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. 
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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. 
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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. 
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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. 
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#11
​The Comeback
​Zac Brown Band

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. 
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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. 
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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. 
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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. 
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#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. 
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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. 

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!