AJR- “Yes, I’m A Mess” (Mercury)
We kick this month off with an entry from my “Better Late Than Never” category, but don’t allow my tardiness to downplay how great this track really is. The indie pop troop’s latest hit is everything we’ve come to expect from an AJR jam: curiously weird yet catchy production, frenetic vocals from Jack Met that are swaggering yet anxious, and lyrics that are frivolous yet subtly rooted in deeper social implications.
Dierks Bentley- “American Girl” (Big Machine)
The latest offering from Dierks Bentley serves as the lead single to an upcoming country-centric tribute to the great Tom Petty, with Bentley’s reliable gravel covering the 1977 classic rock cornerstone. Given their rootsy Heartland cores, countrified Petty tunes should be a rather natural concept, assuming they have the right artists at the helm. Bentley is definitely of that fabric, and he dutifully goes the extra mile by transforming “Girl” into a bona fide bluegrass jam. It doesn’t quite reach the euphoric mountain heights of his 2010 rendition of U2’s “Pride (In the Name of Love”), but it comes darn close. This classic chorus sounds tailor made for the stomping, fiddling pace of this mountainous interpretation.
Sophie Ellis-Bextor- “Murder on the Dancefloor” (Polydor)
Count this 2001 dance gem among the latest archival cuts to benefit from the viral age’s trend of delivering overdue flowers to tracks that were wrongfully overlooked the first time around. Benefiting from its inclusion in the recent Saltburn soundtrack, Ellis-Bextor’s bloodbath has quickly filled dance-floors on both sides of the pond this past month. I admittedly thought it was a new track upon first listen, initially thinking it was Florence & the Machine carrying on the spirit of their Dance Fever era. Which immediately tells you just what a killer, durable single this was upon its first release twenty-three years ago.
Beyonce- “Texas Hold ‘Em” (Columbia)
Beyonce’s surprise announcement of a forthcoming album steeped in country & western influences was certainly this month’s most significant story across all genres, and should prove to be one of the most pivotal events of the entire year. And this is for multiple reasons. For starters, “Texas Hold ‘Em” is a bold musical statement. Not only does it combine her signature soulful vocals with vintage Shania Twain country-pop spunk, but it more importantly carries as authentic a traditional arrangement as any record you’ll find coming out of Nashville today. Yes, that’s our roots hero Rhiannon Giddens (!) providing the fantastic fiddle and banjo support throughout, further solidifying Beyonce’s genuine artistic intentions in exploring these sounds. This ain’t no pandering pop-goes-country cash-grab that we’ve seen a dozen times over. And that leads us to the overarching cultural discussion at the core of this song’s release. Yes, the mainstream country format is enjoying a renewed level of buzz in the pop universe, and I love that her timing of this release overlaps with that trend. Again, this doesn’t feel like one of the world’s top pop superstars jumping on the bandwagon. Rather it resembles an important artistic leader using that increased visibility to call attention to the fact that both African-American and female country artists alike are as deserving of a piece of the glory as white, male superstars like Morgan Wallen and Luke Combs. It shouldn’t take the appearance of “outsiders” like Beyonce or Tracy Chapman’s recent Grammys duet with Combs to bring more attention to artists like Giddens, and peers of her gender or ethnicity. But something has to inevitably open Nashville’s eyes to those glaring blindspots, right? Whether the success of “Texas Hold ‘Em” accomplishes that or not remains to be seen. But this track has nonetheless solidified itself as both a smash and a pivotal cultural touchstone right out of the gate.
Beyonce- “16 Carriages” (Columbia)
The companion single to “Texas Hold ‘Em” is one of the icon’s most gorgeous moments as a balladeer. A tender and restrained vocal navigates us through a troubled youth, burdened by both hard times and the grandiose scope of dreams for superstardom and artistic excellence. The record swells marvelously over its runtime, with a lilting combination of country steel and bluesy organ. It makes for a lush soundscape that never overwhelms Bey’s pure, emotional vocals. Gorgeously understated and powerful all the same.
Zach Bryan- “Nine Ball” (Warner)
This excellent cut from last fall’s Boys of Faith EP is one of Bryan’s most thrilling to date. While it was justifiably the raw and naked nature of his early viral performances that organically launched his cult status, it’s been tremendously rewarding to see the production and sonic value of his music expand as his public profile has. His captivating vocals, as well as his cinematic storytelling and musical intensity, all benefit greatly by the studio excellence on display here, without ever robbing his sound of its primitive edge. Just as Bruce Springsteen’s catalog benefited from the presence of disparate moments like Nebraska and The River, the same philosophy applies to ZB. (Sidenote: the new video starring Matthew McConaughey elevates all of the above-mentioned elements of this father-song gambler’s tale in fantastic fashion.)
