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5 Second Single Reviews: April 2020

4/10/2020

Brett Young, "Catch"

I actually enjoyed Young's debut album, but his stuff just seems to get more generic with time. This is pleasant but will be forgotten in three months. Sounds like everything else on radio.

Grade: C-

Morgan Wallen, "Chasin' You"

Fine enough, but I do think Wallen is better than this. His performance elevates it, but not enough to go out of your way to listen to. Generic love song fluff built for radio rotation.

Grade: C

Thomas Rhett feat. Jon Pardi, "Beer Can't Fix"

A fairly organic, charming offering from two artists whose personalities mesh well. Nothing groundbreaking persay -- it's a fairly standard drinking tune -- but it is enjoyable and worth a listen.

Grade: B

Carly Pearce feat. Lee Brice, "I Hope You're Happy Now"

Two distinct vocal talents combine on a well-written track. The production is a little bland, but it's a well-rounded, mature single that finds Pearce and Brice meshing well.

Grade: B+

Gone West, "What Could've Been Been"

The production is a little thick, but this is an otherwise very solid record. Well sung, well-written, and a strong melody. Get a little rootsier (see: "Gone West") and they have serious potential.

Grade: B

Top 20 Singles of 2019

12/16/2019

After breaking down the worst mainstream country music had to offer in 2019, it's time to take a more positive look at the music that made our years. It's a diverse list that includes both radio smashes and commercial underdogs, and that covers the wide range of emotions and experiences that makes the genre so special. Here are the top 20 singles of 2019, brought to you as always by myself, Markus, and Zack. Let us know what your favorites were, and here's to another great year (and decade) of music!

#20
Jason Aldean, "Rearview Town"

To Jason Aldean’s credit, his stoic, rough demeanor can work incredibly well for a song, given the content. For “Rearview Town,” there’s a brooding sense of nihilistic fury as the narrator leaves his nowhere town behind. For once, too, there’s a deeper subtext to the situation; Aldean may be leaving because of a breakup, but the decision comes from years of watching rusted plows and a general decay of a place he used to love. - Zackary Kephart

#19
Brooks & Dunn feat. Luke Combs, "Brand New Man"

An electric cover that is actually superior to the original. Combs adds a massive dose of energy to the track, and blends perfectly with Ronnie Dunn's always-excellent vocals. An exhilarating track that exceptionally blends the past and present of country music. - Markus Meyer

#18
Parmalee, "Be Alright"

I certainly didn't have 'Parmalee covering a pop smash and making my year-end list' on my 2019 country music bingo card, but here we are. It's a very well-done version of an already good song, with Matt Thomas coming off as immensely sincere and the production adding a layer of regret to the track. Parmalee is pretty hit-or-miss (emphasis on the miss, lately), but "Be Alright" is a great effort that deserves credit for its earnestness and emotional depth. - MM

#17
Riley Green, "In Love By Now"

I’ll forever wish this could have been the hit over “I Wish Grandpas Never Died.” It’s Green’s sunny disposition that sells this track – a lighthearted, yet mature. reflection of wondering where a former lover is now and wishing them the best. The tones are rollicking enough to support the song’s brighter atmosphere, and the general optimism surrounding how both parties will be alright in the end makes this one of the funnest breakup songs in recent memory. - ZK

#16
Brantley Gilbert feat. Lindsay Ell, "What Happens In a Small Town"

There a lot of problems with Fire and Brimstone as an album, but the hit lead single represents a lot of what Brantley Gilbert does well. The hook is memorable, the melody effective, and the production relatively restrained. What really makes it click is the chemistry between Ell and Gilbert, an unlikely combo but one that ultimately succeeds with flying colours. An excellent return to form after a handful of poor radio releases. - MM

#15
Carly Pearce feat. Lee Brice, "I Hope You're Happy Now"

After the unfortunate mess of “Closer To You,” it’s refreshing to hear Carly Pearce return to a sound comfortable for her with “I Hope You’re Happy Now.” The real gut-punch of the track comes in both lovers thinking they’re doing the other one a favor by saying goodbye, and deep down neither one wants that. Lee Brice hasn’t sounded this good in years. - ZK

#14
Midland, "Mr. Lonely"

The title character may be sleazy as hell, but when the song is an exercise in lighthearted fun, it’s more than forgivable. Beyond feeling like a literal blast to the past, “Mr. Lonely” excels for its top-notch energy and clever one-liners (how did no one come up with “I’m the number that you know by broken heart” yet?). - ZK

#13
Ashley McBryde, "One Night Standards"

For as much as I enjoy every song on this list, very few of them explored dark, uncomfortable territory. Granted, Ashley McBryde isn’t getting the radio airplay she deserves anyway, so she might as well deliver “One Night Standards” - a blunt, painful exchange of rules for a one night stand, where the focus is less on the deed and more on the subtle implications of how badly damaged the narrator to not care anymore. McBryde’s performance is what truly sells this track. - ZK

#12
Maddie & Tae, "Die From a Broken Heart"

A damning sign of the times more than anything, Maddie and Tae’s team thought pushing “Friends Don’t” over this song last year was a good idea. Now, more than a year later, the momentum behind “Die From A Broken Heart” has faded, but the song remains a wonderful return to form for the duo. Despite stemming from a younger perspective, the narrator’s pain never feels oversold, and instead tells its story from the questions she asks to her mother. It’s a genuine expression of pain that’s heartfelt and relatable in any scenario. - ZK

#11
Randy Houser, "No Stone Unturned"

The revival of Randy Houser is one of the most noteworthy storylines of 2019 for country music, and "No Stone Unturned" epitomizes this development. It's a refreshing, lively record that enbodies the carefree spirit it details, He's in top form vocally, and the production is a perfect blend of contemporary stylings and traditional influence. A superb effort from a former victim of the bro-country influx. - MM

#10
Thomas Rhett, "Remember You Young"

"Remember You Young" encompasses Thomas Rhett's best traits: a magnetic performance, a tight, coherent production, a compelling melody and hook, and a mature, reflective outlook on life. It's a dynamic record that is both memorable and accessible. Center Point Road was a lot of what Rhett does poorly, but this track is undoubtedly a career highlight for him. - MM

#9
Eric Church. "Some of It"

A list song, but the good kind. "Some of It" expresses a sense of wisdom and reflection backed by an effective production and melody, fostering both unbound optimism and melancholic reflection. It's somewhat of a sonic diversion for Church, but once again exemplifies that he's the most compelling star in mainstream country music these days. - MM

#8
Blake Shelton, "God's Country"

Let’s be honest – Blake Shelton hadn’t released an interesting single in nearly a decade. Then comes along “God’s Country” - a dark, southern-Gothic-inspired track that found Shelton in top form, vocally. Even if it’s little more than a salute to the character’s rural land, it avoids the typical pandering and cliches by coming across as a mystifying reverence for the world around him. It’s one of the biggest singles of the year, and for once it’s for a good reason. - ZK

#7
Kelsea Ballerini, "homecoming queen?"

