Nine Country Music Songs You Need To Hear This Week Featuring Zac Brown Band, Hailey Whitters, Rascal Flatts And More

Zac Brown Band - I Ain’t Worried About It

Zac Brown Band is setting the tone for a feel-good summer with the release of their latest single, “I Ain’t Worried About It.” Fresh off a thunderous, jam-packed performance at Spotify House in Nashville, the three-time GRAMMY Award-winning group proves they’re not just kicking off the weekend, they’re kicking back with style. Written and produced by Zac Brown himself alongside longtime collaborators Chris Gelbuda, Channing Wilson, and John Driskell Hopkins, the track lands as a sun-soaked anthem tailor-made for windows-down drives and late-night backyard hangs. The lyrics shrug off stress and societal noise in favor of easy living and unapologetic joy, a reminder that sometimes, the best response is to simply not sweat it. “People keep trying to tell me how to live / And I’m just over here runnin’ out of…fucks to give” Brown sings, with a wry grin that practically echoes through the speakers. Equal parts irreverent and uplifting, the song embraces a live-and-let-live attitude with verses that poke at modern anxiety and hooks that lean into liberation. “I Ain’t Worried About It” returns to the group’s rootsy foundation, blending southern rock swagger with front-porch philosophy. Driven by a relaxed groove and a gospel-tinged refrain of “love, love, love, love, love,” it’s the kind of track that could find a home on both the festival stage and your summer playlist. “I Ain’t Worried About It” marks a welcome return to form, not only sonically, but spiritually. It channels the freewheeling vibe that fans first fell in love with while reflecting the seasoned wisdom of a band that’s learned to tune out the noise.

Rascal Flatts - Life Is A Highway: Refueled Duets

Country trio Rascal Flatts has never been one to shy away from big moments, and they’ve pulled off another one with the release of Life Is A Highway: Refueled Duets, a genre-blending celebration of their 25-year legacy that’s already receiving rave reactions from fans. Anniversary duet projects can sometimes feel tired or forced, but this collection is anything but. With a who’s who of music royalty spanning country, pop, Christian, and rock, the album brings fresh perspective, heartfelt tribute, and unexpected sonic twists to some of Rascal Flatts’ most iconic tracks. Kicking things off with a dose of nostalgia, Blake Shelton joins in on “Mayberry,” trading harmonies with the same charm and warmth that made the song a fan favorite. Kelly Clarkson turns in a soul-stirring performance on “I’m Movin’ On,” capturing the emotional weight of the ballad with soaring, gospel-tinged vocals. Pop legends Backstreet Boys team up for a surprisingly natural take on “What Hurts the Most,” merging their signature harmonies with Rascal Flatts' emotional resonance. Meanwhile, Carly Pearce breathes new life into “My Wish,” stripping things down to reveal the gentle heart of the song, allowing her voice to shine with raw sincerity. One of the most striking moments comes from contemporary Christian powerhouse Brandon Lake, who brings his uplifting vocal presence to “Stand.” The duet takes on new meaning, wrapped in spiritual conviction and hope. It’s a standout on a project full of bold interpretations, the album’s true “chef’s kiss.” Jordan Davis adds his smooth drawl and modern touch to “Yours If You Want It,” giving the romantic anthem a sultry reboot. Rising star Ashley Cooke joins the party on “Summer Nights,” capturing the carefree energy of the original while injecting it with vibrant, new-school sparkle. And then come the curveballs, thrilling, electrified twists that prove Rascal Flatts isn’t just resting on past laurels. “Life Is A Highway” is supercharged by Halestorm frontwoman Lzzy Hale, who turns the road trip anthem into a full-throttle rock spectacle. Jason Aldean lends his unmistakable grit to “Fast Cars and Freedom,” turning the reflective track into a roaring, arena-ready power anthem. Life Is A Highway: Refueled Duets isn’t just a walk down memory lane. It’s a bold reimagining of Rascal Flatts’ legacy through the lens of artists they’ve influenced and admired. With powerhouse vocals, fresh arrangements, and cross-genre magic, the album proves that even 25 years in, Rascal Flatts still knows how to surprise and move listeners. This isn’t a farewell. It’s a celebration. And it sounds better than ever.

Hailey Whitters - Corn Queen

There’s no mistaking it now, Hailey Whitters has officially arrived, and Corn Queen is the coronation we’ve all been waiting for. With her latest 16-track offering, the Shueyville, Iowa native leans into her Midwestern roots while proving she’s more than ready for the big leagues. Equal parts heart, humor, and unapologetic sass, Corn Queen is a sharply crafted collection that reinforces Whitters' place among country music’s most authentic and compelling storytellers. Before the full album dropped, Whitters gave fans a taste of what was to come with a trio of critically acclaimed tracks: “High On A Heartbreak,” “High On The Hog,” and the standout duet “I Don’t Want You” featuring Charles Wesley Godwin. Each one offered a different slice of Whitters’ musical range, from cheeky and bold to bruised and beautifully honest. But it's “White Limousine,” a fresh addition to the album, that might just be the most pivotal moment. In it, Whitters spins the story of a small-town girl staring out at the horizon, dreaming of the high life and sparkling lights that live just beyond her reach. With vivid lyrics and wistful ambition, it’s the kind of song that feels poised to be a breakout, the one that captures hearts and radio airwaves alike. From start to finish, Corn Queen isn’t just a clever title. It’s a declaration. Hailey Whitters knows exactly who she is and what she brings to the table. And with this record, she’s not asking for a seat at the table, she’s carving out her own kingdom, cornfields and all.

