Adeem the Artist- “One Night Stand” (Thirty Tigers)
Adeem continues to establish himself as a captivating modern country storyteller, not for the mere fact that he serves as a musical voice for queer romance, but for how seamlessly he makes it the natural part of the overall American narrative that it should be in 2024. That framing is just a minor detail; this song excels thanks to his charming performance, quirky lyricism, and an infectious sound that is both fresh and timeless.
The Avett Brothers- “Love Of A Girl” (Ramseur)
A slapping awakening from a long slumber, the newest Avetts jam is easily their punkiest performance in well over a decade, joyously harkening back to their early days. To call it a return to form would be to inaccurately say that they ever slipped artistically; there’s just simply no denying what a triumph this is going to feel like for their longest, most ardent followers. A fantastically frenzied and electrifying return from one of the flat-out best bands in the world today.
The Black Keys- “I Forgot To Be Your Lover” (Easy Eye Sound)
Latter-day audiences are probably most familiar with this William Bell/Booker T. Jones soul gem in the New Wave incarnation that Billy Idol rode the charts with back in the mid-80s. And while we cannot credit the Keys with reconnecting it to its original R&B sparkle (that was Bruce Springsteen on 2022’s Only the Strong Survive), they still deserve much acclaim for their gorgeous interpretation here. They retain every bit of the aching soul that graced the original, while dousing it with their classic, trippy garage blues wonder. This will stand as one of Dan Auerbach’s great performances as both a vocalist and guitarist. This is completely intoxicating.
Bon Jovi- “Legendary” (UMG)
Say what you want about Bon Jovi, but there’s simply no denying that the band long ago solidified a status to match this song’s title. This lead single from their forthcoming sixteenth album is another matter however. It’s not egregiously bad, but it also isn’t anything more than loud, faceless background rock. It’s been well documented that Jon Bon Jovi’s current voice is a bit weathered; he’s a 62 year old man whose been screaming on stage for four decades, after all. They could have easily paired it with a more appropriate arrangement here and it would have been fine. Conversely, their decision to drown it out with a banal wall of noise expectedly makes him sound strained and overwhelmed by the band, and it does nobody any favors.
Benson Boone- “Beautiful Things” (Warner)
An excellent performance that’s wholly worthy of the breakthrough that it has become in recent months. The dramatic highs and lows of the record provide an eye-popping showcase of Boone’s wild vocal range, and all of the emotional layers he’s capable of conveying within it. The heavy rock production of the chorus teeters on the cusp of overblown, but it never falls off the cliff. This dude could very well be pop’s newest male powerhouse.
Zach Bryan featuring The Lumineers- “Spotless” (Warner)
The characters portrayed in this song may not be spotless, but the melding of styles between these two acts certainly proves to be on this standout cut from ZB’s self-titled smash album. The singer’s raw, sparse country sound marvelously marries with the Lumineers’ trembling piano-driven folk-rock; the results are chilling and euphoric all the same. The same thrill we get when Kacey Musgraves’ vocal arrives on “I Remember Everything” is duplicated here when Wesley Schultz takes lead on the second verse. Meanwhile, the lyrics themselves are expectedly graceful in all of their flawed, vulnerable honesty. An instant folk-rock classic in my book.
Kaitlin Butts- “Hunt You Down” (Soundly)
Katilin Butts continues to live her best life as a certifiable honky-tonk pistol for the 2020s. This track is loaded with classic country elements: Johnny Cash shuffle, Loretta Lynn spunk, Jean Shepard rapid-fire vocals, steel that would make Don Helms or Ralph Mooney swoon, a yodel worthy of “Cattle Call”, and a murderous threat far more reminiscent of Dwight Yoakam’s “What I Don’t Know” than a Carrie or Miranda tune.
Catfish and the Bottlemen- “Showtime” (Island)
A welcome return from one of the UK’s finest indie rock contributions. A five year absence has not prevented me from still belting out “Longshot” every chance I get, and “Showtime” finds them sounding refreshed, vibrant, and full of the same loose, palpable rock energy.
Miley Cyrus and Pharrell Williams- “Doctor (Work It Out)” (Columbia)
Miley continues her ongoing pop gold-rush, with Pharrell bringing out a deliciously bopping, funk-rock edge to her ever-kaleidoscopic style. Her vocals, the bouncy beats, the hooks. It’s all bona-fide pop dynamite. It’s rather sluggish chart rise out of the gate puzzles the hell out of me; this is 100% worthy of becoming a smash on the level of “Flowers”.
Dan + Shay- “Bigger Houses” (Warner)
Y’all, alert the presses. I’m legitimately in love with a Dan & Shay song. And, it’s not in the tentative, sweet-tooth way that I eventually came around with tracks like “Tequila” and (gulp) “I Should Probably Go to Bed”. Their most recent album of the same name was a tremendous step forward, incorporating more organic country instrumentation that allows their undeniably rich harmonies to glow like never before. The song itself is a gem with authentic emotional depth and understated gravitas. For me, it hits a beautiful nerve by squarely tapping into that feeling you increasingly get as your 30s dwindle away. When do we reach the point where we stop chasing the Joneses and what’s next, and just start thriving in the already fulfilling life you’ve built to this point? This song has me considering that quandary more and more, as well as the fact that the answer all lies within the power of one’s own mind and heart.
