Albums
Post Malone- Austin (Republic)
The fifth LP from superstar Post Malone arrives quickly on the heels of last year’s Twelve Carat Toothache, and in the aftermath of the birth of his first child and subsequent engagement to his daughter’s mother. Given those life events, it should certainly come as no surprise that Austin, a record carrying the namesake given him at birth, continues down the more reflective and introspective musings that popped up on Toothache. It also pushes Malone’s sound further from his core Hip Hop roots toward a more stripped, guitar-based (Malone plays lead on every track) folk-pop sound. There are very few trap beats to be found throughout Austin, and not a single one of the featured collaborations that have been a cornerstone of his previous records. Conversely, the tracks here don’t find the star abandoning his well-documented vices of sex, booze, and fast cars. No, those themes still heavily populate this seventeen-track list. But they’re certainly examined through a more mature and reflective lens, a tone that is perfectly complemented by the more rootsy trappings. While there are still your infectiously addicting jams like the Weeknd-esque “Too Cool to Die” or ‘Sign Me Up”, the centerpieces are bare-boned conffesionals like opener “Don’t Understand”, the harmonic gospel-tinged “Something Real”, or the near orchestral “Hold My Breath”. His voice trembles in such emotive fashion throughout these cuts, illustrating how deeply the exploration he’s enacting truly cuts. That guttural power hits its true peak on the album’s pair of gripping closers, “Green Thumb” and “Laugh It Off”. Austin proves to be a truly captivating evolution in the artistic arc of Post Malone’s career thus far. His swift stylistic pivot will surely make it his most divisive record to date. And also his most accessible. And perhaps his very best.
Lori McKenna- 1988 (CN)
Over the better part of two fabulous decades, Lori McKenna has unequivocally emerged as one of the true lyrical voices of a generation. She is the quintessential voice of the common woman, and also capable of making those ladies’ husbands of stones crumble into a pile of tears with her bitter and beautiful tales of every-day domestic life. McKenna’s pen is as gracefully rich and literate as it’s ever been, while the production, once again helmed by Americana heavyweight Dave Cobb, parlays a more jangly and electric rock-tinged sound that compliments her hearty voice as much as the commonly acoustic trappings of past records. Named for the year that she married her husband Gene, 1988—both the track and the album as a whole– is very much another love letter to the domestic adventures she’s lived with Gene and the five children they’ve raised. The song itself is a central celebration of the unifying love of their family, while the surrounding tracks find McKenna again tackling the intimate realism of the highs and lows that happen in between, day in and day out. The give and take struggles of a successful marriage are tackled in tracks like sardonic “Days Are Honey” and the surging “Killing Me”. The crippling weight and exhausting pace of modern society’s expectations in “Letting People Down”. The passage of time and appreciation of what it contained is gracefully captured, as only McKenna can on cuts like “Growing Up” and “The Old Woman In Me”. And the reward and gratitude felt by watching children grow into successful adults glowingly takes center stage in “Happy Children”. And in between all of the familial tales, McKenna once again reminds us of what a voice she is for common man humanity and all that it faces on a stunner like the opioid addiction-battered “Wonder Drug”. The stark final verse of that track is as startlingly powerful and real as anything she’s ever penned: “I wasn’t paying attention when the roof was steady, the walls came in/Blue-collar life and all its weight/I was right there and I was too late…I was too late…” This is the work of one of our time’s true musical poets; appreciate it and soak up every piece of its life-affirming wisdom and sustenance.