Charles Wesley Godwin- “Family Ties” (Big Loud)
“Strike! Me! Down!” One of my favorite vocal and storytelling moments of the past year, “Family Ties” perfectly encapsulates all of the great qualities that are slowly establishing Charles Wesley Godwin as one of the very best artistic voices in the biz today. The bittersweet passion and sincerity with which he brings to life this humble tale of his family’s crippling mining lineage is deeply moving and invigorating.
The Decemberists featuring James Mercer- “Burial Ground” (Capitol)
A rewarding reemergence after a six year absence, the newest Decemberists release leans unflinchingly into their deep roots within the folk-rock movement of the 1960s. The layered vocals recall The Beatles’ folkiest moments while the jangle of the guitar sound lifted directly from The Byrds’ heyday. The brassier touches and Colin Meloy’s unmistakable vocal character likewise make it impossible to identify it as anything but a Decemberists record.
Green Day- “Dilemma” (Reprise)
A classic on-brand exploration of the addictive vices that can keep our lives constantly in turmoil, whether it be those of romance or substance. The jittery interplay between the fiery chorus and stripped verses adds a layered dynamic to the record, while also nicely displaying the varying nuances of Billie Joe Armstrong’s still-mighty voice.
Ariana Grande featuring Mariah Carey- “Yes And? (Remix) (Republic)
Another entry in modern pop’s exhaustive catalog of remixes that are admittedly unnecessary, but also utterly enjoyable. Grande’s newest single is arguably her hottest and best bop to date all on its own, but there’s an undeniable novelty in hearing her paired with an icon who did so much to set the table for current pop stars of her ilk. This is also the most engaged Carey herself has sounded on record in many moons.
Hardy- “Rock Star” (Big Loud)
Whether Hardy is your cup of tea or not, and he’s certainly not always mine, it’s increasingly difficult to argue with the sincerity of his talents or stylistic choices, regardless of whether he’s indulging in his country or metal inclinations. This has quickly become my favorite release of his so far, which is totally attributed to the hooky nature of the verses. I love that the full-throttle heavy metal nature of the chorus doesn’t hinder him from embracing the poppiest corners of rock contagion on the rest of the track.
Jelly Roll- “Halfway to Hell” (BBR)
Between this and the Hardy entry that preceded it, I’m starting to wonder if I’m softening on loud, grungy country-rock singers. I suppose that will happen with any style or subgenre when it’s finally being curated by artists who seem genuine in their presentation. And, Jelly Roll certainly is. He sings the absolute fire out of this modern sinner’s anthem and I believe every word he’s professing. The intensity of the production has purpose and matches Jelly’s performance and story naturally, and at just barely three minutes, never overstays its welcome. Bonus points for the bizarrely entertaining tent revival narrations that book-end the record. I’ll take weird and interesting excesses over safe and boring non-risks in my music any day.
Billy Joel- “Turn the Lights Back On” (Columbia)
What a gorgeous treat this surprise comeback has been. Billy Joel sounds just as vocally pure and magnetic behind a microphone and piano as he did when he released his last proper pop single over three decades ago. It’s a joy to just sit and listen to his voice here; it has aged in remarkably graceful fashion. And the song itself is a gorgeously romantic profession, as well as a fitting metaphor for his decision to make the studio return he vowed would never happen. It feels rather greedy to hope this leads to a full album, when it seemed impossible we’d ever get this song alone. But can we cautiously hope that a full, final era from this all-time great is as close as ever before?
Kings of Leon- “Mustang” (Capitol)
What a cool, oddball single to launch a new album era. “Mustang” retains all of Kings of Leon’s brooding rock growl while completely throwing out the rest of the rulebook for what has typically defined the band’s bids for a hit. And that’s exactly why it’s so enticing and refreshing. “Mustang” is loose and greasy, and lures the listener in with a slinky, pulsating sound that serves as a rejuvenating alternative to their typically blustery roar.