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Dasha- “Austin” (Warner)
This country-tinged dance ear-worm possesses all of the buzz-worthy contagion that its recent viral hype suggests. The acoustic, down-home instruments crash into Dasha’s silky pop voice and loads of glossy polish to create the kind of irresistible dichotomy that has birthed a slew of crossover country classics before it. Honestly, it has me reimagining what Shania Twain’s Queen of Me would have been had it employed more of these sorts of pared-back sonic choices. Color me intrigued to see how indicative this is of Dasha’s overall catalog.
Sara Evans- “Pride” (Born to Fly)
Evans launches her eleventh studio album era with what is inarguably one of the best songs of her entire catalog. It’s an unflinching account of the toxic marital discourse that’s defined her past few years, delivered with a gracefully bitter honesty. Her latest press and recently launched (and somewhat unhinged) podcast seem to indicate more domestic messiness is in store on the full album, which frankly could equate to her best record in two decades. I’ve always held equal affinity for her early retro-Bakersfield sound and her hit-making, popified gloss, but I’d love to see her split the difference with a Patty Loveless-leaning mountain-rock direction. This isn’t quite in that realm, but it’s a very strong preview of what could lie ahead.
Ariana Grande- “We Can’t Be Friends (Wait for Your Love)” (Republic)
A mid-tempo electro ballad that spills over with the sweetest qualities of Grande’s imposing vocal arsenal. This stands to be the most tenderly lovely smash on the pop charts this spring & summer.
Will Hoge- “I’d Be Lying” (EDLO)
An honest-to-goodness mourning for a relationship that was not meant to be, delivered by Hoge’s ruggedly magical country-rock chops, and very little more. The song’s narrator has managed to keep his life moving forward, and while he seems to have his priorities undeniably in order, he can’t deny the way that lost opportunities of the past are always lingering in the shadows.
Sam Hunt- “Locked Up” (MCA)
You’ve got to hand it to Sam Hunt. No matter how ridiculous some of his biggest cross-genre swings may be, he never approaches them with anything less than all of the charm and conviction that he can muster. “Locked Up” is actually a pretty competent execution of Southern-fried R&B. And then the Tammy Wynette lyric arrives. And while my first inclination was to groan, I soon shamefully found myself longing for a Lefty/”Hard to Forget”-recalling sampling to crash up against those sax licks. Yeah, I’ll let myself out…
Cody Jinks- “Outlaws & Mustangs” (Late August)
A fantastic distillation of the wide fusion of styles that have been informing Cody Jinks’ brand of country music from the get-go: Outlaw, Heartland, college-rock, and 90s neo-trad. Rocking guitar, warm steel, sweet fiddles, a freaking gospel choir. Jinks’ full-bodied vocals get ample spotlight in this entertaining standout. A perfect gateway song for a catalog that has been bubbling under the radar for nearly two decades now.
Noah Kahan- “Stick Season” (Republic)
There’s no telling how many times Noah Kahan will have ultimately expanded his breakthrough album by the time its follow-up finally arrives. Nevertheless, it’s proven to be an effective exercise that has made him one of the key breakout acts of the present moment. And, I have no complaint with the wonderful title track finally getting its moment in the sun. It’s a stellar example of the nervy, anxious romanticism that has become emblematic of the sweet spot that’s currently enamoring a widespread audience. An irresistible intersection folk introspection and pop contagion.
Mark Knopfler- “Ahead of the Game” (British Grove)
The first single in six years from one of classic rock’s pristine guitar Gods finds Mark Knopfler remaining cozily settled into the breezy, restrained sonic setting that has served him mighty well for decades now. His deadpan pub vocals and rich guitar riffs are unmistakable per usual, and the chugging, piano-kissed rhythms subtly evoke memories of his (sadly) long-gone Notting Hillbillies days.
Lake Street Dive- “So Good Together” (Nonesuch)
One of my most refreshing musical discoveries of the past several years returns with new music and, wow! What a sunny burst of joyous spring energy they have crafted with “So Good Together”. Their silky pop-soul is in peak form here, featuring boppy hooks, splashy horns and synth, and sensational interplay between lead vocalist Rachael Price and keyboardist Akie Bermiss. Their pending eighth album stands to be a surefire highlight of the summer release schedule.
The Lone Bellow- “Victory Garden” (Tone Tree)
Written in tribute to the victims of last year’s shooting at Nashville’s Covenant School, “Victory Garden” is one of the Lone Bellow’s sparest and most pristine performances. It’d be futile to try and wax poetic in a review of this record. It’s simply emotionally enthralling and nourishing all the same.