Lukas Nelson & Promise of the Real- Sticks and Stones (Thirty Tigers)
The glory days of Southern Rock and Outlaw Country are indeed alive and well on Sticks and Stones, the delightfully loose and rowdy eighth set from second-generation talent Lukas Nelson and his scintillating band, Promise of the Real. Nelson’s voice is as twangy and swinging as it’s ever been, his ensemble’s playing is at its most fiery, and their lyrical storytelling remains entertaining as hell. Like his legendary father Willie Nelson, Lukas and his troops have never been afraid to color outside the restrictive stylistic lines of straight-forward country. With that said, this record stays as loyal to 70s Texas country as anything in their canon and they do the art-form mighty proud; it would play seamlessly beside any peak period record from Willie, Waylon, Jerry Jeff or the like. The playlist is stacked with astounding musical dexterity, authentic grit, and down-home humor, from the cheeky gospel-tinged honky tonk of “Alcohallelujah” and the breakneck parlor fire of “Ladder of Love”, to the hilarious buffoonery of “Wrong House” and brutal but comedic reality check of “Overpass”, which also boasts perhaps the record’s most succulent guitar work. And then there’s the splendid duet magic of “More Than Friends”, which would be a star-making performance for mainstream darling, Lainey Wilson, if she wasn’t already a rare beacon in the Nashville stratosphere. Nelson has had no trouble emerging out of the imposing shadow cast by his iconic lineage, but part of that can be attributed to the fact that he isn’t afraid to lean into it. Enter “Every Time I Drink”, with its honky piano summoning the ghost of his aunt, Bobbie, while his high and reedy twang fully embraces his father’s magical influence, which also shines through glowingly on “Lying”, as mournful a country heartache tune that you’ll hear all decade. With Sticks & Stones, Lukas Nelson and POTR continue to dutifully honor the legacy of both family and the country art form, while boldly and reverently blazing a path for it into the future, just like their heroes before them.
The Revivalists- Pour It Out Into the Night (Concord)
In the seven years since The Revivalists scored a major breakthrough hit with the alluring “Wish I Knew You”, they’ve established themselves as one of roots rock’s most quietly reliable bands. They haven’t really enjoyed the type of widespread mainstream buzz that their talents warrant, but they’ve kept modern rock junkies and disc jockeys more than satisfied with a solid and consistent streak of tasty jams that has likewise carved them out a revered space in the AAA universe. While their fifth long-player finds them navigating some significant changes, namely new label and expansion to an eight-piece with the permanent induction of percussionist PJ Howard, Pour It Out Into the Night maintains a mostly familiar compass centered around rippling rock productions, a signature jam-band spirit, and David Shaw’s enthralling, soul-influenced vocals. The group is truly at their best when the energy of the music is amped up on frenetic and intoxicating jams like “Don’t Look Back” or “When I Got You” when Shaw’s vocal is enabled to cut loose with reckless abandon across a parade of sizzling guitar riffs and blaring sax licks. Pour would benefit from moments in this realm being more generously dispersed throughout the record, with the pacing of the album slowing a bit too drastically during its second half. With that said, there’s no denying the impressive nature of Shaw’s delivery on his brand of rock-power ballads on tracks like the synth-driven “Only You” or the dramatic, orchestral-tinged showcase that is “Say Goodbye”. However, they tap into some truly marvelous down-trodden territory on the Dylan-harkening folk-rock hauntings of “Down In the Dirt”, which is the unquestionable landmark of the record. They also strike some unassuming mid-tempo magic on the breezy beach vibes of “Wait for the Sun”, and especially on hit single “Kid”, a stirring survivalist anthem that has proven to be a fetching detour from their typical radio fare. All in all, Pour Out Into the Night may not be as thoroughly addictive as Take Good Care or Men Amongst Mountains before it, but it’s nonetheless solid holding pattern that offers some truly dynamic individual moments. It’s more than worthy of maintaining their status as a vital rock band to keep on your radar.
Singles
Gabby Barrett- “Glory Days” (Warner)
The first taste of Gabby Barrett’s sophomore record is one of the more solid efforts in the exhausted canon of summery, life-affirming anthems. I love the banjo-laden production of the verses that give the track a nice, jangly bounce, though the verses continue to expose the fact that she still has yet to land on a sonic setting that really allows her organic voice to breathe on a chorus. Nevertheless, “Glory Days” is hooky, engaging, and undeniably uplifting. There’s some elements of Keith Urban’s fantastic Golden Road era, and it’s a realm that Barrett could really perfect if her production team cleaned up the studio noise.
