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Top 20 Singles of 2020

12/10/2020

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Mainstream country music has continued to delve further into patterns of repetition, relying on inauthentic productions and lifeless songwriting. Amid the storm of mundanity that is country radio, some voices have remained compelling and dedicated to crafting art worth not just listening to, but remembering. 

This year's group is an eclectic bunch, made of newcomers, established stars, and comeback stories. It's a group that showcases risk taking in an avenue that generally pushes back on it. Most importantly, these are tracks that are likely to hold the test of time and encompass the traditions of country music, whether in storytelling or style. Enjoy our top 20 radio singles of 2020, and have a very happy holidays!
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#20
Brett Eldredge, "Gabrielle"

As mature as Brett Eldredge has ever sounded. His vocals are given room to shine against a crisp and compelling production scheme that blends an almost AC-pop sound with more traditional elements. It's a reflective track that finds Eldredge putting his talents to good use. Refreshing. - Markus Meyer
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#19
The Chicks, "Gaslighter"


It had to grow on me, but the Chicks’ big comeback single represents just about everything you’d hope for from them – a fiery, blustering presentation, a biting indictment of a certain someone explored even further on the album it stems from, and an all-around infectious hook. I wanted more from said album, but this was a very welcome return. - Zackary Kephart
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#18
The Chicks, "Sleep at Night"

Dynamic, clever, and well-structured, evoking equal parts regret, sadness, and anger with a remarkable performance from Natalie Maines. A standout from an album with strong high points. - MM
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#17
​Carly Pearce, "Netx Girl"

I’m not as enamored with this as most other critics – if anything, I prefer “I Hope You’re Happy Now” and other cuts off her self-titled album - but I do appreciate the fresh direction Carly Pearce takes here. The presentation is organic and solid, the groove is prominent, and it’s as good of a kiss-off track as we got this year, warning that next girl to not make the same mistakes she did. I’m looking forward to hearing where Pearce takes this sound in 2021. - ZK
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#16
​Jon Pardi, "Ain't Always the Cowboy"

Heresy as it is to say, Jon Pardi has been inconsistent for awhile now, at least, to me. This isn’t the case, though, and beyond the clever George Strait nod and tones I like hearing in a country song, there’s a maturity to the breakup sentiment, where Pardi almost sounds jubilant in getting to buck the titular stereotype. Good stuff; I’m happy (and genuinely shocked) it actually became a hit. - ZK
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#15
Kelsea Ballerini, "hole in the bottle"

For anyone who’s read our “worst singles” list, I should offer a clarification: there’s nothing wrong with good-time party music, and sometimes the escapism it offers is the first step to finding genuine happiness. The worst examples of those types of singles this year were just dour and dumb. This, on the other hand, flips the script a bit. Kelsea Ballerini is reveling in her misery by framing it with a self-aware wit, where she’ll only take things far enough to have some lighthearted fun and nothing more. I wish the ballerini version had become the hit, but for just a small moment in time this year, there was an actual country song that was infectious and smart. - ZK
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#14
Miranda Lambert, "Bluebird"

All of Lambert's best qualities on display. Quirky and accessible, clever writing and a memorable hook. Full of charm and charisma with a production that balances innovation with rootsiness. Well deserving of its hit status. - MM
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#13
Ashley McBryde, "Martha Divine"

Impeccable storytelling with a roaring chorus and performance. Highly impressive effort from an artist who so effectively balances sonic elements with intricate and compelling writing. Emblematic of all McBryde's greatest artistic strengths. - MM
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#12
Maren Morris, "To Hell & Back"

Between her involvement with the Highwomen project and this single, I’m starting to come around on Maren Morris, though I’m still going to temper those expectations. At any rate, “To Hell & Back” is her best single yet, so of course it’s one that hasn’t moved the needle at country radio. *Sigh* But beyond the organic groove bolstering the sentiment, there’s something to appreciate in a love story that doesn’t try to overdo it. This couple has accepted each other for who they are, for better or worse, and considering the writing plays with a bit of a Gothic tinge, it was another single that should have been so much bigger than it was. - ZK
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#11
Luke Combs feat. Eric Church, "Does to Me"