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Ashley Monroe- “I Like Trains” (Monroe)
An otherwise untouchable artistic darling, Ashley Monroe hit the first slump of her career with 2021’s Rosegold. Anticipation for her emergence from that era and a subsequent battle with blood cancer is high, and this Fred Eaglesmith cover is the second offering she’s made as she slowly teases a return. There’s no indication as to whether this is from a new album, but it at minimum is a satisfying hold-over. A stripped guitar arrangement and Eaglesmith’s morose, lonesome lyrics find Monroe’s ethereal pipes in all their magnificent wonder.
Kacey Musgraves- “Cardinal”/”The Architect” (Interscope)
This pair of singles form what is without question the heartbeat of Kacey Musgraves’ new album, Deeper Well, with their collective quality sealing the return-to-form that many were waiting for after 2021’s Star-Crossed. “Cardinal” is a hauntingly beautiful ode to Musgraves’ hero and friend, John Prine, and is bolstered by a hypnotic guitar line that sounds lifted from the 60s folk-rock scene. “The Architect” meanwhile contemplates the origins of the natural world as a whole, while trying to reckon with one’s individual place within it all. It may well be her most eloquent piece of songwriting to date. I’m certainly among the many hungry for Musgraves to eventually revisit the down-home country flavor of Pageant Material. With that said, these tracks, and their source album as a whole, emphatically confirm that she’s settled into her best and most natural stylistic identity: modern-day folk poet.
Willie Nelson- “The Border” (Legacy)
Willie Nelson’s new status as a nonagenarian is doing nothing to slow down his recording activity, nor should that surprise or disappoint anyone on planet Earth. The Red Headed Stranger has maintained a consistent standard of artistic integrity throughout his twilight years, but I immediately count “The Border” as my favorite track of his from the past decade. The eerie Western noir atmosphere is instantly captivating and forms a cinematic partnership with Nelson’s timeless narrative character.
Old 97’s with Peter Buck- “Where the Road Goes” (ATO)
Jangly country-rock at its most reflective, restrained, and riveting. “Where the Road Goes” features one of lead vocalist Rhett Miller’s most soulful vocal renderings, with his aching voice masterfully bringing the travelogue of destinations he sings about to vivid, vibrant life. You feel like you’re next to him in the passenger seat during a pivotal ride through one’s personal life journey.
Carly Pearce- “Hummingbird” (Big Machine)
With each new, diverse preview of Carly Pearce’s upcoming fourth album, it becomes clearer that the excellence of 29: Written In Stone was no fluke. Her bluegrass influences shine brightly throughout this titular track, with pure and crystalline vocals gliding in and out of sparkling fiddle and dobro flourishes.
Maggie Rose- “Fake Flowers” (Big Loud)
A smoldering piano ballad that finds Rose staying true to the stunning strong suits that she revealed on 2021’s excellent Have A Seat. This is the sound of a fabulous singer continuing to boldly settle into her artistic wheelhouse and folks, it’s a beautiful sound to behold.
St. Vincent- “Broken Man” (Total Pleasure)
A smoking simmer of alt-rock mystery that methodically escalates into a fierce fireball of musical intensity. The striking contrast between Vincent’s luxurious vocals and the enticing gonzo arrangements is wonderfully bewildering. She continues to be a creative force to reckon with, keeping listeners guessing her next move with bated breath.
Twenty One Pilots- “Overcompensate” (Fueled by Ramen)
One of the rock world’s most adventurous modern bands makes a triumphant return after a three-year absence. While 2021’s Scaled and Icy found the Pilots loosening up their sound a bit (well, as much as imaginably possible in the 21P universe), here they venture back to the heady and dense trappings of career songs like “Stressed Out”, “Heathens”, and “Jumpsuit”. “Overcompensate” incorporates heavy elements of Hip-Hop and electronica, feeling like a far cry from the pop-leanings of a track like “Saturday”, while still maintaining its own brand of infectiousness amidst all the density. It immediately resembles a track that transcends its identity as a mere single into a singular moment, previewing what will be one of the biggest rock releases of the year.
Keith Urban- “Messed Up As Me” (Capitol)
The Aussie icon continues to slowly get his groove back on yet another new single release. Whether this will truly be the artistic renaissance that he’s way overdue for will be determined once the full album drops. In the meantime however, “Messed Up As Me” returns Keith Urban to a moody melancholy that he’s always excelled at. The production on the chorus is still a bit loop-heavy, but he sounds positively fantastic on the raw, acoustic verses. Keep moving in this direction, mate.
Koe Wetzel- “Damn Near Normal” (Columbia)
The grungy country-rocker is firing on all cylinders with this new single. Lyrically, he’s penned another excellent, latter-day outlaw ballad, sung from the perspective of a man who desperately wants to break his destructive cycles but can’t muster the control to do so. Vocally, it displays the softer and more soulful layers of his ruggedly versatile range. Musically, it’s all wrapped up in an organic package that melds breezy folk-pop with thick but subtle rock-guitar edges. Wetzel is a major talent to keep on the radar.
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