The 706 Digest: June 2022

Beyonce- “Break My Soul” (Columbia)

2022, here is your ultimate summer jam, courtesy of the untouchable Queen Bey. “Break My Soul” is a sensational modern smorgasbord of classic 90s house beats, with delicious samples from Big Freedia (“Explode”) and Robin S. (“Show Me Love”), and then some rousing gospel vocals as the song climaxes for good measure. It’s truly a remarkable production, and easily her most palatable radio single in ages, while sensationally merging that catchy accessibility with all of the adventurous sonic experimentation that has defined her latter-day catalog. A triumphant, uplifting, and ferocious anthem; “Break My Soul” is destined to be another career song for an undeniable icon.

Kane Brown- “Like I Love Country Music” (RCA)

Kane Brown continues to establish himself as a rare beacon of light on mainstream Music Row. This track finds him likening his love for his woman to that of his affinity of the country art form, which would be absolutely nauseating and ridiculous if he didn’t sell this with such tangible charm and sincerity. When he references Alan Jackson and Brooks & Dunn here, he’s not merely jumping on the bandwagon of a recently renewed affection for 90s country, nor he is simply contributing further to the country genre’s long-standing issue with hollow name-dropping. The legitimacy of his professions are vetted through every moment of this single, from his smiling performance to the delirious fiddle riffs that give the track so much infectious color. This is a joy to listen to from start to finish.

Kelly Clarkson- “Happier Than Ever” (Atlantic)

The powerhouse singer’s newest EP collects a handful of songs that she’s covered on the popular Kellyoke segment of her daytime talk show. Her reinterpretation of the title track from last year’s Billie Eilish album is a soaring highlight. The first half finds Clarkson digging into the bluesier, jazz-tinged side of her range, before the track explodes into her fiery signature brand of power-pop which absolutely unleashes all of the biting power of Eilish’s lyrics that are sometimes too restricted by her hushed deliveries.

Dawes- “Someone Else’s Cafe/Doomscroller Tries to Relax” (Rounder)

This folk-rock quartet has quietly and consistently been one of modern music’s most reliable bands for well over a decade now. Here, they preview their eighth studio project with an ambitious nine-minute sequence that recalls the heights of the classic rock era and AOR that will still leave listeners wishing it was longer. This sounds lifted from a vintage rock opera album from the 70s by the likes of Queen or The Who. Taylor Goldsmith’s delivery has a great sardonic bite to it that perfectly matches the sentiment of the first piece, before transitioning into a plainspoken tone of somber but sweet resignation in the second act. Meanwhile, the musicianship throughout this single is impeccable, with Goldsmith’s guitar solos and Lee Pardini’s key strokes proving particularly resonant. It’s undoubtedly one of the best musical vignettes of the band’s entire catalog to date. This album promises to be a fantastic rock release.

DNCE- “Move” (Republic)

The opening line of this single is basically a mission statement that spells out the entire reason for DNCE’s existence in the first place: “All I’m trying to do is make you get out that chair and make you move.” And per usual, they’re successful in doing so. “Move” is crisp, concise, alluring and utterly contagious. No word yet on when or if they plan to finally follow up their 2016 debut album with a full studio release, but it would certainly be welcomed.

Brett Eldredge- “Songs About You” (Warner)

The CMA’s 2014 New Artist of the Year was one of the the purest and most charismatic vocal stylists to emerge in the Nashville system in many years, and it should come as no surprise that country radio ditched him as soon as he released his artistic breakthrough with 2020’s Sunday Drive. Nevertheless, the soulful singer plows forward with this sunny charmer, the lead single and title track from Sunday’s follow up. It’s a smooth, perfectly crafted slice of country-pop tailor-made for play on a summer porch, with Eldredge beaming endlessly as he navigates an aw-shucks exercise in romantic misfortune.

Will Hoge- “John Prine’s Cadillac” (Rykodisc)

Bestowing a song title with the namesake of John Prine is almost begging for problems, unless of course you’re a proven artist the caliber of Will Hoge, who long ago established himself as one of Americana’s finest songwriters and rock & rollers. This lead track from his pending thirteenth album is not a straight-up tribute to Prine, but rather uses the kind of jubilation the legend’s fans garner from his music as a metaphor for the experience of falling stupid in love with another human being. Again, it’s a potentially futile concept on paper, but Hoge pulls it together thanks to his razor-sharp deliveries and, Cheech & Chong references aside, some quirky lyrical couplets that would make Prine himself proud (“My heart bangin’ like two boots in a dryer”).

Adam Hood featuring Miranda Lambert- “Harder Stuff” (Southern Songs)

“The year’s worth of liquor in two month’s time was hard on a man my age”. That’s the opening line to as gritty of a true country song that you’re likely to find in 2022. The lyrics progress further to reveal this tune as the beginning of our narrator’s long overdue journey into sobriety. Thankfully, hardcore country remains one of the vices that Hood is still clinging to. The dude has been mastering the art for the better part of two decades and is one of the crown jewels of today’s Red Dirt scene. Here’s hoping the rub from Miranda Lambert’s excellent harmony vocals sheds some more light on a great talent.