By far Luke Combs' finest effort to-date. Highly detailed while remaining universal, and rooted in sentiments that, to some extent, ring true for everyone. A big production scheme that never feels bombastic with a performance from Combs that ties things all together. Church adds a nice dose of wisdom in the bridge. Superb track. - MM
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#10
Zac Brown Band, "Leaving Love Behind"


Zac Brown Band's The Owl was an atrocious effort, with "Leaving Love Behind" serving as an easy standout. It finds them in top form, with a moving lyric, a sparse piano production, and a compelling performance from Brown. A mature, thoughtful effort that finds them at the height of their abilities. - MM
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#9
​Runaway June, "We Were Rich"

Either version is great, and though it’s another case of a country radio single that is far from a hit here, this year specifically, it should have been. The sentiment of realizing you have it so much better than others even when you don’t have much resonated so much more this year than it did upon its initial release in 2019, and while no member of the band – past or present – wrote this, they perform it like they did. Best of all, though, it’s a reminder that, while poverty is an inescapable reality for some, it need not define who they are. - ZK
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#8
Miranda Lambert, "Settling Down"

A remarkable balance of hope, contemplation, and melancholy that finds Lambert in peak form as a performer. An exellent hook and a melodic structure that begs for repeat listens. Lambert's best single in years, which says something for an artist of her consistency and excellence. - MM
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#7
Taylor Swift, "betty"


In my view the most impressive single of the year. Well-structured and with excellent character and perspective development, "betty" showcases Swift's knack for storytelling and evocation in a way that puts her well above her peers. The harmonicas and acoustic backdrop make for an irresistable record. Just so, so good and is perhaps Swift's best ever country release. - MM
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#6
Mickey Guyton, "Black Like Me"

Arguably the most important song of 2020 – a call for empathy from white listeners to understand the struggles Mickey Guyton – as well as others in the black community – struggle with daily. The specific proof for Guyton is evident in country radio’s chilly reception toward her thus far, but there’s also the struggles we don’t – and haven’t – seen that define this recording. It’s easy to say a recording resonated even more strongly in a given year, but in 2020, this absolutely did. It’s not the point where anyone should have jumped on the Guyton bandwagon, but hey, better late than never. Let’s keep it going. - ZK
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#5
Eric Church, "Stick That In Your Country Song"

Whereas Eric Church’s Desperate Man album era found him at a loss for words for how to navigate the current cultural climate, “Stick That in Your Country Song” is the result of him finding what he wanted – and needed – to say. Granted, the actual message is a bit scattered, but for anyone who saw our “worst of” list, it’s refreshing to hear an artist fed up with songs and artists that say nothing, coming from one who is ready to hold them accountable. It’s Church at his angriest, and we’re all the better for it. - ZK
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#4
Ingrid Andress, "The Stranger"

Andress once again shows her vocal and songwriting prowess on "The Stranger". It's an interesting take on a fizzling relationship that feels both polished and earnest. Memorable hook, electric performance, and a lush backdrop makes for another killer record from one of the most promising talents in mainstream country music. - MM
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#3
Chris Stapleton, "Starting Over"

Bombastic, no, but tremendous nonetheless. Stapleton dials it down here, but the simplicity works. It's a refreshing, breezy track that hits all the intended notes. Stapleton is in top form and the melody hooks you in instantly. Exellent stuff and a nice welcome back for Stapleton. - MM
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#2
Eric Church, "Hell of a View"

Scattered and inconsistent as they were, Eric Church’s run of singles this year was, at the very least, fascinating. It’s ironic, then, that his best single of the year was one of his most straightforward and simplest yet. It’s a fairly standard tale of devotion, but one bolstered by its deeper production balance that offers a surprising amount of ragged punch to the simultaneous joy and anguish of “making it” thus far. It’s a song that sounds weary yet still has the energy left to push on through, and if that wasn’t far too relatable this year, I don’t know what was. - ZK
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#1
Mickey Guyton, "What Are You Gonna Tell Her?"

