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Top 20 Albums of 2021

12/28/2021

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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. 
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#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. 
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#19
​Postcard
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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. 
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#18
Outside Child
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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. 
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#17
Thrive
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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. 
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#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. 
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#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. 
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#14
Things To Come
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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. 
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#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. 
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#12
29: Written in Stone
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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. 
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#11
​The Comeback
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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. 
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#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. 
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#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. 
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#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. 
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#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. 
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#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. 
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#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. ​
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#4
In These Silent Days
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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. 
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#3
​The Horses and the Hound
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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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#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. 
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#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. 
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Top 20 Singles of 2021

12/16/2021

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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. 

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#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
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#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
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#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
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#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  

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#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
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#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
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#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
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#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
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#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
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#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
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#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
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#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
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#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

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#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
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#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
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#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
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#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
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#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
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#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
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#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
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Worst 20 Singles of 2021

12/16/2021

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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!

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#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
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#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
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#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
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#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 
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#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
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#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

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#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
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#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
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#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
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#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
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#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

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#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
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#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
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#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
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#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 
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#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
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#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

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#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
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#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
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#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

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    Markus Meyer
    A country music fan from B.C., Canada. You can find his work at theshotgunseat.com. You can follow Markus on twitter at @Markus_Meyer27.

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    A country music and Buffalo Sabres fan from Buffalo.

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    A country music fan from Buffalo, New York. 
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