Cam- “Alchemy” (Thirty Tigers)
This fetching folk-pop gem is a luminous return from Cam, the songbird who first entranced us with the 2015 country smash, “Burning House”. It was clear from the jump that she was an artist that would not be harnessed or easily contained by the Nashville system, and that she was destined to make complex, boundary-less music. A mystical-leaning exploration through the mysteries of both life’s physical and emotional cycles, “Alchemy” is the most rewarding fulfillment of that prophecy to date.
Kathleen Edwards- “Save Your Soul” (Dualtone)
One of Canada’s great musical poets returns with a deeply brooding and biting indictment of a material life purpose that falls squarely in line with the social compass that has always guided her best work. Incisive lyrics and rich guitar work provide meaty support to her riveting vocal performance; it’s a promising introduction to her forthcoming, Jason Isbell-co-produced LP.
Jonas Brothers- “No Time to Talk” (Republic)
The second single from the brotherly trio’s recently released seventh set is precisely the kind of fizzy pop delight that we’ve come to demand from Jonas Brothers. It both blatantly and faithfully interpolates The Bee Gees’ “Stayin’ Alive”, and while they could’ve simply just covered the disco classic, this is more successful in adding a fresh zeal to the iconic hook. This will have no problem getting club-goers on the dance floor nearly a half-century after the first version did the same.
Lizzo featuring SZA- “IRL” (Atlantic)
Last month’s surprise-drop of the mixtape, My Face Hurts From Smiling is apparently indication that Lizzo has abandoned plans for her previously-pending pop comeback. That’s a big letdown for those of us that have been feasting on “Love In Real Life” and “Still Bad” and left hungry for more. But for the audience that initially fell in love with her via her rap roots, this is understandably a thrilling full-circle moment. And honestly, spitting tracks like this and those that accompany it on Smiling are probably a more fitting response to the recent backstage controversies that slowed her mainstream momentum. She could have told SZA to stay home though.
Van Morrison- “Down to Joy” (Virgin)
Joyous, indeed. The lead single from the legend’s recent return to original material is certifiable proof that, when he’s steering clear of politics, Van Morrison is still one of the most soul-stirring performers on the planet Earth. And records like this deserve to remind the general public of such a fact. His vocal chops still sound as formidable as they did decades ago, and the entire vibe of this performance, from the ever-rich rock & soul tapestry to the rejuvenating spirit of the lyrics, feel like both a musical and spiritual reawakening.
Zach Top- “Good Times & Tan Lines” (Leo33)
Country’s current neo-trad hero keeps churning out the kind of vintage, 90s-tinged honky-tonk catnip that is quickly turning him into an upstart, potential superstar. “Good Times & Tan Lines” could have easily resided next to “Chattahoochee” on Alan Jackson’s seminal A Lot About Livin’ (And a Little ‘Bout Love), and while that’s a novelty that Top will need to rise above to secure his own longevity, it’s precisely what the audience wants to hear from him at the present moment, and he effortlessly performs it with all of the charm, authenticity, and musical chops necessary.
Turnstile- “Never Enough” (Roadrunner)
An enthralling and subversively beautiful track from a band that continues to consistently, and increasingly loudly, prove themselves as an important creative force to watch within the present rock climate. There may be a more cohesive amalgamation of psychedelia, punk, and hard-rock out there, but I’ve certainly never heard it. “Never Enough” is an aptly-titled sonic rollercoaster of insatiable proportions.
Twenty One Pilots- “The Contract” (Fueled By Ramen)
The ominously pulsating piano combined with a stalking fuzz-guitar sets the atmospheric stage for a vintage Twenty One Pilots record, one that is impossible to contain by one genre or style, and spills over with all of the frenetic alt-energy and emotional anxiety that has not only become the band’s foundation, but a guttural battle-cry for an entire generation of rock fans. This just immediately feels like one of the most pivotal moments in their entire catalog.
Joshua Ray Walker- “I Don’t Want To Be Alone” (Thirty Tigers)
Walker has been an underground favorite on the indie-country scene for sometime, and for good reason. The power of his pipes make Jelly Roll sound like a scared little kitten, and he’s quietly produced some of the deepest and most diverse country records of the first half of the decade. “I Don’t Want To Be Alone” on the other hand is far removed from the vibe of his best records, but it no less entertaining. It reminds us of the appeal of the Gulf & Western subgenre before the 2000s Nashville scene insufferably beat it into the ground. The late, great Jimmy Buffett would be smiling over this one. And the delirious instrumental bridge takes me back to my thirteenth summer and incessantly playing Sister Hazel’s “All For You” to death. Frivolous, fun music done right.
Zac Brown Band featuring Snoop Dogg- “Let It Run” (BMG)
Y’all can resume your endless bitching about how a collaborative pot-song with Snoop Dogg is the latest sign of Zac Brown’s mid-life crisis, and the creative destruction of his once-glorious band. Or…you can all remember that it’s the summer music season, and have a little bit of God damned fun with this one. Not to mention that the overall sonics of this track are as touch with ZBB’s country, jam-band origins as anything they’re released in the past ten years, and Brown sounds as engaged on his vocals as he has in a good, hot minute. Hell, barring Dogg’s rap on the bridge, I could easily picture this on the track-list of The Foundation. As stated regarding the Walker song above, this is frivolous and fun music done right.
The 706 
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