You’d Think I Was A Cowboy – Dylan Scott Written By Ryan Lippe
With a title like this, one would assume that this song would be full of western, outlaw, and cowboy instrumentation, however, in typical Dylan Scott fashion, it couldn’t be further from the truth. Annoying snap tracks and trap beats cover the song from head to toe, preventing any sound remotely reminiscent of country music from showing through. The only saving grace is the brief piano chords played throughout that mellow out the production, but it does very little for the overall project. It’s safe to assume that lyrics about being a cowboy would often have a selfless theme, but the track is beyond self-centered toward our narrator. The overall energy of the song feels very pretentious and cocky, which is the opposite ideal of the John Wayne -type character referenced in the song that Dylan Scott wants to portray. Finding it difficult to identify a redeeming quality about this song would be an understatement with Scott’s obnoxious vocals and trap beats layered throughout the entire flimsy track.
2.0
Beer For Breakfast – Zach Top Written By Adam Delahoussaye
As easy as it is for many of our neo-outlaw singers to present as pastiche once their coat of shine has worn off, it’s surprising when an act like Zach Top beats his trend to the punch. Not only that, he seems to be actively paving his lane in an egregiously saturated market. Often, he’s treated like a DeLorean warping back to the glitz and glam of the 90s, but a song like “Beer For Breakfast” displays just how incomplete those labels are and how eclectic Top’s record collection is. Here, he’s sinking his teeth in the traditions he grew up on, presenting a far more eclectic version of himself than in the past. It’s edgy, yet the bounce in his delivery is effortlessly playful as he dances through the borderline alcoholism presented here. If he is as ubiquitously ’90s as people suggest, he seems to have left the hairspray at home this go around as we’re given a fuller picture of where Top’s heart rests when it comes to his hillbilly heroes. However, comparing him to anyone too intensely is a serious disservice. A track like this displays that we’re not seeing a revival of anything or anyone as much as the arrival of the genre’s newest superstar.
9.0
Don’t Wanna Say Goodnight – Wyatt Flores Written By Creed Miller
Wyatt Flores gave the first look into his upcoming album with its lead single “Don’t Wanna Say Goodnight;” to no one’s surprise, the 23-year-old delivered yet another impressive release. The track opens with some stirring guitar sounds like a stripped-down version of the instrumental in “Another Leaf” by Charles Wesley Godwin. Refreshingly, it maintains that energy for the entirety of the song, Wyatt’s vocals on the soaring hook take it to another level. The track’s highlight is the instrumental section leading into the final chorus, where Flores starts acapella, only to be joined by the full band in the second half. The powerful build-up makes the listener feel like they could run through a brick wall. As a songwriter, the Oklahoma native continues to shine, pouring his heart out as he sings about doing everything he can to avoid saying goodnight to the girl, uncertain if he’ll ever see her again. The one downside is that his vocals are at war with the band trying to avoid being drowned out, which makes him sound far less comfortable than we are accustomed to. That being said, he has one of the most distinct voices in the genre, and this sound still works for him. Flores’s next project is one of the most anticipated debut albums in recent memory, and if “Don’t Wanna Say Goodnight” is any indicator, his fans are in for a treat.
8.6
Pain Is Cold Water (Live From Fenway Park) – Noah Kahan Written By Creed Miller
Thanks to his live album from Fenway Park, one of Noah Kahan’s most anticipated songs, “Pain Is Cold Water,” is finally available on streaming platforms. His audience fell in love with what they heard in snippets on TikTok, and the track eventually became a prominent point in his live set. Musically, the song is gorgeous, with the fiddle being the stand-out instrument. There isn’t much going on outside of the fiddle, banjo, and some soft guitar, but they perfectly complement Kahan’s voice and do their job to create a calming vibe. The main criticism is that the song has no clear structure; it feels like one long verse. On top of that, it’s only two minutes and 20 seconds long with a rather abrupt ending. It’s over before the listener has the chance to settle into it. Once again, Kahan’s writing is phenomenal and this is a really good song overall; it just leaves the listener wanting more in a potential studio-recorded version.
7.8
Train of Thought – Vincent Mason Written By Ryan Lippe
With each release, Vincent Mason has kept his foot on the throttle, defining his place in music more and more. While “Train of Thought” may not be as distinctive as other singles, it’s just as infectious and energetic as the rest. Throughout his rise to fame, his music has drawn a lot of comparisons to Parker McCollum; more reminiscent of McCollum’s The Limestone Kid album, this song develops a specific aura similar to the one McCollum harnessed nine years ago. However, like McCollum years ago, Mason’s delivery is sometimes messy, with annunciation still needing development. Produced by Jared Keim, the track brings the modern twang into the music scene that fans have been craving. More upbeat than his previous single, Mason has proved early on that he has an extensive vocal range and a knack for cutting songs with enough variety to keep listeners engaged. Even though it’s likely this specific song may slip between the cracks as his catalog deepens, Vincent Mason continues to show fans all across the genre the stellar future he has in front of him.
7.7
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