Albums
Nick Jonas- Spaceman (Island)
Inspired by reflections birthed in quarantine, the pop prince’s fourth studio set is his most ambitious effort yet in terms of narrative, production, and thematic scope. It proves to be an odyssey that is both stylish and confident; impressively balancing the well-established radio magic, as evidenced by the trifecta of jams including “This Is Heaven”, “2Drunk”, and “Delicious”, with his growing ambition to expand his sonic, lyrical, and artistic boundaries. Spaceman stands to be a dark-horse favorite among this year’s slate of mainstream pop releases.
Valerie June- The Moon and the Stars: Prescriptions for Dreamers (Fantasy)
This Americana heavyweight’s fifth long-player proves that there’s absolutely no limits to the fascinating wonders to behold within her startling vocal range, or her ever-expanding palate of rich roots influences, which magnificently marries a humble American roots sensibility with a wide, world-influenced flavor. The record positively shimmers with a gorgeous, stargazed grace and an emotional range that is at times rapturous (the earthquaking Carla Thomas feature “Call Me A Fool”) and others meditative (“Stay”, “Why the Bright Stars Glow”). The entire record is a bounty of sonic riches to discover.
Kings of Leon- When You See Yourself (RCA)
The long gestating-return from the fabled Nashville rockers is as brooding and slow-burning as anything to be found in their catalog, but rest assured the returns are more than worth the investment. Their thick arena-ready rock sounds remain as polished and precise as they’ve ever been, while tracks like the elegant “Golden Restless Age” and the devastating Alzheimer’s-inspired “100,000 People” are as poignantly powerful and soul-stirring as anything the band’s ever written. Meanwhile, alt-smash “The Bandit” proves that their tasty, riff-laden hit formula has not yet dried up either.
Lake Street Dive- Obviously (Nonesuch)
This fetching quintet will undoubtedly stand as one of my favorite musical discoveries of 2021, and this seventh studio release seems poised to be their well-deserved breakthrough to a wider audience. Spanning a bopping melting pot of funk, pop, soul, and R&B, and a deep topical well that tackles everything from the misogynistic injustices still facing women (“Being A Woman) to the messy world circumstances being left for the next generation (“Making Do”), Obviously is both an infectious and thoughtful pop pleasure. Lead vocalist Rachael Price is a charismatic vocal dynamo and the chemistry with her bandmates is superb, as best demonstrated on hit single “Hypotheticals” and the tension-laced romance of “Same Old News”.
Lana Del Rey- Chemtrails Over the Country Club (Interscope)
Another mesmerizing and bewildering travelogue through the beautifully twisted psyche of Lana Del Rey. True to the tradition established by her preceding six albums, Chemtrails offers gorgeously romantic and, at times, utterly depressing musings on domesticity, fame, industry corruption and relationships. Her ability to tap into the most unique and complicated details of the human experience remains exquisite, as does the haunting, tragic aura that is embedded in everything she touches. The most inspired moments arrive however in the thrilling stylistic turns she takes in collaborations with Nikki Lane and Zella Day & Weyes Blood respectively on the alt-country of “Breaking Up Slowly” and Joni Mitchell’s folk gem, “For Free”.
Loretta Lynn- Still Woman Enough (Legacy)
Arriving fifty years on from her most pivotal cultural moment, 1970’s classic Coal Miner’s Daughter, Still Woman Enough marks a staggering fiftieth studio release from country music icon Loretta Lynn, and is likewise the fourth in a series of five albums produced by John Carter Cash and her daughter, Patsy Lynn Russell. It’s a mixture of new tracks, covers, and revisited songs from earlier in Lynn’s discography. Her signature twang has retained an impressive degree of power given both her approaching 89th birthday and an array of recent medical issues. It’s a pure joy to hear an artist of her heritage and stature still singing at this level, and the loaded star power provided by cameos from leading country women like Reba McEntire, Carrie Underwood, Margo Price, and Tanya Tucker is a generous bonus.