Ryan Bingham- “Where My Wild Things Are” (Axster Bingham)
It’s great to hear from this Americana troubadour and his singular, growly voice for the first time since 2019. “Where My Wild Things Are” is a splendidly strange and soothing track that glows with a magic, ethereal mountain sound anchored by Bingham’s beautifully rough singing, some mighty fine whistling, and a tender celebration of both music and nature. Highlighted by some Nebraska-era Springsteen-styled phrasing, it all blends to create a truly unique vibe that instantly lures the listener into a divine trance. A wonderfully unique, oddball selection from a wonderfully unique, oddball artist.
Tyler Childers- “In Your Love” (RCA)
Tyler Childers has certainly established himself as one of the most fascinating modern artists to follow, with a seemingly boundless creative scope that never fails to keep listeners on their toes as they anticipate his latest artistic pivot. On “In Your Love”, Childers launches his sixth studio album era with a surprisingly lush but plaintive love song. Any concerns that the piano and string arrangements would signal a glossy transformation of the heretofore country purist are quickly squashed as soon as his burly, guttural twang comes in and gives the record its gorgeous balance. His voice sounds splendid in this setting, which proves to more than properly showcase every gritty, emotive quality that Childers has established as his calling cards. “In Your Love” is never once maudlin or melodramatic. It’s gritty, gorgeous and 100% steeped in real life. So, essentially on brand with the entire catalog which preceded it.
Gus Dapperton- “Homebody” (AWAL)
Another utterly hypnotic burst of bedroom pop that’s punctuated with the infectious spirit of a club banger. Dapperton continues to establish himself as one of the most promising doctors of alt-pop contagion. There’s a modern Prince undertone to the way he so stylishly delivers a lyric and glides across a beat. He’s more than worthy of his own Billie Eilish-styled coming-out party in the mainstream.
Gaslight Anthem featuring Bruce Springsteen- “History Books” (Rich Mahogany)
The revered rock troupe returns to recording for the first time in nearly a decade, and do so in grandiose fashion, duetting with the Heartland Rock hero whose fingerprints have always been endelibly marked through so much of the band’s catalog. They sound straight-up fantastic together in this setting, on a moody, mid-tempo, anti-nostalgia tune about how sometimes the glories of our past only serve to haunt us with regret and sadness.
Greta Van Fleet- “Meeting the Master” (Republic)
Greta Van Fleet keeps the solid rock tracks rolling this month with their latest album, Starcatcher and this beguiling lead single. Lead vocalist Joshua Kiszka and his ensemble continue to pave a path forward for Zeppelin-esque hard rock, while injecting new life into it that expands far beyond novelty nostalgia. Like all great rock epics, “Master” is just as compelling for its subject matter as it is its music, following some form of spiritual believer along a devout but ultimately disastrous journey toward a supposed God. Acclaimed Americana producer, Dave Cobb, makes an impressively seamless transition into the sonics of the rock world here as well.
Hot Country Knights featuring Darla McFarland- “Herassmeant” (Capitol)
Absolutely ridiculous in all the very best ways, Dierks Bentley’s Hot Country Knights side-project returns to once again keep the deep tradition of country comedy alive and well, not to mention the sweet sounds of pure 90s country production. Major kudos to Lainey Wilson for not allowing her status as mainstream country’s darling of the present moment to prevent her from participating, while full-on committing to self-deprecating the viral buzz that her physical features have acquired over the past few years. The track is not only hilariously entertaining, but impressively sharp in its ability to make a light-hearted reference to the MeToo movement without being offensive, while also offering enough heart to sincerely get you rooting through the laughter for Douglas “Doug” Douglason and Darla McFarland to work things out. This is Weird Al-worthy novelty done perfectly right. (Sidenote: amidst recent and concerning chatter about a possible resurgence, Garth Brooks/Chris Gaines should take notes on how to effectively parlay an alter-ego into the country universe.)