In what is by far her best effort to-date, Kelsea Ballerini demonstrates a sense of vulnerability rarely seen on country radio these days. A stunning empowerment ode that balances exceptional songwriting with a tender pop-county backdrop. Remarkable stuff. - MM

#6
Tenille Townes, "Jersey on the Wall (I'm Just Asking)"

What this single demonstrates is Tenille Townes' ability to blend an intricate storyline with a broader thematic arc, making for a compelling listen. The performance exudes equal parts regret and wonder, with a production that only amplifies those sentiments. Townes is maybe the most exciting young talent in the genre these days, and "Jersey on the Wall (I'm Just Asking)" only reinforces that. - MM

#5
Kacey Musgraves, "Rainbow"

Fresh off her Grammy Award sweep, Kacey Musgraves should have had one of the biggest hits of the year when “Rainbow” was released. Instead, like pretty much any of her singles outside of “Merry ‘Go Round,” the song floundered within the top 40 at radio. It’s all the more sad given that the song’s message of hope and resilience, wrapped in an understated, poetic elegance, was among the songs we needed in 2019. One of her best in any capacity, though. - ZK

#4
Luke Combs, "Even Though I'm Leaving"

Sure, the song basically goes overboard to tug at the listener’s heartstrings, but it works. The bond between the father and son begins and ends with a promise to protect, and even if that ending is fairly predictable, Luke Combs effectively underplays the track to make sure it connects anyway. Plus, I’m a sucker for that mandolin. - ZK

#3
Eric Church, "Monsters"

A masterful blend of faith and humanity, made accessible by Church's earnest performance and the largely acoustic backdrop. Maybe his best written song to-date, and an effort that demonstrates his continued artistic growth and maturity. The hook is both powerful and melodically competent. Church continues to outdo himself. - MM

#2
Ashley McBryde, "Girl Goin' Nowhere"

In a just world, “Girl Goin’ Nowhere” would be Ashley McBryde’s signature song – a personal victory lap where the triumph comes in just being able to play music. With her recent recognition from the Country Music Association and Grammys, Ashley McBryde may not have the radio hits, but she’s proving she doesn’t need them to get somewhere. - ZK

#1
Ingrid Andress, "More Hearts Than Mine"

An essentially flawless record from a dynamic young talent. The songwriting is raw and unique; the melody and hook flow wonderfully; the production expertly blends traditionalism and modern stylings. The highlight is the vocal performance, as Andress is both a uniquely capable technical vocalist and an impactfully expressive performer. Country radio's apparent embrace of "More Hearts Than Mine" may be their best decision in years, and if there's any justice, Andress will be a mainstream staple for years to come. - MM

Worst 20 Singles of 2019

12/14/2019

Welcome back to the This Is Country Music year-end lists! 2019 was an eventful year for country music, and myself, Markus Meyer, as well as Zack Kephart are excited to break down the year for you. Before we get to the highlights of the year, we'll count down our least favorite singles of the year, in our last 'Worst Of' feature of the decade. Agree? Disagree? Let us know in the comments, and stay tuned for our Top 20 Singles of 2019 list coming soon!

#20
Dan + Shay, "All to Myself"

Where "Speechless" was tolerable on the back of a well-sung hook, "All to Myself" crashes and burns. It's grating, unoriginal, and not especially well-produced nor country. While not particularly offensive, it's a lazy record designed purely for mass consumption. Which, of course, means it was a hit. - Markus Meyer

#19
Russell Dickerson, "Every Little Thing"

I'm not sure there's an artist that better encompasses the "generic bro-lite dude" subgenre on country radio than Russell Dickerson. "Yours" succeeded on its earnesty and melody, but everything since has been beyond forgettable. "Every Little Thing" is a jarring listen that says nothing of meaning or substance. The performance is nothing special and the production shows little nuance or thought. Textbook definition of filler, and not even the pleasant kind. - MM

#18
Blanco Brown, "The Git Up"

Listen, it's a gimmick. I get it. This was not a song trying to be more than it is, and for that reason I don't want to be too critical. But the fact of the matter is it did top everyone's favorite ranking, the Billboard Hot Country Songs Chart, and it did garner some airplay. "The Git Up" is not pleasant to listen to and the fact that some executive tried to push it to country radio is patently absurd. - MM

#17
Chase Rice, "Lonely If You Are"Sadly, this is Chase Rice’s idea of “depth” - a tacky, formless song that tries to make scoring with a hottie seem charming. Songs like this aren’t inherently bad, but Rice offers no character to his performance, and this is not the kind of song that should feature a dark, serious vibe. - Zackary Kephart

#16
Dustin Lynch, "Ridin' Roads"

To give Dustin Lynch some credit, he can occasionally pick a song with a decent melody. Moreover, the electronic elements here are downplayed to subtly accentuate some vestige of atmosphere, but otherwise it’s the same old same from Lynch – tailgates, backroads, trips through the countryside … nothing interesting or memorable, which is an appropriate summary of Lynch’s career thus far. - ZK

#15
Jon Langston, "Now You Know"

If you didn’t know Jon Langston was a proud country boy relying on machismo and posturing to sell this song, you will after hearing this. If you didn’t care, I don’t blame you. - ZK

#14
Mitchell Tenpenny feat. Seaforth, "Anything She Says"

Oh good, Mitchell Tenpenny teaming up with bargain barrel Dan + Shay – just what we needed. I’m sorry, I just find it hard to believe that the same guy who sings “Bitches” is trying to jump on the “boyfriend country” bandwagon. And why do we even need more than voice for this kind of track? - ZK

#13
Kane Brown, "Good As You"

