iHeart Radio's On the Verge program has been a very hit-or-miss affair in terms of both quality and commercial success -- emphasis on the miss -- but one of their most  recent selections -- Ingrid Andress -- has been a winner in both regards. In "More Hearts Than Mine", the program has found both an impactful hit, and the most impressive radio single of 2019. 

On all fronts, Andress has delivered an impeccable record, and this is perhaps most evident in the songwriting. Built on a hook of "if we break up, I'll be fine / but you'll be breaking more hearts than mine", the lyricism is interesting, refreshing, and reflective. It's deeply intimate with its rich detail, and offers a compelling take on breakup songs, with the breakup in question being hypothetical rather than passed. Melodically, it soars, with effective meter used throughout and a hooky and engaging chorus. The writing is thus accessible without being lightweight, thoughful without being sappy, and creative without being corny. 

Sonically, it's equally effective. Andress proves herself to be both an impressive technical vocalist and interpreter, with emotion and earnestness directly at the forefront. The production, meanwhile, is a seamless blend of modern tendencies with rootsier elements, with bombast and restraint finding a healthy balance. Indeed, "More Hearts Than Mine" is perhaps the strongest example of 'evolved country' on the radiowaves these days. 

Country music has a well-documented substance problem that no one at radio seems particularly intent on solving, and a gender problem they're doing even less about. With "More Hearts Than Mine", both problems face a degree of rectification. It's a flawless track from a dynamic talent that defines what many want country music to sound like in 2019. Whether Ingrid Andress becomes a mainstream staple is to be determined. If there's any justice, "More Hearts Than Mine" will be just the beginning of a path to stardom. 

Grade: A+
Listen: "More Hearts Than Mine"

Author: Markus Meyer

After failing to make any sort of significant commercial impact with his last radio attempt, the uptempo "Drinkin' Town With a Football Problem", Billy Currington is back in the upper echelons of the airplay chart with the melancholic "It Don't Hurt Like It Used To". When on his game, the 42-year-old hitmaker is among mainstream country's finest, and this is most certainly one of those moments.

Unlike many of his recent hits, which rely on somewhat fluffy lyrics and pleasant-if-forgettable productions, "It Don't Hurt Like It Used To" shines in it's strong narrative and even better backing track. The track depicts the story of a man who, slowly but surely, is getting over a past love, and while he won't declare victory over the pain, concedes that it is indeed getting better with time. He moves on with his life, getting married, and crafting a new path, but admittedly isn't fully over his past love just yet. In a musical society that relies heavily on either a 'tear in your beer' or a 'ha, you are so gonna miss me' mentality, finding one that takes the best of both worlds is a refreshing change of pace.

The production, meanwhile, is admirable. The strong percussion and bouncy guitars add a layer of intensity to an already strong lyric, and while it takes a back seat to the vocal throughout the verses, explodes into an anthemic chorus built for heavy repetition. Currington is, as usual, on his game from a purely technical standpoint, while seamlessly blending the line between frustration and relief through his interpretive performance. What truly makes Currington's latest hit shine, however, is its melody. The record is a textbook ear worm that makes it easy to reach for the repeat button, only helping the song's case for entry in to heavy airplay rotation. 

"It Don't Hurt Liked It Used To" fires on all cylinders, checking off every box from the vocals, to the melody, to the performance. A veteran relative to his peers, Currington has found a song that is not only developing into a commercial blockbuster, but also a definite standout among the class of 2016. Who knows what we'll get next from the often hit-or-miss Currington, but one thing's for certain, and that's that this one is a homerun.

Grade: A
Listen: "It Don't Hurt Like It Used To"

Selected as the latest On the Verge pick, Tucker Beathard has gotten a major kickstart for his debut single, "Rock On". As it stands right now, the single appears to be trudging its way through the clogged 20's of the airplay chart, and isn't selling particularly well. It may not be the breakout smash Tucker was hoping for, but in terms of quality, how does "Rock On" do? Well... It does OK.

Now, first of all, this is not an amazing record. It has flaws, and some major ones at that. The one that stands in particular is Beathard's vocals which are, to put it lightly, rough around the edges, particularly when he has to shout over the bombastic production, which leads me into my next point. The production during the chorus is loud. It's bombastic, it's over-the-top, and it's obnoxious. It doesn't work, and really drags down the single.

