Kelsea Ballerini- “Baggage” (Black River)
A surefire highlight from her latest studio set, “Baggage” clips along at a gratifying pace, as the continually blooming singer-songwriter leans into her own flaws with a bright optimism emphasized by the organic country-pop, singalong sweet spot that she’s been mastering for some time now.
Brooks & Dunn and Hailey Whitters- “She’s Not the Cheatin’ Kind” (Sony)
Easily my standout from the newly-dropped second volume of Reboot, it combines one of my favorite B&D classics with my pick for the best new country voice of the past few years. Whitters’ touch for delivering 90s-worthy country gold on her solo work unsurprisingly extends to this nostalgic trip back to that magical era.
Zach Bryan- “High Road” (Warner)
Nothing seems to slow down the virtual light-speed at which Zach Bryan’s pen moves, and to his listeners go the spoils. The absence of his late mother has been a consistent thread in his music from the very beginning, and “High Road” is one of the most soulfully piercing explorations of that loss. “Remember sittin’ on the porch, you talked about your old regrets? In Tulsa while the bad things took your brain..”. It’s stanzas like these that continue to illustrate his unique power to craft songs that feel simultaneously conversational and larger-than-life.
Mary Chapin Carpenter, Julie Fowlis & Karine Polwart- “Hold Everything” (Thirty Tigers)
This preview of a 2025 LP collaboration between Chapin and these two Scottish songbirds is a gorgeous folk gem, beaming with a soft-spoken intimacy and power that’s elevated by an utterly heavenly bed of soul-stirring harmonies. An elegant musical source of momentary peace and serenity to alleviate the chaos or sorrow in your life.
Cynthia Erivo and Ariana Grande- “Defying Gravity” (Republic)
Wicked is the unequivocal cinematic event of the year, and you won’t succeed in convincing me otherwise. Cynthia Erivo and Ariana Grande do a sensational job in providing acclaimed justice to the iconic Broadway performances by Idina Menzel and Kristin Chenoweth, therefore establishing this flawlessly dramatic and climactic anthem as the cornerstone of the film, just as it was for the musical. A moment perfectly emblematic of the soul-stirring wonders awaiting throughout the entire soundtrack and motion picture. Don’t waste another minute before experiencing it for yourself.
Dexter & the Moonrocks- “Sad in Carolina” (Big Loud)
This runaway smash from these rock upstarts makes equal indulgences into all of the respectively fresh aspects of the grunge, alt-rock, and alt-country scenes of the 1990s, while still injecting their own crisp and unique bent and POV. It makes for a track that feels vibrantly retro and new all at once, and is easily one of the most refreshing runaway successes to be found in the 2024 rock music story.
Green Day- “Bobby Sox” (Reprise)
The fifth single from this year’s Saviors album doubles as a feverishly fun collision of post-punk and power-pop, and a left-field, bisexual revelation from lead singer, Billie Joe Armstrong. It’s a prime example of how undeniably powerful pop music is when it balances social and sonic priorities. I love that this has the opportunity to serve as an anthem for the queer community, while the breezy nature of it all underscores the progressive fact that, while such sentiments will always remain revolutionary on some level in mainstream music, they’re also not the shocking or unwelcome earthquake that they were a generation ago.
Fancy Hagood featuring Michelle Branch- “Isn’t That Life” (Big Machine)
These two sound effortlessly sublime on this lilting, romantic country-pop duet. A bright and plucky number that reminds us that a relationship is at its very best when it’s flawed, and you can finally let all the unrealistic visions of perfection and grandeur fall to the wayside.
Hayes & the Heathens- “Any Other Way” (BOH)
Another outstanding, blues-tinged, honky tonk-rock adventure from the illustrious raggedly union between Hayes Carll and The Band of Heathens. Superb vocals, storytelling, and musicianship deeply rooted in the very best elements on both halves of the country-rock coin. I’m all in for them making this a permanent gig.
Elton John and Brandi Carlile- “Never Too Late” (EMI)
Brandi Carlile has always worn her Sir Elton influences boldly on her sleeve (with her classic “That Wasn’t Me” being among the most evident in this fashion), so it’s a true cause for celebration to hear them finally formally unite on this track from the newly-dropped Elton rock-doc. They both bring their unique brands of greatness to the proceedings here, leaving us with the hope that more collaborations are on the way.