My take has always been that Kane Brown garners too much hate relative to the quality of his music and his peers, but "Good As You" is just not good. The melody is grating and the production isn't much better. Usually an effective performer, Brown doesn't bring much life to an already uninteresting track. A poor effort that epitomizes a lot of the problems of coutnry music in 2019: rehashed love lyrics with boring pop-based production. - MM

#12
Chris Janson, "Good Vibes"

It didn’t make sense until I heard Chris Janson’s Real Friends album, but “Good Vibes” in essence, is a textbook example of someone not knowing the difference between writing for their audience members and outright pandering to them. Between production that’s too flimsy and polished to amount to much, Janson’s horrible attempt at rapping, or his less-than-subtle refusal to care about anything else in the world other than his “good vibes,” this song made for one of the most obnoxious listens of 2019. - ZK

#11
Chris Young, "Raised On Country"

Chris Young hasn't been interesting in a long time, and "Raised On Country" does nothing to change that. Namechecking legends doesn't make a song good. Not having electronic drums doesn't make a song good. The production is hamfisted, Young -- maybe the best technical vocalist in modern country music -- sounds ridiculous, and the melody gets worse with time. Nothing especially redeemable from an artist who seems hellbent on destroying any last shred of credibility he once has. - MM

#10
Carrie Underwood, "Southbound"

"Southbound" is Carrie Underwood punching down in a big way. Love Wins boasted a number of compelling songs, and the fact that a sloppy, third-rate pop track has become the album's defining hit is a travesty. The performance is poor by her standards, the production is cheap and the songwriting is lightweight nonsense. Underwood knows much better than this commercial pandering. - MM

#9
LANCO, "Rival"

LANCO may still be trying to find their footing as a band, but they should never try “gritty” southern-rock like this ever again. “Confusing” is the most appropriate word for “Rival” - it’s angry without purpose, all over the place stylistically, and not a pleasant listen because of it. Really, the band tanked its momentum for this? - ZK

#8
Dan + Shay feat. Justin Bieber, "10,000 Hours"

"10,000 Hours" may not be the most unlistenable single of the year, but it may be the one that irritates me the most. It sounds like every other Dan + Shay song, with Justin Bieber thrown on for cheap crossover points. The production? You guessed it, tailor-made for pop radio, ignoring any trace of country music's roots. It's clear that Dan + Shay are being groomed for mass crossover impact, and if that's the case, just get it over with and stop making a mockery of the genre with syrupy fluff bearing no lasting impact or deeper meaning. It's exhausting. - MM

#7
Filmore, "Slower"

Stop me if you’ve heard this premise before: a sincere gentleman wants to blow his “girl’s” mind by taking her on an exotic trip to stare at the moonlight, listen to the radio, and drive down a road no one knows. I’m just thankful that a guy who goes simply by “Filmore” hasn’t caught on yet, though mainstream country radio does love a good game of Mad Libs, so perhaps there will be more opportunities to groan in 2020. - ZK

#6
Luke Bryan, "What She Wants Tonight"

It's like Luke Bryan making a mockery of Luke Bryan. Never has he sounded so uninterested and uncharming. No melody to speak of, a production that sounds like a mashup of every C-list bro-country effort from the past decade, and an obejctification of women that would make Luke Bryan circa 2011 blush. "She gets what she wants / And I get to be what she wants tonight". Wow, just poetry really. - MM

#5
Billy Currington, "Details"

Billy Currington possesses one of the most naturally charismatic personalities in the current country format, so why this backfires as bad as it does is beyond me. “Details” tries to be smooth and sexy, but the production is too flimsy and lethargic to carry any sort of pulse. And of course, the only details Currington focuses on are related to his lover’s sexual bravado rather than, you know, her actual character. Currington is far better than this. - ZK

#4
Mitchell Tenpenny, "Alcohol You Later"

What I should do is carefully detail why this song isn’t good. Instead, what I’m going to do is tell you to look at the title, and just take my word for it. - ZK

#3
Sam Hunt, "Kinfolks"

If this is what Sam Hunt going traditional sounds like, then count me as very much out. This sounds like every other track from his debut album and isn't exactly the artistic masterpiece Hunt was hyping it to be. Pop music designed for people who don't even like country music. Weak hook, weak performance, weak effort. Influenced by Tyler Childers? Yeah, alright. - MM

#2
Blake Shelton feat. Trace Adkins, "Hell Right"

Apparently this is Shelton and Adkins attempting to 'own the critics' or something? Well, props if that's the case, because "Hell Right" is just "Hillbilly Bone" but worse. There's no edge to this, no original thought, and is especially dissapointing coming off the compelling and unique "God's Country" from Blake. Seems pointless honestly, and adds zero insight or intelligence to an already bleak radio landscape. Embarrasing from two artists who know better but take great joy in pretending they don't. - MM

#1
HARDY, "REDNECKER"

Satirical or not, there’s no excusing a line like “I piss where I want to.” But even if “REDNECKER” aims to be a fun jab at rural pride pandering, it horribly backfires by even existing. Like “Truck Yeah,” this is the kind of song that may have fun with country music stereotypes, but only makes the genre look worse instead. And judging that HARDY has gone from changing his look from “hipster dad” to “creepy guy hanging around 7-11 who’ll buy you beer,” I’m inclined to believe “REDNECKER” isn’t a joke after all, but rather the beginning of something much worse. - ZK

5 Second Single Reviews (December 2019)

12/9/2019

Kane Brown - "Homesick"

A nice piece of pop-country that goes for restraint rather than bombast. It's not an original concept, but it is a nice hook and Brown sounds good on it. It's a little slick, but overall it's an enjoyable record and a decent example of what modern country music should sound like on the pop end of the spectrum.

Grade: B

Garth Brooks (feat. Blake Shelton) - "Dive Bar"

An obnoxious track from two artists with some obnoxious tendencies. The production is grating and the melody's not a whole lot better; the songwriting, meanwhile, doesn't have a whole lot of anything going for it. Both Shelton and Brooks have charisma, but it's not put to great use here. Not entirely sure what the point of this is besides loading up on name recognition.

Grade: C-

Kelsea Ballerini - "homecoming queen?"

Easily Kelsea Ballerini's finest moment to-date. A stunning, delicate empowerment anthem wherein Ballerini is vulnerable, open, and technically sound. The production is effectively sparse and the songwriting and hook are both powerful and memorable. Really, really impressive stuff.