Norah Jones- “Can You Believe” (Blue Note)
A rich and sultry plea of longing delivered in the sort of magical, supple way that only the pipes of Norah Jones could deliver. Twenty-plus years on, she remains one of the most magetically soulful vocalists on the planet. Hearing her sing remains a gift of the rarest kind, especially when she’s emoting such wondrous professions: “Come and take me higher, then I could ever climb alone/Set my world on fire, and melt this frozen piece of snow.”
Noah Kahan featuring Post Malone- “Dial Drunk” (Republic)
“Dial Drunk” is quickly showing the signs of becoming a far-too-infrequent mainstream breakthrough moment for modern folk music, which surely can be credited to Post Malone’s presence and the gitty indulgences into his love for roots music that hte song provides. But that’s merely the gateway to a fantastic artistic voice, an equally impressive source album, Stick Season (yes, of which I shamefully missed upon its initial release last year), and a killer song. “Drunk” joyously marries a pop-worthy hook and irresistible chorus with the kind of jangly, authentic musicianship that’s already providing sweet nostalgia for all of us Mumford & Lumineers junkies that miss the brief-but-glorious mainstream domination that folk-rock enjoyed a decade ago. A tremendous, late-blooming summer sensation that could potentially become a true moment by the time the leaves fall.
Demi Lovato featuring Slash- “Sorry Not Sorry (Rock Version)” (Island)
Look, “Sorry Not Sorry” was my ultimate bop of 2017, and easily one of my favorite pop moments of the last ten years. My husband is still trying to erase the sound of me routinely screaming this song while grasping for breath on the treadmill. Whether this newly released rock version will end my long divorce from the gym remains to be seen. But, if you think for even a moment that I’m not unequivocally on-board with a Slash-featured rock version of the song, then you really don’t know me at all.
Maddie & Tae- “Heart They Didn’t Break” (Mercury)
Maddie & Tae music is just good for the soul. The lovely harmonies. The tastefully clean and organic production. The relatable country lyricism, in this instance paying stirring homage to the essential friendships that outlast our most trying romances. If Nashville still had a heavier supply of the variety and taste that they did decades ago, this duo would be occupying the same superstar space that The Judds did before them.
Lori McKenna- “The Town In Your Heart” (CN)
There’s plenty of truth to be found in the proclamations currently making noise in the mainstream media that country music is the voice of small-town people. But it’s because of a lineage of humble poets in the same vein of Lori McKenna, not those behind the black eye currently sitting at the top of the Hot 100. That may seem like a cheap-shot comparison when reviewing this song, since “The Town In Your Heart” is more about small-town romance and heartbreak than it is blue-collar pride. But it is absolutely the epitome of the songcraft that has truly always connected a country story to the hearts of listeners, regardless of where they originate from. This town and its intimate simplicity are symbols of the memories that will connect two lovers long after they have parted ways. And unsurprisingly, McKenna delivers it with fetching grace, honest grit, and engaging and narrative musicality.
Jo Dee Messina– “Just to Be Loved ” (Dreambound)
It’s been heartwarming to see the renaissance that Jo Dee Messina has enjoyed over the past year, and here’s hoping the current 90s country craze results in more artists from her era similarly becoming beneficiaries of the trend. Even better, it seems to be giving Messina the recording buzz back, with “Just to Be Loved” being the first output she’s released in five years. It’s a trademark country-pop anthem of optimism and self-love that Messina has always been one of the best purveyors of, and she sounds just as vocally solid and charismatic as we remembered her.
