Kelsea Ballerini- “Heartfirst” (Black River)
“Heartfirst” is an undeniable burst of airy, cotton-candy pop in the purest forms, and Kelsea Ballerini handles herself in this realm with an impressive, natural blend of confidence and charisma. The young lady has developed into an incredibly proficient navigator in and out of the lanes of modern country and modern pop, and this may be her best effort to straddle that line to date. She’s come a loooong way from “Love Me Like You Mean It”. Side note: to the blogger who recently, and accurately, compared this to The Corrs’ “Breathless” and subsequently lodged that track into my brain: damn you and thank you.
Beach Bunny- “Fire Escape” (Mom+Pop)
With it’s rich, full-bodied guitar licks front and center in fantastic fashion, the latest release from Beach Bunny is a solid expansion of the quirky indie-pop sound that first caused the group to grab our attention on the viral hit, “Prom Queen”. Vocalist Lili Trifilio has an expressive turn-of-phrase to her vocals that suggests this may be what a full-on rock track would sound like if Taylor Swift ever travels down that sonic route. If she ever does do so, Beach Bunny has set a high bar to clear here.
Zach Bryan- “Something In the Orange” (Warner)
God damn, what a fantastic song. There are rare and special moments for music lovers when, in the midst of a loop of new tracks, one suddenly stands out and stops you in your tracks. With its vivid lyrical imagery and a stark performance just bleeding with lonely premonition, “Something In the Orange” is one of those moments. Rarely, those moments prove to live on as those special memories where you first fell in love with one of your all-time favorite artists. It’s far too early to tell if that will prove to be true here for myself as it relates to Zach Bryan, but the potential is certainly there. I said it last month, and I’ll say it again here. Exploring this guy’s music feels incredibly reminiscent of when I first did the same with Jason Isbell’s a decade ago. That’s about as high of a compliment that I can pay any singer-songwriter working today. Time will tell if Bryan can live up to those lofty standards, but for the three and half minute runtime of “Orange”, he certainly exhibits that same talent and promise.
Calexico- “Harness the Wind” (Anti)
Like so much of their work, Calexico’s latest single first lures you in with the sheer sonic bliss elicited from its rhythm section, which is dripping in a lush yet spicy wall of Latin rock. The duo then tops it off with gorgeous harmonies and an intoxicating, romantic melody that leaves you aching for more. Another excellent offering from one of Americana’s most under- appreciated entities, and one that has a wealthy catalog ripe for greater discovery. Let “Harness the Wind” be your gateway into Calexico.
Sheryl Crow with Mick Jagger- “Live With Me” (A&M)
Culled from the new rock-doc highlighting the career of the 90s trailblazer, this Let It Bleed classic from The Rolling Stones is in capable hands, with Crow proving that she can still get gloriously down and dirty with a think slice of muddy rock & roll blues. Mick Jagger himself provides a sizzling harmonica solo that breathes the same fiery flames that as the original. Would love to hear Crow’s next album (assuming she backtracks on the previous declaration that she’s done with LPs) travel down this musical path.
Miley Cyrus- “Like A Prayer (Live)” (Columbia)
Another excellent cover from one of today’s finest female powerhouses. The former teen superstar has spent the better part of the decade establishing herself as one of the most live interpreters of past classics, and that is certainly fulfilled on her newly released live set that revisits colossal moments from the likes of Dolly Parton, Sinead O’Connor, Blondie and of course, Madonna. Cyrus handles the pop diva’s most renowned power ballad with impressive style and reverence, adding her own flashy branding and emotion thanks to a soaring rasp and some delicious horn solos at the song’s climax.
Noah Cyrus- “I Burned LA Down” (Columbia)
Over the course of three years and three extended-plays, Noah Cyrus has whetted our appetite with an impressive batch of powerful songs that possessed the confessional and resonant nature of an artist twice her age. “I Burned LA Down” serves as the initial preview of her anticipated debut LP, and it’s arguably her best showcase to date, and another solid suggestion that she has the talent to make a mark in the same fashion as her famous father and sister. The words are piercingly raw, drawing comparison between a break up and a California wildfire, while both the hushed vocal and simmering folk production both build at a perfect pace to further illustrate its metaphor. “You can’t make a God of somebody who’s not even half of a half decent man.” This track burns in more ways than one, and this young lady is one talent to keep a very close eye on.
Gavin DeGraw- “Face the River” (RCA)
The lead single from DeGraw’s upcoming seventh studio release is a tale of the torment and heartbreak left in the wake of a romantic dissolution stripped down into the sonic setting of a chilling gospel hymnal. Unsurprisingly, it’s a soaring showcase of the powerful voice that kept blue-eyed soul undertones alive in the world of 2000s pop. DeGraw’s radio power may not be what it used to be, but he without question remains one of modern music’s most captivating male vocalists.
