New Country Music You Need To Hear This Week From Ashley McBryde, Jason Scott & The High Heat, Kameron Marlowe & More
- All Country News
- 5 days ago
- 12 min read
Ashley McBryde - Wild
Ashley McBryde has never been one to flinch at the truth. On Wild, her latest full-length offering, the Arkansas native doesn’t just open the door to her past, she tears it off the hinges. Raised in the long shadow of the Ozark Mountains, McBryde’s story has always been steeped in contradiction: beauty and hardship, faith and rebellion, silence and song. But Wild feels different. This isn’t just reflection, it’s excavation. Across 11 fiercely self-aware tracks, McBryde confronts the ghosts that shaped her, from a strict fundamentalist upbringing to the generational wounds that linger long after they’re named. There’s a rawness here that doesn’t ask for sympathy. Instead, McBryde leans into the discomfort, tracing the fallout of years spent numbing pain with alcohol and the clarity that came with choosing sobriety. It’s not framed as redemption so much as reclamation, a decision to take back ownership of a story that was never meant to stay buried. Sonically, Wild mirrors that internal push and pull. McBryde’s signature blend of traditional country storytelling collides head-on with the grit of rock & roll, creating a sound that feels both rooted and restless. It’s a tension she thrives in, one minute tender and reflective, the next sharp-edged and unrelenting. The album’s standout moments arrive with striking precision. “Lines In The Carpet,” released ahead of the album, reads like a quiet unraveling, its subtle details carrying the weight of memory and meaning. Then there’s “Behind Bars,” where McBryde flashes her signature wit, delivering a cheeky, anthem that proves she hasn’t lost her bite. And on the closing track, “10 To Midnight,” she trades swagger for something deeper, a harmonica-laced, tough-love farewell that lingers long after the final note fades. But Wild isn’t just a collection of songs, it’s a statement of identity. McBryde isn’t interested in polishing her past or packaging it neatly. Instead, she embraces the mess, the contradictions, and the hard truths, allowing them to coexist in all their complexity. In doing so, she delivers one of the most compelling records of her career, a fearless, unvarnished portrait of an artist who’s no longer running from where she came from, but finally standing in it.
Kameron Marlowe - Running
Kameron Marlowe has never needed four minutes to break your heart.
On his latest release, “Running,” the North Carolina native proves that sometimes the most devastating stories are told in the smallest windows. Clocking in at just 2 minutes and 39 seconds, the track doesn’t waste a breath, and somehow still leaves you feeling like you’ve lived inside its ache for years. “Running” is built on a familiar country cornerstone: the one that got away. But Marlowe doesn’t treat it like a cliché. Instead, he leans into the quiet devastation that lingers long after the dust settles, the kind of heartbreak that isn’t loud or messy anymore, just permanent. It’s about passion that burned too hot and the painful clarity of knowing there’s no rekindling it this time.
And that’s where Marlowe thrives. His voice, arguably one of the most compelling in modern country, doesn’t just carry the song; it confesses it. There’s a grit and soul in his delivery that feels almost intrusive, like you’re overhearing something you weren’t meant to. It’s that rare balance of control and unraveling, where every note feels intentional but still on the edge of breaking. It’s no surprise he’s often described as “your favorite artist’s favorite artist.” Marlowe has built a reputation not on flash, but on feel, on an instinctive understanding of how to make a song matter. “Running” is no exception. If anything, it’s a masterclass in restraint. No overproduction, no unnecessary frills, just a story, a voice, and a wound that hasn’t quite healed. What’s most striking is how effortlessly he continues to evolve. There’s a confidence here, a creative stride that suggests Marlowe knows exactly who he is as an artist, and more importantly, who he isn’t trying to be. In a genre often chasing moments, he’s creating something far more lasting. “Running” may be brief, but it hits like a memory you can’t shake, sharp, specific, and all too real. And by the time it’s over, you’re already reaching to play it again, chasing the feeling it left behind.
