This Is Country Music

Top 20 Albums of 2021

12/28/2021

In many ways, 2021 was a confusing year for albums in country music. Many high profile releases underwhelmed, including from the likes of Kacey Musgraves and Eric Church, both of whom I have lavished with praise in the past. Outside the mainstream, this was a quiet year for some of the heavier hitters in independent country, as well as many that I consider among my personal favourites. While not as top heavy, however, where 2021 showed strength was in its depth. There were a range of projects from artists I had never explored or heard from that touched and impressed me in different ways. My albums list this year features many brand new names, and in some ways, that's better than having the A-list occupy every slot. These are artists whose careers I will now follow with greater attention after impressive 2021 efforts. It's not the list I necessarily expected to write this year, but these are the twenty albums that highlighted my year.

#20
Mercy
Cody Jinks

A pretty standard Cody Jinks album, and I say that mostly as a compliment. It's gritty, the hooks are sound, and Jinks sounds as good as ever. The songwriting is sturdy and the production feels both accessible and authentic. He's not reinventing the wheel, but when his formula works so well, he also doesn't need to.

#19
Postcard
Luke Burkhardt

An album that feels both fresh and traditional, Postcard is a lovely introduction introduction for Burkhardt. The production is robust, whether in somber moments like the title track or the vibrant efforts like "The Ones I Have Left". Burkhardt is commanding behind the mic, with a distinct presence and technical talent. A rock solid debut.

#18
Outside Child
Allison Russell

A remarkable display of raw talent and ability. The songwriting is engaging and deeply personal, and is backed by diverse arrangements that highlight Russell's versatility as a vocalist. The production takes risks while maintaining cohesion throughout the entirety of the project. A thoroughly compelling listen.

#17
Thrive
Cassadee Pope

As a fan of pop-punk and its tendencies towards big hooks and choruses, I may think more highly of Thrive than many of my peers. In my estimation, though, it's one of the most engaging mainstream listens of the year, putting a more organic take on pop-punk sensibilities and putting the bigger arrangements on top of thoughtful writing. Pope sounds great all throughout, and more in her element than she did often throughout her post-The Voice introduction to the country scene. From her Hey Monday days, Pope demonstrated a tremendous capacity to handle big hooks and choruses, and she puts these talents to use all throughout Thrive.

#16
The Ballad of Dood and Juanita
Sturgill Simpson

A concept album that finds Simpson relying more on his preexisting strengths than pushing boundaries. And I don't say that as a bad thing -- it's refreshing to hear Simpson operate within his niche, telling interesting stories behind sturdy, organic arrangements, and sounding great doing it. A fairly compelling story arc that doesn't veer into cliche or pandering. If this is indeed Simpson's last solo effort, it's a fine one to go out on.

#15
Pohorylle
Margo Cilker

A highly competent piece of work that puts an interesting twist on traditional country concepts. Cilker is a compelling vocalist, and the songwriting is solid all throughout. I appreciate the somber textures all throughout. The talent is evident and I'm excited to hear more.

#14
Things To Come
Jeremy Parsons

A wholly charming album that both thrives in its simplicity while also taking some more subtle sonic risks. It's an accessible take on modern country that's both roots and atmospheric, and while Parsons isn't a vocal powerhouse, he presents his material earnestly. A well-written, well-crafted album that establishes Parsons as a talent well worth watching.

#13
Heart
Eric Church

The best of his three-album concept, Heart finds Eric Church playing to his strengths. It has swagger, it has strength, and it spans a range of human emotions. Tracks like "Crazyland" and "Russian Roulette" stand out as career highlights. While he overthought it at other points on this Heart & Soul journey, the first effort by and large gets it right.

#12
29: Written in Stone
Carly Pearce

A gorgeous and personal neo-traditional effort, showcasing Pearce as a force of talent. In a year of high profile divorce albums, Pearce's stands above on the delightful and fulsome arrangements, and by her strength as a technical and evocative performer. It's an honest, and thoroughly country, album that announces Peace as a force in the mainstream.

#11
The Comeback
Zac Brown Band

I had my doubts going in, but the title largely rings true. After the atrocity that was The Owl, their latest project does feel like a comeback of sorts. It finds the Zac Brown Band back in their groove in their songwriting, musicianship, and vocals, leaning back into the organic sound that made them so exceptional in their earlier days. This is most evident on the likes of "Love and Sunsets" and "Stubborn Pride", where Zac Brown sounds as good as he ever has. It's a project that is vibrant, intelligent, and effectively blends country with outside influences to make for a unique and wholly enjoyable album. A welcome return to form.

#10
Mercy
Cole Chaney

Well-told stories, well sung, over a rock solid and sparse acoustic backdrop, The simplicity works, and allows Chaney's rich vocals and writing to shine, like a stripped down Tyler Childers. Much has been said about the Appalachian movement in country music, by smarter people than me, and Chaney is yet another solid product of the environment. An incredible introduction.

#9
Cast Iron Pansexual
Adeem the Artist

Writing that is vulnerable, entertaining, and captivating that's given room to breathe by a light acoustic backdrop. Adeem is a capable vocalist and breathes authenticity into the songwriting, while the melodies and hooks hold your attention. Cast Iron Pansexual is a highly intelligent and memorable project.

#8
The Marfa Tapes
Jack Ingram, Miranda Lambert, and Jon Randall

Novelty projects are risky in that they can be a flash in the pan just easily as they can be memorable and pivotal moments in a career. The Marfa Tapes is a huge win, putting smart writing behind a stripped down production scheme. Are the interludes a little cheesy? Sure, but honestly that's part of the charm. It grips you emotionally and at the same time is a lot of fun and incredibly compelling.

#7
Music City USA
Charley Crockett

Crockett has established himself as one of the most unique sounds and talents in independent country music, and Music City USA finds him growing his talents further. The project is both breezy and wrought with emotion, and Crockett has the unique capability of blending both. The songwriting is strong and centred around memorable hooks, and the melodies hold up well on repeated listens.

#6
How the Mighty Fall
Charles Wesley Godwin

Rich in its sound and its storytelling, Godwin came into his own on How the Mighty Fall. He establishes himself as one of the most compelling interpreters and performers in independent country, and does so over a compelling group of songs. The production is unique and well-suited to the stories at hand. As someone who wasn't blown away by his debut, Seneca, Godwin has won me over with this effort.

#5
Reckless
Morgan Wade

Big hooks and catchy melodies against a more textured backdrop. Wade is a commanding vocal presence and the production is a remarkable take on pop-country. A remarkable effort that demands repeat listens. Incredible stuff.

#4
In These Silent Days
Brandi Carlile

A return that showcases why Carlile is regarded as a premier voice and pen in the country-adjacent world. In These Silent Times is both gritty and low-key, with sparse arrangements that allow Carlile's raw vocal talent to shine and her detailed, poetic lyricism to be fully appreciated. It's an effort that highlights all of Carlile's best traits and was well worth the multi-year wait.