Corey Kent - Dodge A Bullet 

Corey Kent is kicking off the summer with a breezy, effortlessly cool new single, “Dodge a Bullet.” Produced by Chris Farren, the track arrives as a refreshing pivot from some of Kent’s harder-charging anthems, revealing a more playful and self-aware side of the Oklahoma native. Built on a stripped-down melody and crisp, sun-soaked guitar work, “Dodge a Bullet” leans into the kind of easygoing charm that begs for the windows down and a long drive. But behind the grin is a man wrestling with his own patterns, singing with a wink about his inability to steer clear of the very things that burn him time and again. It’s this kind of lyrical honesty paired with vocal ease that continues to beg the question: Why isn’t Corey Kent already a household name? There’s a compelling looseness in the way he delivers every line, heart-forward, unbothered and entirely genuine. While Kent first broke into the scene with a gritty Red Dirt edge, “Dodge a Bullet” shows how much more he has in the tank. It’s a sonic curveball that not only expands his musical palette but affirms his place in the evolution of modern country music, where genre rules bend and storytelling always comes first. With summer heating up, Corey Kent may just be on the verge of becoming the artist everyone should have seen coming.

Old Dominion - Water My Flowers 

Country music mainstays Old Dominion are ushering in a poignant new chapter with the release of their latest single, “Water My Flowers”. Known for their catchy hooks, clever lyricism, and laid-back charm, the band trades in some of that trademark cheek for a deeper, more reflective sound and it may just be one of their most compelling turns yet. Written by frontman Matthew Ramsey, Trevor Rosen, Jerry Flowers, and Jordan Reynolds, “Water My Flowers” is a soul-searching ballad wrapped in soft, rootsy instrumentation. The song feels like a weathered letter never sent, equal parts confessional and plea. With imagery as rich as it is raw, the band sings of emptiness, regret, and the ache of longing for connection that outlives a lifetime. “Soul as empty as a whiskey glass / Bed as cold as it can be,” Ramsey sings in the opening verse, immediately setting a tone that is more vulnerable than we’re used to hearing from the band. But that vulnerability is the heartbeat of the track, carried through a refrain that asks a question both literal and existential: “Who’s gonna water my flowers?” It’s a line that cuts deeper each time it’s sung a metaphor for legacy, love, and the enduring desire to be remembered. The song explores mortality without melodrama, and romance without pretense. It’s wistful, yes, but never wallowing. The band walks a fine line between melancholy and warmth, and they do it with the craftsmanship of seasoned storytellers. Musically, Water My Flowers leans into simplicity. There’s a stripped-back elegance in the production that lets the lyrics breathe, and the melody lingers long after the final chord. Fans of Old Dominion will recognize the familiar vocal blend and tight phrasing, but this time, the delivery is more restrained, more contemplative, like a quiet moment at the end of a long road. While the group has never shied away from emotional songwriting, this track feels like a pivot. A band that has long thrived on feel-good anthems and radio-ready romance is now stepping into deeper waters, and doing so with authenticity.

Jordan Davis - Jesus Wouldn’t Do

Jordan Davis is no stranger to soul-searching lyricism, but his new single “Jesus Wouldn’t Do” may be his most candid moment yet. Slated to appear on his forthcoming album Learn The Hard Way, due out August 15, the track is a bold confession wrapped in melody, a stirring blend of honesty, humility, and the kind of spiritual wrestling match many country fans know all too well. Co-written by Davis alongside Jacob Davis, Joshua Coke Jenkins, and Matt Jenkins, and produced by Paul DiGiovanni, “Jesus Wouldn’t Do” showcases the Louisiana native’s gift for turning everyday flaws into poignant storytelling. It’s a song for the imperfect, the tired, the well-intentioned but misstepping a song for just about all of us. Instead of dressing up his past in metaphor, Davis lays it out plain: he’s made mistakes, and he's still working on himself. In fact, the track doesn’t attempt to moralize or resolve so much as it leans into the tension of trying to be better while failing again and again. The chorus is where the track's emotional weight really lands: “I’ll never walk on water, but I pour some in my bourbonSometimes my straight and narrows got too much twist and turning He knows that I need more, so thank the Lord that he ain’t through Giving grace to folks like me doing things / Jesus wouldn’t do” It’s a line that could just as easily hang on a church marquee as it could in a honky-tonk. Davis has managed to marry sacred themes with secular habits without falling into cliché. He’s not playing preacher he’s playing everyman. What makes “Jesus Wouldn’t Do” stand out in Davis’s catalog is the quiet reverence pulsing beneath its rugged honesty. There’s a tenderness in his voice when he admits, “Been too late to say I’m sorry / Been too soon to throw that stone.” That line, along with others like it, makes the song feel less like a confession and more like a prayer with a backbeat. As the title of the upcoming album Learn The Hard Way suggests, Davis isn’t looking for shortcuts or easy answers. He’s leaning into growth the same way many fans do: through mistakes, redemption, and a little grace. “Jesus Wouldn’t Do” is more than a standout single. It’s a spiritual check-in from one of country music’s most compelling voices an artist willing to show the cracks in the surface and, in doing so, reveal a deeper truth underneath.