Grade: A

Jordan Davis - "Slow Dance In a Parking Lot"

Listen, Jordan Davis leans into pop influences on a lot of stuff, but he does it pretty effectively in my view. This track demonstrates those tendencies: an anthemic production, broad but clever songwriting, and a vocal style that commands attention and comes off as fairly convincing. "Slow Dance In a Parking Lot" isn't groundbreaking, but it is a charming track that holds your attention, which is more than many of his peers can say.

Grade: B+

Old Dominion - "One Man Band"

Old Dominion seems to be coming into their own somewhat with an AC style that, while not country, is much better than the bro-schlock they released early on. "One Man Band" holds that pattern, with a memorable hook and an effective structure that makes it stand out. The production is a distinct weakpoint; it's overly slick and somewhat generic, though admittedly still tasteful. Hardly extraordinary, but another step in the right direction for the genre's current de facto number one band.

Grade: B

Single Review: Ingrid Andress- "More Hearts Than Mine"

11/12/2019

iHeart Radio's On the Verge program has been a very hit-or-miss affair in terms of both quality and commercial success -- emphasis on the miss -- but one of their most recent selections -- Ingrid Andress -- has been a winner in both regards. In "More Hearts Than Mine", the program has found both an impactful hit, and the most impressive radio single of 2019.

On all fronts, Andress has delivered an impeccable record, and this is perhaps most evident in the songwriting. Built on a hook of "if we break up, I'll be fine / but you'll be breaking more hearts than mine", the lyricism is interesting, refreshing, and reflective. It's deeply intimate with its rich detail, and offers a compelling take on breakup songs, with the breakup in question being hypothetical rather than passed. Melodically, it soars, with effective meter used throughout and a hooky and engaging chorus. The writing is thus accessible without being lightweight, thoughful without being sappy, and creative without being corny.

Sonically, it's equally effective. Andress proves herself to be both an impressive technical vocalist and interpreter, with emotion and earnestness directly at the forefront. The production, meanwhile, is a seamless blend of modern tendencies with rootsier elements, with bombast and restraint finding a healthy balance. Indeed, "More Hearts Than Mine" is perhaps the strongest example of 'evolved country' on the radiowaves these days.

Country music has a well-documented substance problem that no one at radio seems particularly intent on solving, and a gender problem they're doing even less about. With "More Hearts Than Mine", both problems face a degree of rectification. It's a flawless track from a dynamic talent that defines what many want country music to sound like in 2019. Whether Ingrid Andress becomes a mainstream staple is to be determined. If there's any justice, "More Hearts Than Mine" will be just the beginning of a path to stardom.

Grade: A+
Listen: "More Hearts Than Mine"

Author: Markus Meyer

2019 CMA Picks and Predictions

9/2/2019

This year's CMA Awards show promises to be an interesting one, and TICM is here to prepare you once again with our annual picks and predictions!

ENTERTAINER OF THE YEAR

Will win:

Garth Brooks
Eric Church
Chris Stapleton
Carrie Underwood – Zackary Kephart, Markus Meyer
Keith Urban

Should win:

Garth Brooks
Eric Church – Zackary Kephart (tie), Markus Meyer
Chris Stapleton
Carrie Underwood – Zackary Kephart (tie)
Keith Urban

Zackary Kephart: Keith Urban somehow won this last year, but considering this is a touring award, it’s hard not to see how either Carrie Underwood or Eric Church are more deserving here. Granted, that speaks to the groundswell of their respective fan bases that they’re willing to fight and declare these artists have had their “moments,” and it’s hard to disagree. I have a bad feeling Urban might repeat his win considering these award shows like to be repetitive and predictable, but considering they’re making a slight effort to include stronger female representation this year (lip service or not), I could see Underwood finally getting her due here.

Markus Meyer: This should be an Underwood v. Church showdown, and I think that's what will happen, with Church ultimately winning. That said, don't write off Garth or Urban, the two most inexplicably over-recognized artists of the past several years.

ALBUM OF THE YEAR

Will win:

Thomas Rhett – Center Point Road
Carrie Underwood – Cry Pretty
Dan + Shay – Dan + Shay
Eric Church – Desperate Man - ZK, MM
Maren Morris – GIRL

Should win:

Thomas Rhett – Center Point Road
Carrie Underwood – Cry Pretty
Dan + Shay – Dan + Shay
Eric Church – Desperate Man - ZK, MM
Maren Morris – GIRL

ZK: This category usually lacks in quality, and somehow they’ve set the bar even lower this year. Forget the fact that Reba McEntire or George Strait dropped great albums in their post-radio careers or that the Pistol Annies dropped one of the most critically acclaimed albums of last year – let’s just award nepotism and bland, forgettable pop music masquerading as country. Granted, I’m not about to defend Eric Church as country either, and Desperate Man is far from his best work. But at least it’s the one album here that doesn’t outright suck. Church is usually a favorite for this category, so hopefully that’s the case this year.

MM: A remarkably bad slate of candidates. This is my least favorite Church album and yet it's still miles better than everything else nominated here. Underwood's is pretty average and the other three are straight pop. Tragic category.

NEW ARTIST OF THE YEAR

Will win:

Cody Johnson
Ashley McBryde - MM
Midland
Carly Pearce
Morgan Wallen - ZK

Should win:

Cody Johnson
Ashley McBryde - ZK, MM
Midland
Carly Pearce
Morgan Wallen

ZK: Aside from Morgan Wallen, this is probably one of the best fields of new entrants in years. Granted, none of these names really scan as “new” aside from Ashley McBryde - Cody Johnson is the most obvious example, and Midland and Carly Pearce released their debut albums over two years ago. Still, I have no complaints here, though the fact that Wallen is the most commercially viable artist here with the hits and marketing to boot, no one else really has a chance. But really, there’s an unwritten law somewhere out there that says McBryde should win every award she’s nominated for in any instance.

MM: This one is actually pretty strong. Even Wallen is far from the worst offender at radio. My gut says McBryde takes it, though I could easily see Wallen or Midland winning.

