Combining the absolute worst lyrical tropes of peak bro-country with the faux R&B production Sam Hunt and Thomas Rhett have popularized, Chris Lane’s “Fix” is the harbinger of another dreadful year at country radio.
As a would-be anthem for the contemporary working class, “Livin’ the Dream” is perhaps a bit too unassuming for its own good.
The most obvious points of comparison for singer-songwriter Maren Morris and her single “My Church” are to Sheryl Crow’s self-titled masterpiece and its follow-up, The Globe Sessions. Though Crow spent the 1990s as a pop star, her ties to the country genre were clear. “If It Makes You Happy” was always a honky-tonk anthem waiting to happen, while “The Difficult Kind,” “Home,” and “Mississippi” all sound more recognizably country than do current chart-topping hits by Sam Hunt, Kelsea Ballerini, and Thomas Rhett.
“Heartbeat” has been stuck in my head for days, which isn’t surprising, really. It has a solid hook that Underwood delivers with charm and sincerity, two qualities that I always find abundant in her work.
It’s a beautiful song, too. Romantic, heartfelt, and chock full of the specific details that make a song with a well-tread theme sound fresh and interesting.
The sophomore single from Reba McEntire’s current album Love Somebody is built around an age-old conceit: sometimes you don’t know what you have until you’ve lost it.
A solid chorus and a pleasantly twangy arrangement make the new Rascal Flatts single listenable.
I just don’t get Sam Hunt.
Trite, pointless radio filler that doesn’t bother to make an attempt at originality or substance.
I feel like I’ve heard this a million times before, and that the thrill of discovery that used to be an integral part of hearing new Keith Urban music is well behind us now.
Not sure if he’s misunderstood so much as underappreciated, but that’s beside the point, isn’t?