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Worst 20 Singles of 2022

12/20/2022

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Another year, another year-end list season. As always, myself (Markus) and my good friend Zack Kephart (of The Musical Divide) have teamed up to bring you our worst singles of the year. I've written about this before, but I think 2022 was a really interesting year on the good end of country music. It was really deep, there was lots of interesting new talent, and some boundary pushing (with mixed results) that made for a super compelling year. On the bad side, though, I think the word that comes to mind for me is cynical.

It's not so much that the year's worst music was egregiously terrible, or altogether unlistenable. Rather, the worst of the year felt oftentimes like a total cash grab and blatant trend chasing. At least with the likes of Luke Bryan and Florida Georgia Line in the worst years of bro-country, they were true believers; they honestly thought that what they were doing was important, that music was about having a good time, and that the critics were just haters. The folks on this year's list, though? Hard to see it as anything other than blatant pandering for commercial gain, leaning into whatever cheap tricks they have to to make a quick buck. And power to them, I suppose. It's a tough industry and they have to make a living. But it also doesn't mean we have to pretend that what's being fed to us is in any way substantive or good. 

Anyways, I think that's the through line of the worst singles of 2022. Not painful to listen to, but disheartening and somewhat pathetic. Without further ado, here are This Is Country Music's worst 20 singles of 2022!

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#20
Priscilla Block, "My Bar"


I liked Priscilla Block's debut single, which was called "Just About Over You" and was a moody, complex post-breakup track where she couldn't outrun an old flame who kept appearing in the same bar she frequented. And I guess I'd like a literal part two of that ... if it didn't trade in the darker production and emotional framing for loud posturing that feels more distanced and less interesting than before. Meh. - Zackary Kephart 
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#19
​Gabby Barrett, "Pick Me Up"

Overly slick and says nothing of real substance. I think Barrett has some level of talent, but the hook here is so grating and, like all her material, the production is amped up well beyond where it needs to be. Generic schlock, mostly. - Markus Meyer
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#18
​Kenny Chesney and Old Dominion, "Beer With My Friends"


Honestly, this just sounds like they're totally half asking it. The only difference between this and the other 5863 Chesney beach songs is Old Dominion is on this, and they add nothing. Production is just wallpaper and it's not even catchy. Aggressively pointless. - MM
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#17
Jason Aldean, "That's What Tequila Does"


There's like, a nugget of a good song here, but like 90% of Aldean singles, the production is jacked up for no reason. Its biggest offence is it sounds like everything he's done since like, 2015. No real details, no real plot, just "I'm sad so I drink". Totally interchangeable and not an original thought to be had. - MM
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#16
Zac Brown Band, "Out In the Middle"


Sad as it is, this is still an improvement for them. But they've recorded plenty of songs with this same southern-rock swell and muscle hundreds of times before, and way better every time, too. This is just your average, "we live in the country and are better than you because of it," pandering schlock that's beneath them. Or at least, once was beneath them. Their latest album was indeed a needed comeback, but this song can forever stay in the woods, for all I care. - ZK
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#15
Lady A, "Summer State of Mind"

Perhaps the most annoying single of the year. Hillary Scott does not sound good, there's a random drum machine loop in the background for some reason, and the songwriting is just juvenile rhymes and half baked metaphors. Truly awful and I wish they would grow up a bit and go back to their Golden material. - MM
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#14
Jordan Davis, "What My World Spins Around"


At its best, it has one of those titles you might think was a long-lost Nashville Sound song from the '60s. At its worst, it's as corny and cloying as many of those tracks were, and, with it being another tepid boyfriend country song that's a chore to both listen to and discuss, with worse production. - ZK
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#13
Old Dominion, "No Hard Feelings"


Man, everything these guys do just grates on me so hard. Every melody they have just beats you over the head. The chorus here feels so offbeat int he same way like, "Hotel Key" did. Throw in an obnoxious snap track and some bizarre whistles and you have what is for me a totally unlistenable track. - MM
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#12
Parmalee, "Girl In Mine"

