Lauren Alaina- “A Walk in the Bar” (Big Loud)
Lauren Alaina has been one of the more consistently pleasing purveyors of modern country-pop for well over a decade now, though she’s really only had one solo moment that elevated her above the B-list with the stellar 2016 No. 1, “Road Less Traveled”. This confident break-up anthem, the introductory track for her first EP under a new record deal, is more than worthy of matching that success. Though the heavy Joey Moi production could be scaled back a bit to let her vocals breathe more, “Walk” shines through with plenty of county-pop pizazz, thanks to the sheer charm and personality she exudes any time she’s being the mic.
Beyonce featuring Kendrick Lamar- “America Has A Problem (Remix)” (Columbia)
The latest drop from Beyonce’s epic Renaissance album is a dizzying blend of 90s house and modern Hip Hop complete with a sampling from Kilo Ali’s similarly titled 1990 single, with Bey turning in one of the more impressive rap deliveries of her career to date. While the title implies a political message, which would have been nothing new for the superstar, “Problem” instead is a profession of the narrator’s irresistible sex appeal and its ability to prove more addictive than any drugs her lover may have access to. The addition of Kendrick Lamar doesn’t necessarily add anything particularly noteworthy to the proceedings, other than quench this era’s unending thirst for collaborative remixes, though his added lyrics do undoubtedly provide a few more amusing rap lines.
Boygenius- “Not Strong Enough” (Interscope)
“Not Strong Enough” is precisely the kind of literate, reflective, and slightly gloomy indie-rock that you’d expect from Boygenius, the collaborative effort from Phoebe Bridgers, Lucy Dacus, and Julien Baker that finally followed up their 2018 EP with and full-length record over the spring. This is a deeply contemplative track that examines how those of us anxiety-prone folks so often allow our often-invalid doubts and insecurities get in the way of our best relationships. Lovers of the indie scene and any one of these three particular artists will find this single, and its parent project, wholly satisfying and inspired. I’d love to hear a version that employs the raw, more-harmony driven soundscape of the album’s opener, “Without You Without Them”.
Brothers Osborne- “Goodbye’s Kickin’ In” (EMI)
What a kick-ass, burning, groovy blues triumph this latest cut from the BrOs proves to be. For nearly a decade, the country duo has provided plenty of examples as to just how stylistically versatile both TJ Osborne’s voice and John Osborne’s killer guitar work truly are, and this may be my favorite realm that they’ve explored thus far. It just sweats with undeniable romance and sex appeal, and is produced so cleanly and masterfully to capture every ounce of the heat exuded from their performances. Brownie points are in order for the great female backing vocals and the sumptuous fiddle solos that bring the tune to its thrilling finish line.
Brandi Carlile- “Home” (Elektra)
Culled from a recent episode of Ted Lasso, the classic, sparkling swan song from The Wiz is undoubtedly in trustworthy hands with Brandi Carlile’s passionate voice and penchant for cinematic storytelling. A timeless tune combined with a timeless voice and tasteful production will always produce remarkable results, and Carlile’s rendering should make both Stephanie Mills and Diana Ross mighty proud.
Cold War Kids- “Double Life” (AWAL)
Fresh new music from the Cold War Kids finds lead vocalist Nathan Willett getting reflective on a tune that is equally catchy and contemplative. At a breakneck pace, “Double Life” examines the contradictory roles that one must simultaneously acquire throughout adulthood, whether it be as musicians, parents, or just mere human beings. I love the fittingly dichotomous production of the record that matches Willett’s feverish delivery with a sound that incorporates both angsty power-punk instrumentation and celebratory piano.