Buddy & Julie Miller- “Don’t Make Her Cry” (New West)
All hail the return of the Millers, one of modern music’s true royal couples. For any of you doubting that lofty claim, consider the fact that this lead single from their fall LP is one of the very few Bob Dylan co-writes that any fellow artist can boast of durin the past six decades. Better yet, go dig into both their collaborative and respective solo catalogs, and you’ll soon be professing the same. “Don’t Make Her Cry” continues their familial history of outstanding roots music, with its stripped bluesy soundscape and Buddy’s typically sterling storytelling, this time from the perspective of a father conversing with the man who seeks his daughter’s hands. A deeply satisfying preview from what should be one of the autumn’s very best records.
Neon Trees- “Favorite Daze” (Roundhill)
Another colorful splash of the dizzying, bopping pop-rock that we’ve come to love and expect from Tyler Glenn and company. “Daze” bangs along loudly like all of the best Neon Trees party anthems, but there’s both an amusing and reflective observation about the burn-out and reprioritizations that so many of us go through as our 30s become our 40s. That’s no more evident than when we here the “Sleeping with a Friend” singer of a decade ago belt with hilarious but profound conviction on the second verse: “Justify my love or get the fuck off my dick.”
Dolly Parton- “We Are the Champions/We Will Rock You” (Big Machine)
The Country Music and Rock & Roll Hall of Famer continues to preview her robust, forthcoming rock project with a cover of the iconic 1977 Queen two-fer that has firmly implanted itself into our public consciousness thanks to endless AOR airplay and its eventual status as a sports arena fixture. Parton stays completely loyal to the original arrangement, and while that means she doesn’t bring any of the creative reinvention that she certainly is capable of, she asserts herself convincingly in this epic rock setting, no small feat or a 77-year old country legend. Let’s be real: this is the great Dolly Parton tapping into her inner Freddie Mercury; the only real valid complaint about that scenario is that we don’t get to hear her dive full-on into the verses of “We Will Rock You”.
Grace Potter- “Good Time” (Fantasy)
The latest single from Grace Potter dutifully lives up to its title: it’s a groovy, greasy, infectious, soulful slab of classic rock goodness. It radiates with the same glow and spirit of Sheryl Crow’s best 90s moments, while her elastic vocals recall the 70s heyday of Linda Ronstadt. “Good Time” joyously boasts one toe dipped in the modern times of the current moment and another faithfully loyal to the best rock of bygone decades.
Olivia Rodrigo- “Vampire” (Geffen)
As the lead single to Olivia Rodrigo’s sophomore follow-up to her 2021 superstar-making debut, “Vampire” stands out as one of the most anticipated pop moments of the year, and folks, she lives up to the hype and then some. A rousing goth-pop-rock kiss off, the track manages to be slithering and burning without being blatantly scatching, thanks to the pure beauty of Rodrigo’s vocal delivery. The performance builds fantastically, beginning as what appears to be a stripped piano rock ballad before exploding into a perfectly dramatic escalator that effortlessly combines her teen pop melodrama with the gusty pop-punk leanings of earlier tracks like “Brutal”. When it all suddenly simmers back to just an a Capella rendering of the gorgeous yet vulgar climax, all of Rodrigo’s beautiful-beyond-years vocals are displayed in fashion that’s nothing short of sublime. “Vampire” is a plum-perfect pop performance in every regard.
Randy Rogers and Wade Bowen- “We Ain’t the Only Ones” (Thirty Tigers)
The Red Dirt country pair expand their series of duets into a trilogy and this lead single reaffirms what was already established long ago: Randy Rogers+Wade Bowen=honky tonk heaven. Name-checking songs have long been cliche in Nashville, but as proven here, they actually mean something in Austin. Keep your ears open for fun shout-outs to everyone from Guy Clark and Jerry Jeff Walker to Cody Jinks, Miranda Lambert, and Lee Ann Womack throughout this three minutes of steel-soaked, twangy goodness.