#3
The Horses and the Hound
James McMurtry

Equal parts poetic and gruff, McMurtry present profound stories and messages with an everyman's perspective. "Canola Fields", in its wisdom and reflection, may be the year's single finest track. This album is an impressive and deeply human portrayal of humanity that emphasizes McMurtry's skill as both as a songwriter and a performer. It's accessible, it's raw, and it taps into a range of human emotions. Truly exceptional.

#2
Vivian Leva & Riley Calcagno
Vivian Leva and Riley Calcagno

Sometimes less is more, and Vivian Leva and Riley Calcagno embody that in a big way on their self-titled project. A simple, yet stunningly elegant collection, Leva and Calcagno tap into raw human emotions around love in a way that is highly intelligent and accessible. The production is gorgeous, with simple acoustics backing stunning melodies. The whole package -- from the harmonies, to the hooks, to the instrumentation -- is intoxicating in a way that few releases of recent years have been. These two are now permanently on my radar, and I cannot recommend this project highly enough.

#1
American Siren
Emily Scott Robinson

A stunning project from start to finish, showcasing Robinson's immense talent as a writer and a performer. It is poignant in its observational and personal qualities, telling rich stories that feels both parts universal and close to her own heart. While her previous album, Travelling Mercies, relied heavily on a sparse, acoustic backdrop, American Siren soars in its breadth, embracing broader textures and a more diverse sonic palette. The piano-driven "Let 'Em Burn" is a gorgeous portrayal of leaving behind a toxic relationship with faith, while the wistful "Lightning In a Bottle" is the best take on youthful romance in recent memory. The ground covered here is deeply intimate, and spends a lot of time reflecting on faith and the complexities therein. Robinson may the be the single most talented songwriter in the country music sphere, and American Siren is an absolutely extraordinary effort on all fronts.

0 Comments

Top 20 Singles of 2021

12/16/2021

0 Comments

For the beating that mainstream country took in our last list -- and rightfully so -- it's important to note that there in fact bright spots. Traditional sounds were by and large more prominent. Big name stars frequently took a more mature direction with their music, with pretty solid results. And a range of newcomers made a name for themselves with substantive, organic tracks. Undoubtedly, there is work to be done on country radio. It's all still pretty generic, hits take forever and a day to peak, and diversity remains a major problem. But foe now, let's look at twenty winning efforts that 2021 had to offer.

#20
Tim McGraw and Tyler Hubbard, "Undivided"

Cheesy, sure, but charming nonetheless. The production is bouncy and organic and both Hubbard and McGraw sound convincing and play off each other surprisingly decently. Chorus and hook are fairly catchy and memorable as well. Solid effort. - Markus Meyer

#19
Thomas Rhett, "Country Again"

A fairly simple lyric elevated by Rhett's natural charm and a low-key production scheme that legitimately does feel country. For an artist that can often veer towards bombast, it's a less-is-more approach that works quite well. - MM

#18
Chayce Beckham, "23"

A compelling and personal piece of songwriting brought to life by Beckham's gruff and authentic delivery. Production is both restrained and fulsome, feeling both modern and grounded in country's sonic traditions. An outstanding, well-rounded opening effort from Beckham. - MM

#17
Brothers Osborne, "I'm Not for Everyone"

Solid, breezy and just downright enjoyable in terms of the tone, execution, and the equally bright production that favors a solid, laidback groove and welcome accordion to lighten the mood. I can forgive a checklist lyrical structure when every line has a dash of well-timed humorous irony to it, and that this isn’t the duo’s biggest hit to date … Well, it may not be for everyone, but it’s still downright criminal. - Zackary Kephart

#16
Cody Johnson, "'Til You Can't"

A familiar theme of appreciating what one has is well-executed here, thanks to Cody Johnson’s passionate, damn-near thunderous delivery that suggests maybe he’s just another person who needs to hear the message, too. It’s as hopeful as it is urgent to make the most of life while there’s time, and while songs like these usually fall flat from being too cloying or saccharine, Johnson nails a perfect balance of conviction and desperation. - ZK

#15
Taylor Swift feat. HAIM, "no body no crime"

What could have come off overwrought in lesser hands is engaging and well-crafted in Swift's. The production is atmospheric and well-suited to the murder narrative and Swift more than sells it without going over the top. Another win in what has been a run of them recently for Taylor Swift. - MM

#14
Justin Moore, "We Didn't Have Much"

Solidly warm, inviting neotraditional country is a good fit for Justin Moore, and while I don’t have much to add beyond what I said about Cody Johnson’s similarly themed song from before, I’ve always appreciated this song’s heavier reliance on atmospherics to let the groove ride and the warm mixture of tempered acoustics and bass, pedal steel and firm percussion settle nicely. Yes, it’s a song pining for nostalgia that’s somewhat relegated to stock images at points, but it’s placed more around the familial aspects that are damn-near universal in their appeal; it’s just nice. - ZK

#13
Elvie Shane, "My Boy"

A modern “He Didn’t Have to Be,” told instead from the stepfather’s own perspective. What’s always struck me most about this song is the well-balanced framing, not only in the textured production that lets the acoustics shine with a bit of a rougher edge, but in the way Elvie Shane assesses the impact he’s had on his stepson growing up. It’s genuinely organic in both sound and intent, and with a generally sweet but still lived-in, rough delivery, this became a surprise hit I was glad to see happen. - ZK

#12
Scotty McCreery, "Damn Strait"

The real gem from Scotty McCreery this year is a deep-cut called “The Waiter,” but “Damn Strait” works better than it has any right to, especially when it’s not the first song to use that title or build its premise around references to George Strait songs. Maybe it’s the solid production that eschews bells and whistles in favor of something more grounded, or maybe it’s because it’s all built around a breakup and the Strait references are actually a detriment to McCreery’s attempt at moving on with things. Either way, the references work far better than expected and, unlike other songs in this vein, actually contribute to the larger story and don’t just feel tacked-on for credibility purposes. It’s mature country music of some of the best variety. - ZK

#11
Brett Eldredge, "Good Day"

A delightful track that doesn't overthink things too much. A mature take on life's simple pleasures that doesn't come off as either hokey or sappy. It finds Eldredge in top technical form, and the production is restrained enough to let his raw talent shine through. An excellent track from a vocalist finding his artistic stride. - MM

#10
HARDY, "Give Heaven Some Hell"

An example of HARDY's lack of polish working. Yes, you have the classic "me and the boys love trucks and stuff" going on, but the bombast and HARDY's vocal style work well to help it come as authentic rather than pandering. The hook and chorus are memorable and overall it's a touching and engaging effort. - MM

#9
Carly Pearce feat. Ashley McBryde, "Never Wanted to Be That Girl"