These guys are the #1 culprit when I talk about shameless cynicism. They know what they're doing -- they're just recreating the success of "Just the Way" over and over again, with completely unoriginal, overly sappy and totally spineless love songs. I have a hard time believing that this former rock band (whose excellent "Carolina" is one of my favorite hits of the last decade, may I add) sincerely believe that this saccharine nonsense is art. It's not even that this unlistenable, I just have no respect for it. It's slick background music that might make the casual listener drift into nothingness for three minutes, but leaves no lasting impact. It's a blatant cash grab and I oppose it almost solely on principle. - MM
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#11
Shania Twain, "Waking Up Dreaming"


Ugh, this one hurts. I've preferred to just think Twain’s output stops around the early 2000s, given that this is another work of hers to feature the same horribly cheap vocal production that strips her of any of her charisma or flair and makes her come across terribly just on a technical level. And the overblown percussion-over-melody approach is here to make sure this doesn't feel as melodically smooth, groove-driven, or fun as any of her best work. - ZK
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#10
​Luke Bryan, "Country On"


I mean, of course this is just another giant masturbatory pander-fest, where the general conceit is to use the hook as a flat rally cry with all heart and little actual passion. I mean, it's a nice enough sentiment in theory, but neither Bryan nor has anyone on his team ever really been great at storytelling, which means the shoutouts feel like gross character portraits over anything else. Not terrible, just embarrassing. - ZK
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#9
​Dan + Shay, "You"


Just copy-paste my Parmalee writeup here. Just keep milking the money machine, I guess. They've made the same soulless pop love song about two dozen times since the excellent "Tequila". They're not even trying to hide the grift at this point. Every effort is just a crappier version of the already mediocre "Speechless". - MM
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#8
Sam Hunt, "Water Under the Bridge"


Oh, how the mighty fall. Sam Hunt tries his hand at reviving bro-country, and man, it just ain't pretty. It's just yet another snap-heavy song that gets drowned in its own bombast and adopts no sense of greater dynamics or decent flow - or taste. Hunt sounds terrible here, ditching his usual embarrassing attempts at rapping but choosing to sing in his upper range, which is just nasal and leering in a way that's always made my skin crawl when it comes to this guy's music. The dull writing is the best part, which isn't saying a whole lot. - ZK
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#7
Dustin Lynch, "Party Mode"


Between this and "Where It's At," he's got a thing for songs that, yeah, are catchy as hell ... but in the most annoyingly awful and cloying way imaginable. Not even my favorite instrument getting to shine - the dobro - saves this from being a paradoxically lifeless mess. There's a Jake Owen song called "Life of the Party" that does this better; I recommend that instead. - ZK
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#6 
​Blake Shelton, "No Body"


Shelton has the charisma needed to make a '90s country-themed song work, but this just feels clunky and flat from beginning to end. The slower pace and curdled electric axes offer no sense of groove, and Shelton's robotic delivery and flow make the already corny and cutesy sentiment sound cringeworthy - at best. "No body" wanted this. - ZK
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#5
Lee Brice, "Soul"


I think Lee Brice is by and large one of the good guys in country music. Sometimes he veers too hard into mainstream nothingness, but generally he's rock solid. This is aggressively bad though. He sounds like he's trying to do something funny or sexy, but it's honestly just embarrassing to listen to. The production is a total disaster, with background noises and voices popping up for no reason while Brice sings way too aggressively and with no charm. Just awful. - MM
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#4
Morgan Wallen, "Wasted On You"


Sure, it's almost too easy to hate on Wallen these days. But I've never liked the oily, droopy, unflattering synthetic tone characterizing this song from day one. And as for the writing, I like "dark and lonely" to a fault, but not when it's utterly miserable and whiny and never once considers his ex-significant other's perspective in their respective downward spirals. There's a way to unleash anger like this and make it feel cathartic, but this is just stewing in one's own misery for the sake of - yeah, really fun stuff. - ZK
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#3
​Walker Hayes, "Y'all Life"

Hello darkness, my old friend, you've come to grace our list again. Ugh, I swear he's just the little dad joke that could and keeps on chugging with diminishing returns ... somehow. Hayes is here again to run the conceit of "Fancy Like" into the ground for yet another copycat single that's produced like boiled ass, lousily performed, and even just embarrassing on paper alone. It's catchy, but so is gonorrhea. - ZK

