Emily Scott Robinson came onto my radar in 2019 with her sophomore project, Travelling Mercies. The attention it got was well-earned -- it demonstrated an attention to detail in songwriting and storytelling that few can match, painting vivid pictures that tap into a deep sense of emotion. Tracks like "Run" and "Delta Line" showed a knack for painting compelling settings and characters, and backed by organic, folksy arrangements and sharp vocals, the project was near-perfect in its execution. 

With this critical breakthrough in mind, the bar was set almost unfairly high for her recent follow-up, American Siren. No one could blame Robinson If the writing was a little bit less thought-provoking, or the production less nuanced, or the performances not as powerful. In fact, heading into this album, I anticipated regression, by virtue of her previous record being simply too good to top. What was stunning, then, was that American Siren did not settle for even recreating the magic of its predecessor, but rather built on its strengths to make for an even more compelling, creative, and interesting project. 

Robinson's artistic foundation remains steady. As a performer, she remains vulnerable and in outstanding technical form. The melodies are engaging and memorable, and the hooks are well-constructed. Everything that made Travelling Mercies special is in tact on American Siren. It would be easy enough to stop there, claim your spot on year-end lists, and call it a day. 

She didn't, of course.

The thematic arc of the project is built around religious institutions, and how religious expectations led to shame, resentment, and guilt. No where is this theme so evident -- or as well done -- as on "Let 'Em Burn", a stunning effort about breaking free from the restrictions placed upon her. Robinson's restrained performance adds another layer to the track, feeling wholly earnest without going overboard. "Lost Woman's Prayer" and "Every Day in Faith" tackle these themes with a similar angst and complexity, building characters and storylines while still feeling interconnected with Robinson's own experiences. 

She veers off into other deeply human stories of love and loss. "Lightning In a Bottle" -- perhaps the album;'s best moment -- is a gorgeous account of young love, flowing with gratitude and recognition. It's deeply detailed in its construction and feels both whimsical and raw. "Hometown Hero", a powerful ode to a solider's struggles with PTSD and suicide, showcases Robinson's ability to construct not just narratives, but characters that feel real, relatable, and engaging. 

And therein lies the genius of ESR and American Siren. It is not only a masterclass in storytelling, but showcases a vulnerability and an authenticity lacking across so much of the country music sphere. Few can engage in one of these two realms in any meaningful capacity -- to blend the personal with the fictional so eloquently speaks to her strengths as a wordsmith. 

Sonically, Robinson transcends beyond the acoustic-folk base of her past work, putting in a stunning performance on the piano-driven "Let 'Em Burn" and a charming energy on the bluegrass-tinged "Old North State". The textures feel richer, blending the light acoustic sound she's familiar alongside thicker productions and bigger melodies. Indeed, this growth is the theme of the whole project. An incredible foundation amplified by meaningful risk-taking. 

If there's a weak point on the album, it's "Cheap Seats", a decently endearing track about coming up as a performer that could work if not for the jarring melodic shifts in the chorus. Even then, as far as worst tracks go -- it's not that bad!

American Siren is a remarkable album, showing both a recognition of strengths and a distinct sense of artistic growth. With it, Emily Scott Robinson affirms herself as one of the genre's premier songwriters and an immense musical talent in all facets. What's amazing is that it feels like she's just getting started.

Score: 9.5/10

Top Tracks: "Let 'Em Burn", "Hometown Hero", "Lightning In a Bottle"

To be frank, 2021 hasn't been my favourite year of all time for country-adjacent albums. Few albums have blown me away in general, and projects from some of my favourite acts haven't quite lived up to the hype (see: Jackson, Alan; Church, Eric; Musgraves, Kacey.) With that said, there's still been plenty of music worth listening to, and as we enter the last quarter of the year, I thought it was worth looking at what some of my favourites have been. A caveat with this list is that it doesn't include any side projects -- so as much as I like American Aquarium's covers album or Daytrotter Sessions, or Taylor Swift's Fearless remake, they aren't featured here. The last three months of the year feature some names I'm quite looking forward to (Emily Scott Robinson, Dalton Domino, Cody Jinks, among others), and so my final list may yet look quite different. But just for fun. here's what I've enjoyed so far in 2021. (Note that these are presented in no particular order.)