I guess I understand the cold reception this received from country radio in April, given the subject matter and how they’ve generally received Mickey Guyton thus far. I mean, I guess I should say I don’t get it, so much as I’m just not surprised. But now, in the aftermath of the year she had? There’s no excuse. Yet “What Are You Gonna Tell Her” rolls on anyway, a brutally honest blow to any woman who’d dare dream for higher aspirations … because society has failed them time and time again, and you can’t blame someone who gives in to fatigue after maintaining hope for so long. But it’s also a bit more universal in its message of sex and race, not to mention that hard work isn’t necessarily the key driver for success anymore for many, if it ever really was. In an industry where it’s been proven – with data, I might add – that the deck is stacked against female artists and artists of color, especially at country radio, it hits a little too hard, especially when it’s, you know, Mickey Guyton behind the microphone. It’s the best single of the year that wasn’t a radio hit - it never even charted, actually - and that’s proof enough of why we need to try and do better in 2021. - ZK
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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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Top 20 Singles Of 2017

1/6/2018

1 Comment

 
After our Worst-Of lists yesterday, let's take a look at what dominated our year musically with our Best-Of list! Here's to another year of great music in 2018!
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#20
Brothers Osborne, "It Ain't My Fault"


It’s not the most intelligent single of the year, but what it lacks in that area it more than makes up for in boot stomping energy and attitude. John Osborne’s fiery guitar solo is pretty killer, and to hear TJ Osborne sing in his usual lower register helps to give this song a lot of gritty passion. Heck, they're already dethroned Florida Georgia Line as the vocal duo of the year, and between that and their new single, "Shoot Me Straight", I for one am VERY excited to see what 2018 has in store for Brothers Osborne. - Zackary Kephart

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#19
​Midland, "Drinkin' Problem"

There was no bigger debut artist on Country radio in 2017 than Texas trio, Midland. Their debut single reached #1 on Mediabase, which isn’t shocking for a Big Machine Records promoted artist, but considering “Drinkin’ Problem” is a total throwback country song, it stood out on 2017 country radio.

It’s a typical country song about drinking from the title and first few lines, but once the chorus starts, the listener realizes that this song’s lyrical cleverness was hard to match from other 2017 singles.

“They keep on talkin', drawing conclusions, they call it a problem, I call it a solution”

It’s not a good song because it was a traditional song on 2017 radio. It’s a good song because it’s execution in instrumentation, production and lyrics were excellent and Midland slides into our 2017 best of list. - Chris Baggs



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#18
​Luke Combs, "When It Rains It Pours"

One listen to the second single from Sony Music Nashville artist Luke Combs and you’re immediately transported back to early 2000’s country radio; its sound and subject reminds me of country radio from 15 years ago, especially Blake Shelton’s “Playboys Of The Southwestern World,” which hit the top 30 in 2003…only Luke’s was a huge #1 single in 2017.

“When It Rains It Pours” is a descriptive story about a narrator that hits a massive streak of good luck after his girl leaves him. The song’s series of events reads more the stuff of fantasy but songs that can transport the listener to another world, are a winner in my book. Country music has its share of making the most out of a breakup. Combs’ hit single proves a funny song can also crack our best -f lists. - CB
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#17
​Charlie Worsham, "Cut Your Groove"


Yeah, it’s kind of a sappy, crappy motivational “do your thing” song. However, much like Eric Church did with “Record Year”, Charlie Worsham frames a familiar concept around musical language, and that makes for more interesting examples, one-liners and overall flow as well. Charlie also went a little more soulful for his latest album, and that often resulted in songs with very luscious, sometimes elegant production. With those crisp horns and solid acoustic melody bolstering the song, it's a shame that this couldn't have been a hit, because it's one of Charlie's best. - ZK

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#16
​John Mayer, "In The Blood"


