Nine Country Music Songs You Need To Hear This Week Featuring Luke Combs, Hudson Westbrook, Mae Estes, Tyler Childers & More

Luke Combs - Back In The Saddle

Country’s reigning powerhouse revs the engine on a new era with a setlist-worthy anthem. Luke Combs doesn’t just release music, he makes moments. And today, the country megastar is back with a brand-new one: the long-anticipated single “Back in the Saddle.” Produced by Combs alongside Jonathan Singleton and Chip Matthews, the track gallops in as a bold, boot-stomping reminder of why Combs remains one of the most dominant forces in country music today. With its charging tempo, full-throttle vocal delivery, and a lyric soaked in heart, grit, and guts, “Back in the Saddle” feels tailor-made to kick off his stadium shows, maybe even to open his setlists for the foreseeable future. From the first downbeat, Combs makes it clear that he’s not just riding again; he’s leading the charge. This release arrives during what has already been a massive year for the North Carolina native. Combs is currently crisscrossing the country on a packed festival run, headlining some of the biggest all-genre events of the year. Yet despite the massive scale, his sound and storytelling remain as personal and potent as ever. “Back in the Saddle” isn’t just a new single, it’s a mission statement. High-octane. Unapologetic. Unforgettable. It’s Combs doing what he does best: delivering powerhouse vocals and soul-stirring hooks that hit just as hard in the nosebleeds as they do front row. With a voice as big as his heart and a stage presence to match, Luke Combs is right where he belongs and by the sound of this song, he’s not going anywhere.

Hudson Westbrook - Texas Forever 

With his roots planted deep in Texas soil and a voice that carries both the grit of the land and the tenderness of youth, Hudson Westbrook has arrived and he brought an album that demands to be heard. Texas Forever, Westbrook’s debut full-length project, isn’t just the strongest debut of the year, it’s a statement of arrival. Entirely co-written by the rising star alongside a tight circle of trusted collaborators, the 17-track collection is a masterclass in modern country storytelling, oozing with Lone Star charm and undeniable promise. While Westbrook’s age might suggest inexperience, his music tells a different story. His tender, honey-warm vocals convey a sincerity that can’t be taught, and every line feels lived in. From heartache to high times, Texas Forever offers a little something for every country fan, especially those who know the value of a front porch, a six-pack, and a love that won’t quite let go. The album kicks off with “Darlin’,” a simple, sweetly sung track that introduces listeners to the artist’s gentle tone and emotional honesty. That softness gives way to grit on “Momma Raised A Winner,” a raucous, beer-soaked anthem made for Friday nights and tailgate speakers. “Fool” finds Westbrook lovesick and wandering, his warble aching with regret, while the standout duet “Lie To Me” featuring Mackenzie Carpenter strips everything back to reveal raw desperation and two voices in perfect emotional sync. Throughout the record, Westbrook proves he’s more than just a voice from Texas, he’s a new force in country music with something to say and the talent to say it well. His songs blend twang with texture, drawing on Red Dirt roots and adding a modern polish without ever losing their heart. Texas Forever isn’t just a debut. It’s a promise. One that says Westbrook is here for the long haul and if the quality of this first chapter is any indication, the chapters to come will be filling stadiums and topping charts in no time.

Jordan Davis - Turn This Truck Around 

Jordan Davis is keeping the pedal down. The Louisiana native and one of the most beloved voices in modern country music has released “Turn This Truck Around,” the latest single from his upcoming third studio album, Learn The Hard Way. Co-written by Davis alongside Devin Dawson, Jake Mitchell, and Josh Thompson, the track arrives with the signature blend of grit, heart, and authenticity that fans have come to expect. With punchy production and emotionally grounded lyrics, “Turn This Truck Around” feels like a late-night drive through the backroads of heartbreak, cinematic, raw, and undeniably country. The single finds Davis reflecting on a past decision with a depth that mirrors the emotional weight of the title. It's a hard-hitting realization set to a melody that feels built for radio yet rooted in real-life regret. He’s not just reminiscing, he’s reckoning. The narrator is already down the road but haunted by what he left behind, the kind of story Davis tells best. “Turn This Truck Around” is a strong indicator of what’s to come from Learn The Hard Way. While Davis has always had a way with words and a knack for melodies that linger, this era feels even more personal, more urgent. The title itself hints at a chapter of lessons learned through experience, not instruction, the kind that leaves a mark. With back-to-back chart-toppers, a dedicated fanbase, and a growing catalog of introspective yet accessible tracks, Davis continues to solidify his place at the center of the modern country conversation. If “Turn This Truck Around” is any indication, Learn The Hard Way is shaping up to be a defining moment in his career.