Jamey Johnson- “Midnight Gasoline” (Warner)
This cut serves as the title track to Johnson’s long-awaited first LP of original material since 2010, and neither it or the album itself disappoint. It may have taken fifteen years, but time has done nothing to rob the country troubadour or his music of its unflinching grit, honesty, or rugged humanity. A timeless, true-to-form offering of country heartbreak, given glowing treatment by his booming voice, and crystalline harmonies from the great Melonie Cannon.
Ella Langley- “20-20” (Columbia)
The new batch of bonus tracks recently released as an addendum to her solid debut effort continue to demonstrate the bewitching qualities of Langley’s saucy twang. “20-20” confidently demonstrates that she’s just as skilled with a contemporary country-pop outing as she is the down-home novelties of her breakthrough smash.
Shawn Mendes- “Heart of Gold” (Island)
As mentioned in our recent review, the new record from Shawn Mendes finds the one-time pop phenom elevating his artistic game to an impressive level well beyond his years. “Heart of Gold” is one of the many showcases of this fact, and with its homage to a friend lost to a drug overdose, few are as beautifully cutting.
Dolly Parton & Family featuring Richie Owens- “Tell Me That You Love Me” (Owepar)
Last year at this time, Dolly Parton was busy living in her own rock universe. This year, she’s back to the mountains with bluegrass-influenced showcases of her familial talent that was not just limited to the icon herself. And so the marvelously endless stylistic pendulum of the country queen continues. This duet with her cousin subverts the grassier bedrock of the overall album with a more folk-rock oriented landscape, and they sound splendid. If you’re one of the purists seeking a palate cleanser from Rockstar, this project will be just what the doctor ordered.
Shaboozey- “Highway” (Empire)
Scoring the biggest cross-genre song of the year is indeed a blessing and a curse. Already, the narrative surrounding Shaboozey’s career has expectedly shifted to the “will he or won’t he be a one-hit wonder” chatter that was inevitable. Regardless of how Father Time ultimately answers that question, “Highway” is a sturdy follow-up, spotlighting his moodier, more reflective side that glows within his country/folk/Hip-Hop hybrid, and taps into a deeper well of his admittedly emotionally-limited vocal range.
Blake Shelton- “Texas” (BMG)
This long-gestating return track is as deserving of broad success of any single that Blake Shelton has doled out since the late 2000s. It still packs plenty of the glossy polish that became overblown on the majority of his Voice-era smashes, but for the first time in eons, it feels like he’s striking a perfect balance between his slick side and the tastier twang of his earlier work. He still has plenty of miles to go before hitting the standards of his artistic peak years, but this is an infectious, “Texas”-sized step in that direction.
Twenty One Pilots- “Routines in the Night” (Fueled by Ramen)
A seductively moody paean for all of those anxious and insomniac minds wandering aimlessly and restlessly through the night’s darkest hours. No modern act is better suited to soundtrack such an experience.
Jack White- “You Got Me Searching” (Third Man)
I’m not sure why this fiercely ravenous track wasn’t granted inclusion on the No Name album itself, as it makes for the perfect compliment to its A-side, “That’s How I’m Feeling” and the entire project, as a whole. It doesn’t really matter though, as long as Jack White keeps our blood curdling and pumping with these classic garage-rock rollercoasters. He’s in the midst of another great peak-period.
The Wombats- “Sorry I’m Late, I Didn’t Want to Come” (AWAL)
The aging millennial in me is hooked on the title alone, what with my growing homebody transformation and all. The single itself doesn’t disappoint either, with its mercurial and sardonic atmospherics and humorously frank delivery. If this track is any indication, the 2025 Wombats album is one party I’ll be down for leaving the house for.
Yola- “Symphony” (Easy Eye Sound)
Holy hell, what a fire-breathing, late-blooming 2024 highlight this track proves to be! Like all Yola fans, I’ve been eagerly awaiting her third record since her second one dropped way back in the summer of 2021. Previous single, “Future Enemies” definitely peaked my curiosity as to where her kaleidoscopic sound would take her next, but this follow-up has me full-on foaming at the mouth for her new set. “Symphony” finds a generational talent fully branching out from her rootsy foundation and blooming as a full-fledged soul-rock diva. This track feels like the glorious love-child of her influential affinities for women like Sister Rosetta Tharpe, Etta James, and Tina Turner. It’s a wonder to behold. Welcome back, Queen.
The 706 
Leave a comment