Morgan Wade- Reckless (Ladylike)
Mainstream country fans and programmers still mourning the implosion of their newest bro-king, Morgan Wallen would be well advised to devote all of his former airplay to Morgan Wade. Reckless is a superb opening outing that is drowning in all of the gritty, honest and raw emotional qualities that the country art form was built upon. The core sound of the record may be of a louder, grungier variety rather than resembling something out of the neo-trad movement, but the torment in Wade’s twangy, liquor-stained voice and confessional lyrics sound like they were birthed during the Outlaw movement. The highlights are numerous, but pay particular attention to cuts like “Matches & Metaphors”, “Mend”, and “Last Cigarette”.
Singles
AJR- “Way Less Sad” (BMG)
The latest hit from the quirky trio of brothers cheerfully sums up the low-bar expectations placed on 2021 by the godforsaken year that was 2020. We’re not yet back to all of the things that allow us to live our very best lives, but we’re a hell of lot closer than we were before. Buoyed by their oddball vocals and a relentlessly peppy supporting track, it’s one of those earworms that’s going to win you over one way or the other.
The Band Camino- “1 Last Cigarette” (Elektra)
Nobody is going to mistake the premise of this song, which finds a hung over dude sorting through the fog of yet another messy Saturday rave, as groundbreaking. In fact, if this were being sung by Luke Bryan or Sam Hunt, I’d be groaning about it being yet another bro-country claptrap. But guess what? It’s not being sung by them, and The Band Camino are a fun, fresh outfit that not only taps into the entertaining aspects of such a storyline, but pepper it with plenty of entertaining character that makes you forget you’ve heard this a million times before.
Jade Bird- “Headstart” (Glassnote)
Bird’s a sharp and charming talent to watch, and is one of those Americana acts who’s not afraid to sprinkle her rootsy sound with just a pinch of pop powder. “Headstart” is both catchy and biting; portraying a confident lover befuddled by the sheer obliviousness of her target even as she eases up her initial “hard-to-get” strategy in favor of a more overtly flirtatious attack.
Brothers Osborne- “I’m Not For Everyone” (EMI)
Brothers T.J. and John continue to remind us just how fun modern country can be when it’s kept clean, crisp, and simple. This refreshing, twangy jolt of down-home personality celebrates everything from zydeco bands and Townes Van Zandt B-sides, and by its conclusion you’re left wondering, “Who doesn’t love those things?”. While on paper it’s truthfully just another one of those list songs that the Nashville assembly line is far too notorious for, you’d never know it on record thanks to this duo’s natural knack for well-sung, well-played, and well-produced performances.
The Chicks- “For Her” (Columbia)
One of the most soulful performances from a masterful album that was rich with such moments. A stirring message that serves as both a tale of two parents whose love for each other can’t be saved by their mutual love for their child, and a universally feminist anthem as well. Natalie Maines‘ vocal power is as potently beautiful as its ever been, and the Wurlitzer backdrop showcases that fact marvelously well here.
Miley Cyrus- “Angels Like You” (RCA)
One of the many tremendous power ballads to be found on Cyrus’ latest record, “Angels Like You” splendidly combines her softer country leanings on the verses with the album’s overarching rock sound on the heart-wrenching chorus. Certain lovers can be as toxic for us as any other addiction, and Cyrus plays that part here with striking honesty, ultimately taking all the painful responsibility: “I know that you’re wrong for me, gonna wish we never met on the day I leave…It’s not your fault I ruin everything, and it’s not your fault I can’t be what you need.”
HAIM featuring Taylor Swift- “Gasoline” (Columbia)
This song already kicked ass in its original form. And while the Taylor Swift addition was certainly not necessary, it’s difficult to argue with its existence once you hear how natural the pop phenom sounds in her role as a fourth member of the band. Given this performance and the trajectory of her recent albums, it certainly seems like she could head in a full-tilt alt-rock direction, and I’m all for it personally. But back to HAIM: this song’s opening couplet is one of my favorites on their killer third album: “You took me back, but you shouldn’t have. Now it’s your fault if I mess around/I took a drag, but I shouldn’t have. Now I’m coughing up like I never smoked a pack.”