Fall Out Boy- “We Didn’t Start the Fire” (Elektra)
An interesting and unexpected release, the pop-punk superstars resurrect what is inarguably the most polarizing smash from Billy Joel’s canon and update it with lyrics referencing world events that have occurred since the original’s chart domination in 1989. Now, if you enjoyed the entertaining novelty of the original and appreciated it exactly for what it was, of which I happen to, you’ll likely enjoy this sequel. Of course, FOB are already being attacked for critical events that they omitted (OJ Simpson, COVID-19, etc), but it’s impossible to cover everything within the track’s run-time and the proper rhyme scheme. Plus, their rousing and gutting placement of September 11th in the space formerly occupied by the JFK assassination more than compensates for what isn’t here.
Vince Gill and Paul Franklin- “Kissing Your Picture (Is So Cold)” (MCA)
Classic country music lovers, rejoice! Vince Gill and steel guitarist-extraordinaire, Paul Franklin, have reunited to follow up their astute 2013 collaboration, Bakersfield, which paid homage to the legendary catalogs of Merle Haggard and Buck Owens. This decade, they will be dipping into the equally esteemed catalog of Ray Price, and this first preview, revisits a Price recording from 1958. As expected, it’s rich country singing and playing of the highest order. Gill’s legendary voice pares so perfectly with Franklin’s virtuosic playing, and their union is the perfect vessel to unearth classic tunes like this one.
David Guetta, Anne-Marie and Coi Leray- “Baby Don’t Hurt Me” (Warner)
The vocals of Anne-Marie and Coi Leray have absolutely nothing on the suave, velvet tone of Haddaway’s, but this an undeniably banging and addictive reimagining of the 1993 dance classic, “What Is Love”. David Guetta strikes gold once again.
Niall Horan- “Meltdown” (Capitol)
With the second release from The Show, Niall Horan reminds us all that he’s just as effective as his superstar, former bandmate, Harry Styles in parlaying his One Direction roots into commanding, unmitigated pop ear-candy. With its shimmering production, bouncy rhythms, and chorale-leaning vocals, “Meltdown” honestly sounds like something that could have appeared on Harry’s House. Lingering underneath all of the sonic euphoria is an account of the kind of manic, generalized anxiety that can be so crippling in day-to-day life. It sort of plays like an upbeat take on Shawn Mendes’ “In My Blood”, with a comforting light at the end of the tunnel inserted to match the feel-good vibes. Horan pulls this all off capably well.
Carly Rae Jepsen- “Shy Boy” (Interscope)
Daaamn, is Carly Rae Jepsen on a roll with her never-ending onslaught of boppy goodness. “Shy Boy” is a ravishing plate of effervescent vocals, funky beats, and a beguiling-as-hell keys solo for good measure.
Miranda Lambert and Leon Bridges- “If You Were Mine” (Vanner)
In her first piece of music since departing her major Nashville label of two decades, Miranda Lambert teams with fellow Texan and soul master, Leon Bridges. It’s a gorgeous yet understated distillation of all the qualities that have made both artists the pinnacle of authenticity in their respective country and soul realms. The slow-churning bass pares marvelously with the aching steel licks, but the true highlight is the melding of the two voices, disparate as they may be but brimming with heat and chemistry.
Dua Lipa- “Dance the Night” (Atlantic)
As the pop sensation continues to test our patience for her anticipated follow-up to Future Nostalgia, this selection from the upcoming Barbie film soundtrack does a staggeringly effective job in quenching our thirst for new Dua Lipa music, at least temporarily. “Dance the Night Away” would have fit like a glove on the monstrous list of modern disco-pop smashes culled from Nostalgia. She once again marries his slick, silk vocals with flamboyant hooks and sparkling dance production to provide what will be an undeniable summer anthem.
Tim McGraw- “Hey Whiskey” (Columbia)
Another fantastic narrative from one of country music’s true great song-men of the past thirty years. “Hey Whiskey” is a raw and potent crossroads confrontation between a man and the alcohol addiction that has cost him everything he holds dear, including his wife. Though McGraw didn’t have a hand in the writing, it’s a compelling story from his voice given his own documented battles with the bottle and his decision to give it up years ago in effort to save his own marriage and personal well-being. The man in this song wasn’t so lucky to make that choice in time, and McGraw delivers that bitter pill with his trademark honesty and empathy, while supported by an organic country arrangement that does the song and performance great justice. McGraw to this day still isn’t 100% flawless in his song-selection, but he’s as creative a compass as any you’ll find on Music Row these days.