Carly Pearce and Ashley McBryde team up for a perfectly balanced duet in which they find out they share the same significant other who’s been cheating on both of them … I could just stop there, right? I mean, I don’t want to, especially considering that I like how it’s framed within the context of Pearce’s divorce album, which focused just as much on Pearce’s own decisions and path in life as it did the scandal in question. Of course, that’s also the sad beauty of the track. Both women will blame themselves for letting something like this happen even though it’s neither one’s fault, and there’s an unfortunate reality sketched there that gives the song its heartbreaking resonance. Coupled with fantastically burnished production to let that heartache sizzle, it’s a hit that I hope keeps on growing in the new year. - ZK

#8
Taylor Swift feat. Chris Stapleton, "I Bet You Think About Me"

Taylor Swift playing to all her strengths. "I Bet You Think About Me" is detailed, authentic, and self-assured in its writing. The production is near-perfect, with a rich blend of harmonica and acoustics that make it memorable and accessible. Swift sounds beyond confident behind the mic and Stapleton adds a richness to it that is welcome. It hits all the right marks, and reflects just how far Swift has come as an artist and her ability to still operate in top form in country circles. - MM

#7
Kelsea Ballerini feat. Kenny Chesney, "half of my hometown"

Not a combo I would necessarily expect to work, but it does. The two vocalists blend surprisingly well and the writing, production, and melody all reflect a maturity seen in both artist's work of late, to a degree. A well-executed pop-country record that reflects small town life in an interesting and authentic manner. - MM

#6
Chris Stapleton, "You Should Probably Leave"

Perhaps a bit smooth and lacking in greater dynamics compared to Chris Stapleton’s more rock-oriented or stone-cold country songs, but the groove of “You Should Probably Leave” is strong and pronounced, and the song more than succeeds in its overall rougher emotional delivery. Stapleton has the subtlety to match his power, and he handles the yin-and-yang feeling of not wanting to end an on-again, off-again relationship yet knowing it’s for the best well. - ZK

#5
Eric Church, "Heart on Fire"

It’s rock-star wish fulfillment that blatantly references old rock icons and revels in them, all framed around a past teenage romance that, coupled with the bright, jaunty keys and propulsive groove, fits well within Eric Church’s wheelhouse. It’s basic for his standards, I admit, but it’s so enjoyable and well-framed, if nothing else. There’s no anger or resentment present – it’s just reveling in a memory and mining the best of it. There’s two other hidden strengths, though. One is Joanna Cotten’s backing contributions, and two is how the percussion ramps up for that “freedom of you dancing on the bow of your daddy’s old boat” line that really opens up this song and lets it come alive. Sometimes simple songs can soar with the best of ‘em. - ZK

#4
Jordan Davis feat. Luke Bryan, "Buy Dirt"

An absolutely charming record that is organic, memorable, and accessible. Davis -- who has always had the raw talent -- sounds fully at home, and Bryan sounds just fine as well. A bit checklist-y? Sure. A bit cliche? I suppose. But the quirky hook works, and it's so well-constructed that it's hard to complain. - MM

#3
Kenny Chesney, "Knowing You"

In what is my personal favourite radio single of 2021, Chesney appears to have finally grown into his role as an elder statesman of country music. After a few half-baked attempts to become "serious" -- think "Noise", "Get Along", among others -- "Knowing You" finally hits all the right marks. It's not overly sappy. It's not overly aggressive. It's a mature take on lost love that demonstrates appreciation, reflection, and a degree of personal growth. The hook is a fairly clever play on words that resists the urge to become hamfisted, and Chesney delivers it with the wisdom that a man of his age and experience should project. The production is eloquent and subdued, posing in stark contrast to Chesney's usual tendencies. A gorgeous effort that befits his role within the genre and hopefully signals more of the same to come. - MM

#2
Chapel Hart, "I Will Follow"

A bright, bouncy song with an inspirational message, and one that’s subtly inclusive as to who all can succeed at what they’re going for, adding a sense of realism to its stakes. Ergo, it doesn’t matter who you are or what your skin color is, you can’t let others’ perceptions of you dictate your chosen in life; you’ve just got to follow your own drum. And Chapel Hart did it even one better by framing it as an absolutely infectious anthem with a deliriously catchy chorus and hook, all backed by a well-balanced mix of handclaps, sunny tones, excellent harmonies, and a solid bass groove to add driving momentum to a track brimming with exuberance. Oh, and it’s also a good reminder that, if you’re not onboard with Chapel Hart yet, you’re missing out. - ZK

#1
Lainey Wilson, "Things a Man Oughta Know"

Even at the No. 1 position, I want to address the one element I don’t like about This Is Country Music’s top single of the year. The entire first verse is devoted to a checklist rundown of things men are “supposed” to know how to do that our female protagonist can do as well and just as well. What unfolds afterward, however, is something special. It’s a breakup song, but also one where the hurt is implied and the delivery unfolds line by line – even if a significant other doesn’t know what love means in the moment, if the relationship truly means something to them, they should try and learn along the way. And yet, circling back to that first verse, I’ve somewhat begun to understand the intent. She understands that a stereotypical but still somewhat true tough-guy stoicism can create an unintentional distance between the two, and that’s why I love how the frustration is always more heavily implied than spelled straight out. Wilson can sell it all wonderfully, too. Her understated delivery balances excellently against the mandolin and bass to give this track a generally warm rollick and confidence to support that wry hook, but also emphasizes the bitterness with how those lessons learned came to be. An easy choice for the No. 1 single of the year, and given how scattershot 2021 has been for mainstream country music, that feels good to say. - ZK

0 Comments

Worst 20 Singles of 2021

12/16/2021

0 Comments

I'm not sure I've paid less attention to mainstream country music than I have in 2021. I listened to a lot of country music still (though even outside the mainstream, the quality has been debatable), but as far as country radio goes, I barely, if ever listened. The charts increasingly became unrecognizable, and I have a hard time remembering the names of half the frat bros with #1 hits these days. I think there are a lot of reasons for it, but the word that comes to mind most often for me is 'cynical'. It all feels increasingly mass-produced and increasingly tailored to an audience that doesn't have any connection to the genre outside of putting on some Country Hits Spotify playlist in the background. It's all glossy, it's all surface-level, and it's all designed for instant gratification.

And for all these qualms, the result isn't necessarily more dumpster fires. Sure, a handful of tracks embodied the true awfulness that often defines these Worst Of lists. But more than anything, mainstream country music has become aggressively and intentionally mediocre. Any 20- or 30-something white guy with a goofy haircut can release a C-rate pop song with a token banjo and score a top ten airplay hit, and it's all by design. Proving this whole point is that if these crappy hits result in an album release at all, it completely tanks. Brett Young, maybe the living embodiment of this trend, saw his most recent project come a pathetic 79th on the US Billboard albums chart. Russell Dickerson's newest came 134th. Ryan Hurd, 71st. These are artists with major radio hits and presences. There's no passion here -- just a faceless, dogmatic pursuit of being average that is quickly watering down the genre.