Steve Earle & the Dukes- “Gettin’ By” (New West)
The country-rock renegade continues his run of excellent tribute albums with an upcoming excavation of the wonderful Jerry Jeff Walker songbook, and this newest entry in the series feels both far overdue and oh, so welcome. “Getting By” remains one of JJW’s most infectiously joyful and enduring Outlaw anthems, and Earle & his troops tackle it with the same gusto and vagabond spirit that defined the original. Another stirring reminder that the red-dirt brand of country-rock pioneered by the likes of Walker and other Earle-honorees, Guy Clark and Townes Van Zandt remains alive and well in Earle’s capable hands.
Father John Misty- “Funny Girl” (Sub Pop)
One element that has remained constant over the course of Father John Misty’s recording career is his commitment to fully indulge in the stylings, musings, and character studies of whatever may be inspiring him on a given record. This certainly holds true for “Funny Girl”, the lead single from the artist’s recently released latest album. In this latest episode, the source of inspiration for Josh Tilman’s alter-ego proves to be the grandeur of classic, orchestral pop. Her masterfully pairs the elegant vestiges of this timeless sub-genre with the amusing and idiosyncratic quirks of his own unique pen, and the results are both dreamy and endlessly entertaining. There’s more than just a little touch of Schmilsson in the night at play here, and it’s a delicious entree of what is surely a satisfying entree waiting on the full-length album.
The Head and the Heart- “Virginia (Wind in the Night)” (Warner Brothers)
The second single from the aforementioned TH&TH full-length doesn’t explicitly confirm that its namesake is deceased, but “Virginia (Wind in the Night)” is most certainly filled with a ghostly presence, be it that of a failed relationship or a lover that has indeed departed the Earth. Regardless of the circumstances, this song has an engagingly bittersweet tone, as if the narrator is both longing for, and celebrating the joy, of past memories. And really, that’s the absolute essence of what we hope to leave behind for our loved ones when we go, isn’t it? We want to be missed, but we want to leave behind comfort and solace to be found in the moments we touched with our presence. That all too resonant juxtaposition is captured faithfully in this performance, and in the process, it serves as a common ground for the band’s past and present sounds as well.
The Interrupters- “In the Mirror” (Hellcat)
After spending the COVID-19 pandemic plotting their follow up to 2018’s commercial breakthrough, Fight the Good Fight, the Interrupters finally strike back, and it’s with a sizzling single that, much like their previous work, positively smacks you in the face. Lead vocalist Aimee Interrupter, is as in touch with her inner-Gwen Stefani, circa 1995 as she’s ever been, and she absolutely roars like a brand new engine on an amped-up rocker that is equally introspective and raucous. As for the spitfire band backing her, their ska-meets-New Wave sound continues to feel like a love-child birthed in an orgy between No Doubt, The Romantics, and The Pretenders, to name a few. In other words, it’s fresh and nostalgic, and oh-so-rockin’.
Jewel- “Long Way ‘Round” (Words Matter)
The ever-winding stylistic road that has defined the career of 90s darling, Jewel, continues through the release of her thirteenth studio album, and first in seven years. On this track, she taps into the sultriest realm of her register and instantly reminds us all why she has earned a reputation as one of the most uniquely captivating vocalists of her time. The brooding track reveals an equally luminous backdrop of bluesy soul touches that compliment her magnificently. She’s tackled countless sonic arenas over her nearly three decade catalog, but it’s arguable she’s never sounded so fine as she does on this specific performance.
Little Big Town- “Hell Yeah” (Capitol)
The latest release from Little Big Town may not be as instantly addictive as past summer smashes like “Pontoon” or “Day Drinking”, but it nonetheless deserves to follow in those singles’ footsteps as a massive summer radio hit. A tale caught somewhere between the despair of a breakup and the eventual healing reawakening, “Hell Yeah” offers a comforting, slow-burning sound that goes down smooth and soothing and methodically lodges itself in your brain. It pairs perfectly with Philip Sweet’s soulful pipes, which are far overdue to anchor another mainstream hit for the group.
Lizzo- “About Damn Time” (Atlantic)
Folks, I introduce to you (as if you haven’t already heard it) the undeniable anthem of the Summer of 2022. The triumphant return single and launch to her highly awaited fourth album is everything we want in a Lizzo smash: empowering messages, hilariously clever lyrics, funk-tastic disco dance beats, and a kick-ass flute solo to top it all off. “About Damn Time” plays like the voice of the worldwide population coming alive after the depressing doldrums of the past two years. So, the next time you’re feeling down, just remember that it’s bad-bitch-o’clock and thick-thirty somewhere, and play this frigging banger and play it loud.
