This month marks the beginning of the fifth year of The 706 Singles Digest series, and it’s easily one of the strongest months of tracks that we’ve collected to date. To say that in the first month of a new calendar year is a bit of a rubicon moment, and it sets both a promising stage for 2025, as well as a challenging watermark for the months that follow.
In addition to new singles from popular powerhouses like Chappell Roan, Sabrina Carpenter, The Weeknd, Morgan Wallen, Dua Lipa, and Billie Eilish, we get the first taste of an anticipated collaboration between the legendary Elton John and modern heavyweight, Brandi Carlile, as well as the return of bluegrass icons Alison Krauss & Union Station after a fourteen year slumber. Rising country darlings, Zach Top and Ella Langley also look to start the year off strong after their respective 2024 breakthroughs. Most prominent however appears to be the turning of the calendar in the alternative/Americana/roots scene with the launching of long-awaited projects by acts like Mumford & Sons, Jason Isbell, The Lumineers, and The Head and the Heart, a line-up that has the 2015-era Joe giddy on the inside. It’s an underground country darling however who saves the most pivotal musical moment of the month for the very last, with a powerfully emotional finale that still has me reeling..
Sabrina Carpenter- “Bed Chem” (Island)
Carpenter’s onslaught of fetching pop sparkle continues, and as the title suggests, with no less of the sexuality that has been an unapologetic bedrock of her hit streak thus far. Her ability to push the envelope without ever jumping the raunchy shark remains undefeated here, a testament to the unshakable levels of winking charm and personality that have given her the well-deserved status as one of the past year’s biggest breakthroughs.
Timothee Chalamet- “The Times They Are a-Changin'” (Columbia)
The entire soundtrack is a faithful representation of the excellence A Complete Unknown achieves as a film, but this is without question the emotional and narrative centerpiece of both. Credit that to both the classic’s timeless status and Chalamet’s proud and dutiful portrayal, but also undoubtedly for the fact that our society feels as turbulent as it’s ever been in history.
Billie Eilish- “Chihiro” (Interscope)
Don’t expect this single to thaw you out this winter. It features what is arguably Eilish’s most chillingly haunted performance yet, and that’s obviously saying something significant. The way the thumping synths of the backing track so mysteriously brush up against her signature whisper takes it to a new level of quiet intensity.
The Devil Makes Three- “Lights On Me” (New West)
If you want to make a New Year’s Resolution that feels both like an accomplishment and a sheer joy, prioritize the exploration of this band’s expansive catalog. They’ve been underground Americana darlings for nearly two decades, and are just now starting to get more of the widespread notice they warrant. This is a thrilling preview of their pending album, pulsating with a simmering batch of acoustic musical goodness, mysterious ambiance, and charismatic but modest vocal character.
Dua Lipa featuring Pierre de Maere- “These Walls” (Warner)
A true highlight from Lipa’s latest set that is unflinchingly rife with frank devastation, and this English-French duet adds a fresh coat of radiant heartbreak. Their relationship is so rattled with its inevitable demise that even the habitat in which they reside is ready to outright implode; but it sure sounds gorgeous on its way to that unavoidable doom.
The Head and the Heart- “Arrow” (Verve)
These indie darlings had been increasingly experimental with their sound over the course of their last few records, and while those efforts have produced some truly solid moments, they’ve also been admittedly uneven. This new release finds the group returning to the simpler and grittier shades of their earlier work, and with its uplifting sprit and message, it’s nothing short of jubilant return-to-form.
Jason Isbell- “Bury Me” (Southeastern)
Isbell gives The 400 Unit another break as he strips things down to bare-bone acoustics for his first project since his divorce from fellow roots star, Amanda Shires. And while both the title and the drifting nature of the accompanying lyrics (not to mention the “Live Oak” easter egg) would suggest a return to the somber tones of past solo glories like Southeastern and Something More Than Free, “Bury Me” has a sprightly breeze and twangy smile to its proceedings. It allows Isbell the opportunity to show off his nimble guitar picking skills in addition to his still-golden compositional graces. It’s a joyful folk nugget that transports me back to childhood summer memories of my dad spinning Doc & Merle Watson’s 1985 gem, Pickin’ the Blues.
