Singles
Adeem the Artist- “Fast Cars” (Thirty Tigers)
A 2020’s version of Hayes Carll’s 2008 gem, “She Left Me for Jesus”, this is a banger on the level of 90s country radio gold. It’s a brimming display of the qualities that have made Adeem the Artist one of Americana’s most intriguing rising talents, among them a ramshackle country-rock sound and a Prine-recalling lyricism that perfectly balances poetic beauty and witty humor. It’s a hilarious and exhilarating delight overflowing with fantastic lyrical nuggets, but none more eye-popping than “Jesus Christ likes fast cars, magical hooch, and loud guitars.” Preach, Adeem.
Beyonce- “My House” (Columbia)
A brazenly commanding explosion of rap swagger, house contagion and even gospel vocals, this companion single to Beyonce’s new concert film may initially seem like a mere one-off footnote in her catalog. However, continual listens find it revealing itself to be one of her most compelling and rousing performances. It further establishes her as a creative force who has never allowed herself to coast on her superstar stature. If included on the original Renaissance album, it would have joined “Break My Soul” as an undeniable centerpiece.
Bright Eyes featuring John Prine- “Christmas In Prison” (Oh Boy)
If John Prine’s original “Christmas In Prison” isn’t in your annual holiday rotation, you’ve got some course correction to do. Start with that version, but you also owe it to yourself not to overlook this charming update, which features an unreleased spoken-verse from Prine as he explains his “Christmas credentials”. If you’re a Prine music-lover, that surprise is unlikely to be topped as your favorite gift this year. Bright Eyes also do a fine job reinventing this folk diamond-in-the-rough through their bold indie-rock lens.
Suzy Bogguss- “It All Falls Down to the River” (Loyal Duchess)
A tasty and decadent country-blues outing from a 90s country darling, who continues to offer one of the most pristine, crystal-clear voices in all of modern music. Her latter day recordings are hidden gems ripe for wider discovery.
The Castellows- “Hurricane” (Warner)
A confident and well-executed Levon Helm cover that blends a brooding swamp arrangement with sisterly harmonies that are simultaneously rustic and supple. Color me intrigued as it relates to this bubbling act.
Cher- “DJ, Play a Christmas Song” (Warner)
Cher’s newest studio album marks the first proper Christmas release of the legend’s six decade career, which is almost as shocking as the blasphemous fact that she remains yet to be inducted into the Rock & Roll Hall of Fame. This lead single is what you’d expect from a 2023 Cher record: new millennium electronica and loads of auto-tune, with the latter being a sad reminder that her legendary voice has long since faded. But we already knew that, so expectations need to be managed. It’s essentially a Christmas-version of “Believe”, which is a concept that certainly offers plenty of charm and infection. This is destined to become a seasonal not-so-guilty guilty pleasure.
Gavin DeGraw- “It’s the Most Wonderful Time of the Year” (DeGraw)
Gavin DeGraw’s signature soft-rock swagger and dramatics have always been bolstered by a vintage soul undercurrent that’s perfectly tailored for brassy, old-school Christmas music. He applies that croon smoothly here to the Andy Williams classic. But, like most excessively covered Christmas tunes, some creative liberties would have been appreciated. However, that familiarity doesn’t undercut the fact that DeGraw handles himself naturally well in this realm.
Madi Diaz featuring Kacey Musgraves- “Don’t Do Me Good” (Anti)
While Kacey Musgraves keeps us waiting for her next move within her own catalog, she continues her busy 2023 duet schedule, this time by joining indie noisemaker Madi Diaz on the lead single from her pending 2024 LP. They prove to be a solid match, and this single showcases both artists’ knack for intelligent lyrics and emotive, resonant vocals. Musgraves’ fanbase should prove to be a prime target market for Diaz’ already expansive body of work.
Wyatt Flores- “Life Lessons” (OEG)
With a rich and lonesome twang, a gritty mountain sound, and slapping lyrics, Wyatt Flores is proving to be a key artist to watch as 2024 dawns. His unabashedly rugged voice and organically twangy sonics are refreshing to the ears, and he backs them up with honest and wry life reflection in his songwriting: “Grandpa dropped outta school in the fifth grade, Grandma barely made it past the eighth/So maybe it’s alright if I only made it two weeks at Oklahoma State.” Fans of the Zach Bryan/Charles Wesley Godwin sector, as well as lovers of Sturgill’s more Appalachian moments, will eat “Life Lessons” right up.
