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!
 | #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 |
 | #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 |
 | #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 |
 | #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 |
 | #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 |
 | #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 |
 | #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 |
 | #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 |
 | #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 |
 | #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 |
 | #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 |
 | #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 |
 | #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 |
 | #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 |
 | #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 |
 | #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 |
 | #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 |
 | #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 |
 | #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 |
 | #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 |