SINGLE OF THE YEAR

Will win:

Dierks Bentley and Brothers Osborne - “Burning Man”
Maren Morris - “Girl”
Blake Shelton - “God’s Country” - ZK, MM
Chris Stapleton - “Millionaire”
Dan + Shay - “Speechless”

Should win:

Dierks Bentley and Brothers Osborne - “Burning Man” - ZK, MM
Maren Morris - “Girl”
Blake Shelton - “God’s Country”
Chris Stapleton - “Millionaire”
Dan + Shay - “Speechless”

ZK: I’ll live the rest of my life trying to forget that “Hell Right” exists, but if I’m being completely fair to Blake Shelton, “God’s Country” totally deserves this award – and there’s no question that will happen given its success. Including “Burning Man” is a nice touch, but Dierks Bentley is always a dark horse candidate at best, sadly. “Millionaire” is also good, but would be not be a fitting candidate for this award. “Girl” is here just for female representation and “Speechless” … wait, this was actually a hit?!?

MM: "Burning Man" is my favorite of the bunch (and also maybe the least likely winner), though "God's Country" would be a totally worthy victor here, in terms of both quality and impact. Stapleton and Morris feel like filler here, but "Speechless" could very well take this given its commercial heft. Still, this will likely be Shelton's, and it will be his most deserved win in years.

SONG OF THE YEAR

Will win:

Luke Combs - “Beautiful Crazy” - ZK, MM
Maren Morris - “Girl”
Blake Shelton - “God’s Country”
Kacey Musgraves - “Rainbow”
Dan + Shay - “Tequila”

Should win:

Luke Combs - “Beautiful Crazy”
Maren Morris - “Girl”
Blake Shelton - “God’s Country”
Kacey Musgraves - “Rainbow” - ZK, MM
Dan + Shay - “Tequila”

ZK: This certainly isn’t the worst field in the world, though it does include some oddball choices, as always. Still, this category seems more loaded with pure hits than previous years. Of course, when I say “hit,” I’m referring to general public reaction, not to how Kacey Musgraves’s gorgeous “Rainbow” only peaked inside the top 40 at radio. But I wouldn’t be mad at “God’s Country” either considering it is quite good, though otherwise, Luke Combs could win this, but he has better songs. Anything but “Girl” or “Tequila” is a win I suppose.

MM: It's far from the best of the field, but I have a hard time seeing "Beautiful Crazy" getting completely passed over, so I think it wins. However, "Rainbow" is a very conceivable and much stronger choice, while "God's Country" and "Tequila" are both repsectable compositions with a chance. It's fairly wide open and honestly not a horrible group to pick from.

FEMALE VOCALIST OF THE YEAR

Will win:

Kelsea Ballerini
Miranda Lambert
Maren Morris
Kacey Musgraves
Carrie Underwood - ZK, MM

Should win:

Kelsea Ballerini
Miranda Lambert
Maren Morris
Kacey Musgraves - MM
Carrie Underwood – ZK

ZK: Considering Carrie Underwood is up for Entertainer of the Year, this award should be a lock, though voters could also be fetching for new blood by picking Maren Morris. In terms of natural talent, this is usually a justifiable award for Underwood to win, so I don’t have much to say here other than that.

MM: Logically Carrie's EOTY nom would make her a heavy frontrunner but maybe they go a different direction here? Kacey's been a great ambassador for the genre this period and Morris is the most nominated of the night, so you can't write them off. Still, I think Underwood takes this, but I'm not 100% confident in saying that.

MALE VOCALIST OF THE YEAR

Will win:

Dierks Bentley
Luke Combs - ZK, MM
Thomas Rhett
Chris Stapleton
Keith Urban

Should win:

Dierks Bentley
Luke Combs – ZK (tie), MM
Thomas Rhett
Chris Stapleton – ZK (tie)
Keith Urban

ZK: Again, there isn’t much to say here – Luke Combs is far and away the biggest country artist right now, so I can’t see how this award will go to anyone else. If we have to defy logic, though, let’s at least not go for Thomas Rhett.

MM: I mean maybe Stapleton or Rhett win, but I have a very hard time seeing this go to anyone but Combs, and it will be very well deserved.

VOCAL GROUP OF THE YEAR

Will win:

Lady Antebellum
Little Big Town
Midland - ZK
Old Dominion - MM
Zac Brown Band

Should win:

Lady Antebellum
Little Big Town
Midland - ZK, MM
Old Dominion
Zac Brown Band

ZK: It’s between Midland and Old Dominion, and really, it just comes down to voters caring more about which band actually has the public’s attention and which band is just soaking up radio hits. I’m going to lean away from my usual pessimism and have faith, at least for once.

MM: No one really seems to care about any of country music's groups that much these days but Old Dominion is the fallback winner these days, so I think they pull it off. Still, a Midland upset is possible (and preferable in my mind).

VOCAL DUO OF THE YEAR

Will win:

Brooks & Dunn
Brothers Osborne - ZK, MM
Dan + Shay
Florida Georgia Line
Maddie and Tae

Should win:

Brooks & Dunn - MM
Brothers Osborne
Dan + Shay – ZK (I mean, only if I’m being 100% unbiased and honest … )
Florida Georgia Line
Maddie and Tae

ZK: This, as well as Group of the Year, usually provide the most laughs out of any other categories. I mean, it’s nice to see Brooks & Dunn here, but who are they replacing? Sugarland? Big & Rich? Anyway, as much as I naturally like the Brothers Osborne more than any other duo here outside of B&D and Maddie and Tae (who all don’t have a shot anyway, let’s be honest), Dan + Shay were truthfully the most commercially relevant artists this year.

MM: I don't know, the CMAs compeltely snubbed Dan + Shay last year and they seem to like the Bros so I think they take it, though it's definitely a two horse race (neither of which is FGL, which is a topic for another day but is kind of remarkable). Maddie & Tae and Brooks & Dunn made the best music of the period so I'll give the latter my vote cause I think it'd be cool if they won (though the Maddie & Tae EP is lovely).

MUSICAL EVENT OF THE YEAR

Will win:

Maren Morris and Brothers Osborne - “All My Favorite People”
Luke Combs and Brooks & Dunn - “Brand New Man”
Garth Brooks & Blake Shelton - “Dive Bar”
Lil Nas X & Billy Ray Cyrus - “Old Town Road (Remix)” - ZK, MM
Brantley Gilbert and Lindsay Ell - “What Happens In A Small Town”

Should win:

Maren Morris and Brothers Osborne - “All My Favorite People”
Luke Combs and Brooks & Dunn - “Brand New Man”
Garth Brooks & Blake Shelton - “Dive Bar”
Lil Nas X & Billy Ray Cyrus - “Old Town Road (Remix)”
Brantley Gilbert and Lindsay Ell - “What Happens In A Small Town” - MM

ZK: This is a bizarre group of songs in general this year, enough to where I can’t in good faith personally recommend any of them. But we all know the “bull ridin’ and boobies” song will take this award anyway.