​John Mayer gave us one of the biggest surprises of the year, delivering a top-flight country single to radio. While not a success commercially, "In the Blood" is an exceptional display of depth, emotion, and authenticity, depicting familial bonds in relation to personal profile. Backed by a largely acoustic production and a stellar vocal, Mayer absolutely knocked this one out of the park. - Markus Meyer

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#15
Brett Young, "In Case You Didn't Know"

We all know the saying, “where words fail, music speaks,” but there aren’t many songs as good at letting a person let their significant other know how they really feel, than Brett Young’s mega-hit “In Case You Didn’t Know.”
“Baby I know that you've been wondering, mmm, so here goes nothing, in case you didn't know, baby I'm crazy bout you, and I would be lying if I said, that I could live this life without you, even though I don't tell you all the time, you had my heart a long, long time ago, in case you didn't know”.

The song’s production and instrumentation don’t overdo it, which is appropriate for this track. I know it says exactly how I feel about my girlfriend and I’m sure millions of others felt the same. His debut album isn’t perfection, but this song’s message is. - CB
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#14
Trace Adkins, "Watered Down"


If you were to look in a dictionary and look up "hit and miss", I'm pretty sure you'd see a picture of Trace Adkins. While he has released a lot of questionable singles in his time, songs like "Watered Down" also show that Trace has recorded some of the best the genre has to offer. The production is crisp and warm, inviting you in with the tasteful instrumentation. Moreover, it’s refreshing to hear someone looking forward to the days ahead rather than try and capture their youth. That's not even the only time we'll see that on this list! Regardless, Trace was on point with this track, and it deserves to be praised. - ZK

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#13
​Midland, "Make A Little"

Midland make’s our list again with the sophomore single from their debut album, On The Rocks.
This catchy tune reminds those who remember, the days of 80’s and 90’s Country radio; perhaps something Dwight Yoakam would record back in his prime.
“Make a Little” doesn’t come close to reinventing the wheel from a lyrical standpoint but it’s subtle charm in those lyrics and throwback sound, which doesn’t rely on drum loops or a throbbing backbeat, makes the listener realize there is a place on mainstream country radio for actual country music. Get up and two-step! - CB
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#12
Carly Pearce, "Every Little Thing"

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​Carly Pearce broke onto the scene this year with what is an exceptional single in "Every Little Thing". Atmospheric and raw, the record thrives in exuding emotion. Pearce demonstrates strong vocal and evocative talent, making for a thoroughly enjoyable record from an act to keep an eye on. - MM

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#11
​Runaway June, "Wild West"


We’ve heard the western clichés before and to be honest, “Wild West” by Wheelhouse Records trio Runaway June hits on most of them.
However, the rest of the track is pretty close to perfection as a 2017 country radio single can get. The song thrives on a sound that is reminiscent of early-to-mid 2000’s country radio, led by plenty of steel guitar and fiddle, which take a listener back to old western America.
But the song thrives the most with its superb melody and beautiful vocals by lead vocalist Naomi Cooke. Her delivery is spot-on with every note and make it an easy entry into our best list. - CB


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#10
​Brad Paisley, "Last Time For Everything"


What sucks about this year's list is that a lot of these songs signal the beginning of the end for some artists, and unfortunately when it comes to his chart success, Brad Paisley is in that club. Simply put, this deserved far better than its paltry top twenty peak. The song is also one of his best singles in quite some time. It tackles the feeling of life never slowing down from a unique perspective with a great hook, and considering Brad’s own career, a lot of the references made here (such as the Prince one) feel earned. Radio might not appreciate you anymore, Brad. However, if you keep putting out quality stuff such as this, I'm sure the fans will reward you. - ZK

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#9
Montgomery Gentry, "Better Me"

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​Enhanced by the tragedy surrounding Troy Gentry earlier in 2017, "Better Me" is absolutely one of the duo's strongest efforts in some time. A lesson is self-reflection and improvement, "Better Me" is a record that exudes hope. Backed by a restrained country-rock production, it's well worth your time to give this one a listen. - MM