The Horses and the Hounds by James McMurtry

A well-written, well-constructed group of songs backed by an accessible folk-rock production. McMurtry is in fine form as an interpreter and as a storyteller, adding grit to interesting and detailed songwriting. His first in a while and a welcome return. 

Vivian Leva & Riley Calcagno by Vivian Leva and Riley Calcagno

This self-titled project is a gorgeous set of songs, with delightful, folksy arrangements all throughout. The vocalists play well off each other, and the melodies keep you hooked for the whole project. A beautiful listen.  

The Ballad of Dood and Juanita by Sturgill Simpson

As always, Simpson has made an interesting, somewhat off-the-wall concept album detailing the lives of his grandparents. As a listen, it's fulsome, well-executed, and sounds great. I'm not sure there's one standout track, but as a piece of work, it hits all the right notes in terms of cohesiveness, production, and vocals (where Sturgill is in fine form.) A compelling and worthy listen. 

Music City USA by Charley Crockett

Quickly becoming one of my favourite artists in the alt-country scene, Crockett has delivered another rock solid, innovative piece of work. On Music City USA, Crockett delivers well-written tracks with a distinct presence and vocal style behind the mic. Bringing a modern flare to old school country, Music City USA is a breezy and interesting project.

Heart by Eric Church

Where Soul felt like he was overthinking things, Heart feels more like what we've come to expect from Church. He sounds alive and comfortable behind the tight, rock-based arrangements, and shows thoughtful storytelling on tracks like "Russian Roulette" and "Crazyland". Maybe not his best album, but certainly worthy to stand alongside other gems in his catalogue. 

Outside Child by Allison Russell

Russell proves herself to be a powerhouse vocalist on Outside Child, where the sheer force of her talent makes this a winner. She does somber just as well as she does breezy; it's a dynamic, interesting album that feels both experimental and cohesive. An outstanding talent behind some great songs and production. 

Postcard by Luke Burkhardt

Postcard introduces Burkhardt as an impressive neotraditional talent, boasting an impressive presence that mixes well with a wholly listenable production backdrop. The hooks are strong, the melodies stick with you, and Burkhardt is a strong technical performer. A wonderful start. 

Things To Come by Jeremy Parsons

I hadn't heard of Parsons before this, but Things To Come is a delightful listen. The production remains restrained while still feeling fulsome, and it allows the songwriting to stay at the forefront. Parsons isn't a perfect vocalist technically, but performs the songs with earnest. It's a tight, well-written album that is both uptempo and easy to listen to, while retaining a strong emotional core. 

Hello everyone and welcome to This Is Country Music's first ever year end album chart! There have been a lot of great albums released in 2015, and while we didn't get to cover them ALL, we still definitely had our favorites. I wanted to first list off some honorable mentions that came close to making the list.

Dwight Yoakam- Second Hand Heart
Tyler Farr- Suffer In Peace
Ryan Bingham- Fear and Saturday Night
Christian Lopez Band- Onward
Will Hoge- Small Town Dreams

And now onto the Top 20!

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#20 
Dean Brody, Gypsy Road

Gypsy Road won't blow you away, but what it does do, is further establish Brody as Canada's prized jewel. It is remarkably consistent, cleverly written, well written, accessible, and most importantly, it's country. While Gypsy Road may not be his best work, it is yet another extremely well done album from Brody. - Markus Meyer

#9
​Alan Jackson, Angels and Alcohol

Alan Jackson continues to prove why he's one of the best in the business with Angels and Alcohol. He does tender ballads ("When God Paints") better than just about anyone, while also kicking ass on the uptempo numbers ("Jim and Jack and Hank"). There's almost nobody that does country music better, and this record is just another example of that. - MM

#8
​Maddie and Tae, Start Here

On Start Here, Maddie & Tae show everyone how mainstream country should sound. With a perfect blend of pop and country, they sound like a throwback to the pop-country stylings of the early 2000's, which is very much a compliment. Clever lyrical stylings and pleasant vocals add another layer of excellence to what is one of the best debut projects in recent memory, and hopefully just the first step in a very lengthy career for Maddie & Tae. - MM

