Singles
Brothers Osborne- “Nobody’s Nobody” (EMI)
The newest batch of music from country music’s favorite BrOs finds leads with a rollicking track that finds John and TJ landing squarely in mid-2000s Keith Urban territory, and yes that is most definitely a compliment. “Nobody’s Nobody” rides a melodic country-pop groove layered in bulky electric riffs and shimmering drum loops and it’s unsurprisingly bolstered by TJ’s muscular baritone and his brother’s equally beefy guitar solo that lets loose at the bridge. At the heart of the tune is the kind of common-man odes and nuggets that have been country music’s bread and butter for nearly a century, elevated to a new level of infection thanks to the booming and hypnotic hook that the chorus builds to. More solid stuff from one of Music City’s very best acts.
Kane Brown- “Bury Me In Georgia” (RCA)
“Bury Me In Georgia” is most definitely one of Kane Brown’s most interesting single releases to date. Opening with the combination of a mournful church bell, lonesome train whistle, and the kind of gorgeous fiddle riff that has truly been at the heart of all his best moments recently, the track finds the superstar venturing into a tasty, ominous Southern Gothic-rock mash-up. Yes, it’s disappointing that the subject matter isn’t dark at all–it’s truly just another country-boy Southern pride anthem–but I can overlook this for mere fact that it’s such an interesting sonic adventure. It’s certainly going to be a refreshing lane-change for those tired of “Thank God”, and one of those rare instances where I think Nashville’s penchant for overly loud production is on point. Brown is one of the current moment’s most chameleonic hit-makers, and while not all of his coloring outside the lines always pays off, this one is a winner.
Cannons- “Loving You” (Columbia)
Wow, what a delectable spell this track casts, from the moment that casually haunting batch of whistles lures you in at the onset. Cannons continue to prove themselves as one of the alternative scene’s most quietly intoxicating and buzz-worthy bands. I love the way they seamlessly blend acoustic flourishes with the snyth-driven components of their dreamy rock sound, and the way lead vocalist Michelle Joy so alluringly coos the lyrics makes for such steamy, soft-spoken sex appeal. This track is pure fire.
Brandy Clark- “Buried” (Warner)
As one of the most consistently articulate and clever singer-songwriters of the past decade, the arrival of new music from Brandy Clark is certainly cause for celebration, and “Buried” does nothing but further cement that fact. And as she has done countless times since her sterling debut, Clark rips our hearts out with her tenderly powerful, brutally honest vocals and lyrics. She’s still madly in love with a departed partner who has moved on, and while she pledges to spend the rest of her days convincing the world that she is doing the same, she knows she’s resigned to hold this painful infatuation deep inside of her until her final days. The song’s final couplet is as bitterly devastating as anything else in her preceding catalog: “I’ll meet somebody else/Probably get married/I’ll keep it to myself/But I’ll love you till I’m buried.” (Sidenote: the great Brandi Carlile further raises her impressive production profile at the reigns of this and the entirety of Clark’s new project; as if you needed further reason to get excited over its arrival.)
Kelly Clarkson- “Mine”/”Me” (Atlantic)
Kelly Clarkson has spent several months confirming that her first studio album release in six years would indeed explore the emotions surrounding her 2020 divorce, and that relationship’s aftermath certainly spills over on the double-sided lead single from the forthcoming set entitled Chemistry. “Mine” and “Me” prove to be suitable companion pieces for each other. They’re tied together by the groundswell of powerful feelings surrounding the split, but more than anything they compliment each other for the fact that they present different stages of the experience. “Mine” is a sad-girl pop tune fully drenched in the bitter, vengeful stage we face when reeling from the most hurtful details of a breakup. “Me” on the other hand is a rousing moment of rebirth when Clarkson finally restores her belief and worth in herself; it’s precisely the type of soulfully climactic power ballad that we want from a singer like Clarkson. It showcases both the pure, technical range of her pipes and her resonant delivery magnificently, while underscored by a soul-stirring gospel arrangement behind her.
Luke Combs- “Fast Car” (Columbia)
What an unexpected and thoroughly enjoyable surprise this is. The country radio darling faithfully covers Tracy Chapman’s 1988 folk-rock classic, one of the most enduring and thoughtful songs of the past four decades, and absolutely does it marvelous justice. In addition to his stratospheric rise to Nashville superstardom, Combs has emerged as one of the finest pure country vocalists of the current era, and he sings this flawless story with such tremendous warmth, narrative taste, and obvious reverence for the original. The jangly guitar hook, which remains one of music’s most evocative and memorable moments, is recreated in pristine fashion as well. In all reality, “Fast Car” is the perfect song to reconnect the country airwaves with the working-class themes and stories that have always been its backbone, and Combs proves himself a dutiful vessel for such a task. Chapman should be proud of this rendition, and so should Combs. This should prove to be one of the year’s most rewarding swerves.
