Banditos- “On My Way” (Egghunt)
You ever discover an artist for the first time, realize they’ve been around for years, and then spend the rest of your day wallowing in the regret of lost time? It’s precisely how I have felt over the past few weeks as it relates to the entrance of this song and the freaking fantastic band behind it into my life. Holy hell, is this record a fabulous jolt of joyous energy, not to mention an impressive piece of musicianship. “On My Way” is a simmering stew of sensational sounds, pulling from rock & roll, soul, country, boogie woogie, and Tejano. Meanwhile, the voice of Mary Beth Richardson is a gorgeously ferocious wonder to behold, recalling powerhouses as diverse as Janis Joplin, Wynonna, and Brittany Howard. Their third LP drops this spring; in the meantime join me in digging through their short but fantastic back-catalog. Whatever you do, get more Banditos in your life.
Sarah Buxton- “Hard Things” (Tone Tree)
This raw, gorgeous country ballad stops me in my tracks each time I listen to it. It’s undoubtedly one of the best-written break up songs I’ve heard in not-so-recent memory, with Sarah Buxton’s bittersweet rasp in as fine a form as it’s ever been. The range of emotions wrapped up in her performance are expansive and perfectly represent those that define one’s struggle with the realization that a relationship is over, not to mention the challenge of doing something about it. She exhibits strength, resolve, disappointment and sadness through every stinging lyric, but nothing cuts quite as bitterly as the bridge: “I know how to make you happy/All I do is leave alone/By the time you wrap your mind around goodbye, I’ll be long gone”. A career defining moment that in a fair world would achieve recognition as a modern classic in the storied country canon. That’s certainly how I will recognize it in the years ahead.
The Cactus Blossoms- “Is It Over” (Walkie Talkie)
What a clean, solid production this track is. Their harmonies are sublime, and marvelously reminiscent of the lush vocals that helped define the pop and rock classics of the 60s, and the same can be said for the astute country instrumentation that so perfectly compliments the mood and spirit of the vocals. There’s not a bit of post-millennium studio clutter to be found here: every note, word and moment gets its own opportunity to shine and contribute to the overall performance. These don’t just have to be the qualities of “retro-sounding” releases; it can be the same standard aimed for in 2022, while still allowing for stylistic expression and experimentation. More Cactus Blossoms over here, please!
Coldplay and Selena Gomez- “Let Somebody Go” (Parlophone)
A gorgeously luminous pop ballad that smartly doesn’t attempt to be anything more or anything less, and that’s precisely why it succeeds so well. It’s a grounded performance where, though tempted at the start of the third chorus, the production never gets in the way of the vocal showcase meant to be the vessel for the tattered emotions at the core of the song. Chris Martin remains one of the most magnetically captivating vocalists today, and Gomez follows through with her end of the bargain beautifully as well. This one deserves to be a big hit.
Father John Misty- “Funny Girl” (Sub Pop)
What a transportive listening experience this is. Opening with a grandiose, dramatic orchestral introduction, the listener initially may think they’ve accidentally queued up an old Hollywood soundtrack from the 30s or 40s. And it’s that feeling that makes this such a wondrous performance to get lost in. Misty doubles down on this style as the record progresses, delivering a charming and flirty jazz-styled vocal that ties it all together dubiously. You got me hooked, Father John.
Avril Lavigne- “Bite Me” (Elektra)
For those critics that speculated that Avril Lavigne had abandoned the biting attitude of her early days after the release of 2019’s Head Above Water, the singer pretty much sums up her message for you in this lead single from her pending seventh album. I personally hold no ill-will toward Lavigne or any artist that expands out of the restrictive box that many try to pigeonhole them into. With that said, I do certainly share in the delight of hearing the 2000s’ favorite punk spitfire return to her most iconic wheelhouse. Does it resonate as strongly as the biggest hits from her prime? Of course not, as it doesn’t have the well-worn nostalgia factor on its side. But, “Bite Me” does have plenty of its own legs and proves that Lavigne is as skilled in this style as any modern hitmaker on the airwaves today.