Now, chasing a broader audience isn't inherently bad, and in fact, some do it quite effectively. Kacey Musgraves, Mickey Guyton, Eric Church, and others appear to have bridged the gap nicely, without completely selling their artistic integrity. But the way it's executed by the endless line of factory-produced hitmakers is a truly pathetic phenomenon to watch.

Of course, there was good to come in 2021. Our best singles list will be coming shortly, and highlights artists operating within mainstream confines in a compelling fashion. For now though, here's what me and my good friend Zack Kephart see as the worst 20 radio singles of 2021. Enjoy, and let us know your thoughts in the comments!

#20
Jameson Rodgers feat. Luke Combs, "Cold Beer Calling My Name"

I don't really know who Jameson Rodgers is. He doesn't appear to have any discernible talent beyond that of every other generic dude-bro on country radio, and yet apparently he has a few hits now. This says nothing of any real value nor will it be remembered a year from now. Generic fluff that (ironically) sounds like a D-rate Luke Combs track. - Markus Meyer

#19
Scotty McCreery, "You Time"

McCreery has real talent, but this is so beyond pointless. The hook is as grating as anything in 2021 and the production and melody are completely faceless. Totally forgettable. - MM

#18
Blake Shelton, "Minimum Wage"

Blake thinks he's way more clever than he is here. It's textbook Shelton these days: generic production, generic melody, bland performance, and safe enough to fill time between radio commercials. Pass. - MM

#17
Heath Sanders, "Old School's In"

You likely don’t know who Heath Sanders is, and let’s hope that remains the case in 2022. If you really need an introduction though, his debut single is about the demise of the good ol’ days, all set to arena-rock guitar production that would sound awful even for Brantley Gilbert. Oh yeah, don’t tread on me, God, mama, dogs, real men, guns, country-folk, rah-rah, something else to that effect. It’s like that Aaron Lewis song, only it didn’t go viral, so … little victories? - Zackary Kephart

#16
Sam Hunt, "23"

On its merits, the writing and performance aren't horrible here. Yet it's blatantly spits in the face of country's sonic conventions that it has to be included. He's not even remotely trying to hide it anymore. It's perhaps his most egregiously pop effort to-date Take your polished elevator music somewhere else. - MM

#15
Chase Rice feat. Florida Georgia Line, "Drinkin' Beer, Talkin' God, Amen"

Sittin’ here, writin’ ‘bout clichéd music, talkin’ worst singles of the year. Amen.

(Why is Chase Rice still charting hits in 2021?!?) - ZK

#14
Old Dominion, "I Was On a Boat That Day"

I can maybe get behind the premise – some dude can’t be bothered to care about the end of a presumably bad relationship because he’s out enjoying life. It’s just that he perpetually sounds like an asshole throughout the entire song, that it’s no wonder this woman left him. Also … it’s sold by Matthew Ramsey, who remains one of the most vanilla, nondescript, terribly uncool vocalists since Hillary Scott even on the band’s best material, and utterly annoying and obnoxious on their worst material. Old Dominion kinda-sorta won me over with their 2019 album, but this was a backslide that infuriated me every time I was forced to hear it. - ZK

#13
Parker McCollum, "To Be Loved by You"

Parker McCollum’s independently released albums sport some pretty good material, but thus far his mainstream career has produced little more than duds, “To Be Loved By You” arguably being the worst of the bunch. Beyond a fairly lackluster attempt at melody that I can’t ignore, this is just a pathetic, whiny attempt at guilt-tripping some woman into putting up with McCollum’s tough-guy act, when it’s clear she’s had enough. It’s all accusatory and never once stops to reflect that maybe her problems aren’t the only ones that should be aired here. Man, it’s just so pissy and utterly insufferable. - ZK

#12
Niko Moon, "No Sad Songs"

And I don’t wanna hear no more Niko Moon. Then again, if you remember “Good Time” - and I can’t blame you if you don’t – this is just part two, right down to the clunky country-trap fusion that stifles any attempt at groove for something so utterly smug and self-satisfied. Also, it’s yet another one of those songs that references other songs to string together its concept, and it begs the question, why not listen to those (much, much better) songs instead? - ZK

#11
Dan + Shay, "Steal My Love"

Spoiler: I'll have more to say on Dan + Shay later, so I'll save my fire here. In short, though, perhaps no mainstream act has put less effort into their content than these two over the past four year. "Steal My Love" is a listless, grating effort that deviates little (if at all) from their last eight or so singles. - MM

#10
Nelly feat. Florida Georgia Line, "Lil Bit"

Nothing quite says “‘Cruise is nearly a goddamn decade old” and “yes, we know what ‘Old Town Road’ is and want a piece of that” quite like this collaboration from two – technically three – has-beens. Wait, you’re telling me this was a really big hit this year? I mean, at least “Cruise” was kind of fun … this is just another country-trap fusion lacking any semblance of groove that’s beyond too sleazy to enjoy. - ZK

#9
Cole Swindell feat. Lainey Wilson, "Never Say Never"

Two promising artists turn in a turd of overblown country-pop complete with overmixed, fake percussion and an overdone theme of an on-again, off-again relationship that’s just vague and lacking in greater impact to justify all the bombast. Y’all, I’m tired. - ZK

#8
Luke Bryan, "Waves"

We get it, beach flings are cool. Beach parties are cool. They're even cooler when you sing about them over top of a slick production that resembles everything you've done since 2012. You're 45 dude. Grow up. - MM

#7
Dierks Bentley feat. Breland and HARDY, "Beers on Me"

Maybe 2021's most frustrating effort. I know Dierks goes through these phases where he phones it in for heavy radio play. I know that, usually, the albums are better than the singles suggest. But this is a completely forgettable single, recognizable only for its hamfisted hook and grating melody. Dierks also doesn't sound especially good on it. Beyond underwhelming. - MM

#6
Lady A, "Like a Lady"

I loved Ocean. It was smart, compelling, and mature. This is decidedly none of those things, and in fact is Lady A at their absolute worst. Goes for fun, and ends up crashing and burning with a stunningly obnoxious hook, a terrible performance from Hillary Scott, and a production that feels cluttered. Just a terrible effort from a band who seems determined to fail on all fronts right now. - MM

#5
Blake Shelton, "Come Back as a Country Boy"

“God’s Country,” at least to me, remains Blake Shelton’s best – and really, only notable – release since 2008 or so. So I was actually excited to see him return to the same dark, southern-Gothic-influenced well when I heard the first notes of this. But unlike that song – which was more about reverence for the land around Shelton’s character and was pulled off well – this is just built around rural pride pandering that Shelton can’t sell with any sort of conviction, obnoxious as it all is anyway, especially with that horribly mixed vocal filter … thing. “If my neck don’t come out red, then Lord just keep me dead.” Lolz. - ZK

