49 Winchester- “Yearnin’ For You” (New West)
A splendidly confident preview of this jamming country-folk band’s next LP. “Yearnin'” clips along at a rapid-fire, banjo-bolstered pace, and lead vocalist Isaac Gibson’s textured delivery is boiling over with a palpable combination of heat, urgency, and romantic affection.
James Arthur featuring Kelly Clarkson- “From the Jump” (Columbia)
The duet version of the long-ago X-Factor champion’s single unites his moody, melodramatic vocals with that of the original singing competition slayer of this generation. They sound pretty wonderful when their voices blend on that second verse. By the end of the track though, Clarkson is positively dominating Arthur under the table. That’s not meant as any disrespect toward Arthur, but there’s simply no comparing his emotional power and nuances those of Clarkson’s. She makes this record her own, and while that’s obviously unintentional, her marvelous showcase is a sublime listen, and the prime reason for revisiting this one.
The Avett Brothers- “Country Kid” (Thirty Tigers)
An irresistibly charming revisitation of both their early country-influenced sound, as well as their humble childhood. When the Avetts lean into their deliriously up-beat sound, there is little within the current music spectrum that can compete with their rustic, effortless contagion. Their vocals are fetching as hell, and that fiddle breakdown is pure fire. Damn, I cannot wait for this new record. All signs indicate it should be a vibrant showcase of their far-reaching sonic range.
Beyonce featuring Miley Cyrus- “II Most Wanted” (Columbia)
This duet has definitively triumphed as my favorite moment from Cowboy Carter, so I’m thrilled that it’s been pegged as the album’s next single. Their individual vocal contributions both rank among the very best of either career, and when the contrasting elements of their voices blend on the chorus, it is pure harmonic bliss. The restrained, hybrid arrangement of country, rock, and pop influences is the perfect finishing touch. It’s an instant candidate for one of the best and most buzz-worthy singles of the year.
Black Pumas- “Ice Cream (Pay Phone)” (ATO)
Easily the quirkiest and catchiest little chestnut to come from the revered soul duo. “Ice Cream” manages to paint the Pumas in a new and unique light, while still retaining all of the rhythmic magic that has been their secret sauce for success. Vintage soul meets deceptively potent pop ear-candy. This deserves to be a dark-horse song of the 2024 summer season.
Brothers Osborne- “Break Mine” (EMI)
A frothy, flirty haze of country-pop that is considerably elevated by the soaring power of TJ’s sensational baritone and John’s riveting guitar solos. They’ve released far stronger material, both in the harder and softer country realms. “Break Mine” simply proves that there are few mainstream acts who can raise the quality of MOR Nashville material as effectively as BrOs.
Kane Brown- “Fiddle in the Band” (RCA)
Brown’s latest single is basically a mission statement explaining why he goes from sampling Phil Collins one minute to tipping his hat to Charlie Daniels Band the next. It’s effectively executed and fully commits to its titular promise, boasting a blistering fire of fiddle that should light up country radio nicely. It also feels wholly genuine given that Brown has never once backed down from his diverse well of country, pop and R&B influences, and mostly manages to pivot between and meld these sounds as well as anyone in the current Music City ecosystem. This one will be challenging not to play on repeat.
Johnny Cash- “Well Alright” (Mercury)
“Well Alright” is the lead single from the forthcoming Cash release which will gather recordings of songs that the Man In Black began recording in 1993, prior to the monumental artistic pivot that would become the Rick Rubin-helmed American Recordings. Posthumous releases are always a tricky thing, though Cash’s have always been tastefully presented, and this shows no sign of deviating from that trend. The new overdubs are produced by his son, John Carter Cash and the musicianship provided by a band of ace players including Marty Stuart, who unsurprisingly succeed in bringing the vintage Tennessee Three sound back to sparkling life in the 2020s. The song itself is a charming tale of young love at a laundromat that would sit nicely next to early classics like “Ballad of a Teenage Queen”. It’s nothing short of euphoric to hear new-to-our-ears material from this musical giant, particularly from a time when his voice was still in its prime, pristine glory.