Mae Estes - Mountain Of A Man

Mae Estes isn’t just another name on a festival poster. She’s part of a growing class of Neotraditional voices cutting through the noise of modern country with grit, honesty, and steel guitar. Her latest release, “Mountain Of A Man,” is no exception, a rollicking, fiddle-laced reminder that charm can be deceiving, and heartbreak often comes with spurs. Penned by Jon Decious, Lauren McLamb, Liz Rose, and Paul Sikes, “Mountain Of A Man” is an upbeat earworm that pays homage to the honky-tonk heartbreakers of yesteryear. From the first note, it sounds like it could’ve spilled out of a dusty corner jukebox, toe-tapping, twangy, and completely irresistible.But behind its infectious melody lies a classic tale of falling too fast for the wrong kind of cowboy. Estes finds herself tangled in the aftershock of a short-lived fling with a blue-collar heartbreaker, the kind who rides off into the sunset without looking back. With a voice that lands somewhere between vulnerable and unshakable, she sings of being pulled in by the rugged magnetism of a modern-day John Wayne, fully aware of the heartache waiting on the other side. Estes delivers her message with the kind of conviction that makes you believe she’s lived every lyric. It’s that authenticity, paired with a sound deeply rooted in tradition, that sets her apart in a crowded genre landscape. “Mountain Of A Man” may be about someone who vanished, but Mae Estes is leaving a mark that’s impossible to ignore.

Zach John King And Bayker Blankenship - Life Behind Bars

Country music has always had a soft spot for barstool confessions, neon lights, and stories shared long after last call. But in “Life Behind Bars,” rising talents Zach John King and Bayker Blankenship take that well-worn setting and flip it on its head, crafting a poignant, clever anthem that taps into more than just the buzz of the bottle. The track, written by King alongside acclaimed songwriters Jordan Reynolds and Heath Warren, is a lyrical masterstroke in country wordplay. The phrase “Life Behind Bars” suggested during the writing session by Reynolds, might conjure up images of prison walls at first, but here it finds new meaning. It's not about incarceration; it’s about liberation found in late-night moments, surrounded by familiar faces, in the quiet after the crowd clears out. For King, the song is more than a catchy turn of phrase. “Life Behind Bars” pulls directly from his roots growing up in Fayetteville, Georgia, where tight-knit friendships and shared stories formed the backbone of his upbringing. That authenticity pours through every lyric, from the worn-down bar stools to the unspoken understanding between friends who have seen each other through it all. Paired with Bayker Blankenship, another fresh voice in the genre, the duet becomes a passing of the torch. Their vocals intertwine effortlessly, grounded in emotion and a mutual respect for the storytelling traditions of country music. There’s a certain chemistry here that feels both effortless and electric, a sign that the next wave of country stars isn’t just on the horizon, they’re already here.“Life Behind Bars” isn’t about the drinks, the jukebox, or even the closing time. It’s about the moments after the doors lock, when the real stories begin. And with a song like this, King and Blankenship have proven that sometimes, country music’s most meaningful tales are the ones shared when the lights are low and the world is quiet.

Jay Webb - Where To Find Me

Jay Webb has never been one to color inside the lines, and his new album Where To Find Me proves just that. The Alabama native’s 10-track debut offers up a raw, no-filter look at life, love, and everything in between, wrapped in the kind of southern storytelling that feels lived-in and worn like your favorite denim jacket. Produced by Eddie Eberle and co-written entirely by Webb, the project finds the rising country artist pulling no punches. It's a collection that doesn’t shy away from the mess, it dives headfirst into it, surfacing with songs that bleed honesty and character. Opening with its namesake title track, “Where To Find Me” sets the emotional tone with a steady-hearted reminder that sometimes just being there is enough. Accompanied by a brand-new music video released today, the song feels like a rally cry for the dependable, the ride-or-die, and the ones still holding the line when the dust settles. Webb picks up the tempo and the stakes with “Love Me Tonight,” a passionate, all-in anthem that begs the question: what if we just gave in? It’s vulnerability turned up to eleven, asking for love in the moment, no promises, no future plans, just now. “Stoned” delivers a dose of muddy heartbreak, where slick city neon is traded for backroads sorrow. It’s a song that knows its way around a beer buzz and a broken heart, proving Webb has mastered the art of rural pain. Then comes “One More Shot,” where self-reflection goes head-to-head with regret. It’s as sobering as the liquor poured behind it, laying bare the harsh truths that come after last call. Closing the album is “Worst Behavior,” a swaggering, wine-soaked confession that owns its recklessness like a badge of honor. It’s messy, it’s loud, and it’s the perfect exclamation point on an album that’s unafraid to show every side of who Webb is. Each track on Where To Find Me stands on its own two boots, but together they build a portrait of an artist who’s not just finding his sound, he’s carving it out with purpose. Jay Webb isn’t asking for permission. He’s dropping the pin on the map and daring you to follow.

