The Bacon Brothers- “In Memory (Of When I Cared)” (Soundly)
A gruff and groovy break-up jam that reminds us that music can both define the peak moments of a once-fiery romance and be the medicine to get you through the aftermath when it’s over…even as you’re still wallowing in those moments you can no longer recapture. It feels like a track that will take on a different meaning with each successive listen, traveling through the various stages of grief: first sadness and self-pity, followed by bitter defiance and, ultimately, triumphant closure.
Dierks Bentley- “Gold” (Capitol)
Over the past two decades, Dierks Bentley has been a rare beacon of light in the mainstream country landscape. He’s navigated the troublesome trends of the genre with aplomb, steadily balancing the sounds of the present with the roots of the past. His signature gravel remains at its absolute best however when paired with the sounds of his origins: a blend of country-rock and bluegrass. This long-awaited lead single from his forthcoming tenth LP is as perfect a distillation of those qualities that the man has ever released. That guitar riff that punctuates the chorus is blazing. And the hook of the song: “It might be gravel but it feels like gold”? Pretty much sums up the entire ethos of Bentley’s excellent catalog.
The Black Keys- “It Ain’t Over” (Easy Eye Sound)
Mere seconds into the latest single from the garage/blues/rock kings and you can almost picture a hazy fog forming in the room around you. You’re immediately transplanted into a trippy, hypnotic state of euphoria. So, basically on brand with the very best moments that the Black Keys have offered us throughout their acclaimed two-decade trek. The alluring and rhythmic sounds that underscore the verses, the chilling climax that Dan Auerbach’s voice reaches on the chorus, and Patrick Carney’s ferocious fuzz guitar solo on the bridge. It all equates to another showcase of this duo doing what they do best. A searing and spooky thriller of a single.
Kristian Bush- “Tennessee Plates” (Big Machine)
The Sugarland co-captain is commemorating his 52nd year on the planet with an ambitious set of three solo albums rolling out over the course of 2022. This charming entry from the first release is a joyous reminder of what an underrated and emotional anchor Bush was of Sugarland, a fact that Jennifer Nettles herself has attested to on multiple occasions. This is a straight-forward, tastefully produced piece of reflective folk-pop that chooses to celebrate middle-age, rather than resist it.
Caamp- “Believe” (Mom+Pop)
This is an exhilarating folk-rock performance from a band that continues to show how much mileage they can get out of the simplest musical ingredients. Lyrically, it’s a simple profession of steadfast support from one lover to another. Musically, it transcends into a swirling and soulful anthem thanks to a band that is uber-committed to impassioned vocals, well-crafted production, and solid musicianship. What more can we ask for, really?
Eric Church- “Doing Life with Me” (EMI)
The latest release from the country superstar’s expansive 2021 triple album is pulled from the & portion of the trifecta, originally a fan-club exclusive release. It finds a bona-fide country rock star stripping things back down to his acoustic, singer-songwriter roots. Thus, it’s another fabulous, heartfelt entry in a storied run of excellent singles. A humble profession of appreciation for those that have contributed the most intimate and treasured memories to his adventurous life as a troubadour musician. This is a peek into the true heart and soul of one of this generation’s truly definitive talents.
Halsey- “So Good” (Capitol)
Halsey retreats back to her formative pop sound after fully immersing herself in rapturous alternative sounds on last year’s If I Can’t Have Love, I Want Power. That startling stylistic shift resulted in, far and away, the best work of her career. So while we hope that’s a temporary pivot back, that’s not meant to discount the quality of “So Good”. It’s a solid and emotively powerful performance, particularly on the bridge, which proves to be one of the most emotionally guttural vocal and lyrical moments of her career to date: “Maria calls me and says she’s getting married/She asked me if there’s any extra weight I carry/And do I think about the one that got away/I know his name, I think about him every day.”
Calvin Harris, Justin Timberlake, Halsey and Pharrell Williams- “Stay With Me” (Columbia)
A star-power packed collab that makes full use of all the talent, charisma, and personality that each contributor has established on their own biggest hits. It possesses all of the frivolous but wholly satisfying qualities that makes the very best pop music so joyously fun. It’s addictive, hook-laden, and unforgivingly campy. It’s legitimately worthy of inclusion on any classic funk or disco playlist from the 70s. There’s something seriously wrong if this doesn’t become one of the summer’s definitive jams.
Carly Rae Jepsen- “Western Wind” (Interscope)
A sunshine-infused beam of pure pop radiance that perfectly utilizes all of the sweetest qualities of Carly Rae Jepsen’s voice. The young lady’s been studying her Kylie Minogue records and it shows. I’d say she’s learning all of the right lessons too.