Hunter Hayes- “The One That Got Away” (Warner)
The country heartthrob’s early-10s hit streak was the definition of musical wallpaper. It certainly did very little to exhibit Hayes’ prodigious talents as an instrumentalist, and while “The One That Got Away” doesn’t really move him forward artistically either, it’s catchy and I like it. And sometimes that’s really all it comes down to. Sue me.
John Driskell Hopkins featuring Coy Bowles- “Lonesome High” (Brighter Shade)
The recent solo album by Zac Brown Band bassist Hopkins from which this single is culled is a hidden treasure to seek out. Joined here by fellow bandmate and guitarist Bowles, “Lonesome High” makes for one of the entire project’s highlights and harkens back to the gloriously organic and acoustic sound of band classics The Foundation and You Get What You Give. It’s one of those songs that feels like a musical cleansing.
Justin Townes Earle and Dawn Landes- “Do I Ever Cross Your Mind” (Fun Machine)
Justin Townes Earle was, in many ways, my gateway into Americana and roots music super fandom. He was also one of the first singer-songwriters of my actual adulthood that I truly connected with. So, it’s still kind of shocking that he’s no longer here and I’ll gladly welcome any bit of unheard music from him. He and Landes sound wonderfully sweet and pure on this charming cover of what also ranks among my very favorite Dolly Parton classics. #jazzhands
Jack Ingram, Miranda Lambert and Jon Randall- “In His Arms” (Sony)
Miranda Lambert is, at least on a small scale, revealing herself to me as the Emmylou Harris of her generation in terms of the sheer variety and stylistic scope of her artistic collaborations, super groups and side projects. The raw intimacy and unscripted spontaneity of this track and the forthcoming Marfa Tapes project is so warm and inviting. They more than succeed in making you feel as if you stumbled upon their fireside guitar pull. More please!
Nick Jonas- “This Is Heaven” (Island)
Early signs seem to indicate that the broader narrative and conceptual scope of Nick Jonas’ new album is going to leave it overlooked by pop radio. If that proves to be the case, they’ll be leaving some credible smashes on the table, with “This Is Heaven” chief among them. It will be in heavy rotation on all my devices regardless. Jonas’ pop chops are the real deal, and I’m really digging this 80s-tastic sax solo.
Valerie June featuring Carla Thomas- “Call Me A Fool” (Fantasy)
Plain and simple: Valerie June’s voice is a freaking force of nature in this universe we’re living in. The grit. The soul. The passion. She throws every last ounce of her fiber at the listener here, for us all to relish and transfer into our own beings. A magnificently magical performance.
Ronan Keating and Shania Twain- “Forever and Ever, Amen” (Decca)
A tender pop recreation of Randy Travis’ stone country classic that Keating and Twain treat with tasteful restraint and reverence. Keating never commits the sin of overreaching, keeping his pure rendering deeply rooted in the humble poetry of the lyric. Twain meanwhile taps into the sweetest realm of her register with a soft, coffeehouse vocal that suits her voice beautifully.
Elle King and Miranda Lambert- “Drunk (And I Don’t Wanna Go Home)” (RCA)
Power pop and twangy banjo-rock collide in this undeniably fun romp that is joyfully self-aware of every one of its indulgences in the silly excesses of both 80s glam and redneck country. If you’re not convinced of that fact, check out the ridiculous video. Their voices almost blend too seamlessly, leaving it difficult at-times to discern the two singers from one another. But that’s a minor complaint of a track that’s mindlessly silly, and all the better for it.
Lake Street Dive- “Hypotheticals” (Nonesuch)
This is the springtime smash of 2021 for me, hands down. It boasts such a fun atmosphere and spirited vibe, and my God, are those buttery, velvet vocals sublime in every way. Fantastic.