Tyler Childers - Snipe Hunter 

Tyler Childers has never been one to follow the pack. With Snipe Hunter, his latest full-length effort, the Kentucky native once again proves that the soul of country music isn’t found in tailgate tropes or checklist clichés but in the unvarnished honesty of real life. Released with production helmed by the legendary Rick Rubin and with additional creative sparks from Childers himself and Sylvan Esso’s Nick Sanborn, the album is a sonic tapestry woven with intention, grit, and heart. Mixing duties were handled by the ever-inventive Shawn Everett, adding an ethereal polish to an otherwise rootsy and rugged record. Childers doesn't just return to form on Snipe Hunter, he redefines it. This is country music unshackled, wild-eyed and soul-searching. It’s a record that balances the intimate with the infinite, the Appalachian dirt with a sky-wide sense of wonder. Perhaps no song embodies that better than “Nose on the Grindstone,” which recently earned Childers his biggest week at country radio to date, racking up over 40 adds and reaffirming his place in the genre’s vanguard. But Snipe Hunter isn’t about chasing radio numbers or fitting neatly into Nashville’s mold. It's a project built on reflection, rebellion, and reverence. Across its tracklist, Childers invites listeners to lean into the quieter corners of their lives, the memories that matter, the lessons learned the hard way, and the beauty of being fully present. In a year already brimming with noteworthy releases, Snipe Hunter stands apart as 2025’s most creatively liberating album to date. It’s a masterclass in modern country music storytelling, proving that twang and truth still make a powerful pair when wielded with sincerity. Tyler Childers doesn’t just sing about the human condition, he lives in it. And with Snipe Hunter, he invites the rest of us to come wander for a while. 

Drew Baldridge and Emily Ann Roberts - Get Me Gone

There are duets that check all the boxes, and then there are duets that light a match and never look back. Drew Baldridge and Emily Ann Roberts fall squarely in the latter category with “Get Me Gone”, a fiery, flirtatious release that finds both artists pushing their vocal limits and leaning all the way into the thrill of fleeting romance. Co-written by Baldridge alongside Josh Jenkins, Allison Veltz Cruz, and Trannie Anderson, some of Nashville’s sharpest pens and produced by Nick Schwarz, “Get Me Gone” is built around the ache of irresistible attraction. It’s a song about letting go, even while holding on tight for one last kiss. Baldridge’s warm, grounded delivery pairs effortlessly with Roberts’ unmistakable twang and precision, making every lyric feel personal, every verse a tug-of-war between want and goodbye. Their chemistry is as bold as the red dress she’s wearing in the lyrics, pulling the listener into the moment with equal parts tenderness and tension. While Baldridge continues to build on his reputation as one of country music’s most genuine storytellers, Roberts, riding high off her solo momentum, proves once again why she’s one of the most captivating young voices on the scene. Together, they bring “Get Me Gone” to life in a way that’s at once nostalgic and completely fresh. With a chorus that begs to be shouted from a backroad at sunset, and a melody that sticks like perfume on a favorite shirt, “Get Me Gone” isn’t just the perfect duet it’s a reminder that sometimes, the best moments are the ones that don’t last.

Stephen Day - Old News

Stephen Day is no stranger to the bittersweet. The Nashville-based singer-songwriter has made a name for himself in the soul-soaked seams between country, folk, and retro pop. But on his latest release, “Old News,” Day leans into heartache with a quiet confidence that proves sometimes the most powerful production is the absence of it. Released via Riser House Records, “Old News” is the first taste of an upcoming companion EP to last year’s Gold Mine, due out September 12. And if this single is any indication, the project promises to continue Day’s thread of clever lyricism and emotional honesty, while leaving even more room for his voice to take center stage. Set to a laid-back groove with the flavor of vintage soul and the storytelling bite of classic country, “Old News” feels like Bob Dylan wandered into a Nashville bar and picked up a guitar. From the opening lines, Day paints a picture of heartbreak not through drama, but through the sad normalcy of being forgotten.  There’s a gentle ache in the way Day sings the phrase old news, as if he’s still trying to believe it himself. The verses dig deeper, sketching out a breakup not in grand gestures, but in quiet revelations: the new bar she’s seen at, the tears she didn’t cry, the headlines he’s reading like he's not the lead character anymore. It's heartbreak in grayscale. No overblown strings. No layered harmonies. Just Day, his voice, and a few tasteful flourishes to carry the weight. The minimal production is deliberate, it lets the listener sit with the lyric, and with the pain. Because if you’ve ever been left behind, you don’t need bells and whistles to remember how it felt. Just a line or two of truth will do. With “Old News,” Stephen Day doesn’t just deliver a breakup song, he delivers a masterclass in restraint. And that’s the magic. It doesn’t scream to be heard. It just tells the truth. And in doing so, it echoes louder than most. Stephen Day may be singing about being forgotten, but with songwriting like this, he’s anything but.

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