Cold War Kids- “Feel Too Much” (AWAL)
Cold War Kids continue to be one of my most reliable sources for adrenaline-surging rock anthems that demand repeat listens. This and the surrounding material on their newest EP positively smacks, per usual. Nathan Willet’s vocals remain some of the most dynamically engaging in modern music.
Drake- “Push Ups” (Republic)
Hip-Hop’s parade of diss tracks continues with Drake firing this misile at a slew of artists including Kendrick Lamar, The Weeknd, Future, and Rick Ross, among others. Self-indulgent as the entire concept of a diss track can be, they can at least be wildly entertaining….in moderation. But this one fizzles and loses all of its novelty after the first cursory listen that merely serves as a word-search for celebrity name-drops. There’s just not enough committed intensity or fury permeating from Drake’s rather listless delivery to give this one the legs it cannot maintain on its own merits.
Ernest featuring Jelly Roll- “I Went To College/I Went To Jail” (Big Loud)
Entertaining as hell and a reverent combination of country music’s novelty and Outlaw roots, without ever exploiting or bastardizing either realm. Ernest and Jelly play their roles perfectly and exhibit a palpable chemistry, while the sound gleefully twangs it up to the nth degree. Impressively durable and congenial.
Sara Evans- “21 Days” (Melody Place)
For the second single from her forthcoming LP, Sara Evans takes a fresh and surprisingly rarely visited topic (the notion that it takes twenty-one days to break or make a habit) and drenches it in the sunniest elements of her proven country-pop repertoire. Her radiant voice sounds fabulous, and “21” makes it clear that, even two decades after her peak, her own habit of crafting twangy ear-worms still has some gas left in the tank.
Hozier- “Too Sweet” (Columbia)
The Irish powerhouse who initially dominated the charts with “Take Me to Church” a decade ago, and has charted nary an American hit ever since, becomes the latest benefactor of the viral Tik Tok age. Hozier can suddenly claim one of the biggest chart comebacks in recent memory. It’s well deserved, too. “Too Sweet” retains all of the moody vibes of his signature material, while managing to also soar into hook-heaven, thanks to the intoxicating vocals he unleashes as the chorus takes flight. It’s hypnotic as hell, and retains that mesmerizing quality through an endless slew of spins.
Joe Hertler & The Rainbow Seekers- “Turn This Train Around” (Nettwerk)
This colorful indie outfit returns with a typically vibrant batch of dizzying sounds. This train ride manages to stop at the folk, pop, soul, funk, and even rap-leaning stations within its brisk three-minute run-time. That it all fuses together so harmoniously is no surprise given the Rainbow Seekers’ track-record at this point, but it is also no less impressive.
Marcus King- “Mood Swings” (Republic)
The title track to the powerhouse singer’s third long-player further solidifies his emergence as one of the most imposing vocal stylists of the 2020s roots scene. A luxurious amalgamation of blues, soul, and Southern Rock. You can just feel your emotions melting into the aural wonder of this atmospheric gem.
Lenny Kravitz- “Human” (BMG)
Another instantly infectious banger from the rock veteran, thanks to its persistently percussive nature and a fantastic vocal performance that bares all of Lenny Kravitz’s legendary soul and swagger. The guitar solo that punctuates it all is sweltering as well, per his brand. Kravitz doesn’t get enough press for how naturally he has mastered the challenge of aging gracefully in the rock world. This new album appears to be pure fire, at least based on the first two singles alone.
Lake Street Dive- “Better Not Tell You” (Fantasy)
Another stellar preview from the newest LSD album, thanks to Rachael Price’s ever-elastic vocals, plus a stand-out performance from the band that keeps the proceedings endlessly brassy, bopping, and festive. I’m dying to see them live during this next album tour.
