Sophie Ellis-Bextor- “Freedom of the Night” (Decca)
The dance chanteuse’s first major-label single in fourteen years bears the initial fruits of the surprising resurgence of her 2001 single, “Murder on the Dancefloor”, which reigned earlier this year as 2024’s own “Running Up That Hill”. The silky glitter of both “Freedom’s” vocals and production suggests that Ellis-Bextor hasn’t missed a beat in the fourteen years since her last box office single, or the twenty-four since “Murder’s” initial release.
The Black Keys featuring Alice Cooper- “Stay In Your Grave” (Easy Eye Sound)
We really shouldn’t be as surprised as we probably are that this union works so damn well. Cooper’s legendary shock rock style and the Keys’ muddy blues-rock fit together like a bloody murder glove, providing a great addition to this year’s annual spooky play-lists.
Leon Bridges- “Peaceful Place” (Columbia)
Bridges invokes a saucy salsa style into his velvet-smooth brand of modern R&B, and provides a fresh soundscape to showcase his lilting vocal chops.
Kane Brown- “Backseat Driver” (Columbia)
A solid rebound after a summer with far too many “Miles On It”. Brown is the modern-day master of these kind of sentimental domestic snapshots that have always been a staple of mainstream country, particularly in the 2000s. It’s one of the best of the very many coats that he chooses to wear.
Kasey Chambers- “Backbone (The Desert Child)” (Essence)
The Australian country spitfire reemerges after a six year dry spell and her unapologetic twang remains as beautifully harsh and piercing as its ever been. Chambers is one of those marvelous, but under-the-radar (even by roots standards) artists that you innocently take for granted. Oh, but the glory one feels when you come to your senses and become belatedly reacquainted. The Emmylou Harris influences are as prominent as ever throughout Chambers’ new album; I’ll be playing this back-to-back with “One of the Days” and “Queen of the Silver Dollar” repeatedly now.
Eric Church- “Darkest Hour (Helene Edit)” (EMI)
Readers of the blog are well-aware that Eric Church is one of my “stan”-artists of the past decade. Despite this being a Hurricane Helene charity single of all things, “Darkest Hour” immediately stands out as one of the biggest swerves of Church’s vast career. Hearing Chief sing an entire song in his falsetto against a baroque pop arrangement is undoubtedly jarring initially (and I shutter to think of an entire album of it), but the undeniable soul and sentiment of the performance shines through on repeat listens, smoothing out the rough spots, and eventually taking undeniable flight.
Halsey- “I Never Loved You” (Columbia)
Culled from the pop star’s newest concept album, and proactively promoted as being inspired by Kate Bush, “I Never Loved You” (and the album, The Great Impersonator as a whole) continues Halsey’s fascinating emergence as one of pop’s most artistically evolved hitmakers. There’s been a million songs about one’s medical ailments being blamed on a broken heart, but this one is a fresh entry in that canon, and it’s one of her most beautiful vocal renderings to date.
The Head and the Heart- “Arrow” (Warner)
While I found plenty to like within the expanded sonic palate that The Head and the Heart increasingly employed on their more recent albums, this new single can’t help but feel like a refreshing return to form. “Arrow” connects them back to the looser, more jangly folk core that their initial cult following fell in love with upon their launch. A late-year highlight spilling over with heart and authenticity.
Jelly Roll- “Liar” (Republic)
Look, there’s absolutely no denying the appeal of Jelly Roll’s inspiring personality, the range of his boisterous vocals, or even his integral role in the story of music in 2024. I simply struggle with the one-note nature of the music I’ve heard from him to date; thematically and sonically. This became as apparent as ever by the insufferable marathon length of this month’s Beautifully Broken. Yes, I realize this pattern applies to many artists, including many of my faves. I’d probably give Jelly Roll more of a pass if his music checked more of my wheelhouse boxes; it just simply doesn’t. Nevertheless, this kiss-off number at least meets in the middle by deviating a bit on the subject matter. It’s not a bad single; it just does very little to separate itself from the pack of Jelly’s other releases. Until a track like that comes along, I’ll remain strictly a “Need a Favor” guy.
Lady Gaga- “Disease” (Interscope)
After serving us plenty of teases (this summer’s concert film) and appetizers (a one-off smash with Bruno Mars, a dazzling jazz side-project, and the Joker 2 film), the pop queen has officially launched her seventh studio album era. This opening number immediately assures us that there will be a helping of her signature dance sound to enjoy on the new project, and “Disease” smacks on the same solid level as her biggest hits. That quality and the fact that Gaga historically saves the best tracks from her albums for either later singles, or as mere deep cuts, suggests we have a monstrous pop pleaser on the way from her in 2025.