#4
Frank Ray, "Country'd Look Good on You"

…………………. I mean, y’all saw the title, right? However bad you think it is, it’s that and, like, way more. - ZK

#3
Brantley Gilbert feat. HARDY and Toby Keith, "The Worst Country Song of All Time"

You see, country music is all about trucks, and beer, and America. And this song says those things are bad. Pretty clever stuff from three acts known for their subtlety. So yeah, if this pure comedy wasn't enough, the production, melody, and performance are just as in-your-face and lacking in originality. Pretty much as bad as the roster of artists suggests. - MM

#2
Dan + Shay, "Glad You Exist"

Okay, as promised, Dan + Shay make their second appearance. There is no artist in modern country music as infuriating as Dan + Shay. Everything since "Tequila" -- which was actually pretty good! -- has been some variation of "Wow, I'm so in love!". There's always a snap track. There's always a syrupy performance. It's all literally the exact same thing, cynically pandering to a fanbase that eats this up. Are they talented? Sure. They've shown it before! But everything they've done over the past five years has been spineless nonsense that is the musical embodiment of those fridge magnets, and it's blatantly obvious to anyone paying even a marginal amount of attention. They used to be touted as the modern Rascal Flatts, but frankly, they make Rascal Flatts seem gritty and authentic. "Glad You Exist" embodies everything I dislike about what Dan + Shay represent. - MM

#1
Walker Hayes, "Fancy Like"

Prior to sitting down to write my entries for this list, Markus reminded me of what I wrote for Walker Hayes’ entry last year: “This has to be Walker Hayes’ last bid for radio airplay, and if so, good riddance.”

So yeah, I’m taking credit for cursing part of 2021 – you’re welcome. Little did I know that TikTok would make up for Hayes being a talentless hack and propel him to have the biggest hit of the year in any genre. And yeah, I get that the dance associated with it is supposed to make it lightweight and humorous, but even if there was a joke present, Hayes just has to push it through his lazy, phoned-in faux-rapping with a mugged self-satisfaction that completely ruins any attempt at being “cute.” A trip to Applebee’s suggests you’re more basic than poor, and what better way to put your wife on an even-level playing field with you than saying you want her to “dip me like them fries in her Frosty.” The pink umbrella line from Florida Georgia Line’s “Sun Daze” may be equally be trashy, but at least they had the good sense to own it!
It’s the little dad joke that apparently could, right down to Hayes referencing getting some “Alabama-jamma.” And yet, I can’t get that angry about it. Hayes himself admits he’ll likely never have a viral hit like this again, and for as much as I could be jinxing everything once again, really, this has to be his last bid for radio airplay to actually succeed. - ZK

0 Comments

Mega Singles Roundup (Dan + Shay, Lainey Wilson, and More): August 2021

8/24/2021

1 Comment

It's been a while since I've written up anything here, and even longer since I've looked at recent single releases. Life has certainly been busy, and to make up for it, I've taken a look at a bunch of releases on the airplay chart. It's a conversation for another day, but I think country radio is becoming increasingly bland and has a major sonic identity crisis. For now, here are my bite-sized takes on a number of radio hits.

Kelsea Ballerini feat. Kenny Chesney, "Half of My Hometown"

I wouldn't think these two voices would work together, but they actually really do. They compliment each other well, but the production veers a little too much towards generic pop-country, particularly the backing track. Still, it's competently written and well-performed, so it's close to as good as you'll get on mainstream radio.

Grade: B

Brantley Gilbert feat. HARDY and Toby Keith, "The Worst Country Song of All Time"

This isn't funny or clever, as much as they probably thought it was the most hilarious track ever known to man. Amounts to nothing more than "haha city folks bad my truck good". It sounds like most bad Brantley Gilbert songs with the obnoxious guitars and bravado, and it's not especially catchy. Waste of time from three artists known to waste our time frequently.

Grade: D-

Dan + Shay, "Steal My Love"

Sounds more or less like their last eight singles. The act's growing old. They sound nice singing but the production is slick, not at all country, and completely uninteresting. They haven't sounded interesting singing sappy love songs since "From the Ground Up", and haven't been entertaining at all since "Tequila", and this is an entirely low-effort track from a duo that has run out of ideas.

Grade: D

Jordan Davis feat. Luke Bryan, "Buy Dirt"

I have a soft spot for Jordan Davis. He's a solid vocalist who can sing good songs, when he's not trend chasing. His debut album blended decent storytelling with big sounds, and I enjoyed it. This is a rootsier sound, and he sounds awesome. It's charming, well-constructed, and actually country. Luke Bryan adds to rather than takes away from it. Nice work.

Grade: A-

Cole Swindell, "Single Saturday Night"

Swindell is a marginal vocal talent at the best of times, and he sounds especially bad here. The production is clunky and frankly unlistenable. It's not even catchy and he's not saying anything new or compelling. How this became a hit is beyond me.

Grade: F

Scotty McCreery. "You Time"

This song says nothing you haven't heard a thousand times already. He has a good girlfriend, very nice, but who cares. Production is generic and sterile. You won't remember this by this time next year. It's one thing to be actively bad; it's another to be this mind numbingly pointless.

Grade: D

Lainey Wilson, "Things a Man Oughta Know"

Delightfully bouncy production that's actually rooted in the traditions of country music. Wilson is a compelling vocalist and performer and delivers this with a charming sincerity. It's a little bit too reliant on the list structure, but this still really works and I'm glad it's a hit.

Grade: B+

Luke Combs, "Cold As You"

He sounds good. The writing is fine. It sounds fine. But it also sounds like a lot of his other stuff. Big chorus, a few clever lines, but he needs to start changing it up a bit, because the melody and structure here are reminiscent of most everything he's done lately. I appreciate that it's actually a country record, but at some point that's not enough.

Grade: C

Lady A, "Like a Lady"

Ocean was a great album that saw Lady A blending their AC pop tendencies really nicely with more organic foundations. This feels more like the nonsense they put out circa 747. No melody, no personality, and nothing that sonically grabs you. Melody is so grating as to be physically painful to listen to. Hard pass.

Grade: D-

Kane Brown, "One Mississippi"

Brown sounds really good on this, and he delivers it well. I've always thought he's a strong vocalist, and he proves it here. The chorus veers too much into generic pop-country, but there are some nice production elements here (the opening, the acoustic guitar in the bridge), and there's a real sense of urgency. Hardly perfect, but pretty good.

Grade: B-

Zac Brown Band, "Same Boat"

They seem to be at least somewhat aware of their behaviour the past few year and are trying to move back towards their roots. That's good, this is not. It's just "Toes" but worse. I get that the beach thing works for them, but this feels like phoning it in, honestly.