Joni Mitchell- “Both Sides Now (Live)” (Rhino)
A soulful and sterling live performance captured at the folk icon’s recent Joni Jam concert at Newport Folk Festival will most certainly reign as one of 2023’s most vital musical moments. At age 79, Mitchell’s voice is deeper and a bit ragged, but inarguably as powerful and searing as it ever was. And to hear it deliver the line “I really don’t know life at all” during this stage in life is a brutal but beautiful gut-punch. The performance is further emboldened by the palpable adulation of both her audience and the artists supporting her during the recording, chief among them of course being the ever-uniquitous Brandi Carlile. The upcoming live album which will chronicle the entire show immediately ranks as a vitally important showcase time capsule in the popular music canon.
Nickel Creek- “Where the Long Line Leads” (Thirty Tigers)
Where the sheer smoky fury of Sara Watkins’ vocal and fiddling along with that of Chris Thile and Sean Watkins’ harmonies combines to create an absolute blaze of brilliant musicianship. Pure greatness.
Brad Paisley- “So Many Summers” (EMI)
Brad Paisley has a trunk full of songs that illustrate his keen ability to capture nostalgia and retrospective reflection on the passing of time, and “So Many Summers” ranks right up there with any of them. I love how his sage, bittersweet advice to the coming-of-age youth he’s speaking to steadily builds and progresses throughout the song to a full-blown pleading by its conclusion. It’s this line however that really hits and reminds us of Paisley’s impressive strengths as a storyteller: “When Dad would wanna play catch, I’d say ‘maybe some other time’/I wanna grab that kid and say ‘Are you out of your mind?’”. That’s not to mention the thematic nod to “Waitin’ On A Woman” in the conversation in the final verse. This is the Brad Paisley I’ve been waiting to hear from again. I’m officially excited for his new music now.
Jon Pardi- “Your Heart or Mine” (Capitol)
Jon Pardi is most definitely becoming one of my sleeper favorites these days. Like a transplant from the 90s glory days, he’s doing such a fantastic job of naturally blending classic, neo-traditional country sounds with the polished, rock-tinged production standards of the modern day. “Your Heart or Mine” does this splendidly, with its loaded resume of swinging twang, brooding rock undertones, and a noir-leaning soundscape that perfectly captures the dangerous, tempting attraction that exists between the song’s two characters. Yes sir, I definitely missed the boat on including Mr. Saturday Night among my best 2022 albums.
Carly Pearce featuring Chris Stapleton- “We Don’t Fight Anymore” (Big Machine)
An excellent portrayal of the utter sadness that results when a strained relationship demotes itself to the point of complete indifference. Thematically, it recalls Stapleton’s own “Either Way” as well as the classic “You Don’t Even Know Who I Am” from both artists’ celebrated influence in the Patty Loveless. Pearce’s pure country delivery soars with the same bitter ache and honesty that was the cornerstone of her recent output and the deserving breakthrough it provided. Stapleton’s harmonies are characteristically peerless before exploding into his rattling, bluesy twang on the bridge, giving us the solo turn that far too many of his collaborative features lack. These two continue to raise the bar for their field individually, so it’s no surprise that when they get together, it’s among the year’s finest moments.
Rival Sons- “Rapture” (Atlantic)
Rival Sons remain one of the most criminally overlooked rock outfits in the world today, and to miss out on “Rapture” is to miss one of the most captivating and electrifying performances this year, in rock circles or otherwise. Lead vocalist Jay Buchanan can rattle the rafters in the best hard rock vocalists of all time, but I love that he goes against the grain by being far more selective when doing so. This surging performance is a prime example of how tastefully he uses all facets of his voice, both the hair-raising and the more intimate. Dave Cobb’s production choice to flip the script on the chorus by silencing all of the intense instrumentations of hte verse is a prime example of this gift of Buchanan’s at work. The raw quality revealed by that sudden change in tone packs such an emotional wallop. This one’s rapturous indeed, but in far more than volume.