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#8
Lee Brice, "Boy"


Lee Brice could have easily played his comeback as safe. After all, his last two singles didn't connect nearly as much as past hits. However, Lee Brice returned in a big way this summer when he released "Boy". Sure, the theme is simple and has been done numerous times in Country music. However, it’s not so much reassuring his boy through false promises that everything’s going to be magically alright everyday. It’s about reassuring him that there are natural phases of life that he’ll experience as well as be able to watch when he has his own boy. The song even gives enough of a clue to insinuate that the learning process doesn’t end at parenting. Welcome back, Lee. It's good to have you. - ZK

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#7
Chris Stapleton, "Broken Halos"


Chris Stapleton takes a lyric of depth and emotion, and makes it truly exceptional with his powerhouse vocal. Wrapping a song about remembering those that have passed with a passionate vocal and an acoustic production, "Broken Halos" is an absolutely outstanding record. - MM​

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#6
​Luke Bryan, "Fast"

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​What Luke Bryan gave us with "Fast" is one of his finest moments. It's a reflective record that tells us to live life to the fullest, because it can fly by. Bryan puts in a top-notch vocal performance, and is enhanced by a melancholic, restrained production. This is the stuff Bryan should be producing with his platform as an A-list mainstream act. - MM

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#5
Miranda Lambert, "Tin Man"

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"Tin Man" finds Miranda Lambert at her absolute best. Vulnerable, intelligent, and impassioned, it's a record that encompasses country music's best traits. As good as her rocking up-tempos can be, Lambert is an artist that's at her best when subdued, and nowhere is that better showcased than here on one of the year's finest moments. - MM

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#4
Alan Jackson, "The Older I Get"


As artists grow older, we don't expect as much out of them. After all, they already gave us their best during their prime. More often than not though, artists will sometimes release quality singles that match up with their best long after the spotlight is gone. Alan Jackson hasn't had a number one hit in nearly a decade (wow does that hurt to say), but as he sings about in "The Older I Get", he's not bitter about his days ahead. He's looking forward to them in a way that puts a different spin on the whole "growing older" theme in country music. Alan Jackson is the artist we don't deserve, and yet our lives are instantly made better by his music. - ZK

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#3
​Maren Morris feat. Vince Gill, "Dear Hate"


While this may be the only song that was never an “official” single, we'd be remiss not to at least mention it. 2017 was marred with a diverse number of tragedies which unfortunately included mass shootings. Granted, nobody can stop a natural disaster, but man-made ones such as those shouldn’t be allowed to happen. Maybe it is “cheesy” to say that love’s going to conquer all at the end of the day, but at the end of the day when we’re reminded of the life we’re given and the people who we’ve been blessed to know, you certainly can’t say hate is going to dominate our lives or choose how we live. That’s the message of this song. - ZK

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#2
​Thomas Rhett, "Marry Me"

​Despite a reputation as a run-of-the-mill bro, Rhett demonstrated true growth with his 2017 album Life Changes, and with "Marry Me", we have the finest track off said album. A devastating song with a clever twist, revealing that the narrator failed to act on his love for the woman in question. With a crisp pop-country production backing it up, and evocative performance from Rhett, we get what was my favorite single of the year, and the best of his career to-date. - MM

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#1
Jon Pardi, "She Ain't In It"


Not many artists were hotter on Country radio in 2017 than Jon Pardi of UMG Nashville.
Pardi followed up a couple huge upbeat #1 singles (“Dirt On My Boots” and “Heartache On The Dance Floor”) with the fourth single from California Sunrise, a powerful throwback sounding tune, with painful lyrics that addresses a man trying to eliminate the memory of his lost relationship.
The song relies on laidback production and a haunting fiddle, accompanied by a steel guitar solo that George Strait would be proud of. Pardi’s vocals aren’t the best but they’re unique, and his delivery of this song drives it home as one of the year’s best singles. - CB



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