Singles
Arcade Fire- “Lightning I, II” (Columbia)
Like so much of Arcade Fire’s best recorded moments, this double-sided single is an atmospheric wonder to behold for the beautiful instrumentation alone, with it’s stirring cinematic flourishes and prominent piano solos. It’s only further elevated by the raspy, earnest vocals of bandleader Win Butler and the lush harmonies of his wife, Regine Chassange, which add layered emotions of weariness, hope and steadfast partnership through a stormy life experience. Its steady build to the frenetic, triumphant tone of the second track puts a beautiful exclamation point on all of it, with the overall results serving as a prophetic reminder of what an important, and often under-appreciated, creative force this band remains.
Ashe- “Another Man’s Jeans” (Mom+Pop)
Ashe has impressed up to this point for her complex lyrics and equally oddball vocal deliveries, but on “Another Man’s Jeans”, she gets in touch with her early 90s Sheryl Crow spirit-animal and drastically loosens up the festivities. It reveals an entirely different side of her to the airwaves and it’s also her most intriguing moment to date. Introspective lyrics and dramatic performances are all well and good, but sometimes some simple, jangly fun goes just as far.
Kate Bush- “Running Up That Hill” (EMI)
Well, this is turning out to be the coolest and most unexpected chart story of 2022. Propelled by its presence on the soundtrack to the current season of Netflix’s Stranger Things, this career highlight for the art-pop visionary is enjoying a tremendous resurgence and earning the kind of airplay it was unjustly denied upon its initial release, thirty-seven years ago. It’s a riveting record, and sounds just as creative and forward-looking as it did in 1985. Not to mention that its success also lays bare the obvious influence that Bush has unquestionably had on enigmatic female artists like the above-mentioned Florence Welch and others in the decades that have followed. May it usher in a whole renaissance of recognition for Bush and her pivotal library of work.
Kaitlin Butts- “It Won’t Always Be This Way” (Soundly)
It’s quite clear that Kaitlin Butts has a deep understanding of the classic country music ethos. Just listen to the way her bristly twang delivers the opening line to “It Won’t Always Be This Way”: “Speak of the devil, in he walks. It’s like his ears burn when I talk. Pushed in the gutter, stuck in a rut. Waiting for the next turn of the knife in my gut”. And even as she delivers the supposed hopeful title line, there’s such a sad resignation to her voice that you can’t help but feel like she’s already accepted what an empty promise it is. This is a fantastic slice of honky-tonking sorrow right here. I’m feeling early Lee Ann Womack vibes all over this record. Side note: just wait until you hear her spine-tingling read of “In the Pines”; it’s a perfect distillation of both the Bill Monroe and Kurt Cobain versions.
Cannons- “Hurricane” (Columbia)
More moody electropop goodness from Cannons and its alluring lead siren, Michelle Joy. “Hurricane” picks up right where earlier hits “Fire For You” and “Bad Dream” left off. No, it doesn’t deviate much at all from either of those tracks, but why should they mess with a good thing? Another trance-worthy track from a group that should not be taken for granted. I already can’t get those whistles out of my brain.
The Chainsmokers- “iPad” (Columbia)
The hook to the latest single from The Chainsmokers bears repeating, and they do so dutifully on “iPad”, because it really is so potent. “Isn’t it strange how we’re strangers again?” It’s certainly one of the most startling aspects of a break-up, how you can once again become so unknown and anonymous to someone who you once shared your life with. The most stinging part is that it doesn’t wipe the slate clean back to when you really were strangers prior to your first meeting. You’re strangers with a history now, and a do-over unfortunately isn’t on the table.
Charley Crockett- “I’m Just A Clown” (Thirty Tigers)
The latest from Charley Crockett is yet another thrilling piece of country-soul noir from an artist who seems to be in endless supply of delightful and enticing records to supply us with. The arrangements on Crockett’s music are so excellently tasteful and executed, and this one is no different, with its subtly screeching strings, slick horns, and an understatedly show-stopping guitar solo. The combination is magic, and topped only by the buttery baritone of Crockett himself, and his ability to wrap his unique phrasing around a lyric like so few who have entered a studio since the sunset of the sixties.
Def Leppard featuring Alison Krauss- “This Guitar” (Mercury)
Much like her initial collaboration with Robert Plant, a Def Leppard cameo was probably the last thing anyone ever expected to see bluegrass legend Alison Krauss appear on. And while this certainly doesn’t come close to reaching the magnificent heights of Raising Sand or Raise the Roof, it’s a truly satisfying vocal combination. Like everything else she touches, this record just wouldn’t be the same without the graceful qualities Krauss bestows upon it. Likewise, it serves as a reminder that there’s also much more to the Leppard troops than the glam-metal anthems that they are defined with.