Laufey- “Bored” (AWAL)
So, apparently Laufey kiss-off tunes are my new favorite thing. The breathtaking chanteuse pulls no lyrical punches as she calls her distant, uninspiring lover to task for not working harder to earn her love and affection. I love the devilishly sardonic heights this premise reaches thanks to the elegantly smooth jazz arrangements its doused in. The song’s beautiful mask only makes the gun-punch of the message sting all the more.
Amos Lee- “Hold On Tight” (Thirty Tigers)
The acclaimed crooner once again demonstrates the unique and far-reaching power of his diverse voice. Not just in terms of his pure physical range, but for the sheer emotional passion he’s able to wring out of even the most straight-forwardly simplistic lyrical message.
Dua Lipa- “Illusion” (Warner)
The long and painful wait for Dua Lipa III is just days away from ending, and the final preview she’s provided us is the most enticing of the bunch. The titular track falls squarely in the golden dance-pop-funk wheelhouse of her Future Nostalgia hit-streak, with some subtly bluesy rock nuances sprinkled in for good measure. Ms. Lipa, the pop-world is once again here for your taking. Instant smash tracks like this suggest that she’ll have little trouble reclaiming her crown.
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The Mavericks featuring Nicole Atkins- “Live Close By (Visit Often)” (Thirty Tigers)
Over thirty years since their initial emergence and The Mavericks remain one of the most stylish, creative, and endlessly diverse bands on Planet Earth. This single unearths a tremendous nugget from the KT Oslin catalog that was co-written with Mavs leader, Raul Malo. Not sure what took so long for Malo and his boys to put their own spin on it, but it sure was worth the wait. This is brassy rock & soul euphoria, and it’s no surprise that underground darling Atkins proves a perfect vocal companion for Malo.
Scotty McCreery- “Cab In A Solo” (Triple Tigers)
The former American Idol champ has quietly been one of country radio’s most reliable hit-makers for the past decade. I admittedly can name very few of those hits, but “Cab In A Solo” has become a slowly growing presence on my playlist. This is the kind of crisply organic, neo-trad arrangement that he should always employ on his records. He sounds as confidently commanding and interesting as I’ve ever heard him.
John Moreland- “The Future Is Coming Fast” (Thirty Tigers)
A harrowing performance that is not only clearly grieving for lives lost, but also for the narrator’s loss of faith in humanity in general. The fact that the nondescript lyrics could apply to a variety of modern day events only makes it all the more stirring, devastating, and necessary.
Pearl Jam- “Wreckage” (Republic)
I’m sure there’s a track that Pearl Jam enthusiasts could prove me wrong with, but “Wreckage” can’t help but feel like the most prominently jangly and reflectively breezy moment of the band’s illustrious run. The track is undoubtedly tinged with plenty of sadness, but there’s a bittersweet quality in Vedder’s tempered delivery that suggests he’s at peace, both with everything life has already thrown at him, and whatever it’s about to.
Orville Peck and Willie Nelson- “Cowboys Are Frequently, Secretly Fond of Each Other” (Warner)
I mean, it was only a matter of time before Orville Peck brought Willie Nelson’s charmingly hilarious gay cowboy track into the modern era, right? The fact that he gets do so as a duet with the legend makes it all the more rewarding. This gem was certainly progressive when it was released in the wake of Brokeback Mountain, but its retrospective importance seems all the more significant given the social progress achieved in the eighteen years since. Its presence in the country sphere remains just as pivotal given the progress left to be made yet today. But most importantly, it remains as flat-out entertaining as ever as well.
Rainbow Kitten Surprise featuring Kacey Musgraves- “Overtime” (Elektra)
Beautifully melancholic indie rock of the highest order. These longtime cult-favorites have been enjoying a steadily rising profile over the past several years, a trajectory that should only continue with this star-power assist from Musgraves, who to nobody’s surprise, proves a perfect companion for this band’s moody and reflective brand of loneliness.
