Benson Boone- “Mystical Magical” (Warner)
Pop’s current crown-prince delivers an effervescent and fizzy song-of-the-summer worthy hit with this sophomore single from upcoming LP, American Heart. His vocal and sonic stylings here continue to scream obvious Harry Styles influences and that, combined with the ONJ interpolation on the chorus, once again displays a pop pedigree deserving of all the success it’s seen as of late. Listeners will be bopping along to this one, with an ice cream cone in hand, for months to come.
Caamp- “Let Things Go” (Mom+Pop)
This high-rising Americana hit is a plucky and soothing delight from an impressive folk troop that has continued to grow in positive directions over the course of soon-to-be five albums. They’re astutely aware that much of their greatest strength lies in their straight-forward simplicity, and that trait shines through glowingly here. A comforting gem reminding us of the importance to more frequently slow things down in life.
Hayes Carll- “Progress of Man (Bitcoin & Cattle)” (Thirty Tigers)
The tongue of Hayes Carll has been firmly and brilliantly planted in his cheek from the moment he launched his career, and it’s been a primary reason for his ascendance as one of the most revered singer-songwriters of our time. “Progress of Man”, clearly inspired by the increasingly messy social and political nature of our modern times, may rank among his cheekiest to date. The irony of the track’s unabashedly down-home, fiddle-laden production (which gleefully recall the John Anderson chestnut, “Wild and Blue”) is the biting icing on the cake.
The Civil Wars- “If I Didn’t Know Better (From the Vault)” (Sensibility)
Wow, did this duo excite the ever-loving, Americana-addicted hell out of me when they debuted back in 2011! In an alternate–and much more rewarding–universe, the past decade-and-a-half would’ve provided us with a deep and rich catalog of numerous Civil Wars records, rather than the mere two that we got before they split in 2014. If only this was a reunion track. But hey, a gorgeous vault track from them is still a wonderful surprise, and helps lessen the blow of their untimely parting ever so slightly. Chilling and splendid like all of their other works.
Lorde- “What Was That” (Republic)
A tantalizing return from the alt-pop chameleon that may just rank among her most arresting work to-date, both lyrically and sonically. A cutting and dizzying reflection on all of the striking highs and lows of a whirlwind relationship, Lorde captures all of these topsy-turvy emotions perfectly, both through the snappy lyrics, as well as the pulsating electropop production. The core of the song has the raw and emotional bedroom aesthetic of a Billie Eilish hit, but packs a far greater punch thanks to the crackling deliveries that are sometimes too-often missing from Eilish’s performances. Lorde remains a creative pop and rock force to reckon with.
Kacey Musgraves- “Lost Highway” (Lost Highway)
I’ve sincerely loved every stylistic setting that Kacey Musgraves has graced us with over the course of her career thus far. Nevertheless, I’m still most definitely in the camp still rooting for her to pivot back to her core country origins. Same Trailer, Different Park and Pageant Material (not to mention A Very Kacey Christmas) remain some of the finest C&W works of the the millennium, and it just feels like time for some full-circle motion on her part. This is a great start, and while it stands as merely a one-off to celebrate her return to the Lost Highway imprint, there’s little doubt that it’s a sign of things to come. She surely ain’t recording a Hank Sr. classic and returning to its namesake label to double-down on the sounds of Star-Crossed…just sayin’.
Tami Neilson featuring JD McPherson- “You’re Gonna Fall” (Outside)
Holy hell! I know it’s beyond cliched at this point to label Tami Neilson’s records as “revelatory”. But until she stops releases music that is this jaw-dropping and show-stoppingly captivating, it remains the very best adjective to use. She and JD McPherson duet on a deliciously foreboding track that leans so hard into the chilling country-noir trappings that you’re certain this is the prelude to someone’s dastardly demise. Then you pay the lyrics some mind and realize this is a love song in disguise, and all of the staggering elements take on a whole new meaning. Brilliantly simple and cunning all the same. If you haven’t fallen for Tami Neilson’s music as of yet, this will be the moment that you do.
Bruce Springsteen- “Repo Man” (Columbia)
The latest preview track from the bounty of vault work on the way from Bruce Springsteen finds him gleefully connecting with his twangier side. And folks, this isn’t the Boss dipping into his occasionally visited rockabilly roots. This is a full-blown country sidewinder right here, chock-full of rich steel-guitar, bouncy honky-tonk piano, and an unapologetic sawdust aesthetic. Country lovers and Bruce devotees alike will have as much fun listening to this track, as he clearly had recording it. For those of us that are both? To the victor goes the spoils.
Lainey Wilson- “Somewhere Over Laredo” (Broken Bow)
A 2020s Music Row production that both serves as a rodeo-themed ballad, and has the nerve to interpolate “Over the Rainbow”. Man, this could have gone in a mawkishly dangerous direction. But Nashville’s current leading lady gracefully keeps this on the right side of the tracks, and delivers what is one of her finest singles to date. She avoids all of the histrionic gimmicks that she has been increasingly prone to, and instead delivers a romantic and reflective performance that is nothing but lovely. Those vintage fiddles are a tremendous bonus, and recall classics like “Amarillo By Morning”. Easily mainstream country’s most tender moment this year.
Trisha Yearwood- “Bringing the Angels” (Gwendolyn)
The vocal goddess previews her first collection of self-penned songs by digging back into that sensationally gusty, bluesy realm of her peerless pipes. This feels like a fiery and equally satisfying sequel to her 2007 jewel, “Heaven, Heartache and the Power of Love”. Three-plus decades in and her singing talent sounds as top-shelf as it ever has. If her lyrical gifts are even half as potent as her ear for quality material (and these early indications are promising), we’re in for another solid LP. And let’s face it, has she yet to give us a reason to doubt her artistic instincts? Didn’t think so.
The 706 
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