Lana Del Rey- “White Dress” (Interscope)
There are obviously not any fun and spirited vibes to be found on “White Dress”, yet there is still something bizarrely infectious about the sad and dark ambience about a Lana Del Rey track. And you just know she’s finding utter joy in murdering the melody with that men-in-music-business-conference line. All sarcasm aside, this is a truly beautiful performance, and one that captures the most somber aspects of nostalgia. It’s the reality check that sometimes the fulfillment of one’s supposed dreams is really the end of one’s happiness.
Kings of Leon- “The Bandit” (RCA)
Searing guitar licks, Caleb Followill’s signature rasp, and a surging and suspenseful energy. “The Bandit” offers all of the reliable qualities that we’ve come to expect from a Kings of Leon hit. The song itself is about a desperate pursuit, and not necessarily that of a runaway criminal. There are so many things that we chase after in our lives and you can’t help but feel as if this song is metaphorically representing whatever those intangible elements may be in your own specific life journey.
Ashley Monroe- “Drive” (Mountainrose Sparrow)
The critical country darling colors with some vibrant new shades on this lead single from her forthcoming fourth album, exploring a seductive realm of dreamy alt-pop. Her pure, honeyed voice has long been proven adept at pivoting down any stylistic path she chooses, and “Drive” is no exception. This is eerily hypnotic in all the very best ways, and is a promising preview of the LP it’s launching.
Nitty Gritty Dirt Band featuring Rosanne Cash, Steve Earle, Jason Isbell and The War & Treaty- “The Times They Are A-Changin'” (NGDB)
The Dirt Band assembles an impressive brigade of roots music powerhouses for a captivating rendition of one of Bob Dylan’s most iconic cultural showpieces. Add in the fact that the sentiments are just as relevant in today’s national landscape as they were six decades ago, and you’ve got a show-stopping moment on your hands. I’ll gladly take an entire record of folk classics from this group of artists.
Pentatonix- “Be My Eyes” (RCA)
A sparkling pop nugget that reminds us that the a capella group is just as capable of crafting solid original material as they are the countless cover and holiday tracks that have made them viral sensations and in demand collaborators in countless corners of the music landscape. Their signature harmonies shine against the track’s glowing arrangements and offbeat melodic zig zags.
Silk City featuring Ellie Goulding- “New Love” (Sony)
Goulding’s fluorescent vocals unsurprisingly prove the perfect fit for the latest single from electronica masterminds Mark Ronson and Diplo. It’s a glorious glitter ball of vintage disco glitz and modern dance euphoria.
Silk Sonic- “Leave the Door Open” (Atlantic)
The debut single from Bruno Mars and Anderson .Paak’s pending collaborative project is a prime example of a perfect pop record. The vocals, musicianship (Yes! Real instruments!), and production is flawless at every turn. The pair’s chemistry and musical interplay is instantly palpable and entertaining. The retro nods to classic soul and Motown influences are faithfully authentic while feeling 100% present in the modern age. Finally, Mars’ vocals are arguably as smooth and natural as any performance he’s ever recorded. When the man is on his A-game, he’s virtually untouchable in modern pop. A brilliantly insatiable single.
St. Vincent- “Pay Your Way In Pain” (Lorna Vista)
The latest from St. Vincent is precisely the bizarre, dizzying alternative outing that we’ve come to expect from the emerging queen of the genre. If this track is any indication, her pending album may single-handedly usher in a new psychedelic movement in rock music. Her long-discussed Bowie influences are as prevalent as they’ve ever been, and he’d surely be proud of the trippy, whiplash-inducing wonders she unearths here.
Morgan Wade- “Wilder Days” (Ladylike)
Wade comes right out of the gate possessing the unique quality that defines the most special of country singers: her voice is naturally laced in truth and honesty, and that translates to everything she sings. This debut single is incredibly relatable for folks that meet their soulmates later in life. You can’t help but contemplate what it would have been like had you crossed paths in earlier periods of your lives, and even long to experience just a taste of the former version of the person you love today.
Album Cuts
Steve Earle- “Champagne Corolla” (New West)
A fun, stylish, and comforting moment from Earle’s recent tribute album to his gone-too-soon son, the king of Copperhead Road does a standout job with one of the groovier left-turns in JTE’s catalog. Straight up rock & roll fun from a great songwriter whose moments of levity were understandably fewer and far between.