Grade: C-

Lee Brice, "Memory I Don't Mess With"

I'm usually a Brice defender, and he sounds really good here, but I just don't love this particular production style. It feels too slick, and the writing feels too paint-by-numbers at times. Perfectly fine, but nothing more.

Grade: C+

1 Comment

Top 20 Singles of 2020

12/10/2020

0 Comments

Mainstream country music has continued to delve further into patterns of repetition, relying on inauthentic productions and lifeless songwriting. Amid the storm of mundanity that is country radio, some voices have remained compelling and dedicated to crafting art worth not just listening to, but remembering.

This year's group is an eclectic bunch, made of newcomers, established stars, and comeback stories. It's a group that showcases risk taking in an avenue that generally pushes back on it. Most importantly, these are tracks that are likely to hold the test of time and encompass the traditions of country music, whether in storytelling or style. Enjoy our top 20 radio singles of 2020, and have a very happy holidays!

#20
Brett Eldredge, "Gabrielle"

As mature as Brett Eldredge has ever sounded. His vocals are given room to shine against a crisp and compelling production scheme that blends an almost AC-pop sound with more traditional elements. It's a reflective track that finds Eldredge putting his talents to good use. Refreshing. - Markus Meyer

#19
The Chicks, "Gaslighter"

It had to grow on me, but the Chicks’ big comeback single represents just about everything you’d hope for from them – a fiery, blustering presentation, a biting indictment of a certain someone explored even further on the album it stems from, and an all-around infectious hook. I wanted more from said album, but this was a very welcome return. - Zackary Kephart

#18
The Chicks, "Sleep at Night"

Dynamic, clever, and well-structured, evoking equal parts regret, sadness, and anger with a remarkable performance from Natalie Maines. A standout from an album with strong high points. - MM

#17
Carly Pearce, "Netx Girl"

I’m not as enamored with this as most other critics – if anything, I prefer “I Hope You’re Happy Now” and other cuts off her self-titled album - but I do appreciate the fresh direction Carly Pearce takes here. The presentation is organic and solid, the groove is prominent, and it’s as good of a kiss-off track as we got this year, warning that next girl to not make the same mistakes she did. I’m looking forward to hearing where Pearce takes this sound in 2021. - ZK

#16
Jon Pardi, "Ain't Always the Cowboy"

Heresy as it is to say, Jon Pardi has been inconsistent for awhile now, at least, to me. This isn’t the case, though, and beyond the clever George Strait nod and tones I like hearing in a country song, there’s a maturity to the breakup sentiment, where Pardi almost sounds jubilant in getting to buck the titular stereotype. Good stuff; I’m happy (and genuinely shocked) it actually became a hit. - ZK

#15
Kelsea Ballerini, "hole in the bottle"

For anyone who’s read our “worst singles” list, I should offer a clarification: there’s nothing wrong with good-time party music, and sometimes the escapism it offers is the first step to finding genuine happiness. The worst examples of those types of singles this year were just dour and dumb. This, on the other hand, flips the script a bit. Kelsea Ballerini is reveling in her misery by framing it with a self-aware wit, where she’ll only take things far enough to have some lighthearted fun and nothing more. I wish the ballerini version had become the hit, but for just a small moment in time this year, there was an actual country song that was infectious and smart. - ZK

#14
Miranda Lambert, "Bluebird"

All of Lambert's best qualities on display. Quirky and accessible, clever writing and a memorable hook. Full of charm and charisma with a production that balances innovation with rootsiness. Well deserving of its hit status. - MM

#13
Ashley McBryde, "Martha Divine"

Impeccable storytelling with a roaring chorus and performance. Highly impressive effort from an artist who so effectively balances sonic elements with intricate and compelling writing. Emblematic of all McBryde's greatest artistic strengths. - MM

#12
Maren Morris, "To Hell & Back"

Between her involvement with the Highwomen project and this single, I’m starting to come around on Maren Morris, though I’m still going to temper those expectations. At any rate, “To Hell & Back” is her best single yet, so of course it’s one that hasn’t moved the needle at country radio. *Sigh* But beyond the organic groove bolstering the sentiment, there’s something to appreciate in a love story that doesn’t try to overdo it. This couple has accepted each other for who they are, for better or worse, and considering the writing plays with a bit of a Gothic tinge, it was another single that should have been so much bigger than it was. - ZK

#11
Luke Combs feat. Eric Church, "Does to Me"

By far Luke Combs' finest effort to-date. Highly detailed while remaining universal, and rooted in sentiments that, to some extent, ring true for everyone. A big production scheme that never feels bombastic with a performance from Combs that ties things all together. Church adds a nice dose of wisdom in the bridge. Superb track. - MM

#10
Zac Brown Band, "Leaving Love Behind"

Zac Brown Band's The Owl was an atrocious effort, with "Leaving Love Behind" serving as an easy standout. It finds them in top form, with a moving lyric, a sparse piano production, and a compelling performance from Brown. A mature, thoughtful effort that finds them at the height of their abilities. - MM

#9
Runaway June, "We Were Rich"

Either version is great, and though it’s another case of a country radio single that is far from a hit here, this year specifically, it should have been. The sentiment of realizing you have it so much better than others even when you don’t have much resonated so much more this year than it did upon its initial release in 2019, and while no member of the band – past or present – wrote this, they perform it like they did. Best of all, though, it’s a reminder that, while poverty is an inescapable reality for some, it need not define who they are. - ZK

#8
Miranda Lambert, "Settling Down"

A remarkable balance of hope, contemplation, and melancholy that finds Lambert in peak form as a performer. An exellent hook and a melodic structure that begs for repeat listens. Lambert's best single in years, which says something for an artist of her consistency and excellence. - MM

#7
Taylor Swift, "betty"

In my view the most impressive single of the year. Well-structured and with excellent character and perspective development, "betty" showcases Swift's knack for storytelling and evocation in a way that puts her well above her peers. The harmonicas and acoustic backdrop make for an irresistable record. Just so, so good and is perhaps Swift's best ever country release. - MM

#6
Mickey Guyton, "Black Like Me"

Arguably the most important song of 2020 – a call for empathy from white listeners to understand the struggles Mickey Guyton – as well as others in the black community – struggle with daily. The specific proof for Guyton is evident in country radio’s chilly reception toward her thus far, but there’s also the struggles we don’t – and haven’t – seen that define this recording. It’s easy to say a recording resonated even more strongly in a given year, but in 2020, this absolutely did. It’s not the point where anyone should have jumped on the Guyton bandwagon, but hey, better late than never. Let’s keep it going. - ZK

#5
Eric Church, "Stick That In Your Country Song"

Whereas Eric Church’s Desperate Man album era found him at a loss for words for how to navigate the current cultural climate, “Stick That in Your Country Song” is the result of him finding what he wanted – and needed – to say. Granted, the actual message is a bit scattered, but for anyone who saw our “worst of” list, it’s refreshing to hear an artist fed up with songs and artists that say nothing, coming from one who is ready to hold them accountable. It’s Church at his angriest, and we’re all the better for it. - ZK