MM: I don't think there's any chance they pass up an "Old Town Road" victory here. Weird group, but I dig the Gilbert/Ell track quite a bit.

MUSICIAN OF THE YEAR

Will win:

Jenee Fleenor
Paul Franklin
Mac McAnally - ZK
Illya Toshinsky
Derek Wells

Should win:

Jenee Fleenor - ZK
Paul Franklin
Mac McAnally
Illya Toshinsky
Derek Wells

ZK: I mean, let’s be honest, Mac McAnally wins this by default every year. But still, it’s absolutely cool to see Jenee Fleenor grab a nomination slot here. Fiddle power!

3 Up, 3 Down (April 2019)

4/29/2019

3 Up

Ashley McBryde - "Girl Goin' Nowhere"

An intimate and sincere track about the life of a young artist finding her path and voice. McBryde hits a homerun vocally, while the songwriting is both parts broadly appealing and descriptively poignant. Matched with a toned-down, acoustic production, "Girl Goin' Nowhere" is a compelling and powerful effor that exemplifies McBryde's status as one of the genre's brightest young stars.

Grade: A

Luke Bryan - "Knockin' Boots"

While hardly groundbreaking, what allows "Knockin' Boots" to stand out from Bryan's past uptempo efforts is its easeless charm. Moving away from the mindless tropes of tracks like "Move" and "Country Girl (Shake It For Me)", Bryan is able to shift the framing from crude to pleasant. The production is solidly country, and it thrives melodically and in its simplicity. A career-defining moment? No, but enjoyable and somewhat refreshing from someone who has often veerd into hamfisted territory.

Grade: B+

Logan Mize - "Better Off Gone"

Logan Mize has shown signs of potential in the past, and "Better Off Gone" really puts that into practice. The moody, atmospheric yet pulsing production is incredibly well done, while Mize balances a sense of reflection with an underlying tone of grief. The writing balances a detailed story with an expression of overarching sentiment. It really fires on all cylinders and is well worth a listen.

Grade: A

3 Down

Florida Georgia Line - "Talk You Out Of It"

Regardless of what your thoughts on Florida Georgia Line have been in the past, what has been undeniable is their boundless energy and charisma. In "Talk You Out Of It", they abandon all semblance of these aspects in favor of an awkard, sultry vibe. The melody and hook are uncharacteristically poor, the production is weak and generic and Tyler Hubbard feels largely disconnected. It's a change in style for the duo, and in terms of quality (and, apparently, commercial viability) it just does not work.

Grade: C-

Chris Young - "Raised On Country"

The demise of Chris Young as an ambassador for solid, neo-traditional country music has been a storyline discussed ad nauseum among critics, and quite frankly it's growing tiring. It's not third-rate Sam Hunt pop anymore I guess, so congrats? All this is is D-list bro-country songwriting that namechecks genre legends as a means of making up for the fact that there is not a single original component in the writing or production of the track. As always, he is capable of so, so much more.

Grade: D

Dustin Lynch - "Ridin' Roads"

If we're being honest this is probably the best Dustin Lynch song in a few years. That said, it just sounds like "Small Town Boy" minus a layer of autotune. "Backroads, party, country, small towns, hot girl", you get the idea. It's not particularly clever, country, or memorable, but I guess it's not unlistenable either. Still well below his capabilities, which we have been saying since 2012.

Grade: C

Top 20 Singles of 2018

1/10/2019

After recapping 2017's not-so-pleasant offerings, let's take a look at we loved from the past year. Past winners have included Jason Aldean's "Fly Over States" (2012), Kacey Musgraves' "Follow Your Arrow" (2013), Maddie & Tae's "Girl In a Country Song" (2014), Tim McGraw and Catherine Dunn's "Diamond Rings and Old Barstools" (2015), Eric Church's "Record Year" (2016) and Jon Pardi's "She Ain't In It" (2017). What will be crowned 2018's finest moment? Read on to find out!

#20
Danielle Bradbery, "Worth It"

Passionate and raw, Bradbery delivers a hell of a vocal, oozing in confidence and emotion. A fantastic vocal demonstration over a powerful lyric from a bright young talent. - Markus Meyer

#19
Cody Johnson, "On My Way to You"

While it's by no means a lyrical masterpiece, Cody Johnson brings an incredibly raw, emotive performance to "On My Way To You." Bolstered by a warm instrumental mix, "On My Way To You" is the kind of song that would have fit right in on a country playlist ten years ago. It's a shame it's an outlier now. - Zackary Kephart

#18
Chris Stapleton, "Millionaire"

A strong vocal performance is par for the course when discussing Chris Stapleton singles, and "Millionaire" is no exception. While he can sing the pants off just about anything, it's nice to hear his tender side as well. There's a timeless simplicity to this that ultimately makes it resonate. -ZK

#17
Blake Shelton, "I Lived It"

This is Blake's best single in a long time. The production is pleasant and rooted, the songwriting is reflective, and feels grounded in appreciation rather than being boastful. It's a lovely effort, and a good use of Shelton's immense talent. - MM

#16
Brad Paisley, "Bucked Off"

Sadly, this song reads as Brad Paisley's admission of his own place in current mainstream country music. On the bright side, Paisley is at least going to go out knowing he did it his way. This is classic Paisley, turning a sad song into a jovial sing-along that also manages to be a tribute to George Strait. The king would be proud that at least someone in this genre cares about their integrity. - ZK

#15
Willie Nelson, "Last Man Standing"

Whatever Willie Nelson is taking, it's working, as "Last Man Standing" is the best he's sounded in quite some time. The rollicking country-jazz fusion parallels the otherwise somber track (lyrically) nicely. If nothing else, this is a sign that Nelson won't go down without a fight. - ZK

#14
Devin Dawson, "Asking For a Friend"

Dawson's sophomore single is equal parts wistful and intense, relying on a lyric that feels clever and yet sorrowful. He's technically very sound, and the production works to enhance the atmosphere. I'm still not fully on board the Devin Dawson train, but this is a unique record with an effective grasp on perspective and emotion. - MM

#13
Cam, "Road to Happiness"