Florence + the Machine- “My Love” (Polydor)
Her performance here just absolutely roars with pleading desperation and yearning for connection. She has all of this love to give, but is coming up empty with a destination for it. That right there may be one of life’s most defeating feelings. All of that angst and disappointment is only further accentuated by the wall of synths and dance beats, and it all comes together to make a truly impactful and moving performance from one of today’s truly great performers.
HAIM- “Lost Track” (Columbia)
Any day we’re rewarded with a one-off, bonus track from this excellent band is a winning day. “Lost Track” finds the harmonizing singers revisiting the chain of events that have caused the breakup that serves as the impetus for the song. As is on brand for Haim, this exercise is littered with genuine regret but also the tiniest crumb of sardonic joy. The track ends far too soon, but we’re more than grateful that it’s no longer lost.
Lady Gaga- “Hold My Hand” (Interscope)
The centerpiece of the soundtrack for the new Top Gun film is every bit the type of grandiose power ballad that such soundtracks are built off of, and it comes as no surprise that the Madame of Gaga delivers the kind of soaring, passionate vocal that it requires. These tracks are not typically on par with standard album material, and this one is not the exception, but it’s still a well-produced showcase of the monstrous pipes that we’ve come to love Gaga for. It’s not on the level with “Shallow”, but there’s no reason it too shouldn’t be a solid hit for her.
Lyle Lovett- “12th of June” (Verve)
A tremendous return effort from one of country and folk music’s most revered singer-songwriters, “12th of June” is a tribute to Lovett’s twin children and how the opportunity to be their father forever changed and shaped his life. This is a wonderfully moving reflection on parenthood: “All I have I gladly give them/All I am they will exceed/And one thing I know for sure/Is they improve the likes of me.” Nearly four decades into his career, Lovett continues to prove his worth as one of the American songbook’s most revered elder statesmen.
The Lumineers- “Where We Are” (Dualtone)
One part ominous uncertainty, and the other perseverance. Sometimes when we encounter a dark patch in our lives, all we really need is a loved one to tell us that, in some way that we don’t yet know, it will all just work out and be alright. We may not fully believe it yet, but those words carry just enough weight until we do. That’s the essence of “Where We Are” and the Lumineers color it with their typical, beautifully haunted sound that manages to be infectious even in its most downbeat moments.
Trixie Mattel- “C’mon Loretta” (ATO)
The splashy cover art and sunny power-pop sound may make you believe that the country icon being honored in the latest single from Trixie Mattel is Dolly Parton, but this is a full-blown tribute to the inimitable Loretta Lynn. It’s the furthest thing from anything resembling the sound of Lynn’s music, but leave it to Mattel to surprise us with the fact that the iconic tale of Butcher Holler’s favorite coal miner’s daughter could still sound so compelling and authentic (not to mention, fun!?) dressed up as a sun-kissed pop confection. It’s fully in tune with the spunky, survival spirit that the legend lived her life by and Mattel’s typically effervescent charisma is irresistible as ever. If you’re not yet taking the Drag superstar seriously as a potent music artist, it’s time to do so.
Delbert McClinton- “Ain’t That Lovin’ You” (Hot Shot)
There’s not another modern-day artist who has so fashionably conquered the art of swampy, electric blues like Delbert McClinton has. Now in his eighties, McClinton is still displaying a rock swagger that men half his age can’t muster, with his latest album exploring some of his most monumental influences. This cover of a 1956 Jimmy Reed classic smokes from the speakers thanks to McClinton’s undeniable vocal style, unmistakable harmonica solos, and a smoking back-up band.
Megan Thee Stallion featuring Dua Lipa- “Sweetest Pie” (1501)
This superstar collab’ is every bit the infectious (seriously, you might catch something anytime you merely listen to a MTS record) pop-rap mash-up you’re expecting, complete with the kind of sexual innuendos that now seem tame in the post-“WAP” world. And yes, that’s you hitting the replay button every time it finishes.
Midland featuring Jon Pardi- “Longneck Way to Go” (Big Machine)
This is honky-tonk heaven here on Earth, 2022-style. Unapologetically twangy and basically demanding to be your official Saturday night drinking song, for which it should be competing for such an honor against a list of previously released Midland songs. This band is fantastic; so authentically in tune with a bygone sound but always infusing it with modern zeal and energy. It’s a perfect song for Pardi as well, as he truly succeeds in this realm, but has increasingly been diverted away from it by record label handlers. This thankfully places him squarely back in his best wheelhouse.