#4
Ingrid Andress, "The Stranger"

Andress once again shows her vocal and songwriting prowess on "The Stranger". It's an interesting take on a fizzling relationship that feels both polished and earnest. Memorable hook, electric performance, and a lush backdrop makes for another killer record from one of the most promising talents in mainstream country music. - MM

#3
Chris Stapleton, "Starting Over"

Bombastic, no, but tremendous nonetheless. Stapleton dials it down here, but the simplicity works. It's a refreshing, breezy track that hits all the intended notes. Stapleton is in top form and the melody hooks you in instantly. Exellent stuff and a nice welcome back for Stapleton. - MM

#2
Eric Church, "Hell of a View"

Scattered and inconsistent as they were, Eric Church’s run of singles this year was, at the very least, fascinating. It’s ironic, then, that his best single of the year was one of his most straightforward and simplest yet. It’s a fairly standard tale of devotion, but one bolstered by its deeper production balance that offers a surprising amount of ragged punch to the simultaneous joy and anguish of “making it” thus far. It’s a song that sounds weary yet still has the energy left to push on through, and if that wasn’t far too relatable this year, I don’t know what was. - ZK

#1
Mickey Guyton, "What Are You Gonna Tell Her?"

I guess I understand the cold reception this received from country radio in April, given the subject matter and how they’ve generally received Mickey Guyton thus far. I mean, I guess I should say I don’t get it, so much as I’m just not surprised. But now, in the aftermath of the year she had? There’s no excuse. Yet “What Are You Gonna Tell Her” rolls on anyway, a brutally honest blow to any woman who’d dare dream for higher aspirations … because society has failed them time and time again, and you can’t blame someone who gives in to fatigue after maintaining hope for so long. But it’s also a bit more universal in its message of sex and race, not to mention that hard work isn’t necessarily the key driver for success anymore for many, if it ever really was. In an industry where it’s been proven – with data, I might add – that the deck is stacked against female artists and artists of color, especially at country radio, it hits a little too hard, especially when it’s, you know, Mickey Guyton behind the microphone. It’s the best single of the year that wasn’t a radio hit - it never even charted, actually - and that’s proof enough of why we need to try and do better in 2021. - ZK

0 Comments

Worst 20 Singles of 2020

12/10/2020

0 Comments

In a year of tremendous turmoil, music served for many as an escape, as a comfort in times of despair. As we come to the end of 2020, we are able to reflect on the tracks that got us through these hard times. And within the coming days, we will certainly do this.

As is tradition, myself and my good friend Zackary Kephart (of The Musical Divide and Country Universe) count down our least favorite singles of the year. As a broad comment, this year was not so much a horrible one for mainstream country as it was uninspiring. New artists come out of the woodwork with generic word salads while the usual culprits remain in standard form. There will be ample celebration of the highlights, but for now, here are the 20 worst radio singles of the year that was 2020.

#20
Little Big Town, "Wine, Beer, Whiskey"

As someone who will gladly defend Little Big Town’s Nightfall album, this is the most disappointing entry, for me. Beyond just being a clunky, sloppily mixed single where Jimi Westbrook’s performance is beyond over-the-top, it’s a sour drinking song that was only released as a summer single to try and salvage the band’s momentum in an otherwise tough time. In other words, Capitol Nashville has no idea to market them anymore, and the sooner the band escapes into the night, the better we’ll all be for it - especially when, again, Nightfall houses some of their best work; this just ain’t it. - Zackary Kephart

#19
Kelsea Ballerini, "hole in the bottle"

I do think that Kelsea Ballerini has made strides artistically since the "Dibs" days, but I do not think that is represented by this track. I think the production grates and the melody feels jarring, and I don't think it suits her somewhat limited vocal range. It just doesn't have much to say and what it does, it doesn't do well. - Markus Meyer

#18
Dylan Scott, "Nobody"

I'm not convinced that Dylan Scott has ever had an original thought. I'm not sure what the point of this is. I'm not sure what the point of any of his singles are. He's a perfectly capable vocalists that exaggerates for no reason, and does so on top of production and songwriting copy-pasted from every other crappy top 20 hit from a white guy with a silly haircut. I just don't see any appeal. - MM

#17
Jason Aldean, "Got What I Got"

To be frank, Jason Aldean just does not have the skillset to pull this off. He's too inherently mad to do slowed down, sexy songs. Sometimes his anger works! It just doesn't here, and it's incredibly awkward to listen to. The production feels a little clunky and it makes for a weird listen that gets worse with time. - MM

#16
Robert Counts, "What Do I Know"

You don’t know this guy, and given how there are only around 4,593 new, generic male artists that enter the fray every year, I can’t say I blame you. The production and performance leans into Jason Aldean’s worst tendencies of being a dark, overly serious, angry song, where the sentiment just feels misplaced all around. It’s macho posturing at its worst, and while this type of attitude is, unfortunately, a prevalent philosophy for certain country fans, it doesn’t represent the genre at its absolute best, thankfully. What do I know? I know this sucks. - ZK

#15
Dustin Lynch, "Momma's House"

I'm sorry but what is there left to say about this guy. He's completely content just phoning it in, even though I'm not convinced anyone cares about his music anymore. This isn't actually one of his more offensive lyrics but he ruins it with his siganture slathering of autotune and production that sounds like a computer breaking down. Obligatory reference to "Cowboys and Angels" and what a letdown he's been since. - MM

#14
Easton Corbin, "Turn Up"

Remember when, in 2015, Easton Corbin released a dated bro-country project in About to Get Real? Well, he’s basically doing the same thing again in 2020 with “Turn Up,” and this time around, it’s like a living incarnation of that Steve Buscemi “how do you do, fellow kids?” meme. “Let’s turn up and get lit like the kids do, my fellow lady friend!” - ZK

#13
Lee Brice, "One of Them Girls"

I'm usually a big defender of Lee Brice. I think he's one of the good guys and unlike many of his peers, he has some legit vocal talent. It just baffles me how big this was. It's just middle-of-the-road fluff about his girl, who just so happens to apparently be the exact same as eveyr other girl described on country radio. It's completely unmemorable in every way. Bud light labels and hometowns and parties. Good one! Waste of talent. - MM

#12
Florida Georgia Line, "Long Live"

Whew … I mean, Cledus T. Judd and Weird Al couldn’t have written a better Florida Georgia Line parody, I tell you. Wait, you’re telling me this is an actual Florida Georgia Line single? Oh, my. In all seriousness, what analysis must one offer to explain why their sixty-millionth song in this bro-country vein is bad? It just speaks for itself sometimes. - ZK

#11
Parmalee feat. Blanco Brown, "Just the Way"