Cam is truly one of the strongest talent in the genre right now, and this is yet another example of it. The performance is restrained yet powerful, the production as delicate as it is strong. The message is one of personal conflict, evoking a powerful sentiment of balancing one's priorities. A truly gorgeous talent from an artist the genre would do well to invest in. - MM

#12
Danielle Bradbery feat. Thomas Rhett, "Goodbye Summer"

Remixes are rarely a good sign for improved quality, but "Goodbye Summer" is a rare exception. This track gets everything right where “Hello Summer” got it wrong. The brighter instrumental mix compliments the warmer tones nicely, and Danielle Bradbery and Thomas Rhett are currently two of country music's most charismatic vocalists at the moment. They play off each other nicely and make a good song even better. - ZK

#11
Brothers Osborne, "Shoot Me Straight"

While the Brothers Osborne cranked it to 11 with "It Ain't My Fault," "Shoot Me Straight" saw them dial back their southern-rock attitude for something more layered and swampier. TJ Osborne’s smokier baritone works well for this sweaty rocker before John Osborne shreds for six minutes to our delight. It’s that kind of bite and muscle that’s been sorely lacking from the charts lately, and thankfully the brothers were here to fill that role. - ZK

#10
Tenille Townes, "Somebody's Daughter"

A roaring production backed by a simmering melody and a fiery vocal. The songwriting - built around the reflection on the life of a homeless woman - is contemplative and meaningful. Keep an eye on Tenille Townes. She's damn good. - MM

#9
Chris Janson, "Drunk Girl"

Immensely poignant and powerful, driving a meaningful message with a beautiful piano backdrop. It's an earnest and important effort from an artist who hasn't always demonstrated this sort of tact. Tremendous stuff. - MM

#8
Kenny Chesney feat. Mindy Smith, "Better Boat"

It's hard to say exactly what country music is, but listening to "Better Boat" is the kind of track that sums it up damn near perfectly. Kenny Chesney has always been at his best when he taps into his reflective side, and thankfully, this otherwise melancholy tune at least ends with a hint of redemption. Mindy Smith's haunting backing vocals just add an extra layer to an already fantastic song. - ZK

#7
Jason Aldean feat. Miranda Lambert, "Drowns the Whiskey"

The clever twist of the hook was some of the best writing on a mainstream country single this year, and the slightly spacey, restrained feel fits the song well. Like Cody Johnson's "On My Way To You" (which also made this list), this feels like an old friend to the genre. - ZK

#6
Dierks Bentley feat. Brothers Osborne, "Burning Man"

Soars and pulses in all the right places. An undeniable energy and authenticity from two artists known for those two traits. The production is rock-solid, and the chemistry is undeniable. - MM

#5
Thomas Rhett, "Sixteen"

"Sixteen" is a reflective, charming effort from an artist who has really come into his own sicne bro-country died. It's equal parts lighthearted and meaningful, offering a unique perspective on moving through young life. Rhett delivers it wonderfully, while the production is both fresh and restrained. - MM

#4
Luke Combs, "She Got the Best of Me"

It's rare that you'll find a gloomy song with this much bite to it. Luke Combs’ charisma is on full display for this song about channeling heartbreak into music. It’s a perspective you don’t hear much in mainstream country anymore, and Combs was just the kind of vocalist to handle the job excellently. - ZK

#3
Luke Bryan, "Most People Are Good"

This is Luke Bryan at his best. Charmingly earnest, and convincingly meaningful. It's an uplifiting message of togetherness that doesn't feel sappy, but rather unifying. Vocally he shines, while the acoustic production feels fully country. More of this, Luke. - MM

#2
Cole Swindell, "Break Up in the End"

Cole Swindell, one of the faces of bro-country, continues his image reform with an absolute homerun of a single. Beautifully descriptive, earnest, and heartbreaking, Swindell hits all the right notes. Sonically, it's a breath of fresh air and lyrically, even more so. A career highlight. - MM

#1
Kacey Musgraves, "Space Cowboy"

This Is Country Music's No. 1 single of 2018 didn't even scratch the airplay chart at all, but that didn't stop Kacey Musgraves from having a banner year. "Space Cowboy" was just one of many excellent songs on Golden Hour. True to its name, “Space Cowboy” has a “spacey” atmosphere to it, with booming drums and piano helping to fill in the sound. The dichotomy of the hook is quite enjoyable as well, and overall the mature framing in the writing makes this a truly excellent song. - ZK

Worst 20 Singles of 2018

1/10/2019

2018 had a lot of highs, but first, let's recap what we found to be the more underwhelming side of country music. As an aside, this is the first year to feature an entry on both the Best and Worst lists - but you'll have to wait to find out what it is!

#20
Blake Shelton, "Turnin' Me On"

Blake Shelton at his most boring. No one will remember this song in a year. In fact, no one remembers it now. I have forgotten what I'm writing about. - Markus Meyer

#19
Danielle Bradbery, "Worth It"

For as much as I like Danielle Bradbery as a vocalist, "Worth It" just seemed to miss the mark entirely. To put it simply, the saccharine production was grating enough, but the whiny lyricism just reeked of entitlement. - Zackary Kephart

#18
Chris Lane, "I Don't Know About You"

Generic pop music with no grit, personality, or meaning to speak of. Thinks it's way more clever than it is, and the melody is forgettable at best. - MM

#17
Garth Brooks, "All Day Long"

As far as the foundation is concerned, "All Day Long" is not the type of song that would usually make this list. Garth Brooks really couldn't have executed it in a worse manner though. Beyond featuring the most dated production of 2018, “All Day Long” just goes overboard in every way possible. Brooks tries hard with his vocal performance, but a normal Friday night makes him sound like he just won the Super Bowl. There's nothing "fun" about this. - ZK

#16
Kane Brown, "Lose It"

A hamfisted production gets in the way of a lyric that has nothing interesting or original to say. No nuance to speak of, and Brown's performance does little to elevate it. - MM

#15
Luke Bryan, "What Makes You Country"

In a odd sense, it's tracks like this one that are some of the worst of Luke Bryan's career over the more obvious candidates. Country artists have had to answer to authenticity concerns as of late, and "What Makes You Country" answers it in the wrong way. It does have good intentions by pointing out how country music is a wide umbrella, but it’s also filled with an egotistical sentiment (good on you for getting that “dirt road cred” though). We know you know what country music is, Luke Bryan - now go make some! - ZK

#14
Kelsea Ballerini, "Miss Me More"

