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Top 20 Singles of 2019

12/16/2019

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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!
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#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
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#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
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#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
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#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
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#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
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#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
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#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

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#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
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#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

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#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
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#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
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#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
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#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
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#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
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#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
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#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
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#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

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#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
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#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
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#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
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Worst 20 Singles of 2019

12/14/2019

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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!
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#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
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#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
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#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
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#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

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#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
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#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

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

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#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
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#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

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#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
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#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
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#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

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#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
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#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

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#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
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#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


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#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


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#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
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#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
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#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

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5 Second Single Reviews (December 2019)

12/9/2019

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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
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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- 
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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
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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+
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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
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