Of course, "Rock On" does have it's good points. The melody is fairly strong, and relatively engaging. The lyricism is strong, specifically the title hook, as it hits the melancholic sweet spot between regret and moving on. It's rather well-written, which is a pleasant surprise from a new, male artist. Additionally, as rough as the technical vocal abilities are on this track, the performance is wholly believable, and Beathard actually does a superb job in selling the story.

"Rock On" is a very up-and-down listening experience, but one that doesn't spark anger or hatred in any way. Is it a masterpiece, or a career-defining single? No, far from it, but it's hardly the worst we've seen. At its worst, "Rock On" can be described as aggressively mediocre, but at bets is nothing more than listenable radio-fluff. There's been worse, but there's certainly been better as well.

Grade: C+
Listen: "Rock On"

LoCash, formerly the LoCash Cowboys, are back with arguably their most radio-friendly single to-date, titled "I Love This Life", and radio has rewarded the safe selection with a career-best chart position of #27 and climbing.

"I Love This Life" is an upbeat, mildly cliched ditty that is really no more than a list song of things the narrator happens to life. On paper, this record comes across as no better than the average bro-country fare. What elevates "I Love This Life" above the rest of the pack is it's technical aspects.

The production is solidly country-rock that, while not spectacular, is more than listenable, and is eons ahead of the R&B music being shipped to country radio these days. The melody is infectious, particularly in the chorus, while the hook is simple, yet ultimately effective. What really makes this offering shine though, is the way Chris Lucas and Preston Brust absolutely sell it, with their raw enthusiasm and legitimate excitement, and it's that performance that makes it seem like an actual declaration of appreciation, rather than just a checklist of fun and amusing things.

"I Love This Life" is by no means groundbreaking, but it is a song that can and seems to be connecting with a large audience, and is an unquestionably solid effort from an act with a fairly shoddy track record. Good stuff.

Grade: B
Listen: "I Love This Life"

By Markus Meyer

Michael Ray is the latest in a long line of generic male artists that have emerged with a sterile hit single, only to open to putrid album sales that represents the state of the genre, which is built for short-term popularity with any shred of long term vision swept to the side. Ray's debut single, the iHeartRadio On the Verge supported "Kiss You In the Morning", hit the top of the Country airplay chart, despite middling at best sales and it being a semi-bro-country retread of bland and unoriginal thematic content. While his opening single may have been uninspiring and simply a poor listening experience, his newest release, "Real Men Love Jesus", can be seen as a significant step downwards.

Similar to also On the Verge sponsored RaeLynn's debut single, "God Made Girls", "Real Men Love Jesus" is nothing more than a check-list of stereotypical traits that makes one "manly", such as Saturday nights on the town, fast cars and football, backed with a title hook that declares the necessary religious affiliation for one to qualify as a man. The second verse, featuring topics such as calling home every day and praying, is only slightly more interesting than the opener, which is not in any way, shape or form an accomplishment. Topping beer and attractive women is not a feat. It isn't. Fact of the matter is, it still conveys the message that men must abide by certain standards and live a narrowly described lifestyle to be considered a so-called "real man".

The one aspect saving "Real Men Love Jesus" from reaching the horrific, unprecedented lows of Jerrod Niemann's "Donkey" or Haley Georgia's "Ridiculous", is the fact that the backing arrangement and instrumentation is solidly neo-traditional, while the melody holds it's own, much in the same way that the strong melody and production saved "God Made Girls" from the attaining the label that beholds the offerings from Niemann and Georgia.

Let's get one thing straight though. No amount of steel guitar or lack of hip-hop beats would be enough to save this record. "Real Men Love Jesus" is sexist garbage, and is one of the single worst things offered up by country music in 2015 to-date. 


Grade: F
Listen: "Real Men Love Jesus"

By Markus Meyer

The primary criticism of Kacey Musgraves' career to-date, through two studio projects, is the fact that, both sonically and lyrically, she has rarely stepped outside her comfort zone. That's not to say that the vast majority of her limited catalog isn't very good to great, because it is, but it's hard to argue that she's put a varied style of music thus far. However, "Dime Store Cowgirl" finds Musgraves leaning towards a more pop-country style melodically and production wise, with astonishing results.

"Dime Store Cowgirl" is an auto-biographical tune that vividly paints, what one would assume, the life of the young Musgraves', with little tidbits such as "I've had my picture made with Willie Nelson" and "I felt really small under Mount Rushmore" adding depth an intricacy to the listening experience. Unlike much of Musgraves' past work, "Cowgirl" focuses on personal experience rather than social commentary, which she tackles with just as much, if not more, proficiency. 