Jason Scott & The High Heat - Highway Robbery
In just 3 minutes and 12 seconds, “Highway Robbery” covers a surprising amount of ground without ever feeling rushed. It struts out of the gate with a rockabilly bounce, dripping in attitude, before weaving in gritty Southern rock textures and a bluesy undercurrent that gives the whole thing weight. It’s loose, it’s tight, it’s polished, it’s raw, somehow all at once.
Read Our Full Review
Tigirlily Gold - "I Do or Die"
Sister duo Tigirlily Gold have never been ones to play it safe, and on their latest release, “I Do or Die,” they double down on the very thing that’s made them one of the most exciting rising acts in country music: fearless honesty wrapped in razor-sharp wit and airtight harmonies. From the first line, the track wastes no time setting the tone. There’s a wink in the delivery, but beneath it sits something far more compelling, a bold, tongue-in-cheek take on lifelong commitment that feels both modern and deeply rooted in country tradition. “I Do or Die” turns the idea of marriage into something equal parts playful and unflinchingly intense. The premise is simple: this isn’t just love, it’s all or nothing. “You done good with the rock, boy, never seen one that big,” they sing, opening with a line that feels like it could’ve been lifted from a real-life conversation. It’s charming, disarming, and immediately establishes the duo’s signature blend of sass and sincerity. But just as quickly, the song pivots, revealing its teeth. Because “I Do or Die” isn’t your standard love song. It’s a declaration. A warning. A promise. With lines like, “If you ever think of running, baby I’ma have to run you down,” Tigirlily Gold lean into a kind of exaggerated devotion that feels cinematic in scope. There’s humor here, but it’s laced with conviction, a reminder that the best country songs often live in that gray area between heart and edge. And then there are the harmonies. Simply put, Tigirlily Gold are operating on another level vocally. Their blend is effortless, instinctual, the kind of sibling synergy you can’t manufacture. Every line feels locked in, every chorus hits with precision, elevating the song from clever writing to something truly unforgettable. It’s no exaggeration to say they’re staking a claim as having some of the best harmonies in the genre right now. But what makes “I Do or Die” stick isn’t just its sonic polish, it’s its personality. There’s a confidence running through this track that feels earned. The sisters know exactly who they are, and more importantly, they know how to translate that into music that feels both authentic and wildly entertaining. It’s fun. It’s fiery. It’s a little dangerous in the best way. In an era where country music is constantly redefining itself, Tigirlily Gold are carving out a lane that’s entirely their own, one where sharp storytelling, undeniable chemistry, and unapologetic attitude reign supreme. With “I Do or Die,” they’re not just singing about commitment, they’re committing to their sound, their voice, and their moment. And if this track is any indication, they’re all in.
Ashley Cooke - "highschool sweetheart"
Ashley Cooke has never been one to romanticize the past, but on her latest release, she’s not just revisiting it. She’s rewriting it. With the arrival of “high school sweetheart,” the rising country star leans into a breezy, West Coast haze, sun-soaked sonics wrapped around a lyrical gut punch. It’s a track that feels like driving down the Pacific Coast Highway with the windows down… until you realize the story riding shotgun isn’t nearly as carefree as the melody suggests. Set to appear on her upcoming self-titled sophomore album ashley cooke (out August 14), the song marks another confident step forward for Cooke, who continues to sharpen her voice not just as a vocalist, but as a storyteller unafraid to challenge the narrative. Because this isn’t your typical “high school sweetheart.” Produced by an all-star lineup including Dan Huff (Dolly Parton, Taylor Swift), Will Weatherly, Jacob Durrett, Spacecamp, Joe Fox, and Cooke herself, the 15-track collection promises range, but “high school sweetheart” stands out for its sly emotional precision. Written alongside Ian Franzino, Andrew Haas, Lauren Hungate, James Norton, and Cleo Tighe, the track trades nostalgia for nuance, dissecting small-town gossip and the quiet damage it leaves behind. At its core, the song is a confrontation, cool on the surface, cutting underneath. Cooke zeroes in on a figure stirring rumors, delivering her lines with a disarming calm that makes the blow land even harder. And then comes the chorus, where the knife twists: “Do you think you get a gold star / Playing telephone all around town, town, town / If being bitter was a work of art / You’d be hanging in the Louvre right now…” It’s clever. It’s biting. And it’s unmistakably Cooke. There’s a particular kind of power in the way she reframes the archetype of a “high school sweetheart," not as a symbol of innocence or young love, but as a mask for something far less flattering. The final line lands like a verdict: “This ain’t high school sweetheart.” In lesser hands, the concept might feel familiar. But Cooke’s delivery, paired with the track’s shimmering, almost dreamlike production, creates a tension that elevates the song beyond a simple clapback. It’s introspective without losing its edge, polished without sacrificing its bite. And that’s becoming Cooke’s signature. As she builds toward the release of ashley cooke, it’s clear she’s not interested in playing by the genre’s traditional rules. Instead, she’s carving out space for something more layered, where vulnerability and venom can coexist, and where even the sweetest titles come with a sting. If “high school sweetheart” is any indication, Ashley Cooke isn’t just telling stories anymore. She’s setting the record straight.
