Country Music Songs You Need To Hear This Week Featuring ERNEST, Mitchell Tenpenny, Jamey Johnson With Riley Green & More

ERNEST - Blessed

There’s a certain kind of magic that only Nashville can bottle, and ERNEST seems to have found it in his latest song, “Blessed.” Released today, the track feels like a quiet exhale, a moment of peace from an artist who’s finally standing steady in his own boots. Known for his sharp pen and undeniable swagger, ERNEST has long been one of Music City’s best-kept secrets, the kind of guy who can walk into a writing room and walk out with a hit before lunch. But “Blessed” peels back the bravado, trading the neon buzz of downtown for the glow of a front porch light. It’s a song steeped in gratitude: for family roots, faith that doesn’t have to shout, and the kind of simple life that feels good in your bones. Self-produced and written with trusted collaborators Mark Holman, Jordan Merrigan, and Matt Mulhare, the track captures ERNEST at his most authentic, a rare mix of old-school charm and new-age ease. The production hums with warmth, laid-back but intentional, like Sunday morning coffee before the day gets loud. This isn’t the ERNEST of smoky barroom anthems or swagger-drenched summer bangers. This is the man behind the music, the one who’s learned that contentment can hit harder than chaos, and that sometimes the coolest thing you can be is grounded. In “Blessed,” ERNEST doesn’t reinvent himself, he reveals himself. And in doing so, he proves that real country magic isn’t found in the spotlight. It’s in the quiet moments, the steady gratitude, and the courage to sing about both.

Jamey Johnson & Riley Green - "Smoke"

Some songs feel like they were destined to exist, forged from the same southern grit and gasoline that built country music itself. “Smoke,” the new collaboration between Jamey Johnson and Riley Green, is one of them. At just 3 minutes and 11 seconds, it’s a slow burn that roars like a backroad bonfire, equal parts outlaw and downhome heartbreak. From the first note, “Smoke” sounds like a conversation between two eras of country storytelling. Johnson, the baritone philosopher of the modern outlaw movement, brings his signature gravel and grit, that voice that sounds like it’s been marinated in whiskey and wisdom. Green, meanwhile, sharpens the edges with his Alabama drawl and natural swagger, the kind that’s made him one of Nashville’s most authentic modern torchbearers. Together, they craft a breakup song that’s more grit than grief. The lyrics don’t wallow, they smirk. There’s heartbreak in there, sure, but it’s dusted off with a shot of pride and the faint smell of Marlboros and motor oil. It’s the kind of song you can imagine echoing through a neon-lit bar at closing time, boots tapping, smoke swirling. Johnson’s presence anchors the track in tradition, think Waylon-style storytelling with a poet’s patience, while Green keeps it lean, modern, and radio-ready without sacrificing soul. The production is tight but raw enough to breathe, letting the two voices intertwine like steel and smoke. In a landscape often chasing trends, “Smoke” feels refreshingly defiant. It’s a reminder that country music’s best moments come when it stops trying to be anything other than itself, when two voices, both cut from the same dusty cloth, tell a story you can smell, taste, and feel in your chest.

Mitchell Tenpenny - Therapy

Mitchell Tenpenny has always known how to toe the line between clever and confessional, and with his latest single, “Therapy,” he proves once again why he’s one of country’s most dynamic genre-benders. The Nashville hitmaker leans into his signature blend of smokey, soulful vocals and sharp, tongue-in-cheek storytelling for a track that’s equal parts breakup anthem and emotional release. But don’t expect tears and tissues here, “Therapy” is more about rolling your eyes, cranking the volume, and singing away the sting of someone who did you wrong. That balance of bite and brightness is what makes Tenpenny so magnetic. With “Therapy,” he channels heartbreak through humor and swagger, turning what could’ve been another sad song into something much more cathartic, a reminder that sometimes, the best kind of healing comes with a good hook and a louder speaker. In true Tenpenny fashion, “Therapy” blurs the boundaries of country and pop with effortless charm, reaffirming his knack for saying what we’re all thinking, just with a little more grit, groove, and grin.

Greylan James - Give Me A Second (the before)

Greylan James isn’t done telling his story just yet. After leaving fans stunned (and slightly heartbroken) with his viral single “Water At A Wedding,” the ACM Award-winning singer-songwriter is taking us back to where the heartbreak began, with a prequel that cuts just as deep. His new release, “Give Me A Second (the before),” isn’t just a song; it’s the moment before everything fell apart. Written entirely by James and produced with Sam Ellis, the track captures the kind of emotional whiplash that only 3 a.m. regret can deliver, when a name still glows on your phone screen, and you’re one breath away from saying everything you wish you’d said sooner. Known around Music City as one of Nashville’s most lethal triple threats, a voice that aches with truth, pen that bleeds honesty, and instinct for turning pain into melody, James proves once again that heartbreak is best told by the one who lived it. “Give Me A Second (the before)” plays like the inhale before the heartbreak, the rewind before the realization, the quiet moment before the storm. In pairing the two songs, James is building not just a story, but a cinematic universe of emotion, one that maps love, loss, and longing with raw, fearless detail. If “Water At A Wedding” was the gut punch, “Give Me A Second (the before)” is the heartbeat right before the blow lands. With each release, Greylan James continues to carve his lane as one of country music’s most captivating storytellers, proof that sometimes, to move forward, you’ve got to go back to the before.

