The 706 Digest: September 2023

Albums

Brothers Osborne- Brothers Osborne (EMI)

The brotherly country duo returns for their fourth long-player, a record that both John Osborne and TJ Osborne have emphatically heralded as their most personal outing to date. Of course, that feels like a very cliched proclamation that every artist seems to make upon the release of every record. Given the past few years however, there’s plenty of reason to believe it in this case. In 2021, TJ revealed himself as the only openly gay artist currently signed to a major country label. John’s life meanwhile has seen extreme highs (the arrival of twin children) and lows (struggles with depression and suicidal thoughts). These experiences and the considerable reflections they birth certainly inform the themes found on life-affirming tracks like opener “Who Says You Can’t Have Everything”, lead single “Nobody’s Nobody”, and “Sun Ain’t Even Gone Down Yet”. Accompanying these songs is a noticeably more polished production from pop-rock sonic wizard Mike Elizonado, whose arrival marks the first BrOs LP not to find Jay Joyce at the helm. It’s a significant change, though not one that completely erases the duo’s muscular country-rock sound; that’d be near impossible due to the sheer boom of John’s deep baritone. But even the grittier tracks (“Goodbye’s Kickin’ In”, “New Bad Habit”, the Miranda Lambert collab, “We Ain’t Good At Breaking Up”) have much slicker dressing, and in those moments, it’s difficult not to long for some of the grease and grime that Joyce provided on past albums. We’re given full-blown cross-genre concoctions on “Ain’t Nobody Got Time For That”, with its shameless blend of glitter ball-ready disco strings with 80s synths and John’s searing guitar licks. And then there’s “Rollercoaster (Forever And A Day)”, a gorgeous closer that finds TJ delivering moving Billy Joel-styled piano pop. Brothers Osborne is unquestionably an exercise in contemporary country-pop, but of the 90s-2000s variety, not the 2010s. And that’s an incredibly important distinction to make in terms of assessing its quality. This is a solid and sincere album, and one that becomes increasingly satisfying with each new listen.

Zach Bryan- Boys of Faith- EP (Warner)

The feverish, prolific pace at which Zach Bryan releases music is nothing short of mind-boggling. What’s really more impressive than the quantity of new material Bryan delivers is how high the level of quality remains with each successive release. Nipping on the heels of last month’s self-titled surprise drop comes this five-song set that manages to boast two high-profile collaborations and plenty more Americana excellence. All of these cuts pack a powerful wallop in their own distinctive ways, with the central anchor being Bryan’s impassioned, emotive deliveries of his now-trademark stories. “Nine Ball” is a burning, soulful telling of a complicated father-son relationship rattled with demons, while live favorite “Deep Satin” finally gets its moment on record with a brassy folk-soul blend perfectly suited for Bryan’s gutsy vocals. “Pain, Sweet, Pain” meanwhile is a ravenous Appalachian-rockabilly explosion. And then there are the duets with Noah Kahan (“Sarah’s Place”) and Bon Iver (the title track),which find Bryan’s diverse roots sound indulging in each of his collaborator’s respective stylings. The former is a rousingly bittersweet tale of two lovers separated by diverging life paths, while the latter is gorgeously melancholic in all its chilly autumnal glory. The Zach Bryan hot-streak continues, and to the listeners go all the spoils.

Tyler Childers- Rustin’ in the Rain (RCA)

With the arrival of his fifth studio album in six short years, the country cult-favorite is setting a pace of prolificacy initially demonstrated by his peer and former co-producer, Sturgill Simpson. Unlike Simpson however, who proved to be far more chameleonic than one expected early on, Childers continues to stay firmly planted in the Appalachian mountain roots that have made him a traditionalist’s favorite. Rustin’ In the Rain is truly more of an extended play, a crisp and concise seven song set that moves at a furiously satisfying pace, especially compared to last year’s country-gospel odyssey, Can I Take My Hounds to Heaven? The Elvis Presley inspiration referenced in album press rounds is vibrantly obvious, whether it be on the rip-roaring, rockabilly-leaning title track that opens the set, or on classic balladry like Kris Kristofferson’s standard, “Help Me Make It Through the Night”, or the not-so-ironically retro “Phone Calls and Emails”. Childers continues to prove himself as a smart and tasteful singer, songwriter, and producer. These recordings offer plenty of breathing room for his imposing twang, sensationally clean instrumental arrangements, and a personality that boasts a fascinating combination of humor, earnestness, and musical passion. “Percheron Mules”, featuring The Travelin’ McCourys, is an unadulterated mountain triumph. “Space and Time”, featuring lovely harmonies from S.G. Goodman and Erin Rae, is a gorgeously ragged showcase of aching country-soul, and they both return to join Margo Price on the hilarious, half-spoken gospel of “Luke 2:8-10”. However, the true centerpiece of the record proves to be its lead single, “In Your Love”, a lush country power ballad that is certainly Childers’ most pop-leaning moment, but also one of his best and most heartfelt to date. Those accolades can be extended to the entire record; Rustin’ In the Rain is another stellar offering from a man who delivers more musical sustenance in seven songs that many artists can in double or triple the amount of time.