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#2
Morgan Wallen, "You Proof"


How this has become a historic country radio single I will never understand. I'm not even one of these guys that doesn't understand the Wallen appeal -- I don't agree, but on some level, I do understand. That said, he sounds just awful here. There's no personality, no dynamism, just obnoxious snarl drowned by layers of autotune. Once again we have a terrible snap track and drum machine, and the entire song is built around that dumb "I need something you proof hook" -- no development, no depth, but I bet they thought they were geniuses for coming up with that around the songwriting table. This is a deeply painful record to listen to and exemplifies all the worst artistic aspects of Wallen's career. No ambition, no creativity, just commercial pandering through and through. -MM
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#1
Russell Dickerson feat. Jake Scott, "She Likes It"


See, part of me believes this is a "joke" song. Like one of those "Own The Critics" songs where the artist will tell interviewers "Yeah man like I'm just trying to get a reaction you know why are you so serious all the time!". The over the top badness of this -- from the processed vocals to the obnoxious hook to the pathetic songwriting -- isn't really what bothers me. I hate this song so much because it embodies this current trend of aiming for Tik Tok vitality. You can just tell they want so bad for that dumbass chorus to go viral, so that Dickerson can be temporarily elevated from the C-List. It's so transparently cynical and making that play that it enrages me. This isn't like Walker Hayes, who has been doing this kind of nonsense for years and is (or pre-"Fancy Like", anyways was) a true believer. This is the raw embodiment of making fake art for profit's sake. It sucks on its merits anyways, but beyond that, it's just the worst example of trying to become Tik Tok famous. Quit this while you still have your pride, Russell. - MM
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Top 20 Singles of 2022

12/20/2022

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Folks, it is of course that time of year, where myself (Markus) and Zack Kephart (of The Musical Divide) bring you our year end lists. It's a favorite holiday tradition of mine, and it's been an interesting year for country music, to be sure. On balance, it's hard to see 2022 as anything other than a net positive. I'll speak more at length on the overall scene in my eventual albums list, but in the mainstream, the music is definitively more thoughtful, more rooted in the genre's traditions, and overall, there's just more effort being put into the music. Is it perfect? Of course not, and our Worst Of list will be appearing shortly, But there was absolute progress made this year, as this list will reflect. Enjoy, and let us know your own favourites!

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#20
Kenny Chesney, "Everyone She Knows"


Such a shame that this never really took off. Must be a consequence of being a fifth single from an older album, as between its genuinely breezy rollick, strong midtempo groove, and mostly solid writing as Chesney once again looks through the eyes of others, this was one of my favorites by him in years. - Zackary Kephart 
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#19
Chris Stapleton, "Joy of My Life"


A sweet, simple song, that doesn't take many risks but also allows Stapleton's vocals to shine fully. When you're a talent as great as him, sometimes you don't need to ampul the production, and this is a good example of allowing Stapleton's voice to just breathe. - Markus Meyer
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#18
Jackson Dean, "Don't Come Lookin'"


Wow, a debut single from a male newcomer I actually care about; we *are* in a different era. Kidding aside, I've always loved the solidly thumping, southern-rock-inspired groove and theme about wanting to escape and blow off steam to find personal freedom, even if it's only temporary. Wishful thinking, sure, but of the surprisingly potent variety. - ZK
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#17
​Drake Milligan, "Sounds Like Something I'd Do"


Wow, a debut single from a male newcomer I actually ca... OK, OK, so maybe this doesn't feel like pushing toward a new era so much as calling back to an older one. But considering this has always reminded me of a long-lost early Dierks Bentley single - what with the adventurous, faster pace, Milligan's infectious charisma, and cheeky content - that's not a bad thing. A lot of these neotraditional revivals have failed to impress me, but this sounds like something I would have heard on the radio growing up, and I'm glad to have it. - ZK
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#16
Randy Houser, "Note to Self"