Josiah - As Is
There’s a fine line between vulnerability and overexposure in country music. Too polished, and it feels distant. Too raw, and it risks unraveling. On As Is, Josiah and the Bonnevilles’ frontman Josiah Leming doesn’t just walk that line, he strips it away entirely. The result is the most fully realized, emotionally resonant project of his career.
From the first notes of As Is, it’s clear Leming isn’t chasing perfection, he’s chasing truth. His voice, long regarded as one of the most distinct in the genre’s indie fringe, takes center stage here in a way that feels both exposed and deliberate. It cracks when it needs to, soars when it must, and most importantly never hides. “The only goal for me is to make something real and honest that can get people through the day,” Leming shares. “I gave everything I have for this album. I laid it all on the table, which is what I always want to do.” That ethos pulses through all ten tracks. Where previous releases hinted at Leming’s sonic ambition, As Is leans all the way in. There’s a noticeable expansion in texture, subtle but impactful. The production never overshadows the storytelling, instead acting as a quiet co-conspirator. On songs like “Hell Without the Flames,” there’s a haunting spaciousness that mirrors the emotional weight of the lyrics, while “Redline” injects a restless urgency that feels almost cinematic. Elsewhere, Leming returns to familiar thematic ground, heartbreak, healing, and the slow, stubborn march forward, but with sharper clarity. “One Day at a Time” feels less like a cliché and more like a mantra earned the hard way, while “Youth and Dreams” captures the bittersweet ache of looking back without losing sight of what’s ahead. And then there are the standouts, “Carolina Heart” and “Mountain Girl," songs that feel rooted in place yet universal in emotion, balancing nostalgia with a lived-in realism that defines Leming’s writing at its best. The title track, “As Is,” serves as both a mission statement and a quiet conclusion. It doesn’t tie things up neatly. It doesn’t pretend to. Instead, it lingers, an acceptance of imperfection, of scars, of the messy beauty in simply being.
That’s what makes this album hit differently. In a genre that often leans on tradition, Josiah and the Bonnevilles continue to carve out their own lane, one that values emotional honesty over radio polish, atmosphere over formula. As Is doesn’t demand attention with bombast; it earns it through sincerity. And in doing so, Leming delivers not just his best album to date, but one of the most quietly compelling country releases of the year.