Charles Wesley Godwin- Family Ties (Big Loud)

This ever-burgeoning roots favorite makes his mainstream label debut with his third and most expansive album yet, a sprawling nineteen track collection that refreshingly retains all of the qualities that made his first two LPs such underground favorites. Everything about CWG’s music, from his vocal deliveries and the organic fiddle and guitar-centric instrumentation, to the poetic lyricism of his songs, carries such a lovely, gentle power. It goes from a soothing sense of peaceful comfort to a walloping gut-punch in sudden but ever-graceful fashion. As the title suggests, familial subjects prove to be the prominent tether throughout the record, as Godwin reflects on his upbringing, marriage, romance, and parenthood, all with a soulful eloquence that is proving to be entirely unique to his own voice and pen. “Miner Imperfections”, written for his coal-mining father”, and “Dance In the Rain”, written for his young daughters, both prove to rank among the most resonant musical tales of the connection between parents and children, each in their own, very unique ways. He does venture outside of the more personal anecdotes, like on epic moments like “The Flood” or the Bruce Springsteen-inspired “10-38”, reasserting what a fantastic storyteller he is as well. And when he further indulges his folkie roots, it’s equally resonant, whether it be the haunting Lightfoot tones of “West of Lonesome”, or the joyous reading of John Denver’s “Take Me Home, Country Roads”. This guy’s range is both unassuming and boldly potent all the same. Another important voice to watch in the growing line of Isbell-evoking Americana heavyweights. 

Ashley McBryde- The Devil I Know (Warner)

It takes but one country-rock lick of opening cut “Made For This” to formally announce that Ashley McBryde is ready to get back to business after the delightfully unconventional detour of 2022’s Lindeville project. And by business, that means reuniting with ace producer Jay Joyce. Together they deliver another solid proper album that’s anchored by McBryde’s pure twang, an unflinchingly articulate narrative, and Joyce’s classic country-rock hybrid production. It’s a realm where grassy mandolins ring just as sweetly as the grizzly guitar amps roar. Throughout The Devil I Know, McBryde once again travels through a myriad of gritty topics and performances that carry on the bawdy but poignant tradition of women like Miranda Lambert and The Chicks before her. Road-weary anthems and small-town portraits flow into tales of ill-timed attraction and guilty-pleasure vices, all written and delivered with sharp turns-of-phrase, vivid imagery, and engaging sonic arrangements. My two personal favorites prove to be two vastly different examinations of the mark our parents can leave on our lives: the sordid cheating tune, “Learned To Lie”, and the charmed “Light On in the Kitchen”, likely my favorite mainstream country single of 2023. The Devil I Know may be more of a holding pattern for Ashley McBryde, but with music that was already so damn excellent, that’s hardly a complaint. This record represents the undeniable zenith of Music City record-making in the 2020s.

Kylie Minogue- Tension (BMG)

New albums from Australian icon Kylie Minogue have remained some of pop music’s best kept secrets for the two decades since she was last at the forefront of the mainstream stage with 2001’s Fever LP. However, with the recent viral explosion of lead single, “Padam, Padam”, Tension can hardly be labeled a secret. Brimming with her classic glitzy dance-pop sound, charismatic vocals, and natural ability to navigate through a slew of glossy grooves, the record more than lives up to the momentum that Minogue has garnered leading up to its release. Entrancing synths, pulsating house beats, and seductive sensuality define intoxicating bops like “Hold On to Now”, “You Still Get Me High”, “Green Light”, and the latter-day Britney-recalling title track. She’s also unafraid to mix up her well-established formula, most prominently on a track like “Hands”, where she marries funk beats with her first foray into rapping, and with impressively convincing results. The biggest dance-floor behemoth however feels like it lies in the Oliver Heldens duet, “10 Out Of 10”, a contagious collision of pure pop verses and alluring house attitude on the chorus. There’s a reason that Kylie Minogue has remained standing tall through three-plus decades of pop evolution while so many others have fallen by the wayside. And Tension is a shimmering, modern-disco delicacy that suggests she’s got plenty of continuous longevity left in her.

