Kane Brown- “Grand” (RCA)
The recent neo-trad leanings of Kane Brown’s most recent singles should not be taken as a cue that he won’t still be blending his hip-hop influences with his country roots on his pending new album. Enter “Grand”. For those of us more partial to a country sound, we of course will feel as if this single is lacking the same endearing charm of “Like I Love Country Music” or “One Mississippi”. Nevertheless, there’s no denying that Brown knows his way around an urban beat just as much as he does a rural one, and this hook nestles itself in your brain in pretty short order.
Shane Codd- “Rather Be Alone” (Polydor)
This isn’t the first dance treatment given to Whitney Houston’s latter day R&B epic, “It’s Not Right But It’s Okay”. But Shane Codd’s version goes in a more decidedly piano-drive house direction than the bouncier Thunderpuss mix that appeared on Houston’s 1999 hits package. This approach places even greater emphasis on Houston’s iconic vocal runs and all of the emotion dripping from each word. A respectable tribute to a legendary performance that is ripe for further discovery by casual listeners still only familiar with Houston’s first two records and “I Will Always Love You”.
Shea Coulee- “Your Name” (Haus Down)
The previous song serves as an enticing appetizer for this sensational cut, which in my humble opinion, is the main dance course of the year thus far. This track from the RuPaul’s Drag Race superstar is the definition of a banger and easily deserves to reside next to any other dance hit flooding the club scene this summer. It’s utterly contagious, expertly produced, and Coulee establishes herself immediately as a formidable presence. “Your Name” deserves to make Shea Coulee the next breakout music star from the Drag Race franchise. More, please.
Billie Eilish- “The 30th” (Interscope)
There are times when the hushed, sleepy tone of Billie Eilish’s bedroom pop can leave you comatose. Then there are also times when it lends itself perfectly to some truly stirring and moving performances like “The 30th”. It finds Eilish speaking candidly to a loved one who recently survived a car accident, and subsequently contemplating the fragility of life and how the slightest change of circumstances can be the difference between life and death. Both her intimate lyricism and delicate delivery are in top form here, and thus combine to create a powerful and emotional moment, without noise to distract from the raw human experience of it all.
First Aid Kit- “Angel” (Columbia)
Hearing the sweet, soaring harmonies of the Swedish sisters of First Aid Kit is always instantly healing to the soul. “Angel” is an elegant preview to the duo’s forthcoming fifth studio album, and it’s stocked with all of the high quality markers that have defined their entire catalog. Buttery vocals, heavenly harmonies, a potent emotional message, and an exquisite combination of roots musicianship and pop economies.
Ellie Goulding- “Easy Lover” (Polydor)
More dance decadence from one of the genre’s leading voices. The English singer’s latest is a slow-burning sizzler that absolutely bursts alive at the seams on a chorus that is as commanding as any vocal she’s committed to wax since emerging thirteen years ago. Her airy range has its limitations but makes it up for it with a unique style that is irresistibly effervescent. “Easy Lover” suggests further mastery of the command and execution of her subtly dazzling strengths.
Joe Hertler & The Rainbow Seekers- “Help” (Universal)
My husband and I first discovered this band on a side stage at our hometown’s annual music festival, and they’ve been an underground favorite of ours ever since. I’m still waiting for the moment that their cult following evolves into some well-deserved widespread recognition. “Help” may or may not be the moment to accomplish this, but it certainly is worthy of it. The band overflows with superb musicianship, charismatic personality, and their own unique lens of folk-pop-rock sounds. This entire track is great, but the chorus is as hooky a moment as you’ll find in any current rock song. Great stuff.
Sam Hunt- “Water Under the Bridge” (MCA)
Sam Hunt remains the one artist that bro-country haters can most potentially get on board with. He imbues his records with a friendly, common-man charm and a breezy style that so many of his peers lack, and therefore wind up sounding like douchebags 99% of the time. “Water Under the Bridge” is another pleasant offering in this regard. His performance sounds just so smiling and welcoming throughout, and that parlor piano intro certainly doesn’t hurt.