Elton John and Brandi Carlile- “Who Believes in Angels?” (EMI)
After dabbling together on previous one-offs, the announcement of this pair’s upcoming duets album immediately cast itself as one of 2025’s most anticipated projects. Elton has always been one of the many varied influences easily detected in Carlile’s work, and his past duets with younger artists have always proven to keep the passionate fires in his legendary belly burning bright. So, it comes as no surprise that they sound so seamlessly fabulous and at ease together on this rousing piano ballad. A promising preview for what should be a vibrantly satisfying record.
Alison Krauss & Union Station- “Looks Like the End of the Road” (Down the Road)
The lights are finally back on at Union Station as the members of the exalted bluegrass ensemble reunite for their first studio album since 2011. All members of the group have remained active with other exquisite contributions during this latest hiatus, so there’s no ring rust to be concerned with here, but there has always just been a uniquely magical spark once they all come back together, and that track record remains untouched on “Looks Like the End of the Road”. Krauss’ voice is as impeccably angelic as ever, and the same can be said for the musicianship of the bandmates who have been a sturdy anchor to her legendary career. The very best Union Station records have always underscored that unflinching beauty with a gorgeously ominous undercurrent of darkness and melancholy, and these qualities likewise remain in peak form on their beautifully bitter ballad.
Ella Langley- “Weren’t For the Wind” (Columbia)
Langley’s formal follow up to her breakthrough smash is a rewardingly sturdy one, with her full-bodied twang and the rich guitar arrangements expertly evoking the mysterious, rambling nature of the song’s classically drifting narrative.
Larkin Poe- “Easy Love, Pt. 1” (Trick-Woo)
Like so many of their previous records, “Easy Love, Pt. 1” does some majorly heavy lifting in terms of keeping the snarling feminine perspective burning in a desolate modern rock landscape. The Lovell sisters’ high standards for punchy production, swaggering vocals, and fire-breathing blues riffs is all precisely on point, and shows no signs of running out of gas any time soon. This pair remains a quietly burning beacon in the current rock and blues scenes that is well worth seeking out.
The Lumineers- “Same Old Song” (Dualtone)
The last two Lumineers records struck an interesting dichotomy, and one that I’ve enjoyed both sides of, whether it be the ambitious cinematic nature of 2019’s III, or the deliberate simplicity of 2022’s Brightside. This leaves the folk-rock faves at a bit of a stylistic crossroads as they prepare to launch the campaign for February’s release of their fifth LP. The verses here settle nicely into the breezy stomp & holler brand that launched them into the stratosphere in 2012. Unfortunately, it doesn’t really lead anywhere other than a ho-hey, err ho-hum, chorus that is perfectly fine, but also perfectly forgettable. It’s a cruel twist that a track titled “Same Old Song” ultimately sounds like a band spinning their creative wheels. I’m still excited for the new record, but this initial track leaves me a little too cold to feel like a buzz-worthy launch.
Ashley McBryde- “Ain’t Enough Cowboy Songs” (Warner)
An instantly entrancing fiddle intro sets the stage for the most Western-indulging moment of Ashley McBryde’s country & western side to date, as she applies her plumb-perfect chops to a honky-tonk anthem that doubles as an anthem for two dying breeds: the fabled cowboys and cowgirls themselves, and that of the true-blue major label country artist. Chef’s kiss bonus points are awarded for the “Cattle-Call” interpolating at the finale. It truly inspired me to dust off both an Eddy Arnold album and LeAnn Rimes‘ debut record.
Mumford & Sons- “Rushmere” (Glassnote)
As the lead single from Mumford & Son’s long gestating fifth album, their first in over six years, “Rushmere” has a lot of unenviable pressure riding on it, both in the general musical world, as well as within our tiny universe here at The 706. It’s no secret that there were few acts that I stan-ed for during the 2010s as passionately as these guys. As the initial leaders of the once triumphant but ultimately fleeting folk-rock stomp sound in the pop mainstream, they face pressures to both revisit the core sound of their first two records, but also not to stagnate after the artistic evolution of their last two. Thankfully, “Rushmere” chooses to keep things uncomplicated, at least out of gate, with the group leaning confidently and cozily back into the banjo-fueled, half-whispered, half-anthemic ingredients that have always been their greatest calling-card. And with Marcus Mumford’s inimitable gravel sounding as full-throated and rousing as ever before, and the remaining band members on their instrumental A-game, this one can’t help but feel like an eagerly welcomed, and long over-due, homecoming.