Olivia Rodrigo- Guts (Geffen)

The stakes for 20-year-old Olivia Rodrigo’s sophomore album are monumentally high given its status as the follow-up to 2021’s runaway pop-culture smash, Sour. For Guts, Rodrigo reunites with producer and primary co-writer Dan Nigro to double down on its predecessor’s boldly contagious blend of confessional folk lyricism, angsty and attitudinal alt-pop-punk hooks, and pure vocal emotion. Opening track “All-American Bitch” proves to be the perfect song to set the tone for the proceeding record, with it boasting her reflective and shimmering songwriting on the verses, before giving way to an explosively defiant rock spirit on the chorus. The entire album showcases the beautiful tension between these dichotomous dimensions, marrying introspective and sardonic songs with big, box-office pop production, all as it follows Rodrigo’s continually evolving journey from adolescence to young adulthood. Her impressive maturity and artistic gifts continue to blossom as she unboxes all of the romantic anguish, anxious insecurities, and coming-of-age crossroads that confront anyone at this age. Cliche as it already is, it’s difficult not to acknowledge Rodrigo’s obvious position as a direct descendant to Taylor Swift’s brand of pop phenomena, and those influences are exceedingly apparent on epic album highlights like “The Grudge”, “Love Is Embarrassing”, or “Teenage Dream”. But there’s no denying that Rodrigo is also her own, unique artistic breed. The complex and perhaps demented gothic folk of “Lacy” deliciously evokes something like Norah Jones’ murderous “Miriam”, while “Pretty Isn’t Pretty” is a potent assessment about our culture’s ever-shallow beauty standards, and is surely an important message for her core fanbase to hear. And then there’s “Vampire”, a momentously accomplished pop-opera of a record, with its cascading emotional and stylistic scope, gorgeously gothic undertones, and a sublime vocal showcase. Guts is nowhere near a sophomore slump; this is decadently smart and smash-worthy pop music that checks all the boxes: fun, infectious, imaginative, and wholly substantive.

Wilco- Cousin (dBpm)

Wilco’s thirteenth album arrives quickly on the heels of last year’s Cruel Country, which marked a triumphant nod back to the group’s alt-country roots. While it certainly finds the band getting back to a more centrically rock and alternative core, it’s also the opening of a new chapter in the band’s journey. For the first time since 2009, the group assigns full production duties outside the confines of its ensemble, with Welsh rocker Cate LeBon stepping into the driver’s seat. That’s not to say that one should expect a revelatory, transformative change on Cousin. Jeff Tweedy and company remain fully immersed in their moody and contemplative element, with LeBon adding new but ever-subtle nuances, and sonic shifts to the same beautifully complicated rock sound that has defined the greater portion of their extensive catalog. Moments like lead single “Evicted”, the trippy instrumentally focused “Sunlight Ends” and “A Bowl of Pudding”, and the punchy title track all feel fully committed to Wilco’s band hallmarks. Yet they also offer just enough additional ingredients of shimmer, spark, and quirkiness to feel like newly discovered corners of their identity. And they balance the record out very well against classically weary Wilco moments like “Ten Dead”, “Meant to Be”, and “Infinite Surprise”. Ultimately, this is still the same band that we’ve come to rely upon for gripping, mysterious, and provoking assessments of a messy world and the messy relationships that comprise it. Cousin is both familiar enough to satisfy their loyal following, but varied enough to keep things continuously interesting. It won’t likely reign as a definitive record for them, but it certainly is worthy of becoming a dark-horse pick of the litter.

Singles

AWOLNATION- “Candy Pop” (Better Noise)

Like any AWOLNATION single, “Candy Pop” is an amalgamation of many things. Trippy vocals and tongue-twisting lyrics crash against an infectiously bizarre hook and all-out rock jam as the song barrels toward its finale. It’s fascinatingly strange and ever-entertaining.