Elton John and Britney Spears- “Hold Me Closer” (EMI)
OK, “Cold Heart” this is not. Nor is it the collaboration of super-powers that a Britney-Elton collab would have been even a decade ago. Nonetheless, it remains a hypnotizing moment that takes a while to grow on you, but eventually gets there in the end. Credit that obviously to the fact that it samples bona fide classics from John’s catalog, including “Tiny Dancer”, “Don’t Go Breaking My Heart”, and “The One”. I’m not sure it’s going to lead to any kind of Britney renaissance at this point, but I certainly won’t complain about it continuing that of Elton’s. If you can still grab a chance to catch him on his current retirement tour, my God, do it. Phenomenal show.
Valerie June- “Look at Miss Ohio” (Fantasy)
If you thought the notion of Valerie June covering Gillian Welch sounds like the makings of Americana magic, you were correct in your assertation. June’s voice is certainly an acquired taste, but it is certainly a wonder to behold once you’ve done so. She burnishes this Welch favorite (by now a roots standard that’s likewise been covered by artists such as Miranda Lambert, The Band of Heathens, and others) with a gritty, mystical soul sound that is only capable of coming from her mouth.
The Killers- “Boy” (Island)
The Killers continue the impressively prolific output of new material that has defined the 2020s for the band thus far with “Boy”. It’s a surging synth-laden one-off that was left on the cutting room during recent sessions, but is certainly worthy of seeing its own light of day. A song tailor-made for those moments in life when things don’t go quite accordingly to plan. We may feel like our future is forever compromised at that time, but as Brandon Flowers‘ soaring vocal reminds us, “There is a place that exists, just give it some time. Home drawn arrows, unseen, will fly, and break the black night.”
Lake Street Dive- “Nick of Time” (Fantasy)
This is one of my new favorite bands covering my favorite Bonnie Raitt song of all time, and also one of the greatest songs of the past four decades across all corners of music. So naturally, I’m in love with it. It’s as graceful a statement on the emotions of aging as anything I’ve ever heard committed to paper. Rachael Price delivers a graceful reading that does Raitt’s lyrics and her original performance tremendous justice, and the Divers supporting her imbue it with the same graceful pop-soul sound that made the original so resonant. My new favorite cover song; with more surely to be coming when LSD drops Fun Machine: The Sequel next month.
Julian Lennon- “Lucky Ones” (BMG)
A potent and timely commentary on the uncertain times we find ourselves in. Which, when you track the sentiments of the earlier work of Julian Lennon, and also that of his father before, you soon realize is a constant state of the world in one way or the other. But it’s that perpetual state of unknown mystery, and our resilience as humans in response, that has fueled and will continue to fuel popular music for generations. Lennon’s passionate vocals and the gorgeously lilting production that surrounds him here ring soulfully true in their celebration of our ability to survive and see the good in even the darkest of moments.
Little Big Town- “All Summer” (Capitol)
Karen Fairchild lays the sexiest qualities of her raspy range on full display on the groovy “All Summer”, with the band’s signature harmonies and a dizzying guitar loop serving as the proverbial cherry. It may not command the same chart power as past LBT summer anthems like “Pontoon” or “Day Drinking”, but it’s just as intoxicating as those previous smashes.
Macklemore featuring Tones & I- “Chant” (Macklemore)
One of the qualities that has always set Macklemore apart from the crowded pack of rap and hip-hop stalwarts is his willingness to be as poetically vulnerable and reflective as a country or folk artist, all the while combining that soulful side with the anthemic swagger and spirit of the genre he calls home. “Chant” soars with a soft-spoken intro reminiscent of 2013’s “Same Love” and then erupts on the chorus with a standout guest performance from Tones & I , not to mention a rippling piano hook that I’ll be hearing in my brain for days. An engaging celebration of emotional durability and an underdog’s spirit.
Trixie Mattel with Michelle Branch- “White Rabbit” (ATO)
This is Trixie Mattel in his most buoyant folk-pop realm, resulting in a breezy and grin-eliciting moment that glows from beginning to end. Mattel’s reached a truly pivotal moment in her artistic trajectory, arriving at a place where her quirky personality, deep song craft, and knack for pop-friendly hooks have all merged magnificently. Michelle Branch’s sunny harmonies fit in perfectly with the rest of the package as well.
Megan Thee Stallion featuring Future- “Pressurelicious” (300)
Megan Thee Stallion’s on the speakers. Put those earmuffs on the kiddos, and just indulge in all of the blustery raunch like nobody’s watching. You know you want to.