Chappell Roan- “Pink Pony Club” (Atlantic)
Another dizzying, dazzling banger from one of the pop world’s newest darlings, “Pink Pony Club” packs a staggering wallop thanks to Roan’s piercingly powerhouse vocals, the track’s deliciously hooky chorus and dance-worthy production, not to mention the unapologetic storyline of a fierce Southern girl finding a new home in a Hollywood drag club. The fact that we’re in pop a scene where such a specifically queer/drag anthem can also double as an appealing battle-cry for the masses is a reminder that there’s plenty of cultural progression to celebrate in today’s pop world, thanks to both the contribution of Roan and two whole generations of innovative pop and dance creatives before her.
Maggie Rose featuring Vince Gill- “I Can’t Make You Love Me” (Big Loud)
A graceful, country-soul rendition of the Bonnie Raitt standard that has been covered so frequently (and deservedly so) in the past three decades that it runs the risk of rote if not delivered by the right artist, one with the unique magic to breathe fresh life into it. Maggie Rose and Vince Gill are most definitely the right artists, especially when singing this classic together. Rose had already established herself as a capable, potential successor to the throne of a legend like Raitt, and by God, does Vince Gill’s voice just get better with time, or what? A sublime cover and duet.
Shaboozey- “Good News” (Empire)
Here’s the good news about Shaboozey and his newest single: it reaffirms what “A Bar Song (Tipsy)” suggested, albeit from a different emotional angle. The guy understands the limitations of his vocal range, and also recognizes how much its elevated by a rootsy backdrop, like the aforementioned folk-rock stomp of Mumford & Sons and The Lumineers that’s on display here. His moody vocals sound richer when paired with a steel guitar lick and luminous fiddle riff. This combination especially reaches new heights on a more somber tune like “Good News”, as he mourns the loneliest qualities of his current lifestyle, truly a bitterly sobering emotion coming off the breakthrough year he just experienced.
Teddy Swims- “Guilty” (Warner)
Despite its occasional steel-guitar fill, I’m not really hearing the supposed 2000s country leanings that “Guilty” purportedly possesses, unless of course you’re speaking of that excessive beach-country-reggae trend that I’m still too fatigued from to revisit quite yet. What I do hear is an undeniably great voice feeling slightly drowned out by one of the more egregiously over-polished arrangements applied to any of his singles thus far. It’s a passable, inoffensive record overall, but certainly a step back from “Lose Control”, “The Door”, or “Bad Dreams”. It happens.
Zach Top- “I Never Lie” (Leo33)
I refuse to make the same mistake that so many music scribes make any time that a neo-traditionalist starts gaining chart traction. In other words, I’m not proclaiming Zach Top’s success as the beginning of another traditionalist movement in Nashville. It’s not the late 80s anymore, and I’ve seen way too many other breakthroughs saddled and ultimately cursed by these kind of proclamations (Gretchen Wilson, Jamey Johnson, Easton Corbin, etc etc). What I will say is that “I Never Lie” provides a whole lot of things that I love, and I certainly hope it keeps the influences of 90s country music top of mind in the current scene. I love Top’s shamefully twangy turns of phrase, his Alan Jackson/Tracy Lawrence aesthetic, and the sardonic “Ocean Front Property” POV. The guitar hooks also transport me back to Patty Loveless & George Jones’ “You Don’t Seem To Miss Me” each and every time. Even better, all of these lofty influences and similarities do nothing to rob this song’s identity as feeling like a uniquely-Zach Top performance. Its status as the first viral country smash of the year is a refreshing moment for celebration; let’s just be prepared to forgive Zach if it doesn’t result in Storms of Life-levels of phenomena.