Imagine Dragons- “Bones” (Interscope)

Imagine Dragons has sort of become to me what Maroon 5 did a decade prior. Their last five or so years of singles, though smash hits, have just sounded like one long, inoffensive but monotonous utterance going off in the background, rarely succeeding in moving the needle for me. “Bones” seems to have temporarily stopped that streak however. The only reason I can really muster is the sheer audacity and ridiculous contagion of the song’s chorus. I just can’t escape the magnetism of the “I-I-I-e-a” barrage that the dreamboat, Dan Reynolds assaults you with here. Yes sir, that is my critical take on the track we call “Bones”.

Amythyst Kiah- “Hitchin’ A Ride” (Rounder)

Lord, this woman has such a gorgeously bewitching quality to her voice. It takes complete ownership of my entire being every time her music is playing. Culled from an upcoming of EP of cover tunes, “Hicthin’ A Ride” is Kiah’s take on the 1997 Green Day hit, and the haunting way she transforms it and unearths such ghostly depths to it is nothing short of breathtaking. Kiah is already one of the most important voices of the current generation of musical curators. This track is a true chill and thrill.

Elle King featuring Dierks Bentley- “One Shot” (RCA)

A vast improvement of their previous collaboration, 2016’s clunky and awkward “Different for Girls”. There’s no sign of those cringey missteps in “One Shot”, a frank and well-executed country duet that finds two lovers agreeing to do what it takes to salvage the connection in their relationship. King’s swampy growl proves to a perfect companion to Bentley’s soulful gravel and together they strike a key balance between honesty, wistfulness, and a catchy chorus to boot.

Nikki Lane- “First High” (New West)

A tantalizing launching pad for the fourth record from the badass queen of Outlaw-inflected country-rock. The combination of Lane’s unflinchingly twangy purr and the blistering guitar picking is an intoxicating blend. It immediately hooks you and doesn’t let you off from the minute Lane leaves the station here. The rocking musicianship is so tight and confident, showcasing a band every bit the outstanding ensemble that Lane’s magnetic performances demands. Wake up your neighbors with this one, and don’t give any Fs in the process. They’ll thank you later.

Demi Lovato- “Skin of My Teeth” (Island)

No, the idea of Demi Lovato transitioning to the punk and hard-rock genres is nowhere near the disaster you may be expecting it to be. In fact, it’s pretty damn good, especially considering the Disney roots that Lovato’s pop career sprouted from. The heavy instrumentation sounds authentic and at the precisely correct level of intensity and volume, and Lovato unsurprisingly demonstrates the reach within her range to match it. But it’s the embattled lyrics of survival and the ups and downs that come with an addiction that really seal the deal (Lovato wrote the song as she exited her latest rehab stint). It’s cathartic, triumphant and dark, and takes no prisoners. An impressive and unexpected career segue from one of pop’s most troubled but talented young artists.

Lizzo- “Grrrls” (Atlantic)

So, “Grrrls” is a Lizzo song that samples Beastie Boys’ 1987 hit, “Girls”. So, yeah it’s pretty freaking awesome. Anything else?

Maren Morris- “I Can’t Love You Anymore (Columbia)

The second track released from Morris’ excellent third LP is easily the rootsiest country track of her career thus far, and it’s a delightfully folksy realm where she absolutely soars as a vocalist and storyteller. Clever country wordplay, parlor piano and wah-wah pedal steel vibrantly color the proceedings while Morris delivers each breezy, cheeky, and at-times self-deprecating, lyric with a refreshing and relaxing wink. This is the sound of a self-assured artist in the midst of her most confident and fully-realized arc thus far.

Nitty Gritty Dirt Band- “Forever Young” (MRI)

Dirt Does Dylan is, obviously, a Bob Dylan tribute album from the legendary Nitty Gritty Dirt Band. One of which I’ll likely be purchasing based on the hilariously clever cover art alone. It’ll be worth it thanks to fresh and reverent country interpretations like this take on “Forever Young”, which beams from the speakers thanks to the trademark quality singing and playing that the NGDB have built their legacy on for nearly half a century.

Panic! at the Disco- “Viva Las Vengeance” (Fueled by Ramen)

A rollicking return that should have absolutely no problem aiding Brandon Urie and company in reclaiming the rock throne that they vacated four years ago. This is a surging burst of pop-rock power and urgency that is as addictive as any prior hit in their canon. Urie’s rousing vocals are as impressive as ever, and he unleashes this hair-raising delivery in a fashion as smooth as silk. The band’s classic emo sound hasn’t missed a beat and they layer in creative new flourishes, a harpsichord solo for instance, that adds a perfect amount of new spice to their well-honed style.