Russell Dickerson - Happen to Me (feat. Jonas Brothers)

What happens when two of the most high-energy acts in music collide? Pure, joyful chaos, in the best way possible. Russell Dickerson has always had a knack for turning life’s everyday moments into widescreen country anthems, but this time, he’s upped the ante. The multi-platinum hitmaker has teamed up with none other than the Jonas Brothers for a reimagined version of his song “Happen to Me,” and it’s the kind of cross-genre collaboration that feels both unexpected and inevitable. The spark for this powerhouse pairing ignited earlier this year in Detroit, when Dickerson surprised the crowd at his August 28 show by welcoming the Jonas Brothers on stage. What followed was a live debut so electric it practically demanded to be recorded. That moment filled with screaming fans, spontaneous harmonies, and wide smiles has now been bottled into this studio version, capturing the same unfiltered joy that lit up the Motor City. On the track, Dickerson’s signature mix of country-pop warmth and wide-open optimism intertwines seamlessly with the Jonas Brothers’ sleek, polished pop harmonies. The result is a sound that feels effortlessly fun, country soul with a Top 40 shine. It’s a song about connection and gratitude, about those moments that sneak up on you and change everything. For Dickerson, whose catalog thrives on heart and energy, “Happen to Me (Feat. Jonas Brothers)” feels like both a full-circle moment and a bold step forward. It’s proof that when artists who love what they do collide, genre lines blur, and something magical really can “happen.” A country-pop dream team? Absolutely. But more than that, it’s a reminder of why music that celebrates life’s beautiful, unpredictable moments never goes out of style.

Christian Hayes - 65 On The Interstate

Christian Hayes is back, and he’s trading quiet Appalachian folk for a high-octane journey through heartbreak. Today marks the release of his new single, “65 on the Interstate,” via Capitol Records, a song that fuses soul-stirring storytelling with the kind of forward-thinking energy that makes Hayes one of country’s most compelling young voices. Co-written with Jack Riley (known for work with Cameron Whitcomb and Grace VanderWaal) and indie-folk standout Chance Emerson, the track explores the familiar ache of love lost, but Hayes approaches it with a refreshing twist. Produced by Brett Truitt (Mat Kearney, Maggie Rose), the song effortlessly balances tender reflection with spirited momentum. Hayes confronts heartbreak head-on in the opening lines, “Down on my luck, you call back / There’s no way I fall for that / You’re just looking for sympathy”," yet by the chorus, he’s found a sense of release: “This whole world just keeps on spinning / This ole heart keeps getting broke / I’m not saying I need fixing / I’m just asking for some hope / 65 on the interstate / But I’m driving the other way.” With bright, driving guitar lines and a vocal performance that weaves melancholy with determination, “65 on the Interstate” hits like the perfect escape: the windows down, engine humming, heart still tender, but moving forward. It’s a song that captures the thrill of letting go while racing toward what comes next, a cinematic, road-trip-ready anthem for anyone navigating life’s turns.

Lee Brice - Killed The Man

Lee Brice has always had a knack for storytelling that cuts straight to the heart, but his latest single, “Killed The Man,” proves he’s not afraid to get a little dark and a whole lot real. Out now, the song is a poetic exploration of transformation, love, and the quiet way one person can change your life forever. From the first line, Brice sets the scene like a crime scene investigator with a heart: “They'll never find the body, she didn't leave a trace / You'd never know she's guilty, judging by the smile on her face.” But the “crime” here isn’t literal, it’s metaphorical. The woman in the story didn’t commit murder; she killed the man Brice used to be, gently erasing his old self and nurturing him into someone new. It’s a clever twist, blending the tension of a thriller with the intimacy of a love song. the track carries Brice’s signature warmth, his voice balancing vulnerability and quiet swagger as he recounts the transformation. The chorus hits like a revelation: “She buried him, married me, she killed the man I used to be.” There’s a sly wink in the way he frames personal growth as a crime, innocent in appearance, but life-changing in effect. Brice paints the story of someone who closes the chapter on their past self, thanks to the person who sees the potential beneath the old skin. By the time the bridge rolls in, the imagery of flowers growing where there used to be dirt feels like a rebirth set to melody. With “Killed The Man,” Brice reminds us that the right person doesn’t just change your life, they quietly, completely, and beautifully kill the old you. And sometimes, that’s the best kind of murder there is.

Drew Baldridge - Rebel

Drew Baldridge is turning the concept of rebellion on its head with his latest single, “Rebel”. Written by Baldridge and Adam Sanders and produced by Zach Crowell and Nick Schwarz, the song doesn’t glorify chaos or defiance for its own sake, it celebrates the quiet, steadfast courage it takes to live with integrity. In a world quick to reward compromise, Baldridge’s anthem stakes its claim: staying true to your convictions, family, and faith is the ultimate act of defiance. Lines like “I’m gonna stand my ground / Ain’t gonna back down / Make sure my last name ain’t stained and stands on integrity / I’m gonna stay true to my woman / And true to my roots” serve as a rallying cry for anyone determined to walk the straight and narrow, even when the easy path tempts them otherwise. From its soaring chorus to its driving production, “Rebel” channels the strength of character over spectacle, proving that sometimes, the most radical move is simply to do what’s right. Baldridge’s blend of small-town grit, heartfelt storytelling, and unwavering honesty cements his connection with fans who recognize that rebellion doesn’t have to be loud, it can be enduring, principled, and profoundly human.

With “Rebel,” Baldridge isn’t just singing about integrity, he’s living it, one verse at a time.

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