Barns Courtney- “Young In America” (Avenue A)

This growly vocalist has been dishing out his brand of fresh Heartland stomp for the better part of the past decade, with but one solid mainstream breakthrough to show for it in 2018’s “99”. This earnestly restless anthem deserves to repeat and expand upon that success. It sounds like a prime cut from the Kings of Leon catalog, with its bubbling alt-rock urgency and an outcry which rivals Caleb Followill’s most memorable vocal turns.

Black Pumas- “Mrs. Postman” (ATO)

A smooth, seductive romancer that adds a soothing, stylish jazz undertone to the Pumas’ excellent modern soul sound. Another fantastic appetizer and anticipation-builder for their impending sophomore bow next month.

Bleachers- “Modern Girl” (Dirty Hit)

Jack Antonoff and his endearing indie-pop rockers return with their first taste of new music since the Take the Sadness Out of Saturday Night-era. “Modern Girl” finds them still firmly settled into the loose E-Street-influenced sound that fit them so well on that 2021 record. Infectious sax solos joyously reside against their bopping, ramshackle, character-filled jamming that is impossible to resist.

Blink-182- “One More Time” (Columbia)

A reflective, stripped-down moment from the pop-punk superstars. It finds the band assessing both the vitality and fragility of their own relationships with each other and the challenges they’ve survived, including band shake-ups and near death experiences. It’s a striking moment that obviously carries potent emotional weight for Blink-182 and their die-hard following, while also serving as a moving universal message about our dangerous tendencies to take time and those around us for granted on a daily basis.

Zach Bryan featuring Kacey Musgraves- “I Remember Everything” (Warner)

A dark, heart-wrenching duet sent down from the Americana heavens. Bryan’s vivid, pain-soaked lyrical imagery is in all its glory and unsurprisingly makes a perfect fit for a revered roots storyteller like Musgraves. When her tattered, angelic voice comes in and declares, “You’re drinking everything to ease your mind, but when the hell are you gonna ease mine?”, it’s one of the very best moments on any single released this year. I especially love how the conflict of the record is only heightened further when its gritty, bare production segues into a waterfall of lush and gripping strings. An essential moment for both singers.

Jimmy Buffett- “Bubbles Up” (Sun)

A lovely, encouraging anthem about the healing comfort always waiting for us when we reconnect with the people and places that make up our origins. As a proud Parrot Head, it was difficult to get through without a lump in my throat given his recent passing, and knowing that he recorded it with the awareness that he was nearing the end of his charmed life. Those elements only makes “Bubbles Up” all the more special. A moving preview of what promises to be a wonderful parting gift in Buffet’s upcoming final album.

Cardi B featuring Megan Thee Stallion- “Bongos” (Atlantic)

The bawdy rap superstars reunite for a “WAP” sequel that is every bit as raunchy, just as ridiculous, and ultimately more entertaining and hilarious than its notorious predecessor.

Daisy Jones & The Six- “Let Me Down Easy” (Atlantic)

So, it’s confession time. I’m an apparently very late arrival to the whole Daisy Jones & the Six mini-series party. When I first heard “Let Me Down Easy”, I was startled at how much this sounded like a revival of the late 70s Fleetwood Mac peak period. Imagine my intrigue, feelings of obliviousness, and admitted disappointment when I learned this was merely a soundtrack to an Amazon series based on the legendary band. Let’s just say that singers Riley Keough, Sam Claflin, and their producers and band certainly mastered their parts. The classic guitar licks, spot-on vocals, and palpable male-female tension is all right there on the surface as if it was a Rumours vault cut. Sounds like I have an addition to make to my television viewing list. But hey, I’d be fine if these guys still want to form a 70s rock revival group.

Daniel Donato- “Lose Your Mind” (Retrace)

Daniel Donato and his self-professed cosmic country is a great new discovery of mine. It’s a twangy yet diverse palate that feels like a blend of Buck Owens Bakersfield, The Ventures’ surf guitar licks, and Grateful Dead’s hippie rock, all filtered through a fresh 2023 lens. His light, high twang floats in and out of an irresistible melody and a peppering of turbo-charged piano and steel guitar to craft a truly invigorating and captivating sonic experience.

Sarah Jarosz- “Jealous Moon” (Rounder)

The bluegrass-rooted darling continues to expand her glistening roots sound with this preview of her 2024-slated seventh album. It’s an illuminating melting pot of her vintage grassy mandolin sound and an evocative folk-pop cloak that sounds warm and comforting, without ever undercutting the bitter regrets that stain the lyrical story.