Is it a little listy? Sure, but it's an interesting framing for a list song, and most of all, Houser sings the hell out of it. He sounds amazing, and the rollocking, rootsy production allows him to flourish. Man am I glad he moved away from the generic pop nonsense. - MM
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#15
Cody Jinks, "Loud and Heavy"


Props to Jinks and his team for trying this -- releasing a fan favourite track from a 2015 album to radio. It didn't really work, but I respect the move. The track, for it's part, is really good, even it didn't catch on. It's classic Jinks -- a grapple with internal turmoil, backed by a rock-tinged production scheme and rock solid hooks. It's equal parts moody and memorable, and that it got at least some recognition is a win. - MM
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#14
HARDY feat. Lainey Wilson, "Wait in the Truck"


Still very much not sold yet on Hardy as an artist, and even this feels less grandiose than it has received praise for this year ... but credit where it's due. It's genuinely dark, tackles topics that mainstream country music these days tries its hardest to shy away from, and sports some genuinely decent chemistry from Hardy and Wilson. I still don't believe he'd do life for someone he just met, though. - ZK

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#13
Luke Combs, "Going, Going, Gone"


Listen, I want Luke to start taking more risks as much as the next guy, but this is pretty darn good within his wheelhouse. The metaphors mostly stick the landing, and Combs is as sincere as ever. This one sticks with you, between the big hook and solid melody. No complaints -- his best single in a couple years, I reckon. - MM
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#12
Parker McCollum, "Handle on You"


McCollum finally delivers on his potential by delivering a genuinely breezy tune with an actually coherently flowing melody this time. Bonus points for some warm production, too. Granted, this is a fairly straightforward post-breakup track otherwise where McCollum turns toward the bottle to drown his misery, but I like the subtle nods at self-reflection where he acknowledges his own actions in leading to the end. He's regretful, but he's also incapable of changing, and there's a subtle power to that conceit that can cut through. - ZK
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#11
Kip Moore, "Crazy One More Time"


The second example of re-releasing an old album cut, and it's a great one. It's atmospheric and anthemic in its production and structure. The writing perfectly taps into the sentiment, and makes the moment feel lived in. It taps into the nostalgia it's going for while also feeling very in the moment -- a tough balance to pull off. Moore sounds compelling and convincing, and his gruff tone fits the track perfectly. Exceptional. - MM
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#10
Jelly Roll. "Son of a Sinner"

I was not familiar with Jelly Roll's work prior to this. I think I saw he was touring with Brantley Gilbert and had some rock/hip hop background, and was expecting some half-assed Colt Ford impression. So I was pretty shocked to find this is pretty great. It's honest, it's raw, it's reflective, and he sings it really well. I'd love to hear more because this is a great introduction that doesn't cut corners. Just a solidly country, authentic record. - MM
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#9
Luke Combs, "Doin' This"


One of the biggest current superstars in country music, through a make-believe interview question, says he'd gladly slug it out in the independent circuit if he wasn't one of the biggest current superstars in country music. And ... I believe him, especially given how he's elevated several names from down under in recent years, like Billy Strings and Morgan Wade, among others. Just an incredibly cool perspective from an artist who usually sticks to what's safe, and with a strong emotional resonance to it as well, it's arguably Combs' best. - ZK
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#8
​Bailey Zimmerman, "Fall In Love"


This is maybe my biggest surprise of the year. I generally write these Tik Tok viral stars off, and was more or less expecting Zimmerman to be pretty forgettable. But this track rocks. It's smoky and atmospheric, blending stadium rock sensibilities into a contemporary country sound, making for a unique and engaging blend. The writing is cynical but feels grounded in lived experience. Zimmerman, while being somewhat of a Wallen ripoff, has some grit and gravitas to his voice that Wallen doesn't and the turns of phrase -- "there's a smoke ring wrapped around your finger" -- hold it together really well. We'll see what else he does, but this is one hell of a debut hit. - MM
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#7
Hailey Whitters, "Everything She Ain't"