Shakey Graves featuring Sierra Ferrell- “Ready or Not” (Dualtone)
It’s no surprise that Shakey Graves and Sierra Ferrell sound terrific together, with the quirky alt-folk-rock hybrid of “Ready Or Not” offering a tasty blend of Graves’ raspy Americana deliveries with Ferrell’s crystalline mountain harmonies that’s bridged together by a rich amalgam of bluesy guitars, brooding organ, punchy drum beats, and a sardonic take on the various stages of romance.
Chris Stapleton- “White Horse” (Mercury)
When you’re as universally acclaimed as Chris Stapleton is at this point, it’s become undeniably cliche to proclaim a new song of his as a “definitive” performance. But God damn, if “White Horse”, the lead single from his newly announced fifth album, doesn’t immediately slap you in the face as a defining moment , then I don’t know what the hell is. This is a Southern Rock masterclass spilling over with all of our Stapleton essentials. Passionate and honest emotions. Startlingly great guitar work. And a rapturous, hair-raising vocal that immediately places him among the all-time great singers across the fields of country, rock, blues and soul. Let the countdown to November 10th and the continuation of modern music’s truly great catalogs commence.
Taylor Swift featuring Hayley Williams- “Castles Crumbling” (Republic)
A highlight among the many enticing vault cuts residing on Speak Now’s TV rendering, “Castles Crumbling” transports us back to the whimsical peak of the superstar’s country reign with the added treat of hearing it delivered by her lived-in, latter-day voice. Detailing an empire on the brink of disaster, it paints quite the interesting emotional juxtaposition as Swift-mania enjoys its greatest heights to date over the course of this summer. It also reunites us with the softer, folk-leaning side of Paramore’s Williams, and the pair sound perfectly matched as “Castles” softly builds to its emotional climax.
Shania Twain- “Queen of Me” (Republic)
As the title track to Shania Twain’s most recent album, it’s appropriate that “Queen of Me” also feels like the sonic and thematic heartbeat of the overall record, with its empowering, independent lyrics as well as its expansion of the legend’s country-pop sound into a percussive club-driven sound. But those descriptions really land squarely in the wheelhouse of a catalog that has always been centrally tied to both the girl-power and genre-bending spirits of the 90s. Nobody ever merged those two movements as seamlessly as Shania, and two decades later she remains as convicted in the importance of finding and asserting your own self-worth, all to the beat of a catchy tune. Extra bonus points for the harp fills and their continuous prompts to revisit Janet Jackson’s decadent 1997 touchstone, “Together Again”.
Morgan Wade- “80s Movie” (Sony)
The second release from Morgan Wade’s pending second album trades in her typical grunged-up country-rock sound for sunny folk-pop, without ever betraying the intimate songcraft or honest deliveries that became her central calling cards as her debut album established her as a vital new voice. She guards herself against inevitable heartbreak by comparing her whirlwind romance to a number of popular 80s flicks, a segment of the pop-culture lexicon that is surprisingly underrepresented in pop music song subjects. In between her breezy and peppy vocal turns, she inserts plenty of the lyrical specificity that makes her music so undeniably vivid: “Maybe we can be friends, after this song ends/Then you had my tongue tied up in a knot, underneath the skylit parking lot.”
Hailey Whitters- “Ti’er Down” (Pigasus)
Our summer love-fest with Hailey Whitters continues with a surprise release of a new EP that remains firmly planted in the rootsy, 90s inflected country sound of her fabulous first two albums. Crisp banjo and sweeping fiddle riffs abound as her bright and magnetic voice delivers a bouncy melody peppered with a sly, biting warning not to take your lover for granted: “If you don’t love her at her worst, then you don’t get her at your best/She wants a one woman man in a two horse town/Yeah, she might tie the knot but you can’t tie’r down.” Is there anyone more simultaneously charming and intelligent than Whitters on any music scene at the moment? I seriously doubt it.
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