Miley Cyrus- “River” (Columbia)
A swaggering, confident slice of dance-pop perfection that sets itself apart from all of the other current club bangers thanks to the unique character residing in the ragged rasp of its singer. And to be clear, it’s a dirty slice too, y’all. That’s nothing new for Miley Cyrus of course, but the passing of years and a stylistic maturity has certainly afforded her the flawless ability to pull off a suggestive, sexually charged anthem in a way she just couldn’t fully do back in the Bangerz era. Plus, as with the very best pop music of its ilk, a listener can enjoy the track without needing to fully grasp the lyrical content, leaving it to be the enticing little treat it is for those of us who do connect the dots.
Foo Fighters- “Rescued” (RCA)
The inaugural single from the rock giants’ eleventh album is pivotally their first recorded work since last year’s untimely passing of drummer Taylor Hawkins. This distinction of course places added weight upon this song’s shoulders, and unsurprisingly, the Foos do their fallen comrade gloriously proud. It’s planted firmly in the band’s most recongizable post-punk wheelhouse after some wildly creative and pleasing sonic experiments during the Medicine At Midnight cycle, which feels immediately timely. The lyrics grapple with the kinds of raw and numb questions that we all are confronted with in the shocking aftermath of tragic loss. But the ultimate highlight, and tribute to Hawkins, lies in Dave Grohl’s singing–and drumming–which notably rocks with an added passion and emotional gravity, even by his legendary standards.
Ellie Goulding- “By the End of the Night” (Polydor)
This next suggestion may just get me throat-punched by a pack of rabid, blasphemy-screaming Austrailians, but I’m going to ask it anyway. Is it still too early to proclaim Ellie Goulding as the potential Kylie Minogue of her generation? I mean what an infectious, pulsating, glittery bop this track is. It’s becoming a defining spring jam for me, folks. I especially love the subtle nods to the haunting 80s production of After Hours laced throughout. Be sure to check out “Cure for Love” off the new record as well, STAT.
Amy Grant- “Trees We’ll Never See” (Grant)
What an understated gem this is, from a singer whose legacy is likewise understated and far too often overlooked. The majority of Amy Grant’s CCM contemporaries would have made the mistake of burying this gorgeous reflection on nature and human mortality in maudlin production and dramatics, but Grant keeps it tastefully grounded. It’s sad to hear the weathered toll that time, and recent medical difficulties, has had on her lovely voice, but it also fits the narrative of the song in beautiful fashion.
Ty Herndon and Terri Clark- “Dents on a Chevy” (Pivotal)
What a toe-tapping good time this single is. It transports me back to my parents’ screen-porch on a summer night in 1995. Long live the spirit of 90s country. Also, can we please get Terri Clark lined up next for a proper Jo Dee-sytled renaissance in the mainstream nostalgia cycle? What a fantastic and underrated gem from her era she remains.
Hozier- “Eat Your Young” (Rubyred)
I’m sincerely conflicted on what has me digging this latest Hozier track more. Is it the fact that, as is on-brand for the soulful alt-folky, “Eat Your Young” is a gripping and importantly thought-provoking social commentary? Or is it that the record just flat out bops in the most demented, twistedly haunting ways? The true answer is that he so masterfully manages to tackle both sides of that coin in such an unflawed, seamless fashion. This dude is far more than just “Take Me to Church”, and we’ve done him dirty state-side by not giving the rest of his music the same attention.
Jason Isbell & the 400 Unit- “They Wait” (Southeastern)
No, this is not the latest preview of Weathervanes, but rather a left-over from 2020’s Reunions sessions and a companion-piece to HBO’s newly released Jason Isbell documentary. Both serve as wonderful ways to whet your appetite in anticipation for the new record’s arrival next month. How the hell this track was left on the cutting room floor in the first place is beyond me. It slaps as hard as any other uptempo in Isbell’s illustrious catalog. I absolutely love it; a roaring country-rock anthem of the highest order.
Jonas Brothers- “Waffle House” (Republic)
Two-plus minutes of bright-eyed, joyful pop bliss. Nothing more, nothing less. And I can’t get enough of it. I guess I’ve slipped into my JoBros era? Lord knows I never expected that, but I’m rolling with it my friends. This one’s destined for massive spins on my spring and summer playlists.
Jenny Lewis- “Psychos” (Blue Note)
Damn, I think Jenny Lewis is about to ascend to the top of my gravest musical oversights of the past few years, and “Psychos” has got me instantly eager to rectify that as soon as possible. Her lyrics here, and her mysterious delivery of them, are so multi-faceted: biting and sweet, humorous and introspective. Her loose alt-folk sound is equally enticing, and when she hits that high note on “disciple”, I instantly got some wonderful Lucius vibes that seal the deal for me on Jenny Lewis.