Nathaniel Rateliff & the Night Sweats- “Heartless” (Stax)
The lead track from this summer’s fourth Night Sweats LP is the group’s most stripped performance to date, harnessing their typically exuberant Stax sound into a restrained acoustic mid-tempo that pensively boils with romantic longing. You don’t hear a single horn until the final note of the track. In all reality, it feels like a cut from a Nathaniel Rateliff solo release, which is by no means a complaint as all of those records are undeniably great. “Heartless” maintains that standard, which has me equally excited and curious for what awaits on South of Here.
Olivia Rodrigo- “Obsessed” (Geffen)
My only beef with the premature issuance of Guts bonus tracks is that it distracts from the stacked deck of potential singles waiting in the wings on the original album. Alas, this is how album cycles work in the streaming age. As for the track itself, “Obsessed” is another insatiable slice of punk-pop fire from Rodrigo, and would have been completely worthy of inclusion on the standard edition of her sophomore smash.
Sarah Shook & the Disarmers- “Revelations” (Thirty Tigers)
Music doesn’t get much more honest these days than the work of Sarah Shook & the Disarmers. “Revelations” is a raw and unfiltered portrait of one’s struggle through their very existence. Shook’s vocal delivery is unabashedly down-trodden and depressed, but also extremely raw and evocative. It gives these lyrics all of the tattered emotion and realism that they require. The half-grunge, half-country support of the Disarmers is just as haunted and effortlessly addictive.
Shaboozey- “A Bar Song (Tipsy)” (Republic)
I first heard of Shaboozey a mere month ago when he was featured on Cowboy Carter. That has clearly proven to be the gateway vehicle that Beyonce hoped it would be for the artist. Since that time, he’s quickly become one of the most buzz-worthy names in all of music, with a third studio album due next month. A successful amalgamation of disparate genres can be as rewarding as any experience for a listener with big-tent tastes. This track throws the kitchen sink at you, melding everything from a J-Kwon sample and prominent trap beats with unapologetic country fiddle and a stomping, early-2010s Americana undercurrent. It’s an incredibly rewarding pot of influences. Urban and rustic sonic mash-ups historically sound tacky and disingenuous. “A Bar Song” conversely makes them sound like they were always meant for each other.
Connie Smith- “Once More” (Fat Possum)
If all the head-spinning cross-genre navigation of Shaboozey only increases your appetite for old-school country tradition, then there’s no better palate cleanser than brand new music from the majestic pipes of Connie Smith. With Loretta Lynn sadly gone form this earth, Smith is really the premier connection to the pre-Dolly era of classic female country powerhouses. Now in her early 80s, age has done very little to rob her golden voice of its magic, and the same can be said for her impeccable style and taste. Once more and for always, Connie Smith’s music remains a wonder to behold.
Chris Stapleton- “I Should Have Known It” (Big Machine)
First Dierks Bentley’s ultra-grassy rendition of “American Girl”, then Dolly Parton’s graceful “Southern Accents”, and now this absolute ripping ball of Southern Rock fire from the peerless Chris Stapleton? Between all of these moments and a perusal of the slated track-list, this upcoming country tribute album to Tom Petty is stacking up to be one of the best records of its ilk in some time.
Taylor Swift featuring Post Malone- “Fortnight” (Republic)
With emotively gloomy stanzas like “All my mornings were Mondays stuck in an endless February/I took the miracle move-on drug, the effects were temporary”, “Fortnight” is a solid representation of the overall moody aesthetic of The Tortured Poets Department. This brand of Swift’s music takes a number of listens to digest and become acquainted with. Once you do however, you’ll find yourself as addicted to these moments as you are the bubble-gummiest peaks of her trove of hits. Swift and Malone play a pair of lovers who are haunted by the life circumstances which prevent them from further captivating on their one-time spark, and by the time their gorgeously slow-burning harmonies reach a fever pitch in the climax of the song, you’re left incurably hypnotized.