Bonnie Raitt- “Livin’ For the Ones” (Redwing)

A sage, and catchy, piece of advise from one of rock’s greatest living poets. “Livin’ For the Ones” encourages each of us to be grateful for the blessings we do have, with the gift of a new day being chief among them. It’s easy to forget all of those who weren’t so lucky to receive the same. It’s also easy to wallow in life’s disappointments and dark moments, especially during these past few years. Raitt acknowledges this, rather than outright taking us to task for being Debbie Downers. It’s that blend of sympathy, and an assertive reminder to trudge forward in memory of those we’ve lost, that makes this track so genuine and substantive, rather than the saccharine Hallmark card it could have been. Another great latter day single from the fabulous Raitt.

Maggie Rogers- “Want Want” (Capitol)

“Want Want” absolutely erupts with a palpable sense of romantic anxiety, sexual tension, and flat-out desire. So much so that it will positively make you sweat, both from the nervy energy of the performance and the vivid imagery of the lyrics themselves. This is as intelligent of a musing on the feelings that come with fighting the temptation of a sexual relationship as I’ve ever heard. That’s not to mention that it also addresses the struggle in mustering the courage to admit your feelings for a lover that means far more to you than just what happens between the sheets. It’s layered. It’s complicated. And it’s oh so relatable. The fact that Rogers drowns all of those emotions inside a surging vocal and crashing rock arrangement that compliments it so perfectly is the ultimate bow on what inarguably is a plum-perfect effort.

Diana Ross featuring Tame Impala- “Turn Up the Sunshine” (Decca)

Effortless, effervescent summer joy set to three minutes of deliriously bubbly disco music. You’re guaranteed a smile once you turn this on.

Amanda Shires- “Hawk For the Dove” (ATO)

Amanda Shires is one of those truly dynamic female voices who can sound like an angelic songbird one moment, and then instantly transform into a menacing ghostly vocal presence that sounds hell-bent on stealing your soul away the next. “Hawk For the Dove” is planted squarely in the latter sphere, and we’re all the better for it. The wall of crashing garage rock guitars further enhances the tone of pending doom magnificently. Just listen to her coo that evil chorus with no apologies: “I’m well aware of what the night’s made of. And I’m coming for you like a hawk for the dove.” It’s that moment when you realize that she’s describing a dastardly attraction between two lovers, and not some form of revenge or punishment for crimes committed, that your jaw really hits the ground.

Regina Spektor- “Becoming All Alone” (Sire)

An unflinchingly honest and unshakeable peek into the mind of a lonely soul losing hope that they’ll ever escape the sadness inside of her, set against the backdrop of a bar-stool conversation with God. As Spektor pleads throughout the song for him to stay and keep her company longer, the magnitude of her pain and desperation for healing and companionship is almost too real to bear.

Sunny Sweeney- “Easy as Hello” (Aunt Daddy)

God damn, Sunny Sweeney just keeps getting better with each successive album release. On one hand, I’m so grateful that she’s here present in the current era to supply us with such intelligent and well-executed female country records. On the other hand, I wish she could time-travel this phase in her career back to 1992 so she could truly achieve the level of stardom and recognition that her music warrants. Her stark and literate contrasting between the initial moments in a relationship to the final ones carries so much emotional weight, truth and painstaking beauty.

Gillian Welch and Dave Rawlings- “I Just Came Home to Count the Memories” (Easy Eye Sound)

One of the truly unique stylists of country’s neo-trad movement in the 80s and 90s, John Anderson was one of a plethora of artists who created some of the era’s best and most memorable music, while sitting comfortably just outside of the superstar echelon. Today, that causes him to be unjustly overlooked a bit, with a Hall of Fame nomination further out of his reach than it really should be. Nevertheless, it’s a thrill and temporary consolation to see him selected as the subject of well-deserved tribute album. Meanwhile, if turn-of-the-century alt-country had a royal couple not named The Millers, that it most certainly was Gillian Welch and Dave Rawlings. “Memories” is one of the ultimate pieces of country poetry in Anderson’s storied catalog and as expected, Welch and Rawlings deliver it with all of the rustic regality that it requires.

Jack White- “If I Die Tomorrow” (Third Man)

The idea of Jack White contemplating his own mortality is certainly not a foreign concept to followers of the rock scientist. To hear him entertain such thoughts in a setting stripped of his normal alt-rock maximalist arena is all the more morose and haunting. Then, on top of it all, White’s now asking the listener to care for his mother as she mourns her son in the wake of his death. No folks, Jack White is certainly not interested in securing an uplifting summer smash. And for those of us that find something beautiful and comforting in those dreary gray days, we thank him. “If I Die Tomorrow” is another ethereal and beautiful glimpse inside the darker side of the human experience, and nobody puts those feelings to words and music for us better than this man.