Shawn Mendes- “When You’re Gone” (Island)
The young pop star is definitely in his sweet spot when merging an understated yet urgent pop beat with tinges of soft-spoken folk reflection. His delivery is both intimate and remorseful, and it progresses nicely to an all-out pleading desperation as the record builds and the girl of his affections gets closer and closer to walking out the door.
Mt. Joy- “Orange Blood” (Island)
Like so many of Mt. Joy’s best moments, “Orange Blood” begins as a meditative coffeehouse ballad and escalates beautifully into a passionate and jangly folk anthem as it unfolds. Along the way we’re treated to vibrantly evocative vocals and rich, visual lyrics that seductively lures your headspace as the listener into a quietly enriching realm of musical comfort and peace. By its finale, it transforms itself from a song of survival to a song of thriving triumph.
Tami Neilson- “Baby, You’re A Gun” (Outside)
What an atmospheric marvel this performance is; not that any pre-existing followers of the dynamic Tami Neilson will be surprised. She’s been mesmerizing a cult following with her ravishing brand of country noir across four albums already, but “Baby You’re a Gun” would be the perfect coming-out moment for this Canadian dynamo. It exhibits all of the very best virtues of Neilson’s music, from the intelligent songwriting to the stylish and daring sonic choices. But no quality is more significantly unique as her voice, which manages to recall the first time a classic artist like Patsy Cline or a modern-day renegade like Neko Case first sent goosebumps up your arm. This track is so devilishly alluring that it will find you in your sleep; but the beautiful swerve is that it will ease your troubled soul in the process.
Old Crow Medicine Show featuring Molly Tuttle- “Bombs Away” (ATO)
It’d be insultingly ignorant at this point to pigeonhole Old Crow Medicine Show and label them as nothing but a straight-up bluegrass revival act. Certainly, that has been and will always remain the lifeblood of their music, however two decades of output has also revealed them to have their fair share of layers to their sound. With that said, there are few moments in modern music that elicit the joy one experiences when OCMS does let loose on a purely bluegrass barn-burner, which is precisely what we have with “Bombs Away”. It’s stacked with a whiplashing fiddle showcase, thunderous guitar and banjo picking and Ketch Secor’s twangy, rapid-fire vocals, which may just be unparalleled by any other vocalist living today.
Orville Peck- “Daytona Sand” (Columbia)
In the latest single from the outstanding Bronco, Peck puts his astonishingly deep and soaring voice to fantastic storytelling use, following the pitfalls of an adventurous Mississippi boy who searches for glory and paradise on the Florida beaches, and is instead sent packing with a broken heart. Peck’s booming range makes him such a thrilling vocalist on the surface alone, but he’s also incredibly skilled at bringing specific narrative details to vivid life as well, with some might assistance from some steaming guitar licks. In the end, he doesn’t regret the chances he took, but he sure as hell is going to remember the lessons he learned about who to trust your heart to. The way he turns his phrases at both those pivotal moments, and during the intimate details in between, allow the listener to envision and feel every tangible emotion that he unveils throughout the song.
LeAnn Rimes- “How Much A Heart Can Hold” (EverLe)
Simply put: this is such a God damned gorgeous love song. LeAnn Rimes continues to possess one of the truly awe-inspiring vocal gifts of her generation. And what a refreshing twist it is to the typical teen sensation story that she ultimately matured into such a tasteful, measured artist and vocal interpreter, in addition to being just a technically impressive singer. She seems to keep getting better with age. The message of this song will strike a chord with lovers of all ages, and all stages of their journeys together.
The Weeknd- “Out of Time” (Republic)
The flat-out dreamy soundscapes of this record alone will put you in glorious trance. And that’s before the vocal even kicks in, which of course only further heightens the hypnotic impact of the track as a whole. The Weeknd is one of those rare singers that when they choose to get all up in their somber feels, you feel each and every tear-soaked note of their vocal performance. He’s mastered the art of delivering a weeper, without it ever once feeling sappy or over-the-top. And the wonderfully schmaltzy vibes of those flute-synth combos? Outstanding. I was never fortunate enough to sulk with a broken heart on a sparkling 70s disco floor, but I sure feel like I have after listening to “Out of Time”.
Jack White featuring Q-Tip- “Hi-De-Ho” (Third Man)
This won’t be the first or last time this is said about a Jack White record: I really honestly have no fucking clue what I just listened to nor do I feel equipped to accurately describe it. The opening vocal line alone feels like it taps into heavy metal, opera, African music, and hip-hop in a matter of seconds. It only gets more bizarre and bewildering from there. And frankly, I can’t wait to experience it all over again.
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