Caleb Lee Hutchison- “Silverado” (Country Reborn)
Wow, has this alluring track emerged as a late-blooming 2023 favorite of mine. If Wyatt Flores’ “Life Lessons” recalled the grassier side of Sturgill, then “Silverado” brings to mind the more Cosmic moments from the Metamodern era. Hutchison uses his booming voice and a stripped yet adventurous production palate to create a psychedelic country-rock sound that is positively hypnotic. Even better, its perfect sonic balance of both roots and gonzo elements is indicative of his overall debut record. (Side-note: I’ve admittedly been out of the American Idol loop for a decade and a half now, so I had no idea he placed second in 2018. Clearly, that once glorious machine is still capable of unearthing some true gems here and there…)
I DON’T KNOW HOW BUT THEY FOUND ME- “Gloomtown Brats” (Concord)
A sensationally pleasing return from this oddball, one-man glam band. This track smacks with the same intense energy, captivating vocals and insane amount of wordplay as the numerous highs that were delivered on 2020’s Razzmatazz. I can’t get enough of the glorious dose of sly, sardonic snark that’s soaking in Dallon Weekes’ delivery of lines like “And you’ve been so polite/Thank God for charm school”. A fantastic and promising preview of an exciting Q1 release.
Josiah and the Bonnevilles- “Burn” (Self-Released)
This band was just scratching the surface in terms of displaying their excellence on buzzy covers of tracks like Taylor Swift’s “Anti-Hero” and Tyler Childers’ “Jersey Giant”. The rustic, intimate folk qualities of moments like “Burn” recall the feelings so many of us were struck with at the onset of the 2010’s folk-rock revival, and the arrivals of bands like Mumford & Sons and The Lumineers. The Bonnevilles’ sound is even more in tune with acts like Old Crow Medicine Show, and while you might be tempted to label that quality as “throwback”, timeless is really a more befitting term. The power of simple, honest music will never fade away, and this ballad proves that there’s still just as much mileage to be gained with a two-minute folk tune as there is a five-minute pop epic. Yes, even in 2023.
Valerie June- “Ordinary World” (Fantasy)
A totally unexpected combination, which makes the cover of this Duran Duran classic all the more rewarding. There is nothing ordinary about Valerie June’s other-worldly voice, and all of its magic is on gorgeous display here.
The Killers- “Spirit” (Island)
The final unreleased track from The Killers’ new Greatest Hits compilation, “Spirit” has an aggressive edge that harkens back to the band’s earliest hits, with Brandon Flowers’ unique vocal texture perfecting paired with layers of eerie synth. Like most Hits extras, it’s not as strong of a song as any of those peak moments. But if their recent press is also to be believed, then this is supposedly the last cut of theirs in this vein. So soak it up, at least for now…
The Last Dinner Party- “On Your Side” (Universal)
A hauntingly gorgeous bow from this female quintet that clearly draws primary inspiration from peak-period Florence + the Machine. Honestly, they sound like a band of Florences, and I mean that in an utmost complimentary way, not a derivative one. The vocals are nothing short of hair-raising, harmonies ghostly, and the lush production emotional and ethereal. An enthralling performance.
The Lumineers- “Pretty Paper”- Live (Sony)
A stripped-down highlight from the recent live recording of Willie Nelson’s 90th birthday concert, the Lumineers prove to be an unsurprisingly perfect vessel for the humble poetry of the Red Headed Stranger’s perennial holiday classic.
Tim McGraw- “Runnin’ Outta Love” (Big Machine)
The opening cut from the country superstar’s recent surprise EP, “Runnin’ Outta Love” is a spiritual companion to his recent hit, “Standing Room Only”, with its declaration to reprioritize what truly matters in life. It’s certainly a cliched sentiment in both country music, and Tim McGraw’s catalog specifically, but he remains as solid and genuine in his delivery of such material as anyone working today.
Alanis Morissette- “Last Christmas” (Thirty Tigers)
If ever there was a female voice capable of truly wrenching out all the lonely despair of Wham!’s holiday juggernaut, Alanis Morissette is certainly it. There’s still some semblance of holiday glitter to be found in the production here, which was always a dichotomy that made the original so delicious. But there’s no overpowering the bitter, woozy, and undeniable wondrous tatter of Alanis’ peerless vocal touch.
Jon Pardi with the All-Nighters- “Beer For Santa” (Capitol)
A deliriously campy slice of Bakersfield Christmas in the grand tradition of great honky, holiday records by country greats from the likes of Buck Owens, Alan Jackson, and everyone in between. A Pardi record rarely fails to make me smile these days, and his new Christmas album is no exception.
Wynonna- “Beautiful Star of Bethlehem” (Anti)
The vocal dynamo revisits a jewel from The Judds’ classic 1987 Christmas collection. And while Wynonna’s solo work has often pushed the acoustic trappings of the hits she enjoyed with her mother toward a more soulful rock and blues direction, this remake stays loyal to the original. And it’s equally beautiful to hear it graced by her latter-day pipes, still powerful but with thirty-five years of life on top of them. Listening to them side-by-side showcases the marvelous evolution of one of the greatest voices of the last half-century.
The 706 
Leave a comment