Laci Kaye Booth - George F****** Strait

Laci Kaye Booth is making it crystal clear who still reigns supreme in her book. With the release of her fiery new single “George F****** Strait,” the Texas native delivers both a heartfelt tribute to country royalty and a rallying cry for timeless love — the kind that only gets better with age. A slow-burning ballad anchored by atmospheric production and raw emotion, the track finds Booth pleading for something rare and enduring. “God give me a man / That just gets better with age / Like George f****** Strait,” she sings, her voice laced with both reverence and ache. The title may be bold, but it’s Booth’s delivery that steals the spotlight. With her signature smoky vocals and an aching vulnerability that cuts through the noise, she once again proves no one sounds quite like her. Her voice haunts in the best way, drifting between gritty confession and ethereal prayer. It’s country with soul, swagger, and a shot of whiskey. t’s the perfect canvas for Booth’s unique sound, balancing grit and grace in equal measure.

A proud Texan herself, Booth knows the weight a name like George Strait carries. Rather than chasing the past, though, she uses it to carve a new path forward one that pays homage while sounding undeniably now. In a crowded field of hopefuls and hit-chasers, “George F****** Strait” cements Laci Kaye Booth as one of country’s most captivating voices.

Jesse Daniel - Son of the San Lorenzo

Jesse Daniel isn’t just telling stories on his new LP Son of the San Lorenzo  he’s living them, breathing them, and giving them back to us wrapped in steel guitar and fiddle. Released via Lightning Rod Records, the project is already shaping up to be one of the most compelling country albums of the year. Recorded live to tape at The Bomb Shelter in Nashville, the 11-track collection plays like a sepia-toned snapshot of a man who has walked through fire and somehow emerged with clarity, conviction, and a whole lot of heart. Daniel's journey is not sanitized or softened. It’s laid bare, with all the bruises, beauty, and broken pieces fully intact. From hitchhiking days in the shadows of the Santa Cruz Mountains to battles with addiction that nearly derailed his future, Daniel uses this album to dig deep not just into his past, but into what it means to grow, to hurt, and to heal. This is country music at its most personal and most potent, drawing strength from vulnerability and transforming hardship into art. The LP opens with “Child Is Born,” a song that feels like a mission statement. It sets the tone for a record that reads like a personal diary gritty but hopeful, grounded but reaching. It’s a collection that feels lived-in, thanks in part to the analog warmth of the live-to-tape sessions and the careful, intentional production. One of the standout moments comes in the form of a collaboration with Charles Wesley Godwin, a fellow torchbearer of the modern outlaw spirit. Their voices together feel like the clash of two weathered highways different directions, same dust on their boots. By the time we reach the final track, “The End,” Daniel doesn’t offer up easy answers or neat resolutions. Instead, he lets the stories breathe and linger. Like all great country records, it doesn’t close the book. It just turns the page. Son of the San Lorenzo is a triumph of substance over flash, of songwriting over spectacle. Jesse Daniel has delivered a record that honors the tradition of the genre while carving his own deeply authentic path. It’s an album for anyone who has fought to find themselves and found salvation in the sound of a steel guitar.

Lanie Gardner - Polaroids

Lanie Gardner is capturing hearts and moments frame by frame with the release of her new EP, Polaroids, a six-song collection that cements her place as one of the most compelling young voices in modern country music. Following the raw vulnerability of her 2024 debut A Songwriter’s Diary, Polaroids finds Gardner widening the aperture on her artistry. Still deeply personal, this project offers a more expansive sonic landscape, blending acoustic soul, alt-pop textures, and country grit into a sound that feels refreshingly current yet unmistakably rooted in storytelling tradition. Each track on Polaroids is co-written by Gardner, giving the project an undeniable sense of ownership and intimacy. Whether she's spinning tales for golden-hour daydreamers or heartbreak survivors, her lyrics hit with emotional truth. There’s a road-trip feel to the entire collection a breezy, melodic flow that carries you somewhere else while making you feel deeply grounded in the moment. With production credits from Oscar Charles, Jonathan Singleton, and Chris Ganoudis, the EP balances polish with vulnerability. The sound is rich without ever overshadowing the star at the center: Gardner herself. At just 25, she’s not just writing from experience she’s shaping it into something universal. Polaroids is more than just a snapshot of where Gardner is right now. It’s a confident stride into who she’s becoming: a bold new voice in country music with a clear vision, strong pen, and genre-pushing instincts. Each track is its own picture-perfect moment and together, they tell the story of an artist on the rise, beautifully in focus.