Lil Nas X- “That’s What I Want” (Columbia)
For my money, this could be the biggest smash yet off of Montero; it’s certainly among my favorites of the bunch. “That’s What I Want” is anchored by an acoustic guitar riff that slightly nods to the country influences of “Old Town Road” that have so far proven to be a very limited ingredient in his repertoire, before exploding into an infectious, rapid fire banger that’s deep fried in a batter of straight-up pop contagion and hip hop swagger. At just over two minutes in running time, it lives in the grand tradition of oldies radio staples that never overstay their welcome, and thus leave the listener thirsting for more. Conversely, it also stands to be another important forward-looking moment in the topical evolution of mainstream radio, as a queer-love anthem that seems destined to become one of the most played records of the spring. It any context, it’s a winning performance from one of the most promising young artists in pop today.
Corb Lund- “Highway 87” (New West)
For Canadian cowboy Corb Lund’s next release, the Americana favorite has chosen to record an album completely consisted of hidden gems by a slew of his favorite songwriting friends. And you can’t launch such a project in much better fashion than with a cut from Hayes Carll. “Highway 87” is definitely dripping with all of the great lyrical character and idiosyncratic nuances that have come to define Carll’s canon, and when such qualities are combined with equally important signatures from Lund’s musical identity (i.e. unapologetic twangy vocals and chugging guitar and bass lines), you can’t possibly go wrong.
Trixie Mattel featuring Shakey Graves- “This Town” (Producer)
The Drag Race superstar taps an Americana staple for this beautifully restrained peek inside the experience of growing up in a small town. It’s certainly a musical trope that has been done ad nauseam in the country field, but when it’s done well, it’s as powerful a storytelling narrative as anything you’ll find in popular music. And Mattel does it damn well here, coloring the vocals with sweet affection, but not without shedding light on the darker sides of suburbia either: “I used to drive about seventy late at night/Cops would see me and they’d let me drive on by/Cause there’s stuff to do and men to meet/And drinks to have and women to beat.” Look: Mattel is proving to be one of the most relevant modern disciplines of Dolly Parton with each new release: a flashy exterior with a stunningly gritty poetry lurking on the inside. You may find such a claim blasphemous, but take a good listen to the music and then try to disagree. Oh, and Trixie and Graves sound fantastic together here too.
John Mellencamp- “Chasing Rainbows” (Republic)
Sage and poetic life advise spilling from the nicotine-laced lips of John Mellencamp, set against a sweet, almost Celtic-styled arrangement. Welcome to the magical world of the latter-day catalog of Johnny Cougar. It’s stirringly beautiful, just not in the most obvious, surface-level ways. We spend our entire existences chasing something that we think is going to make us whole. Turns out that something doesn’t even exist, and the real rewards are found in the surroundings we overlook while on this goose-chase. He delivers the message so convincingly because he’s lived it. Heed his advice, and appreciate what you have today and quit wasting your time on a hollow mission.
Post Malone and The Weeknd- “One Right Now” (Republic)
In a nutshell, the lead single from Post Malone’s forthcoming studio album provides the story of a man sleeping with virtually every woman in sight in order to avenge the betrayal he feels from his former lover’s own infidelity. It’d be easy for this to devolve into a shallow and trashy, albeit entertaining, contest of slutting around. But then there’s the beautifully lonesome qualities of The Weeknd’s voice, which immediately add a new layer of desperation and devastation to the proceedings that frankly, Malone could have never accomplished on his own.
Willie Nelson- “I’ll Love You Till the Day I Die” (Legacy)
Generations and centuries will pass, but there are a few plain facts that will live on from now until the end of time. One of them: there’s nothing on earth quite like Willie Nelson, at any age, singing a classic country ballad. And if that ballad can’t be penned by Nelson himself, a co-writing team of Chris Stapleton and Rodney Crowell will certainly do the trick. We’ve been able to hear the depth of Nelson’s physical voice withering bit by bit over the past few years, but there’s no denying the interpretive and stylistic powers of the man remain as staggering as they ever been. And they will always will. They’re as everlasting as the love he professes in this song, which is bolstered by his classic country trifecta of gut-string guitar, harmonica and gorgeous piano solos that recall his legendary sister, Bobbie. A masterclass in country music beauty.
Portugal. The Man- “What, Me Worry?” (Atlantic)
An irresistible blitz of disco, psychedelics and just general mania. The lyrics deny that they’re tripping, and merely dancing. One verse in, and you’ll be doubting the legitimacy of the first claim, and certainly partaking in the second.