#5
​ Eric Church, Mr. Misunderstood

This, ladies and gentlemen, is a country-rock album. With enough of a Mellencamp-esque edge to blend genres and enough country to keep it grounded within it's boundaries, Mr. Misunderstood is an absolutely fantastic album. From the subdued "Record Year" to the romping nature of "Knives of New Orleans", Eric Church continues to be one of country music's most diverse and most entertaining artists. Brilliant stuff. - MM

#4
​Chris Stapleton, Traveller

What is there left to say that hasn't already been said? Traveller is simply a great country album top to bottom. While it's Stapleton's vocals steal the show, one can't overlook the top-notch songwriting, as well as the superb melodies and arrangements. A very worthy CMA album of the year winner in my books. - MM

#1
​ Jason Isbell, Something More Than Free

When listening to Something More Than Free, you can't compare it to Southeastern, as tough as it may be. It was a brilliant album that would be tough, if not impossible to top for any artist. So now that that's out of the way, Something is, on it's own merits, absolutely fantastic. Its subtle, intricate songwriting makes for a captivating and fully satisfying listen, while Isbell wraps his intense vocals around each syllable. From the working man's anthem title track, to the hooky "Life You Chose", to the likely autobiographical "To a Band That I Loved", each track is handled with such delicacy and care. He may never top Southeastern, but this one comes pretty damn close, and is certainly worthy of the top spot on TICM's first ever albums countdown. - MM

Grading Kip Moore's sophomore effort is no simple task. As much as one may want to sing it's praises for being  a superb piece of music, it still undeniably leans more towards rock than country, and while it still has more relevance to the roots of the genre than say, Sam Hunt's Montevallo, it's still hard to look past the fact that Wild Ones is largely not a country album. 

However, that does not mean that Wild Ones is a bad album, because it most certainly is not. The melodic nuances are evident, the production sizzles with it's soaring guitars and atmospheric arrangements, and the technical songwriting is unquestionably well done. It's raw, textured, unfiltered, and in that respect, Moore's follow up to 2012's Up All Night is one that is more "country" than the majority of it's peers. Is it a rock album? Maybe, but it's also a damn good one.

The album opens with the title-track, a big anthem built around a down-to-earth production and a huge chorus that sounds like a potential radio hit, and is followed up with the jaunty "Come and Get It", driven by it's bouncy guitars and frivolous melody. Other moments of lighthearted lyricism include the infectious "What Ya Got on Tonight", and the mid-tempo about appreciating the smaller aspects of life, "That's Alright With Me". None of these moments work better than "Magic", which thumps along brilliantly in the vein of past album cuts such as "Crazy One More Time" before hitting a big, anthemic chorus.

It's on the more meaningful cuts where Moore shines, however. "Complicated" paints the intricacies of love, declaring that it's complications are what make it such a beautiful thing, Top-20 single "I'm to Blame" and "That Was Us" are well-done "outlaw" tracks, while "Comeback Kid" is a stripped-down, piano-driven arena ballad that touches into a more meaningful side of Moore that isn't as frequently on display. "Girl Of the Summer", a song about lost summer love, vividly portrays the melancholic emotions of the narrator, backed up by raging guitars and an infectious melody.

The albums two shining moments are painted with two very different artistic brushes: "Lipstick" and (new single) "Running For You". The former is fairly list format in it's writing, but ultimately excels with it's big guitars and hooky chorus, while never dipping it's feet into bombast. The latter touches on a more personal, emotional area similar to that of past hit "Hey Pretty Girl", with it's superb songwriting, formidable vocal performance and restrained, though effective production. 

Where Wild Ones falls short on the lyrical spectrum, it makes up for in top-level production, melodies and vocals. It feels like music from the heart, from the forceful performances to the unfiltered production, Wild Ones is an album that works, and works extremely well. As a country album, there are aspects unquestionably lacking from the project, thus, the lower grade, but taken as an all-genre piece of music, it hits a lot of the right marks, and ultimately succeeds in portraying Kip Moore's artistic identity.