The Killers featuring KD Lang- “Lightning Fields” (Island)
I was really hoping, though not expecting, that this thrilling showstopper from Imploding the Mirage would be selected as The Killers’ next single. But alas, they’ve gone with a middle-of-the-road bonus cut instead. Nevertheless, “Lightning Fields” remains a definitive performance to check out. Lang’s transcendent voice is still one of the true treasures in popular music, and its pairing with that of Brandon Flowers is masterful in the drama, emotion and aura it captures.
Carly Pearce- “Liability” (Big Machine)
Pearce’s confessional 29 EP has been one of my go-to projects since its release. Every song is stellar, which made it difficult to select a track to showcase here. I ultimately landed on this bluesy mid-tempo. There are far deeper compositions surrounding it, but I just can’t escape the pull that Pearce’s vocals create here when dipped in those rich riffs and rustic dobro flourishes.
Bruce Springsteen- “Janey Needs a Shooter” (Columbia)
It’s no coincidence that this passionate highlight off of last fall’s Letter to You already sounds like an old Springsteen classic, given the fact that he resurrected it from the vault, having written it originally during the early 70s onset of his career. The fact that it sounds like it could have easily been included on Born to Run or Darkness on the Edge of Town is a towering testament to the perseverance of both his and The E-Street Band’s ageless rock & roll chops and street cred.
Carrie Underwood- “How Great Thou Art” (Capitol)
Underwood’s fan base has been longing for her to formally record the classic hymn ever since she mastered it live back on a television special in 2011. Her new gospel album proved to be the perfect moment for it to become reality, and it’s a powerful demonstration of what a special vocalist she truly is. You don’t need to have an ounce of religious faith for this record to bring you to your knees.
Flashback Tracks
Coldplay- “Clocks”, 2002
There are some musical moments and specific arrangements that forever etch themselves into the very fabric of an era’s identity. The legendary piano riff that is the centerpiece of “Clocks” is one of those, and the same can be said for the beautifully mysterious performance that unfolds from Chris Martin and company throughout the record. An epic single in every sense of the word.
Dire Straits- “Sultans of Swing”, 1978
The same accolades mentioned above can also be bestowed upon the debut single from rock gods Dire Straits. The stratocaster guitar solos are among the preeminent, definitive moments of the entire Classic Rock era, and they sound as effortlessly cool today as they ever have. Mark Knopfler is one of those momentous artists and musicians who represent a bygone element of popular music, where the emotions and conversations coming from the instruments were just as crucial as those coming from the vocalist.
Frank Sinatra- “In the Wee Small Hours”, 1955
There will simply never be another singer like Frank Sinatra. His canon is enormously prolific, however this title track, and the masterpiece it anchors, will perhaps forever rank among his grandest moment. The grace, the style, the romance, and the character of every single emotive lyric and note is astounding. It’s the very definition of a mood record; immediately transplanting you to the dark streets depicted on the cover. You can almost smell his cigarette and taste his cocktail.
Dusty Springfield- “I Only Want To Be With You”, 1963
Like Frank Sinatra above, Dusty Springfield is ultimately most remembered for creating her own version of mood records with her sensational exploration of Memphis soul. But as evidenced by her debut single, she was one hell of a pop singer as well, and “I Only Want To Be With You” remains an undeniable shot of early 60s euphoria. It remains a pivotal mile marker on the road map of the British Invasion, and one of the most beloved oldies of all time.
Porter Wagoner and Dolly Parton- “The Dark End of the Street”, 1968
The individual catalogs of Porter Wagoner and Dolly Parton are exhaustive to explore, in and of themselves. And their discography of duets is nothing to sneeze at either, littered with plenty of intriguing and surprising nuggets to excavate. This James Carr hit became a soul standard, but its cheating storyline naturally translated to the country sphere, and Porter & Dolly’s version remains one of their most formidable deep cuts.
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