Mt. Joy- “She Wants To Go Dancing” (Island)
A cunningly catchy, unassuming number that’s bolstered by a persistent beat and hypnotic vocals. It boldly suggests that these indie favorites deserve to be on the verge of a more mainstream breakthrough.
Nathaniel Rateliff & the Night Sweats- “Call Me (Whatever You Like)” (Stax)
As the album selection that’s most committed to marrying the Stax sound of past Night Sweats triumphs with the more folk-rock leanings of their current LP, it’s no wonder that “Call Me” ranks among the project’s standout among band loyalists. It certainly helps that it’s also the kind of superb musical showcase that Rateliff and company have become branded for. A sleeper hit that creeps up on you.
Chappell Roan- “Hot to Go!” (Island)
The pure, unadulterated joys of pop ear-candy in 2024 don’t get much better than the runaway smashes that Chappell Roan keeps launching up the Hot 100. And yes, I do the cheesy choreography every time this one blares from the speakers. The “YMCA” is still much easier though..
Ringo Starr- “Time On My Hands” (Roccabella)
Yes folks, Ringo has always been a country music fan-boy at heart, and therefore his pending 2025 LP stands to be the most committed of any of the cross-genre country projects to be released over the past eighteen months. This is a lovely, straight-forward, steel-sprinkled C&W ballad that Starr delivers with gorgeous conviction and a voice that sounds impressively rich for 84 years of age. While we’re waiting on Look Up’s arrival in January, do yourself a favor and seek out Ringo’s other country-related work, starting with 1970’s seminal Beaucoups of Blues. You’re allowed to circle back to “Act Naturally” after that.
Rose and Bruno Mars- “Apt.” (Atlantic)
This K-pop-punk amalgam is obnoxiously indulgent in all the very best ways that true-blue pop and punk music always are. Positively, utterly irresistible. Bruno has racked up some mighty strong guest work during the second half of 2024; here’s hoping it’s the prelude to a formal comeback headed our way in ’25.
Alana Springsteen- “Hold My Beer” (Columbia)
Springsteen offers a convincing level of Southern pop swagger that so many aspiring acts coming off the Music Row assembly line aim for, only to continuously miss the mark. Those qualities would go a lot further if she had a stronger song underneath her as opposed to this pleasant but forgettable filler. The goods are there, but they’ve got quite a bit of baking left to do.
The Struts- “Can’t Stop Talking” (Big Machine)
The Struts continue to proudly wave the flag for a brand of classic rock that sounds faithful to the glory days of the past, but ever-relevant and fresh in the current era. “Talking” doesn’t quite possess the bite of past highs like “Could’ve Been Me” or “Body Talks”, but it’s nevertheless a solid exercise in the sort of glammy rock that we hear far too little of in the 21st century.
Shawna Thompson with Vince Gill and Ricky Skaggs- “Bama Clay” (Sun)
The better half of 2010s country duo Thompson Square has quietly released one of the definitive traditional country records of 2024, and it’s a wondrously rich and twangy delicacy to behold. To realize this is the same lady behind “Are You Gonna Kiss Me Or Not” is nothing short of startling, and only adds to the rewarding experience that this track and its source album both offer. I could do without the gimmicky gospel vignette before the bridge, but it’s easy to forgive when the rest of Thompson’s performance is so splendid. She already had this in the bag on her own, but the addition of Gill and Skaggs’ pristine vocals and harmonies? Game over.
Morgan Wallen- “Love Somebody” (Big Loud)
The country bad boy’s proficiency for country-pop ear worms remains in prime condition on this latest smash preview from his next LP. It feels like a song transplanted from the less-bastardized batch of classics from the Urban Cowboy era, an element only heightened by the juxtaposition of Wallen’s twang with the Digital Farm Animals interpolation. It sounds like something Dan Seals would have sent up the charts in 1985.
Dwight Yoakam- “Wide Open Heart” (Thirty Tigers)
A turbo-charged, Heartland-tinged rocker punctuated by Yoakam’s classic Kentucky twang, which sounds as full-bodied and sturdy as it ever has, BTW. If you’re still not properly excited for the legend’s first original album in nearly a decade after listening to this blistering delight, then I cannot help you.
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