Carly Pearce- “What He Didn’t Do” (Big Machine)
Another excellent single from an undeniable career record. In a true country turn-of-phrase, Pearce tells more about the collapse of her marriage with what she’s not saying, and the results form another gripping break-up tune from what is already a classic divorce record. Her vocals are perfectly stained with that painful mix of conviction, heartbreak and acceptance, and the tender, mandolin-driven arrangement gives the song the pure, neo-trad sound it requires. This lady is on one hell of an artistic upswing.
Margo Price- “Goin’ to the Country” (Loma Vista)
An outtake from the sessions for her fantastic 2020 album, That’s How Rumors Get Started, this track actually sounds culled from the sessions for her 2016 debut, and that ain’t a bad thing either, folks. “Goin’ to the Country” finds Price revisiting the straight-up honky tonk sound of her earliest records, and it’s blast hearing her back in this realm. It’s full of all the high-quality elements that made us sit up and take notice of Price in the first place: a bad-ass twangy sound, no-nonsense lyrics, and a soaring and expressive voice that would have dominated a 1970s C&W radio dial.
Rainbow Kitten Surprise- “Workout” (Elektra)
I mean, let’s be real. The name of this band is worth the price of admission all on its own. Look past that however and you’ll find a thoughtful band with plenty of musical sustenance to offer. The sound on this track strikes an odd but utterly pleasing balance between soft-spoken folk, synth-pop and confessional Americana. Their lyrics have a bite to them as well. I’ve got some digging to do through their back catalog now, and I’m looking forward to the surprises that await.
Nathaniel Rateliff & the Night Sweats- “I’m On Your Side” (Stax)
What an exhilarating, rousing single delivered here by Mr. Rateliff and his reliable Night Sweats. This is one of those late-blooming album cuts that I didn’t necessarily single out upon initial spins of The Future, and it may now reign as my favorite track from the band to date. The song itself is a steadfast pledge of support and commitment, and Rateliff does a mighty job lending it with the proper weight and sincerity. But it takes on a whole new level of passion and conviction thanks to the sweltering performance by the Night Sweats. It’s what makes this band so consistently excellent. The leader and the band itself constantly push each other to be better, but never overshadow the other. They both thrive together as one. This is easily one of my favorite single choices of the year thus far.
Red Hot Chili Peppers- “These Are the Ways” (Warner)
The latest release from the Red Hot Chili Peppers’ fantastic new album is one of the most thoughtful and level-headed reflections on current-day American culture that I’ve heard in quite some time. Such songs far too often fall into one of two extremes: nauseating jingoism or pessimistic doom. Now, there are many excellent songs that have navigated either of those arenas in a reasonable and tasteful fashion. But we rarely get tracks like this that choose not to hang its hat in either camp, and instead choose to merely make observations without any political or social agenda attached to it. Anthony Kiedis walks that fine line with commendable aplomb here, offering some philosophy, but without judgment or drama and instead with a frank voice-of-reason. And Lord, do we ever need more of that today.
Carrie Underwood- “She Don’t Know” (Capitol)
One of the sweetest combinations in modern day music is that of Carrie Underwood’s pure country twang and the strings of a mandolin. This was most evident back on the 2012 should’ve-been single, “Do You Think About Me”. The sounds are still just as sweet here, but the thematic circumstances are far different, with Underwood returning to her strong suit of Southern Gothic cheating songs. The opening scene which finds Underwood passing her husband’s mistress in the grocery aisle is the stuff of classic country lore, and from there this saucy tale is instantly off to the races. I hope we one day get blessed with a full-on bluegrass record from the country diva, but I’d certainly settle for even a Patty Loveless-inspired mountain-rock album as well.
Wilco- “Falling Apart (Right Now)” (dBpm)
Alt-country enthusiasts are rightfully foaming at the mouth over the idea of Jeff Tweedy and the boys returning to their country roots for the first deliberate time in well over two decades. This single sounds like a lost Buddy Holly track and I’m living for it. Tweedy sounds like he plans to sing this back-to-back with “Peggy Sue”, and the rest of the Wilco crew more than live up to those standards with their fantastic Cricket-leaning guitar work. A thoroughly fantastic track.
Wynonna and Waxahatchee- “Other Side” (Anti)
There’s such a soothing sense of peace and resilience riding the crest of this excellent collaboration, emotions that are only fully heightened listening to it now in the wake of Naomi Judd’s tragic passing. There will of course never be another vocal pairing in Wynonna’s career that will match the heavenly resonance of The Judds’ harmonies, but her natural chemistry with Waxahatchee’s Katie Crutchfield is certainly nothing to take lightly either.
The 706 
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