From a sonic standpoint, "Dime Store Cowgirl" is easily Musgraves' finest moment to-date, with twangy guitars and an addictive melody mixing to make for a record that is both radio friendly, and at the same time undoubtedly country. Throw in Musgraves' light-but-commanding vocal, and you have a single tailor-made for repeat listens.

As good as her past singles have been - namely "Merry Go 'Round" and "Follow Your Arrow" - "Dime Store Cowgirl" is an outstanding listen on all fronts, and may just be her best radio single yet.

Grade: A
Listen: "Dime Store Cowgirl"

By Markus Meyer

After releasing one of the best singles of his career, the gorgeously understated chart-topper "Wild Child", Kenny Chesney is back with a new beachy single titled "Save It For a Rainy Day". However, much like some of Chesney's more famous hits such as "Beers In Mexico", the song has some actual meaning to it, as opposed to a meaningless anthem in the vein of the irritatingly bland "Summertime".

The song depicts a man getting over a breakup by simply having a good time with the people surrounding him, and claims that he'll put away the heartbreak and "save it for a rainy day". It's certainly not groundbreaking and frankly, it's fairly lightweight, but it goes deeper than "beach, girls, beer", which is a refreshing change of pace, as sad as that may be.

Sonically, "Save It For a Rainy Day" checks all the boxes, with a killer summertime arrangement that nails the airy, feel-good vibe they were going for (while featuring an organ nonetheless.) The technical songwriting and melody of the song are, of course excellent as well, making for an entertaining listening experience.

Five years from now, no one will be talking about this song, and it doesn't hold a candle to some of Kenny's stronger material, but as far as feel-good radio fluff goes, "Save It For a Rainy Day" passes with flying colors.

Grade: B
Listen: "Save It For a Rainy Day"

After breaking out with the On the Verge supported "Smoke", A Thousand Horses is back with a new, better single titled "(This Ain't No) Drunk Dial", and it promises to continue their trajectory as one of country music's more consistent hit-making bands.

Centered around the theme of a man calling up his presumably ex-love and having to confirm that he is in fact not intoxicated via alcohol. While it doesn't break new ground, it is a well-written song built around a big, memorable hook, and, as with their debut, is melodically sound.

Sonically, "Drunk Dial" follows in the footsteps "Smoke", with a southern-rock influenced sound that manages to stay open and light while remaining edgy at the same time. The vocals are given room to shine, both from a technical and emotional standpoint.

Overall, "(This Ain't No) Drunk Dial" is a solid record that's executed well on all fronts that should be successful for this rising group. 

Grade: B+
Listen: "(This Ain't No) Drunk Dial"

After breaking out with an era that saw him score three consecutive #1's and win the CMA award for New Artist of the Year, Brett Eldredge is back with the lead single for his upcoming sophomore album. How did it turn out? Not very well to be honest.

Lyrically, "Lose My Mind" is exactly what you thought it was going to be. This man is so attracted to his partner that he loses mind. The end. That is literally it. Nothing more is said. It is the textbook definition of filler. It flat out does not need to exist.

However, a pointless lyric can be redeemed with some quality sonic traits, but this song does not have many. The hooky chorus is relatively catchy, and that's where the list starts and ends. The production has way too much going on during the verses, between heavy drum beats, hand claps, guitar riffs, it's all too much, and the muddy chorus isn't a heck of a lot better.

Of course, Brett sings the hell out of it, and does put in a convincing performance, but it's still not enough to save the record. This is well beneath his talent level by any standards, nevermind that of a lead single. Disappointing.


Grade: C-
Listen: "Lose My Mind"

After debuting with "Take It on Back", a top 10 hit supported by iHeartRadio's On the Verge program, Chase Bryant is back with an energetic ditty called "Little Bit of You".

On the surface, it reads like yet another run of the mill, escapism love song that's safe enough for radio and not nearly egregious enough to offend anybody. However, between Bryant and his producers hitting all the right marks from a technical standpoint and the songwriters making enough of an effort to not craft a composition that comes off as degrading or cliché, "Little Bit of You" is a very respectable tune.

The production is country enough to defend it's spot on country radio playlists, but modern enough to be a hit, with enough guitar to drive it along at a healthy pace. Bryant delivers an energized production, and the lyrics, while not deep, lean more towards the Brad Paisley side of the uptempo love song spectrum than the Chase Rice side. 

Is it earth-shattering? No, but it's entertaining, and it's something that at least mildly represents country music. I'll take it.

Grade: B
Listen: "Little Bit of You"