Fitz and the Tantrums- “Sway” (Elektra)
Damn, July is bringing the summer jams, y’all. The Tantrums follow the lead set by their leader’s recent solo output by indulging head-first into all of the breezy dance vibes that were always lingering in their shadows, even in the most alternative-leaning moments of their modern soul-rock sound. The only foot-stomping set to occur during this fit will be during the unabashed dance-fests this track is sure to elicit on dance-floors and pool-sides everywhere from now until Labor Day.
John Legend- “All She Wanna Do” (Republic)
The opening moments of “All She Wanna Do” suggest that we’re in store for another of the dripping, soulful R&B power ballads that John Legend is most known for. Then the finger snaps come in, and the track suddenly explodes into synth-soaked dance anthem. It’s a classic bait & switch, and the results form one of the most accessible and entertaining moments of the crooner’s career.
Lizzo- “2 Be Loved (Am I Ready)” (Atlantic)
Is there anyone in America that isn’t currently nominating Lizzo to be their own personal spirit animal? The woman is such an empowering champion of self-worth, and the way she channels it through her music just leaves me deliriously happy and inspired. The latest single from the earlier reviewed Special picks up sonically and topically right where “About Damn Time” leaves off. The narrative finds her on the brink of falling in love, but also battling the internal struggles that come in that moment, especially when one has been alone for so long. She’s lived that solitary life as a result of both fierce independence and fierce self-doubt, two elements that are difficult to relinquish when you’re presented with taking the romantic plunge. In typical Lizzo form, she wraps all of those emotions into a positive pop package that is gloriously catchy and empowering. My favorite part may be the call-and-response interplay between her and the backup singers, who not only add an extra layer of pop contagion, but also play the role of supportive friends reminding her that, “Hell yes, you’re ready to be loved by both yourself and someone else. It’s about damn time, girl”.
Matt Maeson- “Blood Runs Red” (Neon Gold)
The launching pad for the sophomore album from alt-folky Matt Maeson is an anthem of rediscovery; an emergence from the fog of a fast-paced lifestyle, and reassessment and subsequent reconnection with the core components that contribute to a wholly-realized and present life. Maeson and the production surrounding him dutifully capture all of the complex emotions and experience that define such a process: fatigue, pressure, regret, and reawakening.
John Moreland- “Ugly Faces” (Thirty Tigers)
Despite its wide-open parameters and refreshing emphasis on artistic integrity over commercial trends and mainstream plasticity, even the Americana genre has its share of under-recognized artists. John Moreland remains chief among them, despite the fact that he’s been churning out solid work since at least the late 2000s. This lead single from his upcoming sixth solo album is a stunning and soothing showcase of his talented skill-set, one rich with folk-tinged soul in both his vocals and his lyrics. Slow down and listen up to this guy.
Tami Neilson featuring Willie Nelson- “Beyond the Stars” (Outside)
What a stunning, astounding piece of country music splendor. “Beyond the Stars” is as prime of a modern example that exists of the raw beauty and bitter romance that is the true essence of country music as an art-form. Neilson’s pure, radiant twang is such a magical wonder to behold, and a staggeringly gorgeous pairing for both the lush countrypolitan production and Nelson’s inimitable balladeer stylings. And that gut-string solo that opens the record? Yes, it’s got us all mistaking this single for a classic cut from one of Nelson’s peak-time LPs from the 70s. Can we get a duets album for these two on the books, please? This record is pure perfection.
Sam Smith- “Love Me More” (Universal)
This introduction to the pop crooner’s fourth studio effort is an important exercise in self-worth and empowerment. The chorus will rip your heart out for both its aching honesty and the fact that it’s such a painfully universal sentiment: “Have you ever felt like being somebody else? Feeling like the mirror isn’t good for your health?”. And then the performance comes alive as Smith’s golden pipes proceed and reveals the track to represent that point in our personal journeys when we do in fact learn the art of self-acceptance, and then even more beautifully, self-love. Between this, and other tracks on this month’s list from the likes of Lizzo and Shania Twain, further light is being shown on what a growing pop music trend the message of positive self-image is becoming. It’s so damn overdue, and oh-so-good for the soul.
Chris Stapleton- “Joy of My Life” (Mercury)
This is Dave Cobb producing a Chris Stapleton cover of one of the true gems in John Fogerty’s solo catalog. So, of course, it effing rules. Stapleton and Cobb unsurprisingly handle the esteemed track with the tasteful authenticity and simple production that has made them one of American music’s most adored performer-producer duos, and the sweet, romantic sentiment of the song shines through just as effectively as it did on Fogerty’s 1997 original. The fact that Stapleton has released it as a radio single elicits even more joy, and will hopefully bring Fogerty plenty of deserved attention from a new generation of listeners.