Zach Top- “Sounds Like the Radio” (Leo33)
With his unapologetic Tracy Lawrence look, his Alan Jackson et. al. sonics, and his literal 90s-referencing lyrics, indie upstart Zach Top may well represent the fever pitch of the neo-traditional resurgence on country radio. And while I truly regard radio as irrelevant of a barometer as ever before, it’s still a joy to realize that the country airwaves are starting to increasingly live out the sentiment of this track. Here’s hoping he doesn’t get pigeonholed and discarded like Easton Corbin, or forced down like a more contemporary path like Chris Young, because this honest-to-goodness twang and steel fills a pivotal void in the Nashville ecosystem.
Megan Trainor & T-Pain- “Been Like This” (Epic)
Trainor’s retro schtick certainly outwore its welcome in the pop upper-echelon long ago, but neither this or the passing of a decade has changed the fact that she positively thrives in this setting. She even makes T-Pain (refreshingly with less AutoTune reliance) not just tolerable, but damn near charming. That’s an accomplishment all its own. A little bit of “Been Like This” does go a long way, but there’s no denying there’s some contagious legs underneath it nevertheless.
Josh Turner- “Heatin’ Things Up” (MCA)
Holy hell, what a tremendous return-to-form this is! Josh Turner has churned out some quality records over the past several years via gospel, covers, and Christmas projects. However, this is the best his generational baritone and stylistic choices have sounded on original material in well over a decade. With the generous fiddle, intense and swampy guitar licks, and nods to his peak-“Your Man” era, this returns him to the role of the booming traditionalist we loved before Nashville’s corporate machine neutered his strongest suits. MCA’s finally allowing Josh Turner to Josh Turner again, and this track has me mighty anxious to see what else awaits.
Twenty One Pilots- “Next Semester” (Fueled by Ramen)
With previous album preview, “Overcompensate”, Twenty One Pilots pivoted strongly back to their most aggressively alternative tendencies, and it almost felt like a wholly satisfying but unnecessary overcompensation for the shimmery quality of Scaled & Icy. “Next Semester” seems to settle back into a nice middle-ground that allows them to relax and focus on crafting buzzy progressive rock that’s not always overthought. The track very clearly borrows some bluesy influence from late-2010s Black Keys (think the Let’s Rock album arc), and it’s yet another coat they wear very well, and seamlessly slip into their already vast sonic palate.
The Wilder Blue- “I’m Your Man” (Hill Country)
As I near the end of this month’s Singles Digest, I can’t help but feel like April has sort of served as “90s Country Appreciation Month”. But, hey I ain’t complaining one bit about it. Especially when it delivers great displays of excellent vocals (all those Clint Black vibes), astute musicianship, and clean production choices. The Wilder Blue has been mastering this realm for some time now; they feel like they’re ripe for a breakthrough to a wider audience. They’re certain worthy of it.
Trisha Yearwood- “Put It In A Song” (Gwendolyn)
For over three decades now, Trisha Yearwood has built a Hall of Fame-worthy legacy by being the best friend a modern song could ever ask for. Few artists have been as mighty a vessel to the great songwriting canons of their time as she has. (And if you need some examples, check out our Twenty-Five Favorites piece of her, which I can happily report is the site’s highest-performing post to date.) With this new single however, Yearwood pays a rare visit to the songwriting realm herself. Lyrical quality is a massive bar to clear given the staggering heights of her catalog, but dammit if she and co-writers Erin Enderlin and Jim Brown don’t do just that. “Put It In A Song” revisits the spirit of one of her greatest records, Hugh Prestwood’s classic “The Song Remembers When”, and proves that Yearwood’s touch hasn’t dwindled one bit since that 1993 release. Her legacy just keeps growing.
Zac Brown Band featuring Mac McAnally- “Pirates & Parrots” (Warner)
Apparently, I’m going to conclude this month’s edition with a lump in my throat. Self-professed Parrot Head Zac Brown joins his ensemble and the most recognizable member of The Coral Reefer Band to pay tribute to their hero and collaborator. It’s a heartwarming moment of soulful humility and friendship that not only connects with the spirit of Jimmy Buffett’s beloved canon, but harkens back to the core of all of Zac Brown Band’s own best moments.
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