Songwriting by committee, almost literally. There’s no chemistry here between the two acts desperately yearning for relevancy on this tired, predictable schlock, derivative of the worst traits “boyfriend country” has had to offer so far. Also, my fellow dudes, we really need to retire the whole “God made this woman just for me” trope – it’s not nearly as endearing as you think it is, coming from, again, a fellow dude. Why is this even a duet? Are they really sharing the same woman? - ZK

#10
Sam Hunt, "Hard to Forget"

Believe it or not, I don’t dislike Sam Hunt’s music solely for its lack of a “country” sound – it’s just bad, no matter how you cut it. The Webb Pierce sample isn’t innovative, though it gives Sam Hunt one of the few decent melodies he’s ever had. But the song is just a mess, from the brighter, chipper tones – bolstered by a sing-a-long toward the end, no less - that contradict the otherwise dour theme, to the mix of chintzy-sounding drum machines and guitars that clash with the fiddle and dobro. It isn’t nearly the worst song off Southside, or even Hunt’s worst single. But it’s his most bizarre, and it absolutely deserves its place here. - ZK

#9
Dan + Shay, "I Should Probably Go to Bed"

The schtick is old. "Tequila" was really good and everything since has sounded identical. There is zero substantive difference between this and "Speechless" and "All to Myself" and "10,000 Hours". Find something new to talk about! They have immense vocal talent but you can only do the exact same song so many times. Beyond boring and unoriginal, to the point where it's infuriating. It's also 0% country, but that ship sailed long ago. - MM

#8
Keith Urban, "God Whispered Your Name"

I’m copying and pasting my blurb from “Just The Way” to reiterate to my fellow dudes that, y’all, God isn’t cranking out women in Heaven’s factory for us. Otherwise, this has to be the most painfully boring entry on this list, hampered by a lack of real groove or melody and only made worse by Keith Urban’s twee, saccharine delivery. It’s the embodiment of boyfriend country at its absolute worst, which, at that level, is basically a NyQuil replacement. - ZK

#7
Luke Bryan, "One Margarita"

To some extent, you have to commend Luke Bryan for not even trying to hide it. He knows he'll make millions off stuff like this and he just keeps cranking it out. A blatant grift with diminishing returns. It's annoying as all hell, is not fun to listen to, and isn't saying anything Bryan hasn't done 1000 times already. Sad but not surprising, and for my money the worst thing released in 2020. - MM

#6
Kane Brown, "Cool Again"

Just so grating and a poor represenation of Brown's abilities. Same old same old. He misses loving this girl in the summer. Cheap pop production. No one will remember this in two years. Not much more to say that hasn't been repeated throughout these entries because they're all the exact same. Rather pointless. - MM

#5
Darius Rucker, "Beers and Sunshine"

Here’s the thing – most of these are bad singles by equally bad artists. Darius Rucker, though? He’s got a great voice, and while his material has always been more inconsistent than I’d prefer, it’s never been as bad as “Beers & Sunshine.” Beyond that God-awful hook that Blake Shelton already proved wasn’t all that funny more than a decade ago, it’s another summer single with some of the most dour, contradicting production I’ve heard all year. Even Rucker doesn’t sound like he cares, like this was just an attempt at releasing a vapid ode to escapism during the pandemic. A sad case, indeed, and “B.S.” of another variety. - ZK

#4
Cole Swindell, "Single Saturday Night"

Cole Swindell has the occasional good track but man, when he's bad he is bad. His vocal talent is already so limited and it really stands out here. Not even remotely catchy and the production is laughably bad and sloppy. From an artist who is usually mediocre, this is a truly awful and anger-inducing effort. - MM

#3
Niko Moon, "Good Time"

I don't really know who Niko Moon is and I do not care to find anything else out. He appears to have no actual ability and it sounds like a parody song. If you can't tell, it's about having a good time, so it's a pretty creative track. I expect we won't be hearing from him again when he's replaced by generic white bro #4632 next week, but my goodness this is just embarrassing. Hopefully if we ignore it'll just go away. - MM

#2
Walker Hayes, "Trash My Heart"

This has to be Walker Hayes’ last bid for radio airplay, and if so, good riddance. I will not miss your half-assed, half-spoken delivery devoid of any charisma, your word choice that, like Easton Corbin, often embodies that aforementioned Steve Buscemi meme, or your God-awful, clunky-as-Hell production. He constantly echos the word “trash” throughout this song, and if that doesn’t speak for itself, I don’t know what does. - ZK

#1
Florida Georgia Line, "I Love My Country"

I’ll be blunt, if my blurbs for these scream as half-assed, it’s because I just did not have the energy for most mainstream country singles this year – the ones that were hits, at least. It’s a genre that prides itself on speaking to real life problems, but this year, all country radio had to offer was either boring-as-fuck boyfriend country, which we’ve discussed here already, or bro-country revivals aimed at taking attention away from the global pandemic.

Look, I don’t begrudge anyone who needed more than a bit of escapism this year. But there were way better options than this, from singles that didn’t become chart hits to quite a bit of music found beyond one’s radio dial. Another way of saying that, to me, nothing this year quite spoke to that disconnect than Florida Georgia Line’s “I Love My Country.” Most people noticed it ripped off Kane Brown’s “Short Skirt Weather”; my mind immediately thought of Chris Young’s “Raised on Country.” Either way, you’ve heard this song from this duo before, a tepid attempt at recapturing any former glory they once had. “Cruise” forever defines their legacy, and, as far as the music goes, proves that they haven’t able to be much more than frat-bros partying it up with not a care in the world, at least, you know, in song. Moreover, “I Love My Country” is another shot for them to denounce their critics through their feigned “authenticity,” and speaking as one, I just didn’t care. I collectively found most mainstream singles disappointing and boring this year; this was just bad. - ZK

0 Comments

5 Second Single Reviews: April 2020

4/10/2020

0 Comments

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

0 Comments

Top 20 Singles of 2019

12/16/2019

0 Comments

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

0 Comments

Worst 20 Singles of 2019

12/14/2019

0 Comments

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

0 Comments

5 Second Single Reviews (December 2019)

12/9/2019

0 Comments

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

0 Comments

<<Previous

Top 20 Albums of 2021

Top 20 Singles of 2021

Worst 20 Singles of 2021

Mega Singles Roundup (Dan + Shay, Lainey Wilson, and More): August 2021

Top 20 Singles of 2020

Worst 20 Singles of 2020

5 Second Single Reviews: April 2020

Top 20 Singles of 2019

Worst 20 Singles of 2019

5 Second Single Reviews (December 2019)

Like us on Facebook! Also, follow us on Twitter @TICMWeebly!

Writers

Contributors

Categories

Archives

Like us on Facebook! Also, follow us on Twitter @TICMWeebly!Writers

Contributors

Categories

Archives

Like us on Facebook! Also, follow us on Twitter @TICMWeebly!

Writers