Waylon Payne - Holding On To Lonely
Waylon Payne has never been in the business of shortcuts, and on “Holding On To Lonely,” he makes that abundantly clear. Clocking in at just over four minutes, the track might raise eyebrows in an era of algorithm-chasing brevity. But Payne isn’t chasing streams; he’s chasing truth. And truth, as it turns out, takes its time. From the opening lines, Payne drops listeners into the quiet, aching tension of a man at odds with himself: “I’m holding on to lonely / I’m just wrestling with my needs.” It’s a stark admission, one that sets the tone for a song that refuses to flinch. Payne doesn’t romanticize isolation, he dissects it. What unfolds is a deeply human push-and-pull between desire and restraint, between indulgence and something resembling redemption. “It’s feast to famine / It’s lust to creed,” he sings, threading together opposites with a poet’s precision. The line lands like a confession scratched into the margins of a journal, messy, honest, and impossible to ignore. Payne has always excelled at living in those in-between spaces, and here, he leans all the way in. There’s a restless pulse running beneath the song’s bones, mirroring the internal tug-of-war he lays bare. “I gotta feel something to be alive / I’ve gotta have it,” he admits, before undercutting himself with a quiet act of self-sabotage: “I’m always pushing things away.” It’s that contradiction, wanting deeply while rejecting instinctively, that gives the song its weight. And yet, for all its introspection, “Holding On To Lonely” never feels indulgent. Payne’s restraint as a songwriter is what makes it resonate. He doesn’t over-explain. He lets the silences speak, lets the listener sit in the discomfort. In a landscape increasingly defined by quick hits and instant gratification, Payne offers something far more enduring: a slow burn that demands your attention and rewards your patience. No flash, no filler, just a man, his thoughts, and the uneasy space between them. Don’t let the runtime fool you. This is the kind of song that lingers long after it fades out, the kind that doesn’t just ask to be heard, but understood.
Coleman Jennings - Lead You Home
There’s something undeniably arresting about an artist willing to strip country music down to its barest truths. No gimmicks. No arena-sized polish. Just stories sharp enough to leave a scar. On his debut album Lead You Home, Coleman Jennings does exactly that, and in the process, delivers one of the year’s most compelling introductions from a new voice in country music. Released via Big Loud Texas / Mercury Records, Lead You Home arrives like a dusty backroad confession whispered at midnight. Across 10 haunting country-folk tracks, Jennings leans fully into the grit and gravity of his songwriting, crafting a record that feels less like a debut and more like an artist planting a permanent flag in the ground. Every song on the project was solo-written by Jennings himself, while GRAMMY® Award-winning producer Dave Cobb provides the perfect weathered backdrop, allowing the songs to breathe with raw honesty rather than overproduction. That restraint becomes the album’s greatest strength.
Jennings possesses the kind of voice country music desperately needs more of, rugged, imperfect, and believable. He doesn’t merely sing these songs; he sounds like he’s lived every mile of them. There’s an old-soul quality running through Lead You Home, echoing the fearless storytelling of outlaw country while still feeling refreshingly modern in its emotional vulnerability. The album’s centerpiece, “In The West,” stands tall as one of the finest country songs released this year. Cinematic and windswept, the track captures loneliness and longing with poetic precision, painting vivid portraits of fading dreams and open skies. Jennings writes with the patience of a novelist, letting every line land with devastating weight. It’s the kind of song that lingers long after the final chord fades. Meanwhile, “Mary Rae” delivers one of the album’s most intimate moments. Tender without becoming sentimental, the track showcases Jennings’ ability to make deeply personal stories feel universal. There’s a timelessness woven into the melody and lyricism that recalls the best singer-songwriters country music has ever produced. Jennings never chases easy resolutions. Instead, he sits in the discomfort, embracing heartbreak and impermanence with startling maturity. That honesty is what makes Lead You Home resonate so deeply. What makes this record so fascinating is how fearless it feels. At a time when much of mainstream country leans heavily into trends, Jennings chooses atmosphere over algorithms and substance over spectacle. The result is a debut album that feels startlingly human. Simply put, Lead You Home is one of the best country debuts of the year, a raw, literary, and deeply affecting collection that announces Coleman Jennings as one of the genre’s most exciting new storytellers. If this album is any indication, he’s not just passing through country music’s landscape. He’s here to leave footprints all over it.
Ashland Craft & Dillon Carmichael
There’s a swagger here, fiddle and steel weaving through a backbeat that practically demands a two-step. It’s country that remembers where it came from, but more importantly, knows why it stayed. Craft, who co-wrote the song alongside Ben Stennis and Erik Dylan, has long carved out a lane for herself as one of the genre’s most unapologetically authentic voices. “Hanging Up the Honkytonk” feels like a mission statement in miniature, a reminder that not every vice needs fixing, not every wild streak needs taming. Because sometimes, the barstool isn’t a bad habit. Sometimes, it’s where you find your people. And if Ashland Craft, and her partner-in-crime Dillon Carmichael, have anything to say about it, last call isn’t coming anytime soon.
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