Bruce Springsteen- “Ghosts” (Columbia)
A celebratory anthem deeply soaked in the classic, electricity-laced sound that defines The E-Street Band and perfectly paired with a surging and heart-warming spirit emblematic of the love, community and friendship shared between Springsteen and his fabled band. Underneath it all, it’s a eulogy for those members that have passed on, but one written in that bittersweet but triumphant phase in the grieving process where the pain caused by the loss of a loved one is eased by the unflinching happiness their memories provide.
Dua Lipa (featuring DaBaby or Madonna and Missy Elliot)- “Levitating” (Warner)
Following in the footsteps of the Future Nostalgia smashes that preceded it, “Levitating” is an undeniable dynamo where disco beats, 80s pop sheen, and seductive vocals collide. As per current pop music trends, the song is also offered in multiple remixed versions, one as a duet with inescapable rapper DaBaby, and the other featuring influencers Madonna and Missy Elliot. Lipa’s solo version remains the pick of the litter however, and she’s more than earned keeping the spotlight to herself. With the possible exception of The Weeknd, no other pop star currently has the golden hit-making touch on the level of Dua Lipa.
Tim McGraw and Tyler Hubbard- “Undivided” (Big Machine)
A message song that is as culturally timely as it has ever been in our country, as we sit on the cusp of what will certainly be the most tumultuous transfer of power in American history. With a humble and straight-forwardly breezy arrangement to match its clear-eyed narrative, it swiftly avoids the sap-trap that so many message songs, particularly in the country genre, have succumbed to before it. McGraw could have easily done this thing solo, and while I’m automatically on alert regarding anything involving Florida Georgia Line, Hubbard to his credit does leave his band’s nauseating tendencies and artistic shortcomings at the door, and admittedly matches McGraw’s thoughtful sincerity throughout.
Ariana Grande (featuring Megan Thee Stallion & Doja Cat)- “34+35” (Republic)
Both the chatter surrounding this record and the fact that it’s such a infectiously successful performance are equally a result of the startling dichotomy caused by Grande’s sweet and innocent voice so directly expressing such explicit sexual desires. It works because it’s so obviously apparent that Grande is fully aware of the irony, as demonstrated by the nonchalant, almost sarcastically winking delivery which hides underneath the surface of her vocals. As with the aforementioned Lipa track, the Stallion/Dojo remix is unnecessary, so stick with the solo take.
Of Monsters & Men- “Visitor” (Republic)
This Icelandic squad continues to venture further away from their indie-Folk roots, and their more recent rock touchtones, with the electronica-leaning mist of this eerie track. Nevertheless, they continue to captivate with the same mysterious and bewildering wonder that first knocked us on our asses with “Little Talks” nearly a decade ago. Like much of their catalog, “Visitor” takes multiple listens to hook your senses, but it ultimately will. For anyone still doubting Nanna Bryndis’ status as one of alternative’s most mesmerizing presences, simply listen to her deliver this line: “My mother said I was always afraid of the dark/But I’m not, I don’t mind/Having a ghost in my bed.”
Ashley McBryde- “Martha Divine” (Warner)
One of the most enticing qualities among the many impressive skills on Ashley McBryde’s resume is her ability to transform into a bona fide, fire-breathing country-rock outlaw. This gripping and entertaining volcano of a single without question her ultimate moment in that realm to date. The sheer ferocity is impressive, but never once more powerful than McBryde’s own vocal delivery. This is an instantly worthy addition to country music’s storied lexicon of murder tales, and it’s unique position from the perspective of a vengeful daughter, not lover, deliciously sets itself apart as well.
Luke Combs- “Better Together” (Columbia)
With a pure and robust country voice, and loads more sincerity than most of his top 40 country peers can muster combined, there’s no denying that Luke Combs is one of the more likable headliners to ascend the Nashville ladder in several years. This technically sound performance demonstrates both of those strengths, but like the majority of his singles to date, the lyrics rely far too heavily on stereotypical bro-country signifiers that are so overused at this point, it’s blasphemous. It’s a nice performance, but offers very little signs of depth in Combs’ voice as a writer. Mainstream country’s biggest issue right now is its lack of variety and diversity; and “Better Together” is indicative of that fact. There’s just got to be other ways to express this message than through yet another nod to cornfields, 8-point bucks, and the like.
Jade Bird- “Headstart” (Glassnote)
Everything about this single is executed with impressively sharp precision, from the vibrantly layered guitars and the persistent pace at which the volume builds to concise running time that ensures it never overstays its welcome. The anchor of it all is of course to be found in Bird’s biting and intelligent vocal performance, which slowly stalks its subject on the verses before instantly pouncing on the chorus with a vocal wallop that is dripping with all the sexual tension and romantic frustration laid out in the lyrics. It brilliantly sums up the cat and mouse games that can define the pursuit of a new relationship.
Carly Pearce- “Next Girl” (Big Machine)
Combining her gorgeous twang with a sonic template peppered by prominent banjo and crisp country guitar licks, “Next Girl” further positions Carly Pearce as a reliable purveyor of the contemporary country sounds that defined Music City’s female chart invasion in the 90s. Thematically, the track is reminiscent of the bad-boy disclaimers that Carrie, Miranda and Taylor littered the same charts with at the end of the 2000s. Pearce splits the difference astutely, by painting these buffoon suiters in a lighter and more affable light without ever going into “Before He Cheats” territory. The result is a clean, uncluttered record with loads of sardonic charm.
Cordovas- “High Feeling” (ATO)
A solid, sun-kissed outing from a stellar but overlooked band that deserves to find a wide audience with their brand of modern California country-rock. Both the vocals and the musicianship offer generous amounts of character and a clear-eyed stylistic identity that is accessible yet authentic, polished yet natural. Their influences are quite clear, with just one listen transporting you back to the 70s heyday of The Eagles, Fleetwood Mac, and Poco. However, they also clearly demonstrate a well-rounded sound that is all their own, and very much rooted in the future. It’s impressively performed and produced, and vibrantly modern.
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