While it seems a little cheap to rely on Taylor Swift to truly seize a comeback hit after "Still The Same" didn't exactly live up to the hype, at least this is a pretty decent song ... even if it has so much going against it. 

The song starts with a loud clapping beat, and considering the acoustic riff that accompanies it isn't all that exciting, it's fair to call the production fairly stale, which is why I didn't really care for "Still The Same." 

Another knock to make is in the writing, mainly because it's a pretty plain kiss-off song that we've heard from Swift before. It's fine I guess, but there's not really a story as to what the ex-lover in question actually did that was so wrong. It seems like I repeat myself with this time and time again, but fleshing out the story always helps to add more meat to a song. 

On top of that, Swift doesn't really contribute a whole lot of anything to the track other than singing "this is the last time" a bunch of times. I think even Kristian Bush got as much time as she did. Plus, the hook is fairly unmemorable, as the lover in question could be "babe," "honey," "bunky," "sugarmuffin," or in this case, likely something far worse. 

With all of these criticisms, I can't understand for the life of me why I don't think this is so bad. Honestly, it just might come down to Nettles herself. While the production is stale, it also stays out of the way to let her work her vocal magic and deliver a dynamite performance, and the chorus is fairly catchy as well even if it's lacking lyrically. 

Overall, "Babe" is an enjoyable, but ultimately lacking song that only fully utilizes one of the three artists involved with this. Still, it works in spite of its flaws, so if you're curious, it's worth a listen. 

Grade: B-
Listen: "Babe"

Author: Zackary Kephart

Roughly one month ago, Bobby Bones made the idiotic claim that artists need to continue feeding us new material continuously to satiate fans instead of taking the time to perfect their art.  

Carrie Underwood on the other hand is one of the few artists willing to debunk that theory, with others including Eric Church and ... wow, that might be it. Say what you will about her music whether you like it or not, but Underwood makes her fans miss her and wonder where she's been. Of course, that's not to say it's totally positive. You can also have media hounds wanting to see pictures of her face after her fall to see what she looks like now instead of how she actually is, but that's in the past. 

I bring up that last part to show how it could have potentially helped frame "Cry Pretty," because instead of a story song this time around, Underwood delivered a shockingly personal, vulnerable tune. 

For the most part (at least at the beginning), this song is mostly restrained, making me wonder about the claims that Underwood went full on Pop or some other asanine statement like that. I mean, a happy Pop-Country balance has always been her cup of tea, but I digress. There's some electric guitar strumming, some faint pedal steel that kicks in a little ways in as well as a drum-like effect that sounds like someone hitting a can. In honesty, it doesn't fit well with the song, and if the first two elements had been what remained, it would have sounded a little better. 

Once the chorus kicks in, it enters a comfortable ballad territory for Underwood, the electric guitars kick it up a notch, with the pedal steel remaining to help carry the more vulnerable nature of the track. With the exception of a well-done guitar solo, this fits comfortably not only in the current Country landscape, but also well within Underwood's discography. 

Because this is a more vulnerable track as well, Underwood mostly handles herself very well vocally. She has a tendency on other songs to start belting, and while that talent is admirable, she shows that she's best when she's quieter and exposed like this. 

Lyrically, we also explore a more defenseless side of Underwood, one where she admits that she's a human who has emotions like the rest of us. You can lie and smile to fake when you're down, but when you're alone crying, that's when the dam breaks, and more importantly, that's alright for everyone to do. 

I do wish the lyrics had a little more meat to them. The message is received, but with only two verses (one of which is considerably short), the song doesn't quite take off the way it should, with the hook ultimately being a tad unmemorable. Even after the first verse, we turn the attention away from Underwood and onto advice for anyone going through these emotions, and again, I just wish it pushed itself a little to explore those emotions on a deeper level. 

Despite that though, in terms of every other area, this is a top-notch single from Underwood, displaying great production and a vocal performance that's excellent. This shouldn't be touted as a "comeback" considering Underwood simply hasn't released music in three years (which isn't THAT long), but hey, if it's ultimately giving more attention to a good song, I'll take it. 

Grade: B+
​Listen: "Cry Pretty"

Author: Zackary Kephart

Kenny Chesney really shouldn't be allowed to speak on the "real" issues, because everytime he does, he ends up saying nothing at all really. 

To be fair, Chesney has proved in the past that he can handle serious material with ease. Songs like "Don't Blink" and "There Goes My Life" are some of the finest Country songs of that decade. However, ever since 2016 or so, Chesney has felt this urge to "say something" with his music, beginning with "Noise" which wanted to tackle our obsession with technology. Instead, in an attempt to prove how we get lost in this metaphorical noise of nothingness, Chesney just made a loud, obnoxious tune that didn't say anything. 

This time around, Chesney still doesn't say anything profound, but at least it sounds nice ... I guess. In the age of identity politics dividing us from one another, Chesney wants to all "get along" on his new single. While he isn't obnoxiously accusatory like he was on "Rich and Miserable," Chesney still fails to really dig at the heart of his message. He presents two verses that offer nothing coherently relevant to his overall point. Verse one presents a man holding a bible and a bottle promoting happiness, but having an optimist attitude isn't going to make all the problems in the world go away. In the other verse, Chesney examines a model and ponders her backstory, but wait, is the point to make better life decisions, or is it about getting along? 

The chorus offers no resolution. It's the same list style that Chesney adopts on all of his more "serious" songs as of late, telling us to learn to dance, call our moms, and oh! Make sure you buy a boat too. That'll solve our grouchiness. Dude, even Chris freakin' Janson can't buy his own boat, so don't be preaching to me about what we need to do to love one another. Maybe my criticism of this track isn't helping the "love" necessarily, but I'm doing just as good of a job as you are. Don't get me wrong, I agree with the sentiment, but again, it presents the usual problem with Chesney's material as of late - it's scattershot. 

At least this time around the instrumental and production mix fits the song in a good way. The gentle, warm acoustics give off a friendly vibe, and the banjo that kicks in during the chorus definitely helps this song's catchiness. Even though Chesney can't make me care from his lyricism or his vocal delivery, this is at least a better part of the track. 

Overall though, it's an ultimate miss for Chesney. I have no problem with Chesney wanting the world to be a better place. As evidenced on this song as well as his latest single with David Lee Murphy however, he offers very little substance to his messages. I can tell you that we're all going to win the lottery tomorrow, but it doesn't mean it's going to happen. 

Grade: D+
Listen: "Get Along"

Author: ​Zackary Kephart