Laufey- “Bewitched” (AWAL)

Talk about a literal song title. This lush, romantic gem of jazz-pop is a positively spell-binding vocal performance. As pure as any production from any era or genre, it’s contemporary jazz of the highest order, and nothing short of musically soul-cleansing.

Buddy & Julie Miller- “You’re My Thrill” (New West)

Julie Miller’s ragged voice is like the musical equivalent of a dying muffler, particuarily after listening to the vocals of singers like the aforementioned Sarah Jarosz or Laufey. And let’s be clear that I mean that as an utmost compliment. It’s the muddy, imperfect, humanistic pathos that growls from her pipes that is 100% her own, singular appeal. And when Buddy adds his own subtle harmonies and guitar magic to the proceedings, “You’re My Thrill” becomes just as slyly seductive as it is hauntingly foreboding.

Nicki Minaj- “Last Time I Saw You” (Republic)

A rare moment of understated vulnerability from the rap icon as she trades in her signature braggadocious attitude for a subdued, mournful reflection of her father’s recent passing. It’s a refreshing change of pace that serves as a reminder of her depth and ability to craft an lilting, emotive R&B ballad as effectively as any of her peers.

Kylie Minogue- “Tension” (BMG)

A pulsating, splashy slice of modern house sensuality. Few artists have simultaneously carried on the classic disco tradition and paved the way for today’s dance divas like Minogue has, and she continues to release bangers that naturally reside alongside both the classics and today’s latest Tik Tok smash. “Tension” is a hypnotically naughty blast that you’ll find little success in erasing from your brain. But, why would you want to anyway?

Mitski- “My Love Mine All Mine” (Dead Oceans)

A marvelously alluring potion of avant-garde country-rock that recalls the most entrancing Western-noir moments from Cowboy Junkies. This track puts me in such a hypnotic gaze that it’s truly startling when it suddenly stops, leaving me scrambling for the repeat button so I can experience it all over again.

Maren Morris- “The Tree” (Columbia)

The sound of Maren Morris officially sacrificing herself as a casualty of the mainstream country culture wars that have toxically escalated as 2023 has continued, though her split with the industry has pretty much been a forgone conclusion for the better part of a year now. Ironically, this is one of her finest exercises in the rootsy folk-pop sound that initially launched her with “My Church”, but let’s not act like genre labels have really ever dictated her overall sound. This is squarely aimed at the Music City establishment, but can just as easily serve as an anthem for anyone removing themselves from a poisoned relationship. I fully support Morris protecting her own peace, especially if it leads to intriguing and satisfying singles like “The Tree”.

The National- “Alphabet City” (4AD)

The lead single from The National’s surprise second LP of 2023 finds the indie rockers fully enveloped in their signature moody cloud of sonic mystery and loneliness. The spastic, jittery production is purposefully jarring and perfectly representative of the transient, restless struggles befalling the song’s narrator.

NSYNC- “Better Place” (RCA)

The much anticipated payoff to the recent storm of NSYNC-reunion anticipation…sort of. Let’s be real: if all of the band’s recent teasing leads to a mere cut on a Trolls soundtrack vs. a new album and/or tour, these guys will more than live up to the name of the movie this is recorded for. Nevertheless, whether this proves to be a one-off or just an initial appetizer, “Better Place” is a fetching slice of modern synth-pop that is utterly infectious and finds the quintet sounding as solid as they did in 2001. It would be impossible for any new material to live up to the heights of their Y2K peak, but if this is indicative of additional releases, we should be in for a very satisfying comeback. That whistling intro alone will be in my head until 2027.

Brad Paisley featuring Dan Tyminski and Jerry Douglas- “Sons of the Mountains” (EMI)

The first official album of Brad Paisley’s legacy act is quickly becoming one of my most anticipated releases for early 2024. “So Many Summers” got me back on his bandwagon, and now this fiery mountain jam and unabashed deep dive into Appalachian miner country is easily the best single he’s unleashed in more than a decade. His everyman twang and killer guitar work paired with the exquistive musicianship of Tyminski and Douglas is a glorious triumph. A full-fledged return to form seems to be on the way from the country superstar.

The Rolling Stones- “Angry” (Polydor)

Look, no matter how forced or cringingly out-of-touch some latter-day Stones music may indeed be, it always has at least a minimal cool-factor for the sheer fact that it’s the effing Rolling Stones. They’re undisputable rock & roll Gods, now and forever. But, “Angry” is legitimately a thrilling, entertaining classic rock outing all on its own merits. Mick Jagger sounds as vocally vital as he has in eons, and the band is playing with undeniable vigor and style. This is clean, straight-forward rock and could be an indication that Hackney Diamonds could be one of the year’s most rewarding surprises.