The songwriting is fine, but any of those merits are immediately cratered by an awful production. Thick and blatantly pop, it leaves little room for Ballerini to shine. The electronic "whoas" in the chorus are beyond grating, and the melody does little to make up for these faults. - MM

#13
LoCash, "Feels Like a Party"

If you missed bro-country music from 2014, LoCash has you covered here. There's very little reason to care otherwise. - ZK

#12
Billy Currington, "Bring It On Over"

As blatant a grab for radio attention as we've seen. Unabashedly pop with little artistic merit on any other front. Songwriting panders to the lowest commercial demoninator. A tragic release from an artist who knows better. - MM

#11
Michael Ray, "One That Got Away"

Michael Ray may have good intentions with his songs, but he's quietly had some of the most offensive songs to hit mainstream country airwaves ever. This is probably the least subtle attempt at glorifying one-night stands in music, with Ray treating this woman as a piece of meat rather than with respect. It’s a disgusting track where the mediocre production winds up being its only good element. - ZK

#10
Tebey, "Denim on Denim"

A grating melody and a lyric that recalls the worst tendencies of bro-country. A hook built on repetition because it has nothing else to stand on. Rather unfortunate. - MM

#9
Jake Owen, "I Was Jack (You Were Diane)"

The smooth, sterile production clashes with a song that’s riddled more with country music clichés than rock ones. This is simply more of the same generic fodder we’ve expected from Owen for a few years now ever since “What We Ain’t Got” was the little engine that couldn’t. At least he’s consistent I guess. - ZK

#8
Old Dominion, "Hotel Key"

I actually like the direction these guys have been going, but man, this just sucks. It's an irritating hook that tries to be clever but is really rather poor. Production, which is built on grating guitar hooks, makes matters worse. Hard pass. - MM

#7
Rodney Atkins feat. The Fisk Jubilee Singers, "Caught Up in the Country"

This is one of those tracks where pretty much nothing goes right. Atkins' fast, half-spoken delivery reads like a Mad Libs edition of country boy clichés. It’s contradicted by its loud, overblown production. It also somehow gets progressively worse as it drags on. This is a mess from an artist who knows way better. - ZK

#6
Parmalee, "Hotdamalama"

Good god. Words don't do it justice. Just horrific and degrading in every sense of the word. Not a single original thought went into the making of this record. I am embarrased that it exists. - MM

#5
Chris Young, "Hangin' On"

Not so much bad as it is soulless. It's glimmery pop-country meant to fill space on the radio between commercials. There's no need for it to exist. On airwaves stacked with mundanity, Young manages to outdo nearly all of them. People have said this at ad naseum, but man is Young better than this. Sad part is it's hard to be dissapointed anymore at this point. - MM

#4
Keith Urban feat. Julia Michaels, "Coming Home"

Nothing about this song makes any sense. The lyrics are broadly written at best, Julia Michaels serves absolutely no purpose here, and why Merle Haggard’s “Mama Tried” of all songs was sampled here is beyond me. Yes, Urban is forging his own path, and that type of spirit in this genre is commendable. But his efforts are ultimately scattershot, making “Coming Home” feel nothing like a tribute to a past legend. Instead, this song serves as one of many songs that should just be swept under the rug and forgotten. - ZK

#3
Morgan Evans, "Day Drunk"

This song is more comical than anything else. It rips off the melody from Sam Hunt’s “Body Like A Backroad” which ripped off Flo Rida’s “My House” before it. Sure, there are some memorable lines here and there, but they usually end up working against the narrator. Otherwise, the song is shallow and unmemorable in this department. Elsewhere, Morgan Evans continues to be the blandest vocalist in country music right now, both technically and emotionally. - ZK

#2
Dustin Lynch, "Good Girl"

I could cut and paste any review I've done of Dustin Lynch and just put it here. It's ridiculous at this point. Drenched in autotune, meaningless lyrics, a poor hook, a phoned in performance, the critiques go on and on. Lynch hasn't released anything worthwhile to radio arguably since his debut single and the act is growing very, very old at this point. - MM

#1
Walker Hayes, "90's Country"

Truthfully, up until "90's Country" was released, this felt like an overall mediocre year for the genre. The best songs were better than years past, but in terms of songs that could fill this list, there just wasn't that one song that screamed, "atrocity" like past contenders at No. 1 for this list have. Then came this song. If "90's Country" is anything, it's the proof that this stupid civil war between traditional and pop-country fans has gotten way out of hand. This is not a tribute to an American art form - it's an embarrassment. Hayes sounds as horrible as ever with his whispered delivery coupled with a chorus where he can't even hit all of the notes. That's just one of many horrible elements too.

The references, while admittedly clever in maybe one or two spots, are strung together with no meaning. They're referenced not for honor, but instead to allow Hayes to drool over his love interest. Ultimately, "90's Country" is one part bad and one part comical, making it an easy choice for This Is Country Music's No. 1 worst single of 2018. - ZK

5 Second Single Reviews (August 2018)

8/23/2018

Chris Young, "Hangin' On"

A bland hook elevated only slightly by Young's vocal proficiency. The lyrics don't say a whole lot, and the production even less. Little more than fluff by an artist capable of more, but who has rarely shown so in recent years.

Grade: C

Jason Aldean feat. Miranda Lambert, "Drowns the Whiskey"

A tighter production would have elevated it further, but as it stands this is Aldean's strongest single in a long time. Rarely has he sounded so poised and strong behind the mic, and singing a good song at that. Lambert, though unfortunately not all that prominent, does add a level of nuance to the record.

Grade: A-

Kane Brown, "Lose It"

Mindless, pointless nothingness, hammered home by a sloppy production and detached performance. Despite their obvious pop tendencies, Brown's last two hits demonstrated a degree of talent. This just has nothing going for it.

Grade: D

Chris Stapleton, "Millionaire"

A mature take on love, elevated by an outstanding vocal and sparse acoustic production. His performance is, appropriately, given room to breathe. As per usual, Stapleton proves that oftentimes, less is more.

Grade: A-

Danielle Bradbery feat. Thomas Rhett, "Goodbye Summer"

A pair of young talents who play nicely off of each other. Bradbery allows desperation and melancholy to shine through, while demonstrating the extent of her technical strengths. Perhaps a little polished, but that's a minor knock against a wholly solid piece of work that should be Bradbery's breakout hit.

Grade: B+

Author: Markus Meyer