The Record Company- “Never Leave You” (Concord)
Now, here’s another killer band putting out honest-to-goodness, kick ass rock music. Lead vocalist Chris Vos has such a unique, atmospheric quality to his voice and the musicians he’s enlisted match that quality with fantastic grooves and deliciously bluesy riffs throughout. Another underground act worth seeking out.
Red Hot Chili Peppers- “Black Summer” (Warner)
The return of Red Hot Chili Peppers after a six year drought in the studio undeniably stands as one of the biggest musical events of the year, and they launch such a reemergence in excellent fashion on the gorgeously moody “Black Summer”, a haunting mid-tempo that builds at a perfectly slow and sweaty pace and astutely showcases all of the glorious qualities of the band that we’ve loved for three decades now. The instrumental dexterity and Rick Rubin’s classic alt arrangements seep deep into your veins in short order, while Anthony Kiedis‘ charismatically dramatic vocals are unmistakably his, and chalk full of all the tension and anticipation that defines the band’s most legendary moments.
Shovels & Rope- “The Human Race” (Dualtone)
The closing track to the aforementioned Manticore is a sterling confrontation with mortality and reconsideration of what really has the most value as we navigate our own individual adventures on the planet. The song contains some of the duo’s most chilling and thought-provoking lyrics of their impressive career and unsurprisingly, they deliver them with the plaintive grace, care and reverence they require: “You gotta go, it’s the price of admission/Follow your intuition/Stick around till the party’s over/And fear not the serpents at your feet/Love everyone you meet/’Fore you’re six feet ‘neat the clover.” Turn the lights low and take in each word when listening to this performance; it will make you contemplate your priorities for the better.
Billy Strings- “In the Morning Light” (Rounder)
Without question, Billy Strings is doing for modern bluegrass what acts like Alison Krauss & Union Station and Nickel Creek did for the medium back in the late 90s and early aughts, utilizing his visceral vocals and prodigious musicianship to turn a new generation of listeners onto the natural beauty of the fabled genre. He’s also reminding those us who have overlooked that treasured style of music in recent years as well. “In the Morning Light” is my favorite performance I’ve discovered thus far. There’s just such a majesty to Strings’ mountain voice and the way it blends with the fiddle and mandolin perfection surrounding it. Listening to it on your pods and shutting your eyes will absolutely recharge your soul.
Taylor Swift- “Message in a Bottle” (Taylor’s Version) (Republic)
Much like the other newly released tracks on Swifty’s re-recorded albums from 2021, “Message in a Bottle” allows us to revisit some musical phases and stylings that the pop megastar has since moved on from. Therefore, it’s more an exercise in nostalgia rather than an encounter with another new styling within her arsenal. This lands squarely in that moment where she was preparing to make the full transition from country to pop, similar to original Red tracks like “22” and “I Knew You Were Trouble”. All of that original charm is still here, but its most pivotal contribution is in illustrating just how far she has come since then with her artistry and pop-craft.
Tears for Fears- “End of Night” (Concord)
Arriving nearly twenty years since their last long-player, and double that amount of years since their initial breakthrough, the latest batch of music from New Wave stalwarts Tears for Fears is a significant return and an impressive example of resilience, both artistically and personally. This killer track is the highlight of the bunch for me, sounding still convicted in their synth-soaked 80s signatures but yet also feeling wholly modern and fresh. Their harmonies remain potently strong and entrancing, and for all the evolution one may want and expect from an act whose career now spans four decades, this is still the soundscape where they sound at their very best. The time-trapped New Wave sound would make a lesser act sound dated and out of touch; in this case however it’s the durability of the band that makes this subgenre sound original and revelatory all over again.
Hailey Whitters- “Everything She Ain’t” (Pigasus)
I’m really eager to hear Hailey Whitters’ sophomore effort that drops next month, and this excellent preview only heightens that anticipation. Everything encapsulated in Whitters’ identity as an artist and person just feels so authentically refreshing, from her voice and sound to her chipper personality and punchy lyrics. It’s entirely reminiscent of when Kasey Musgraves first arrived on the scene, and it’s clearly evident that Whitters is one of the first descendants to follow down the same inroads that Musgraves paved nearly a decade ago. There’s some Prine sensibilities that are very prevalent here, and that witty lyrical sensibility pares tremendously with Whitters’ organic blend of plucky honky tonk, folk whimsy and a deliciously sardonic bite.
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