Top Tracks: "Lipstick", "Complicated", "Running For You", "Comeback Kid"

By Markus Meyer
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​It’s been four years since Montgomery Gentry released their last album, 2011’s Rebels On The Run, and now they’re back with their latest effort titled, Folks Like Us, a nod to their style of singing blue-collar lifestyle songs. So how does this album stack up?

Well, overall pretty good! They open the album up with “We Were Here”, a song that reminds me of Jason Aldean’s “Tattoos On This Town”. The two reminisce their small town and how they at one time were the kings of it. Some may find the track to be a bit cliche, however i do appreciate the sentiment that they are reflecting on their good times instead of pretending like they’re still living in it. Up next is the lead single, “Headlights”. I always thought this track was very weak and really just here to try and score MG a hit. The rock-country feel makes the song a bit better but it is still lyrically light. The small town theme continues on “In A Small Town”, a tale of a man who leaves a small town and ultimately regrets it.The duo, vocally, still sound as good as ever. Unfortunately, much like they did with “Headlights”, the duo go back to chasing trends, and the result isn’t pretty. “Back On A Dirt Road” finds the duo in an awkward position, singing about a party……on a dirt road, which we’ve heard millions of times before. Chris Robertson adds vocals here, and I really don’t understand why. There is nothing about this song that truly warrants an added vocalist. “Two Old Friends” tells of two old friends who meet up after a long while an catch up on old times. They feel like no time has passed since they last saw each other. The song is obviously about the duo and is a nice sentiment to how long they’ve been together. The title track follows, which is a song that pays tribute to the blue-collar fans that the duo makes music for. It’s not half bad, but they have sang the same type of song better before. Next up is “Pain” which is one of my favorites on the album and there’s a good reason why, it was written by the great Chris Stapleton. Eddie Montgomery delivers his best vocal performance on the album here. “Hillbilly Hippies” unfortunately messes up the album with its talking of partying……again. This time, they’re hippies! There is nothing that stands out about this track and makes it one of the weakest on the album. Thankfully, the best song on the album follows up to this song. “Better For It” finds Troy Gentry talking about past events in his life that impacted him like raising hell in his youth. He now has a woman who loves him and realizes that now that he is a changed man, he’s better for it. The track is laced with a steel guitar making it a winner in all areas in my book.  The final track, “That’s Just Living” talks about how sometimes we can get a little reckless, but hey its just living. You live and you learn. This song is signature Montgomery Gentry and is a great way to close the album.

Overall, a few mishaps turn this record into a good one instead of a truly great one. However, this record does have some awesome tracks that shouldn’t be overlooked. I will say that this album is definitely not different from their past work and will satisfy anyone who has been looking forward to new Montgomery Gentry music.
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Essential Tracks: “Better For It”, “That’s Just Living”, “Two Old Friends”

​It’s only May, and already we have two of the best country albums released into the palm of our hands. One of those albums was Chris Stapleton’s Traveller. The other is an album that I’ve been excited to talk about ever since I first heard it. Whitey Morgan and The 78’s latest effort, titled Sonic Ranch, is a journey of the truth, regrets, consequences, and essentially no redemption. The opening track amptly titled “Me and The Whiskey” is the perfect song to start off the album as it sets up a common theme of this album that looms over the entire project – the regret of certain choices which lead to bitter consequences. Upon first listen, it may seem that “Waitin’ Round To Die” is a Whitey orginial, however it is not. It is a Townes Van Zandt classic that tells of a man who was dealt a bad hand in life from the start and how it affects his choices in life. Whitey’s delivery, along with the stellar production makes it my favorite song on the album. The unique gift that Whitey has is that he is able to essentially turn any song into his own. This claim is once again evident on tracks such as “Still Drunk, Still Crazy, Still Blue” (originally recorded by Scott H. Biram) and “Goin’ Down Rocking” (originally recorded by Waylon Jennings). As awesome as the covers are, its the Whitey orginials that truly showcase his talent. For example, on the very stripped back, “Good Timin’ Man”, Whitey tells the listener how the life of the road has treated him hard and how he has to deal with it to play show after show and captivate an audience. The theme of the song is sung from the point of view of a singer, however the theme is widely relatable. All humans have masked their troubles in order to push through life. This is another honest song that has a truly great message. Now, not all of the tracks are meant to bring the listener down. Whitey is able to shed a small bit of humor on a song like “Ain’t Gonna Take It Anymore”, a tale of man who is fed up with his woman’s complaining and decides to take a trip down to the bar to forget about it. While there, the man attempts to pick up another lady, only to realize that she already has a man (who promptly tells him to head back home). Its a tale of self-deprecating humor that shows that we should never bite the hand that feeds us. The album’s closer “That’s How I Got To Memphis” is another essential highlight. This song tells of a man who travels to Memphis in order to search for a woman he loves, only to find out that she left. Whitey began with heartache and chooses to end with it as well.