Tina Turner- “Hot For You Baby” (Capitol)
A ravenous vault cut from the legend’s commercial peak with the kind of signature Tina energy, charisma and rock power that suggests it could have easily extended the Private Dancer hit-streak of 1984-85, if it had ultimately been included on the original album. Play it in between “Glory Days” and “Girls Just Wanna Have Fun” and tell me I’m wrong. A worthy song resurrection in an era that could use more quality control with such releases.
Keith Urban- “Chuck Taylors” (Capitol)
The aging Aussie country heartthrob has spent a good chunk of the last fifteen years being critically maligned for jumping the shark artistically. Those shots have been fairly fired at times, and others have been excessive. I remain convicted that his brand of banjo-pop still netted plenty of durable ear-candy in the ’10s (“Long Hot Summer”, “Somewhere In My Car”, “Wasted Time”), and “Chuck Taylors” undeniably follows in those footsteps. It proves Urban still has some pop gas left in his tank, while its source album from last fall is an overlooked course-correction that inches him back to the undeniably more consistent levels of his 2000s streak.
Morgan Wallen- “Smile” (Big Loud)
The rather faceless production makes this record snoozier than it needed to be, but the tender nature of both the vocal performance and the songwriting should serve as a reminder of how much Wallen’s strengths in these departments can be taken for granted. A gutting depiction of the facades we maintain for the benefit of appearances, especially in the age of social media. “Smile” is, without question, one of Wallen’s simplest and very best compositions to date.
The War & Treaty- “Called You By Your Name” (Mercury)
As thrilling a showcase as there has been of this couple’s ethereal vocal power and diverse stylistic palette, and that’s damn sure saying something. This track starts off like the kind of slow-burning soul that they have conquered many times, before it absolutely erupts into a fiery volcano of country and jazz magic. That they blow the roof off with their vocals alone is no surprise at this point; that they continuously find new ways to astound us with the sheer range of both their talents and stylistic choices is unending spoil of musical riches.
The Weeknd- “Cry For Me” (Republic)
The superstar’s recipe for success is extremely well-established at this point, and “Cry For Me” doesn’t do much to stray from it, nor does it really need to. Like the rest of his 2020s run, the track is defined by a haunting sense of sadness and ultimately, mortality, and it works. There is an added sense of finality lingering in the background; in part thanks to the added trap elements and the elevated spookiness of the synths, in others to the self-started buzz that The Weeknd’s run as an artistic entity is nearing the finish line.
Hailey Whitters- “Casseroles” (Big Loud)
January’s very best song–and its heaviest emotional punch–is saved for last. This song would have stopped me in my tracks just under normal circumstances. The fact that I heard this for the first time shortly after my grandmother’s passing earlier this month unquestionably elevated my emotional reaction, and now unavoidable attachment to it. I honestly barely made it through the entire track initially. It’s probably still a little too raw for me to do the song justice, but I’ll certainly try. Yes, it’s about the loss of a loved one, so of course it triggers emotions and memories of who we’ve lost. But it’s more so about the people left behind, specifically the partner of the departed, and in my specific case, my grandfather who must now live life without his wife of 73 years. Even more intimately, the song truly centers around how the widower’s connections with his remaining loved ones evolve in the days, weeks, and months following the loss. And obviously that’s where the song impacts me most profoundly. Whitters’ heartbreakingly honest delivery of the song’s second verse is nothing short of transcendent in the simplest and most beautiful way:
“Sometimes I wonder what kind of friend have I been/Am I tin foil and pyrex? I show up and that’s it?/Or am I knock on the door when nobody’s knockin’ no more?/Well if I’m being honest, I could do so much better/Wrap you up in my arms in a handwritten letter/Or hold the umbrella while the rain pours.”
It’s a song about loss. And grief. And pain. It’s mostly a song about love. And the accountability we must personally carry in terms of showing that love to those we feel it for. If there were any doubts that Hailey Whitters possesses the artistic chops to become one of the most cherished singer-songwriters of her generation, that can end now. It takes a truly gifted musical storyteller to achieve the moment intended with this song, and it’s a moment of true greatness that will forever be a pinnacle in her canon, no matter where her seemingly limitless career takes her. Some songs are nothing short of a gift, and “Casseroles” is one of those.
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