Post Malone- “Chemical” (Republic)
The lead single from Posty’s next LP boldly continues down the folk-pop path that he hinted at occasionally throughout last year’s Twelve Carat Toothache. This is sure to get plenty of his pure-rap fans all up in arms. As an Americana-country leaning guy however, I’m enjoying this other side of Malone, and I think “Chemical” finds him naturally sliding into the half-lilting, half-jangly spectrum. It further reveals a pleasing, emotive tone to his voice that is soothing and reflective. If he next wants to follow those outstanding YouTube country covers by reuniting in the studio with Dwight Yoakam’s band to record a full-fledged roots album, I’m all for that as well.
Matchbox Twenty- “Wild Dogs (Running In a Slow Dream)” (Atlantic)
The late 90s favorites return from another long slumber with the lead single from their first album in eleven years. It finds MB20 back in their comfy, MOR soft-rock safe-zone and that’s a realm that they’ve always done far better than the bulk of their contemporaries, mostly attributed to Rob Thomas’ undeniable charisma. The urgency of the chorus certainly doesn’t have near the gripping bite of a band classic like “Bent” or even “She’s So Mean”, but that temperament doesn’t necessarily fit where Matchbox Twenty, or their core fan base, fall at this stage anyway. They’re content making pleasant, relaxing pop-rock, and they remain pretty darn good at it. A/C programmers will surely eat this eat up like candy.
Parker Millsap- “What You’ve Shown Me” (Okrahoma)
The lead release from roots darling Parker Millsap’s upcoming sixth album finds the swampy crooner sort of splitting the difference between the more folksy tones of 2021’s Be Here Instead and the grittier bluesy stomp of his earlier breakthrough projects, a tone that I frankly missed quite a bit on Instead. This is still very much reflective and pensive romantic ode, but he’s delivering it with more of the growl and punch (albeit tempered for the sentiment) that he displayed on a cut like “Truck Stop Gospel”. This performance is definitely one glows and grows on you more with repeated listens. Parker Millsap’s still got the goods.
Kip Moore- “Kinda Bar” (MCA)
The Heartland heartthrob leans into his twangiest inclinations on the second single from his brand new album, and it’s a reminder of how skilled he is with a straight-up honky tonk throwdown. It’s not his most compelling composition, but similar to his breakout hit “Something Like a Truck” a decade ago, “Kinda Bar” is more about a spirit and vibe than anything else, and it’s supremely elevated thanks to the sheer firepower that resides in both Moore’s vocals and the instrumental jamming of the supporting musicians that he surrounds himself with. This is miles ahead of the countless ditties that country programmers fawn over.
Megan Moroney- “Tennessee Orange” (Arista)
Megan Moroney is undoubtedly a new talent to keep an eye on. She’s got far more daring and interesting material to offer (Hello “Hair Salon” and “Girl in the Mirror”?), but this is a solid gateway track and Moroney asserts herself impressively as an intriguing narrator and vocalist. This could’ve easily fallen victim as a dopey and stereotypical mainstream country misfire. I mean, she’s working up the nerve to tell her parents that she’s dating a man who aligns himself with….gasp…a competing football team. The reason it works is because of Moroney’s sly, winking delivery, and the fact that this detail, the entire hook of the song, is also just a launching pad for the overall story of the song. At its core this is the tale of a coming-of-age girl spreading her wings away from her hometown, meeting new people, and experiencing the kind of love she hasn’t before.
The National featuring Taylor Swift- “The Alcott” (4AD)
The National and Taylor Swift reignite their Evermore magic on what is most definitely a centerpiece on the band’s brand new album. The last time and Swift and lead vocalist Matt Berninger met was at Coney Island, and they now find themselves in the darkest corner of the Alcott hotel, to continue what appears to be a viscous cycle for reciprocated torture over the demise of their relationship. When Swift emotes, “I love this curse on our house”, it’s a twisted and deep slice of the knife. This is captivating, gorgeous, and gloomy indie-rock at its best.
Lukas Nelson & Promise of the Real featuring Lainey Wilson- “More Than Friends” (Thirty Tigers)
Hell yes. I absolutely love this single and this pairing. Lainey Wilson’s sweet Southern drawl is the perfect companion to Lukas Nelson’ reedy, high lonesome wail, and I could also see this starting a trend of her being as in-demand of a collaborator outside the mainstream scene as on the inside. Their charisma and chemistry is fabulous and that blend they strike on “Forget tomorrow, we can face the music then.” is pure C&W heaven, as is the red-hot, crystal-clear playing of POTR. “More Than Friends” makes my admittedly honky tonk heart happy.