Overall, the tunes on this album may be a bit maudlin for some, however I believe that Whitey is simply telling the truth in his music. The production throughout this album is flawless and Whitey’s vocals cut straight to the listener’s ear on every track. If you’re looking for a straightforward, real country album, then look no forward than Whitey Morgan’s “Sonic Ranch”. It will be well worth your time.
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Essential Tracks: “Me and The Whiskey”, “Waitin’ Round To Die”, “Still Drunk, Still Crazy, Still Blue”, “Good Timin’ Man”, “Ain’t Gonna Take It Anymore”, “That’s How I Got To Memphis”

​Hey there folks! My name is Zack. I wanted to review something that I was very passionate about for my first review and so today I’m here to talk about the newest EP from Jon Pardi, a mainstream artist who truly straddles the line between commercial appeal as well as critical acclaim.

Much like his excellent 2014 debut album, “Write You A Song”, did with “What I Can’t Put Down”, “The B-Sides” chooses to open up with a song about regret and how Pardi has to pay for it. “Fightin’ The Fool” is one of the standouts of the record, as it is ridicuolusy catchy, while at the same time sporting a well written song with some very country instrumentation. “Over My Head” continues along with a bluesy swagger accompanying the track. In this song, Pardi talks about a woman who’s hard to read, yet he knows that whatever her command, he’ll be under her spell. “Drinkin’ With Me” is the spot on the EP where Pardi lets the fun rip. Its a really fun,country song that shouldn’t be overlooked just because its not as lyrically strong as the other songs. The fun continues on “Back On The Backroads”. This is a song that some might argue is a “bro-country” song, however I’d have to disagree. The song is meant to be fun, and has plenty of fiddle and steel guitar to remind the listener that Pardi wants to be different from his male counterparts. After two songs of regret, and two songs of fun, we finally reach the last two – the sad songs. “Rainy Night Song” talks of Pardi wishing that he had his lover to enjoy the rainy night with him, as he used to protect her from the storm. Its a quieter moment on the EP that is a welcome change of pace. The final track, “Borrowed Time”, is arguably the best track of the 6. In here, Pardi talks about how we shouldn’t take life for granted and to appreciate all we have because, after all, we’re all just down here living on borrowed time. While the theme of the song itself is a highlight, the song also exhibits Pardi’s vocals very strongly, a strength that was seemingly absent from his debut.

Overall, what sets Jon Pardi apart from the rest of his peers is his use of strong country instrumentation and the fact that he knows who he is and is trying to make the music he believes in. “The B-Sides” is definitely a nice thing to have while waiting for Jon’s second album.

Standout Tracks: “Fightin’ The Fool”, “Over My Head”, “Rainy Night Song”, “Borrowed Time”

Dallas Smith has had a fair bit of success in Canada, recording rock edged melodic tunes, so it only makes sense he'd go over to America eventually. When it was announced he will, I was excited. Than I heard his lead single "Tippin' Point" and I wasn't. Thankfully, it's far and away the weakest song on the EP. 

It kicks off with a feel good jam titled "Slow Rollin'", which feels like rock-edged vintage Keith Urban to my ears. It sounds very good indeed. Next up is the earnest but uptempo "This Town Ain't a Town". 

My personal favorite is track 4, "A Girl Like You", a charming and genuine tune with the narrator introducing himself to a new woman. "Wrong About That" has a few borderline cringe-worthy lines, but it's relatively solid. It finishes off with a stripped down live version of Canadian smash "Jumped Right In".

It's nothing lyrically outstanding, but it does give me hope that Dallas Smith can not only be a star outside of Canada, but also release good music while doing so.

