song flows. With the delivery of lines like “bad luck’s been my best friend,” every lyric feels personalized and true to Gavin. There’s a strong redemptive energy within the message, and when combined with Adcock’s howling vocals and infectious melodies, he generates serious sing-along potential. The only thing missing here is an equally rambunctious arrangement. Each instrument in the mix is significantly more mellow than the sound that the track’s concept was probably designed for. With a little more oomph, “Having One Now” might’ve become a huge anthem for Saturday nights with “da boys,” and it still might be; as is, it’s just not the bonfire smash that it could’ve been.
7.1
Turn On The Radio – Sunny Black Written By Joel Reuben Pauley
After gaining a notable following for his covers of classic country songs, Sunny Black is taking the time to release a few of his own, building on those vintage inspirations. His latest, “Turn On The Radio,” lets you into his mind in an exceedingly fun way. Discussing his dreams of making it as an artist, he flips the phrase from the title, hoping it will soon be his “turn” on the radio. With that idea, this isn’t meant to be a widely relatable song; rather, it focuses on documenting his personal aspirations. Sunny’s loose, playful execution helps it land, showcasing some of his ambitious charisma. This single shares an old-fashioned production style similar to Zach Top’s or Braxton Keith’s, harnessing a true-blue traditional sound that matches Black’s vocals. On the topic of Zach Top, this track falls into a similar category of “Sounds Like The Radio,” which was also a self-narrated upbeat jam about the radio. For Top, this kind of song helped create a lot of momentum early in his career, and Sunny seeks to follow a similar path. To follow up effectively, he should lean into this new, retro sound he’s tapped into, rather than the more modern style he’s previously attempted. If he continues to build upon the sound that he’s garnered from his country heroes, there’s no telling how soon he will start climbing the radio charts he seeks to reach.
7.7
Paper Tiger – Chandler Walters Written By Aishwarya Rajan
The pairing of bluesy electric guitar and country songwriting has become increasingly prevalent as younger artists infiltrate the genre, each one presenting as the next copycat John Mayer. When drawing inspiration, few have attempted to develop their own identity outside of that influence: the guitarist-magician with blues undertones. On “Paper Tiger,” Chandler Walters proves to be a rare exception. This track glides the hum of a pedal steel guitar before clearing into an unmistakably Mayer-esque guitar riff. It’s a track that feels effortlessly mesmerizing, stacked with vast movement that’s hard to get enough of. Metaphorically, Walters spends the song describing himself as a proverbial paper tiger: pull back the curtain, and he’s a gentle, harmless man, one whose protective instincts have been mistaken for something a woman should run from. What makes the songwriting itself striking is the comparative nature of each line, stepping into metaphor and reality within a single clause without tipping into cliché. He’s living under bar-room lights when he should be caged, wild-eyed in a way no angel can tame, and insists that the image others have construed isn’t reality, because he doesn’t bite. If Chandler Walters continues to push further into this exploratory corner of his songwriting and sound, he is an artist worth following.
8.3