Royal Blood- “Shiner in the Dark” (Warner)

I shamefully almost overlooked that new music was on the horizon from Royal Blood, one of my favorite new rock bands of the last several years. This single finds the duo picking up where they left off on 2021’s Typhoons, churning out alt-rock with a chilling, brash bite and a uniquely alluring swagger.

Stephen Sanchez- “Be More” (Mercury)

This classic crooner was put on my radar this month by my uncle and it was a revelatory highlight of my past thirty days of music listening, to say the least. Sanchez possesses a rapturously soulful set of pipes. “Be More” finds his trembling, aching vocals elegantly surrounded by the sounds of classic 50s balladry as popularized by icons like Elvis and Orbison. It’d be easy to dismiss its retro appeal as novelty, but I believe it’s more attributed to the fact that this style is just beautifully timeless. It’s great to hear classic sounds being purveyed by way of original music, not just obligatory tribute covers. Looking forward to digging into more of his catalog.

Ed Sheeran- “American Town” (Gingerbread Man)

There’s absolutely no discounting Ed Sheeran’s status as one of today’s most vivid and imaginative pop narrators. His songwriting is so chock-full of intricate details and imagery that it just places him a notch above his radio contemporaries. “American Town” is a strong example of this fact. It’s Sheeran at his most refreshingly charming, delivering an earnestly sincere portrait of a young, scrappy couple navigating their way through the humble, early days of both adulthood and romance.

The Struts- “Rock Star” (Interscope)

An absolutely exhilarating launching pad for the British rockers’ forthcoming November release. It captures the ensemble doing what they do best, and that’s roaring through a sweaty, intense anthem splendidly sprinkled with touches of their dramatic Queen-recalling flare for the dramatic.

Timbaland, Nelly Furtado and Justin Timberlake- “Keep Going Up” (Def Jam)

The trifecta behind 2007’s chart-topping collab, “Give It To Me” reunite on a swirling blend of pop, trap, and R&B that worms its way into your brain in relatively quick fashion. With none of these artists as prominent on the pop forefront as they once were, it’s almost alarming to suddenly realize how retro/classic many of their late-00s trademarks now sound. Furtado proves to be the star of the show for me; this one immediately had me dusting off “Promiscuous” and blaring it like I was playing my iPod classic for the very first time.

U2- “Atomic City” (Island)

The Irish legends weren’t about to warm the bench during what has proven to be a stacked month for rock singles. In an unusual stylistic detour that dabbles with New Wave (it outright samples Blondie’s “Call Me”), “Atomic City” admittedly feels a bit clunky and overdone out of the gate. It ultimately wins you over however thanks to Bono’s signature unearthly vocals, some badass guitar jamming, and just an all-around frivolous quirkiness that is very rarely associated with their music. 

Usher, Summer Walker and 21 Savage- “Good Good” (Gamma)

A fresh bounce track that also sounds wholly invested in Usher’s core R&B sound. It follows a refreshingly mature POV, finding three different lovers wishing their exes the very best in a future without them. The guest vocalists aren’t necessary for the storyline, but it adds its fair share of interesting buzz and variety to the proceedings and their styles mesh seamlessly.

Morgan Wallen- “Everything I Love” (Big Loud)

There’s simply no denying that Morgan Wallen knows his way around a vintage 70s-tinged Outlaw jam. He should be credited for using his imposing mainstream profile to get some genuine twang, classic Tennessee Three and Waylon-inspired guitar lines, and an Allman Brothers riff all flying up the country chart. Do I wish he’d leave some of the check-listy bro-country references behind on the verses? Of course. But it’s easy to overlook when it all sounds this damn good and so convincingly scratches one’s neo-trad itch. An inarguable career highlight for him thus far.

Charlie Worsham featuring Kip Moore- “Kiss Like You Dance” (Warner)

A slapping, stomping roadhouse romp from two acts who should both be far bigger mainstream draws than they are. This is spilling over with flirty fun, twangy charm, and sizzling musical heat. “Kiss Like You Dance” is an energetic barrel of personality-packed country entertainment, and it sure would give country playlists a thrilling jolt if it was allowed to become the smash it deserves to be.