Top Tracks: "This Town Ain't a Town", "A Girl Like You"

Over the past couple years, we've had no shortage of new male acts burst on to the scene. And while the results haven't always been great, or even good for that matter, each of these acts have something unique about them. Brett Eldredge? Killer baritone. Tyler Farr? Textured vocals. Thomas Rhett? Endless charisma. Then you get to Cole Swindell. And before I start, let me say that I like "Chillin' It". I'm kind of burnt out on it right now, but I think it's a catchy, laid-back, solid summer tune. That said, there is nothing, I repeat, NOTHING that stands out about this album. Is it awful? No. There are only a couple real cringe-worthy moments here, but overall it is just an insanely dull and boring album. From the melodies, to the production, to the vocals, to the production, to the lyrics. It is painfully generic.

But among the sea of sound-a-likes, are two gems. Those two are second single "Hope You Get Lonely Tonight" and "A Dozen Roses and a Six-Pack". The former is a request for the narrator's girl to come over and "hang out" if she gets lonely. The latter is about a man who tries to win his girl back, but is prepared either way claiming "I got a dozen roses if she comes home, and a six-pack if she don't".

Other than those two and aforementioned "Chillin' It", there is nothing here. "Hey Y'all", though better than expected, is simply party-filler and nothing more. The title really tells you all you need to know. "Swayin" is boring and uninspired, and I really want to like "I Just Want You" more than I do, and while sincere, feels somewhat forced and cheesy. "Down Home Boys" is an attempt to honor close friends and acquaintances, but is loaded with cliches. Florida-Georgia Line did it much better with the album cut "People Back Home".

The one absolute dud is "Brought To You By Beer". That song is an absolute piece of crap, and a disaster of a novelty attempt and has no business being recorded, and is really scraping the bottom of the bro barrel.

What doesn't help matters is that there's nothing special about Swindell's voice at all. It's not bad per say, like this album, is generic. That said, he does have some charisma on a lot of these tracks, but that can only elevate them from "bad" to "tolerable".

At best Cole Swindell is a tolerable album that can be used as background noise. At worst it shows that bro-country is alive and well, and still dominant.


Top Tracks: "Chillin' It", "Hope You Get Lonely Tonight", "A Dozen Roses and a Six-Pack"

"Musta Had A Good Time" : I thought this song sucked a year and a half ago, I think it sucks now. Loud, obnoxious, and devoid of any substance. Grade: F


"Day Drinkin" : This should be the template for summer songs. Laid back, relaxed, and catchy. It's damn good. Grade: B+


"Move" : I dig the tempo changes and the banjo. Not exactly earth shattering material but solid overall. 
Grade: B


"Close Your Eyes" : Bro-country without the douchey-ness. Heartfelt vocal, likable production, catchy melody, it works. Grade: B


"Dance" : Solid upbeat tune. Couple of questionable lines here and there but enjoyable on a whole. Grade: B


"Carolina" : Now this is how you execute a country-rock song. Excellent melody, killer production, low burn rate , and Matt Thomas is a strong enough vocalist to carry it. Didn't make my Best of 2013 list for nothing. Grade: A


"Think You Oughta Know That" : For the same reason I enjoyed FGL's "Stay", I enjoy this song. Feels like it comes from somewhere real. Raw emotion. Good stuff. Grade: A-


"Back In The Day" : What carries this one is the killer imagery. It's a rather lame lyrical topic but the little detailed laced within it makes this one a good one. Grade: B


"My Montgomery" : Easily one of Thomas' best performances on the album. Rarely does a vocalist feel this emotionally connected to a song. That alone gives it a strong grade in my book. Everything else is gravy. 
Grade: A


"Already Callin' You Mine" : Charming performance and lyric, paired with a melody that's a catchy as it gets. Thumbs up. Grade: A-


"I'll Bring The Music" : There a couple clever lines here, but it's really just a more tolerable version of "Musta Had A Good Time". Rather dull. Grade: C


"Another Day Gone" : A masterpiece lyrically, vocally, melodically, and production wise. Lyrics full of regret, a performance that bleeds with emotion, and a production/melody combo that helps paint the picture. Absolutely fantastic. Grade: A+