Scott Stepakoff- “Tom Petty’s California” (Smack)
This is a deeply satisfying trip through roots rock that would presumably leave the song’s namesake mighty proud. It transcends the incessant country or rock trends of nostalgic, list songs that simply rattle off cliched items symbolic of one’s younger days. Stepakoff brings all of the vivid imagery to full, colorful, and resonant life thanks to a vocal performance and a twangy rock soundscape that is slick, but never overly polished or egregious. A perfect addition to that Heartland Rock road-trip mix of yours that saw its first incarnation on an 80s cassette.
Silk Sonic featuring Thundercat and Bootsy Collins- “After Last Night” (Atlantic)
This is an utterly ridiculous and equally entertaining trip through the aftermath of a horn-dog’s hook-up the previous night, And it’s also as emblematic as any track of the campy charms that made An Evening with Silk Sonic such a well-rounded and insatiable showcase of funk and R&B. Yes, the lyrics are over-the-top and silly, as intended. Though not as much so as Bootsy Collins’ put-on verbal machinations that serve as the cherry on the record’s entire ambiance. But, then you listen to Bruno Mars and Anderson .Paak unleash the fiery authenticity and suave stylings of their legit R&B chops on the chorus. That’s when you further realize that this record is just as impressive as it is hilarious.
LeAnn Rimes and Aloe Blacc- “I Do” (EverLe)
This piano-based performance is an astonishing vocal exhibition from two of the purest voices you’ll find in any genre of modern music, and there is even more beauty to be discovered when they combine in sweet, soulful harmony. A sterling number that manages to stay just as grounded as it is grand throughout.
Jenny Tolman- “Married in a Honky Tonk” (Old Sol)
An unapologetically twangy honky-tonk rave up that serves as a modern-day answer to “White Trash Wedding”. “Hopin’ in sickness and health includes hangovers too.” Somewhere, The Chicks are smiling and toe-tapping along. It’s great to see women like Tolman and Kaitlin Butts following in the recent footsteps of other female country renegades like Margo Price and Nikki Lane. Here’s hoping they’ll acquire the same high-profile cult following and critical attention that has been afforded that duo.
Shania Twain- “Not Just A Girl” (Mercury)
This companion piece and namesake of the brand-new and excellent Netflix chronicling of the country legend’s trailblazing career, as well as the first preview of Twain’s first body of new songs since 2017, is quickly nudging past “Life’s About to Get Good” as my favorite track of Shania’s latter day career. I love the polished but punchy trappings that effervescently combine acoustic folk licks, twangy slide guitar, and pure pop backing vocals. Twain herself sounds fantastically invigorated in her confident delivery of this batch of rapid-fire, perfectly effective, and not-to-mention on-brand, empowerment platitudes. Listen closely as Twain commands her lover to “hold me, but don’t you hold me down” and then emphatically challenges, “Is that what you expected? That would I just accept it? To stand behind you, not beside?”. There’s absolutely no doubt, that even through all of the life evolutions and challenges, this is still the same woman who helped reshape the entire female narrative in both country and pop.
Wilco- “Tired of Taking It Out On You” (dBpm)
A harrowingly conversational and nakedly honest profession from a man who has realized the crippling effect his own demons has had on the one he loves the most. It’s one thing to live with the pain and suffering you put yourself through, but is there anything more stinging than to see the way it impacts the ones closest to you? It’s a true revelation to hear this group back in their full-tilt country mode.
Lainey Wilson- “Heart Like a Truck” (Broken Bow)
It’s been truly rewarding to see a new wave of strong and independent female artists with their own, untarnished sounds and POVs like Wilson and Carly Pearce beginning to rise above all of Nashville’s systematic bullshit. They’re emerging as some of the genre’s most potent creative curators. I was initially asleep at the wheel on Lainey Wilson originally, but I’m starting to fall hard for her charming personality and rich, sandpaper twang. It’s just so utterly real and sincere in the same classic ways that the voices of women like Loretta, Tammy, Reba, and Patty always were. And between this single and her current duet with HARDY, she’s doing a hell of lot to shake the stain of country’s truck-song stereotypes. Here, those four wheels serve as a gritty and believable metaphor for the narrator’s sturdy resilience and unshakeable nerve.
The Wonder Years- “Summer Clothes” (Hopeless)
As pivotal it is for music listeners to be provided with a solid batch of uptempo, escapist jams to define our summer nights, it’s equally important that we’re likewise provided new outlets to reflect on the flip-side of summer emotions. Coming of age. The ends of eras. Youth slipping by. And all of the heartbreak that comes with. With the vibrant lyrical imagery and earnest longing that define “Summer Clothes”, The Wonder Years have delivered one of the very best songs of this ilk in some time. There are going to be some lonely nights on the piers that this will serve as the soundtrack to, forever etching it as an important touchstone that will likewise bring those youthful emotions back to the forefront when heard again many summers on down the road.
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