Knox- “Not the 1975” (Barbershop)
Their sound feels like what you’d achieve if you threw Ed Sheeran’s catalog through an alternative/pop-punk blender…and that’s meant as a positive, BTW. The song and performance itself glows thanks to a relentlessly hooky energy and a self-deprecating wink. There’s a lot of potential pop pleasure lingering in this act’s arsenal.
Nikki Lane- “When My Morning Comes Around” (New West)
An absolutely superlative cover of a legendary music poet, delivered by an artist well on her way to securing her own place in Americana’s royal circle. A must-listen for lovers of alternative country, and those with just good taste in general.
Dua Lipa- “Training Season” (Warner)
A fetching, pulsating performance that is slow in its build to ear-worm status, but it does most definitely still get there in classic Dua Lipa fashion. I particularly love the spooky, trembling piano, but wish there was far more of it. This doesn’t have the immediate bop-factor of “Houdini” or anything off of Future Nostalgia, but I have no reason to doubt Lipa’s got another deep bench of hits waiting on album #3.
Lucius- “Housewarming (The New Recording)” (Mom+Pop)
A tremendously tender and honest composition about the most stubborn roadblocks that two lovers can throw in the way of their own relationship. It’s both bitter and heartwarming in its ability to capture these moments so accurately well. And then of course there’s the fact that the sound of these two voices remains one of the most magical experiences in all of modern day music. Positively sublime, my friends.
Parker McCollum- “Perfectly Lonely” (MCA)
A solid, spot-on cover of a criminally underrated John Mayer single, from one of the most promising talents to break through in Nashville in a long time. McCollum’s got all the taste and talent to build a sturdy and enduring catalog.
Tim McGraw- “One Bad Habit” (Big Machine)
The country icon’s latest single is curiously culled from a recent EP, rather than his most recent full-length effort, but I’m hardly complaining. “Habit” resembles the well of strong album cuts that McGraw churned out in the late 90s and 2000s; the kind of track that had all the qualities worthy of being a single, but never got the chance.
Megan Moroney- “I’m Not Pretty” (Arista)
I never got hooked on “Tennessee Orange”, but that had more to do with my status as a non-football fan than anything about Megan Moroney, who is continuing to prove herself as a key singer-songwriter to keep an eye on. “Pretty” taps into the same cunning, Lambert-esque lyrical wit that was displayed on earlier tracks like “Hair Salon”. An entertaining observation of romantic and social warfare, updated for the social media age.
Maren Morris- “Dancing with Myself” (Columbia)
An intriguing and introverted interpretation of the Billy Idol classic that proves to be the perfect record of the moment for Morris, as she navigates what’s next in the aftermath of her two recent divorces, one from husband Ryan Hurd, and the other from the greater country music community.
Kacey Musgraves- “Deeper Well” (Mercury)
The first taste of new music since the lukewarm reception of 2021’s Star-Crossed finds Kacey Musgraves retreating back to a pure folk sound that splits the difference between her earlier country twang and the Cosmic western pop of Golden Hour. Her literate and evocative songwriting, which here soulfully tackles the need to purge toxic relationships to better one’s self, is as top-shelf as ever and is dutifully bolstered by her crystalline vocals and signature trippy tendencies. A welcome return from one of today’s best artistic forces.
Paramore- “Burning Down the House” (A24)
Given how packed this group of single reviews is, it’s a true testament to the quality of the various covers that populate our list this month. It should come as no surprise that Paramore positively nails their rendition of Talking Heads’ New Wave touchstone. Pure fire.
Red Rum Club- “Godless” (Modern Sky)
The latest single from this banging band of Brits finds them staying loyal to their brassy sound, while also expanding into an enticing blaze of spaghetti-western sizzle. The results are thrillingly frenetic and thoroughly intoxicating.
The Revivalists featuring The Head & the Heart- “Good Old Days” (Concord)
Similar to the earlier Ariana-Mariah remix, this collaborative version of an already solid MOR rock romp from the Revivalists was not really necessary, but wholly welcomed nonetheless. Each of these acts respectively offer one of the more distinct sounds in today’s rock landscape, and the unification of the two is expectedly pleasing. Also, the track’s breezy E-Street- leaning sax solo still gives me life nearly nine months since the album’s initial release.
Jobi Riccio- “Sweet” (Yep-Roc)
A shout-out to my mom for looping me into this aspiring Americana upstart, whose debut LP arrived last fall. This is such a pleasingly clean record. Riccio’s physical voice is glowingly crisp and clear, and her narrative one provides a unique, queer perspective that reiminds us all of the universality of life’s romantic strifes, regardless of sexuality. Her great vocals are ravishingly accompanied by stellar, organic production, highlighted by a tremendous steel guitar spotlight. Do yourself a favor, and check out this impressive newcomer.