Kenny Rogers and Dolly Parton- “Tell Me That You Love Me” (UMe)
“Islands in the Stream” this is not, nor is it “You Can’t Make Old Friends”. Nevertheless, “Tell Me That You Love Me” is a sweet, endearing tune that shines thanks to a lovely, bluegrass-tinged arrangement that provides a warm showcase to the endless love and chemistry that existed between Kenny Rogers and Dolly Parton. And it’s an undeniable gift to hear them singing together one more time on new material, which more than does its duty in excelling what would be merely generic in the hands of other artists. This is surely one of the highlights from Rogers’ recently released posthumous swan song.
St. Paul and The Broken Bones- “Sea Star” (ATO)
Paul Janeway is in possession of one of the most dynamic and alluring voices in all of music, and with the Broken Bones at his side, he continues to produce an incredibly compelling and creative brand of soul music. In “Sea Star”, they navigate cosmic electronica, with their standard rock & soul vibrancy weaved seamlessly in between. The results are soothing, colorful and utterly hypnotic.
Taylor Swift- “Cruel Summer” (Republic)
As if the pop behemoth didn’t have enough new content to focus on between the ongoing Midnights era and upcoming release of Speak Now’s turn as the latest entry in the Taylor’s Version series, her current tour and the viral power of the TikTok era has powered this cut from 2019’s Lover onto the airwaves. Truthfully, the one downside of Folklore’s surprise emergence in the summer of 2020 was that it cut the Lover era short. Lover remains one of my favorite Swifty releases, and there’s no denying that there was a stack of potential hits left on the shelf from its tracklist, and “Summer” certainly resides near the top of that list. Highlighted particularly by that epic bridge, it’s more than deserving of its belated flowers and is a worthy centerpiece on the 2023 summer soundtrack. (Sidenote: I was fortunate enough to attend the Eras Tour in Chicago earlier this month, and it was hands-down one of the best concerts I’ve ever attended. What a powerful entertainer she has blossomed into over the past decade and a half.)
Aaron Watson featuring Jenna Paulette- “Seven Year Ache” (Adub)
This is a solid, left-of-center cover choice from one of the reigning kings of the Texas country scene. Aaron Watson is most frequently with influences like Willie and George, so it’s a cool and creative choice to see him tackling Rosanne Cash, an overlooked innovator of modern country despite being one of the most sophisticated singer-songwriters of all time in both country and pop. Watson and newcomer Paulette handle this classic with the taste it requires, and it works exceedingly well as a male-female duet. Also, I certainly expected Watson to keep the steel guitar solo (easily the most traditional aspect of the original), but he actually replaces it with a sizzling electric solo that is spot-on in giving this version its own unique color. A great rendition of one of the all-time great songs of any kind.
The Weeknd featuring Future- “Double Fantasy” (Republic)
Gleaned from the now apparently scrapped soundtrack to The Weeknd’s widely panned recent television project, The Idol, “Double Fantasy” is squarely planted in the mysterious and alluring, retro 80s pop sound that has defined the superstar’s hits to date, particularly After Hours. Perhaps the Weeknd’s TV magic touch isn’t what he expected, but there’s no denying that he remains on his game with his musical productions. “Double Fantasy” could have come off lyrically lecherous in the wrong hands (which does fit the show’s apparent premise), but this complicated relationship possesses multi-dimenesional layers thanks to his delivery feeling bittersweet, not blustery. He’ll need to mix up his sonic soundscapes at some point, but it hasn’t overstayed its welcome yet, and sounds just as entrancing here as it did on his last two records.
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