Rainbow Kitten Surprise- “Drop, Stop, Roll” (Elektra)
The latest from this wonderfully quirky indie band is a lovely mid-tempo folk tune, stacked with fabulous harmonies, intimate guitar plucking, and a half-celebratory/half-cautionary tale about the brutal highs and lows of music fame. This group is well worth seeking out, and for far more than the charming band name.
Nathaniel Rateliff & the Night Sweats- “What If I (Cook Brothers Version)” (Stax)
A stripped down reimagining of one of the many quality album cuts off the latest Night Sweats record. Of course, I can’t ever get enough of the band’s sweltering soul-jam sound, but there’s no denying that they sound just as great in this more intimate setting. It allows both Rateliff and his bandmates to breathe a bit in a way that their normal fare doesn’t, and in the process further showcases their magnificently raw and soulful musical talent.
The Revivalists- “Kid” (Concord)
A welcome and overdue return from one of today’s most solidly reliable rock groups. “Kid” retains the rippling guitar riffs that has been at the heart of their music to date, but also incorporates in a breezier tone that perfectly matches the pulsating, trembling anxiety that David Shaw sings with such a quietly passionate roar throughout. Basically, the message of the song is to stay true to musical vision that inspires you in the first place and you’ll have no trouble navigating the messy noise of the world around you. Seems to be working well thus far for the Revivalists.
Ed Sheeran- “Eyes Closed” (Asylum)
A simultaneously soothing and tear-inducing song of grief that Ed Sheeran completed in the wake of the unexpected death of friend and colleague, Jamal Edwards. It should come as no surprise that Sheeran applies his signature brand of emotive folk-pop intimacy to great emotional effect here. He colors the song with enough of a blend of specificity and universal emotion to both be tied to his individual experience but also serve as a catharsis for any loss the listener may themselves be reeling from.
Sunny Sweeney and Jamie Lin Wilson- “Red Dirt Girl” (Aunt Daddy)
An absolute gem of a classic from the Americana-tinged renaissance period of Emmylou Harris’ astounding career is done marvelous justice with this graceful cover from two of Texas country’s standout darlings. This heart-wrenching story song still doesn’t get enough credit as both a watershed moment in Harris’ catalog and in 21st century music in general. It’s a sterling moment, and just hearing Sunny Sweeney’s warm, clear twang in particular wrapped around her verse is nothing short of chilling.
Tanya Tucker- “Kindness” (Fantasy)
What a distinguished and unexpected gift the recent artistic renaissance of Tanya Tucker has been, and if “Kindess” is any indication, it’s clear that the country legend will be doubling down on the greatness of 2019’s While I’m Livin’ on its forthcoming sequel. Her weathered voice is admittedly an acquired taste, but what tremendous rewards it renders once you do. Her high, reedy rasp imbues such emotional depth and humanity, with her classic lower register still mustering up plenty of thunder and gravitas when required as well. This is a gorgeous and tender plea from an aging journeywoman for the grace, respect, and kindness she deserves for all the life she’s lived. Returning producers Shooter Jennings and Brandi Carlile (there she is, again!) once again envelope Tucker’s voice in a luminous and haunting cloud of rugged country beauty (those harmonies!) to create an overall ambience that sends the record soaring. Sweet Western Sound, indeed. This album just became one of my most eagerly anticipated on the summer release schedule.
Carrie Underwood- “Out of That Truck” (Capitol)
This bonus single is an obvious outtake from the Denim & Rhinestones sessions, which makes it a peculiar next radio bid for Carrie Underwood, given that it is indeed inferior to the large batch of dazzling choices off the actual album that are primed for mass exposure. Nevertheless, “Out of That Truck” is similarly infectious and has no issue lodging itself into your membrane, thanks to the superstar’s endlessly irresistible voice and how it undeniably shines within a glossy 80s-nodding production. She no longer needs to take a baseball bat to her lover’s truck to haunt him after their breakup; her indelible memory itself has tainted his prized possession in a far more painful fashion. This track is also proof that, like many so many other things in modern country, women do truck songs far better.
Lucinda Williams featuring Bruce Springsteen- “New York Comeback” (Thirty Tigers)
With “New York Comeback”, Lucinda Wiliams has delivered both my favorite track from her in many years, and also one of the best modern portraits of the darker, lonelier corners of the rock & roll lifestyle. That first verse in itself is such a stark and honestly revealing vantage point from that of an aging rock star, the power of which is only magnified by both Williams’ own age and her untouchably legendary poetic lyricism. It’s counteracted wonderfully with the gloriously rocking defiance and confidence of both the vocals and production on the chorus, yet it’s still subtly tempered with a solemn doubt, a quality beautifully embellished by Bruce Springsteen’s tender backing vocals. Lucinda’s still got it; and I can’t wait to hear more rock & roll stories from her.
The 706 
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