Maggie Rogers- “Don’t Forget Me” (Capitol)
This soulful alt poet previews her pending third studio set with a lead single that immediately stakes its claim as a watershed moment in her expanding catalog. Vocally, it’s Rogers’ most enthralling performance to date, marvelously layered with moments of both intense conviction and trembling ache. Lyrically, it’s proof positive that she’s steadily establishing herself as a captivating and increasingly definitive writer for her time. When those two elements collide, it creates a track that will stop you in your track each and every time. An appetizer for what could be one of the most pivotal albums of the year.
Sia featuring Kylie Minogue- “Dance Alone” (Atlantic)
A dizzying blend of diverse pop stylings that are united by the dazzling dance heartbeats of their individual cores. Come for the remarkably amusing single art. Stay for the kind of propulsive, unrelenting ear candy that, after one simple listen, won’t leave your side anyway.
Chris Stapleton- “Think I’m In Love With You” (Mercury)
How many times can it really be said? Chris Stapleton is just one of those special artists that is consistently on a musical level all his own. Even his second-shelf material, which this latest single from Higher admittedly is, still ranks above your standard artist’s top shelf. I’m living for the hauntingly lush, 70s-era strings that further accentuate his chilling vocals and affinity for pure, excellent musicianship.
Gwen Stefani and Blake Shelton- “Purple Irises” (Warner)
This is a very satisfying combination of the couple’s contradicting sonic identities, and I’m thrilled that they’ve finally released a collab that leans heavier into Stefani’s influences rather than Shelton’s. She just sounds so much more naturally engaged here than she does on their previous work together. (But hey, maybe that’s just coming from the part of me that’s still a bit salty that they scored the “Love Is Alive” slot on the recent Judds tribute album? We all know that Tim & Faith could have blown them clear out of the water on that one.) All in all, this is a very durable and catchy celebration of an aging relationship standing the test of time.
Justin Timberlake- “Drown” (RCA)
Our second taste of what’s to come on Everything I Thought I Was falls squarely within JT’s signature take on the dreamy, modern pop-R&B hybrid of current times, with his classic falsetto still packing plenty of hypnotic, transfixing wonder. The track has some “Cry Me A River” vibes in its thematic tone, though there’s no denying it lacks that epic’s infectious nature. This one’s a much slower burn, but its hazy ambience does inevitably sneak up on you.
Keith Urban- “Straight Line” (Capitol)
I say this with very cautious optimism, but I feel like we just might be on the verge of getting the old Keith Urban back. I’m talking the Golden Road, Be Here, etc. version of the Aussie superstar. And look y’all, I’m not even one of the hardest haters of the Fuse-forward eras that there are plenty of out there. But! I am more than ready for a return to his fantastic 2000s form. Sure, “Straight Line” is not entirely devoid of the looping and processed tendencies that have sonically clouded the back half of his career, but this is the most organically engaging and instrumentally-driven record I’ve heard from Urban in eons. There’s just a spark back on the surface here that’s been missing for some time.
Usher- “Kissing Strangers” (Gamma)
There’s still not anybody who can touch Usher’s golden ability to craft an R&B break-up jam that manages to be equally tormented and irresistibly infectious. It’s just a fact of life, and one that’s emphatically reasserted on “Kissing Strangers”. It’s an insatiable melting pot of heartbreak, bruised egos, romantic politics, stinging regret, and steamy seduction. It’s a generously delicious mix.
Lainey Wilson- “Country’s Cool Again” (BBR)
It’s an irrefutable fact that there isn’t another format on the musical planet more eager to posture for itself and its cultural impact in song than that of country music. The last fifteen-plus years have particularly abused us with egregious examples of this in nauseating excess. The latest anthem from Lainey Wilson couldn’t be further from those offenders however. Like Barbara Mandrell during the Urban Cowboy era, or Alan Jackson during the 90s Nashville gold rush, Wilson does a spot-on job capturing the spirit of country’s appeal in the midst of a prominent mainstream moment. The record joyously spills over with the musical integrity, humble charm, and beaming personality that has quickly made Wilson the genre’s most refreshing authentic ambassador of the 2020s.
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