Marcus Mumford- “Cannibal” (Capitol)
While we all continue to impatiently wait for the next move from folk-rock heroes Mumford & Sons, their leader has announced the release of a side solo-project that, if this lead single is any indication, will be one of the most boldly confessional records of the year. “Cannibal” is a no-holds barred reflection from Mumford on his experience as a victim of child abuse, and it’s undoubtedly one of the most brutally raw moments we’ll ever receive from one of the great songwriters of this generation. Seriously, it took me several times to get through the first verse before proceeding onto the rest of the song: “I can still taste you and I hate it/That wasn’t the choice in the mind of a child and you knew it/You took the first slice of me and you ate it raw/Ripped it in with your teeth and your lips like a cannibal/You fucking animal.” An arresting career moment from this man.
Panic! at the Disco- “Middle of a Breakup” (Fueled by Ramen)
“Make-up sex in the middle of a breakup”. That’s insatiable, hooky pop wordplay if we’ve ever heard it. And Brendon Urie delivers it and the rest of this frenetic single with all of the tense emotional whiplash that defines the complicated feelings experienced when we know a relationship has exhausted all of its emotional fuel, but there’s plenty of sexual energy still left in the tank.
Margo Price- “Been to the Mountain” (Loma Vista)
The first taste of Margo Price’s next musical era absolutely feels like a definitive turning-point in a catalog that has quickly become one of the most revered in country, rock and Americana alike. On “Been to the Mountain”, the previous honky tonk chanteuse emphatically pronounces and redefines herself as a punky, ferocious ruler of a sonic sphere that’s all her own. A sphere that resides somewhere between country, rock, punk, and post-grunge. And she displays all of the confidence, vocal chops, and attitude capable of merging all of those disparate sounds, themes, and spirits effortlessly. “Been to the Mountain” is far more than another single or record. It’s a certifiable moment.
Taylor Rae- “Home on the Road” (Taylor Rae)
When I first heard “Home on the Road”, I was giddy with excitement that we had a new single from Lee Ann Womack on our hands. From there, I was introduced to Taylor Rae. Who, it turns out, appears to be the next best thing when it comes to channeling the kind of soulful, tortured twang that Womack has defined for two and a half decades now. Rae knows how to use her vocal weapon well on this roaming, road-weary portrait of the life of a touring musician. There’ve been countless songs written about the subject, and Rae’s contribution proves to be one that belongs on a list with the very best. I’m impressed.
Red Hot Chili Peppers- “Tippa My Tongue” (Warner)
Apparently, one of 2022’s very best gifts for us is the release of not one, but two Red Hot Chili Peppers records. If “Tippa My Tongue” is any indication, the second batch is going to be just as fruitful of a rock feast as the first. It’s weird, funky, and trippy in all of the ways that only a Peppers release can be. Anthony Kiedis’ eccentric vocal tendencies are in all of their glory throughout this rapid-fire tour de force, and the guitar and bass solos are fiery in the classic rock sense thathave melted the stage at Woodstock. Another outstanding moment from one of the best rock outfits of this era, and any other before it.
Sturgill Simpson- “When It Comes to You” (Easy Eye)
“When It Comes to You” remains one of the highlights of Mark Knopfler’s era with Dire Straits, and it was served stellar justice when John Anderson transformed it into a contemporary country hit with his reading of it in 1992. Sturgill Simpson now pays that forward even further with his rendition from this excellent Anderson tribute album. With his rock credentials notably as strong as his country ones, Simpson sort of feels like he’s the remaining link in the chain that connects all three artists’ versions together. His booming drawl is tailor-made for the groove of the song, and that shredding yet twangy guitar solo is an additional treat as well.
Taylor Swift- “Carolina” (Republic)
The world’s biggest pop superstar returns to the dazzling and haunted sound of her pandemic-era albums with this spooky soundtrack single. It’s another reminder that Swift’s startling shift to alternative and Americana sounds in 2020 will remain one of the most inspired arcs of her enormous career. Her voice is painted in such a chilling and gorgeous light in this setting, and “Carolina” is suggestive that there’s plenty of this gold left for her to mine here in the future.
Weezer- “Records” (Atlantic)
The summer phase of Weezer’s seasonal collection of 2022 extended-plays basically finds the band in their most familiar wheelhouse: high-octane, angsty alt-rock. It’s spot-on because it’s been the band’s bread and butter for nearly three decades, and that “round and round” hook of the chorus is addictive to the core. Rivers Cuomo and company’s seemingly endless cycle of quality cuts continues without any signs of slowing.
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