Whitters' pivot from a more sparse, almost AC sound on her previous project to the bouncy, distinctly 90s sound on Raised has led a breakout of sorts for her. And while I maybe am not as crazy about it as others, I've always thought Whitters is an extreme talent, and I'm so glad she's getting the buzz she is. The breakout hit, "Everything She Ain't", also happens to be a highlight of the record. It's charming, it's funny, it's clever, and leans to a memorable, country, organic sound. And, of course, it's greatest strength is Whitters herself, who just oozes personality and charisma. It's just totally delightful, and I'm glad to see it becoming a hit. - MM
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#6
Cole Swindell, "She Had Me at Heads Carolina"


Simultaneously the most overpraised and underrated song of the year. Overpraised in that, we know the true core reason we love it. But underrated in just how it goes about saluting its source material. Like the free-spirited Jo Dee Messina single before it, this is about a karaoke contest gone sideways as Swindell bonds with someone else over a love for music, but ends up having to chase her back down and follow where the winds will take him. Also, it carries the melody to freakin' "Heads Carolina, Tails California," so it would have been fine regardless. But Swindell made this more than just a blatant name-drop exercise anyway. - ZK
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#5
Lainey Wilson, "Heart Like a Truck"


Her whole "hillbilly hippie" shtick isn't always for me, but when it's rooted in genuinely driving stakes (pun intended, I suppose) and actual urgency, it's raw in a way that feels personally rooted for Wilson. Good stuff. - ZK

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#4
Carly Pearce, "What He Didn't Do"


This, like a surprising amount of other singles here, feels like something I would have heard on the radio growing up, not just in its excellent neotraditional sound but also in smartly rooted content and writing overall. A simultaneous mix here of bittersweet anger over a partner's carelessness and genuine satisfaction in offering a passive comeuppance. A deserved one, too - especially through the twist of that hook. Pearce has really stepped up to be a leader of the format in recent years, both as a performer and artist in general. And this is one of the best showcases of that. - ZK

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#3
Zach Bryan, "Something In the Orange"


I'm not sure I've witnessed anything quite like the Zach Bryan phenomenon before, where a relative unknown becomes a powerhouse purely on the back of grassroots support in like, a years time. No award shows, no radio -- just raw enthusiasm. While I know people have mixed feelings about him, his rise, and his music -- a lot of which I understand even if I disagree, and a certain portion which is grounded in contrarianism more than anything -- there's no doubt he's one of the most significant artists to emerge in years. "Something In the Orange" has become his signature song and has been picking up steam at radio, and for good reason. It's a monster hook, delivered with simplicity while packing a punch. The melody and structure are captivating, and what it succeeds most at is tapping into an in-the-moment experience. You feel like you're there, because the writing and performance do such a good job of painting the picture and setting the scene. It's going to be a standard for a reason -- it's damn good. - MM
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#2
Mike and the Moonpies, "Hour on the Hour"


And here I thought the Zach Bryan entry would be the nuttiest one here. But yeah, this was released to country radio as well. It didn't do anything over there - probably because radio was mentioned in an unfavorable light here - but for such a well-worn, timeless concept, Mike Hermier sells being haunted by a former love through a song he hears played every hour on the hour on the radio with one of his most passionate performances yet. Anyone who has heard this, though, though knows why it's here, and it's because of that incredible crescendo on the bridge that continues to amaze me with every revisit. Hell, it didn't need radio to shine. - ZK
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#1
Eric Church, "Doing Life With Me"

There are times when Eric Church overthinks things. Big chunks of his last 3-album set suffered from being too cute by half. And yes, it often works, but it also be frequently does it. Church is often best when he simplifies things a bit, and leans into his more heartland rock feel and telling real stories. This is where "Doing Life With Me" overwhelming succeeds. Backed by little more than an acoustic guitar and Church's voice, "Doing Life With Me" is a simple ode to the people who have supported him along the way. It never gets too cheesy, as these type of songs often do; it's authentic, pure gratitude, that's self-aware without becoming self deprecating. Not every song about your loved one needs to be "I suck, thanks for putting up with me"; sometimes it's okay to acknowledge, hey, life's crazy, thanks for joining the ride. It's not a complicated song, but it doesn't need to be -- life is complicated enough, as Church alludes to. For three minutes and fifteen seconds, he lets us in on his sense of thanks, and pushes us to be gracious ourselves. - MM
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