Sheryl Crow – The New Normal
Sheryl Crow raises hell with **“The New Normal,”** a timely protest-rock single out July 18 that critiques AI, misinformation, and political insanity in one gritty anthem[3]. It roars in with punchy drums and a guitar tone sharp enough to cut glass. Crow’s lyrics lay it bare: “If the news is fake and fear is hate… then welcome to the new normal.” Her voice drills into modern absurdity, spoken with a mix of alarm and defiance. It’s not just commentary—it’s scream therapy. Final Verdict: “The New Normal” is Crow at her fiercest—rocking her rage and rallying listeners to wake up. It’s not easy, but it’s necessary—and Crow’s voice is loud enough to make sure you hear. Sources: Vinyl Me, Please — song themes on AI, politics, Orwell references. The Music Universe — production/band details and anti-politics context. Stereogum — single release, tone, topical breakdown.
Liam St. John – Man Of The North
Liam St. John centers his debut solo journey with **“Man Of The North,”** the title track from his upcoming album set for September 5 release via Big Loud Rock[2]. It’s a northern anthem tempered in true struggle. St. John’s voice, at once worn and resolute, rides an Americana-rock backdrop. He spits the lyric: “I’m cold and haggard, weathered and worn, rough on the outside and inside I’m torn.” He weaves in childhood pain, single-parent roots, and his fight through addiction—resulting in a modern outlaw tale. Final Verdict: “Man Of The North” is raw Americana fused with lived scars—it’s powerful, defiant, and undeniably real. Liam St. John’s story is just beginning, and it’s starting with fire. Sources: Wildfire Music — background, lyric quote, album release info. antiMusic — lyric origin, tone, and theme coverage.
The Jack Wharff Band – Washed
The Jack Wharff Band cut their hearts wide open with **“Washed,”** the title track from their debut EP *Richmond’s Most Wanted* (June 20)[1]. A country‑meets‑folk firestorm, drenched in authenticity and stitched with Richmond grit. The track hits fast: a lively guitar strum that drags your boots across a back‑porch floor. Frontman Jack Wharff’s voice bites into every bar with electrifying command. Lyrically, it sings of breaking free and renewal: “As the dawn rolls over me, I feel too small to stand washed clean…” This band’s raw energy shines live—the audio’s crystal, the video’s performance focused. It’s not polished—it’s present. Final Verdict: “Washed” is a baptism-in-plain-sight—a gritty, heartfelt renewal. The Jack Wharff Band aren’t playing by Nashville rules—they’re rewriting them. Sources: MusicRow — EP release info (June 20) and background. YouTube – Official video / live performance — Audio/visual quality.
Joe Bonamassa – Broken Record
Joe Bonamassa breaks new ground with **“Broken Record,”** the title track from his latest album *Breakthrough*, released July 18. It’s a near-seven-minute ride, equal parts heart-on-sleeve and guitar fire[2]. It starts slow—organ swells and delicate guitar licks introduce the story. But when Bonamassa hits the chorus, it’s volcanic: “I’m a broken record, but I’m still spinning…” The line resonates, bouncing off six-string conviction and lyrical reflection. Produced by Kevin Shirley and recorded in L.A., Nashville, and Greece, the track fuses blues-rock grit with emotive storytelling. As Rock & Blues Muse notes, “Bonamassa at his most fearless,” exploring swing, funk, and arena swagger in one package[3]. The music video captures his dynamic performance style—close-ups on guitar hands, genuine vocals, zero theatrics. Audio’s rich, video’s intimate, and emotion is front and center. Final Verdict: “Broken Record” is Bonamassa sharpening his voice as much as his strings. It’s not just guitar fireworks—it’s soul confession. Solid proof that even the most seasoned artist can still shatter expectations. Sources: Premier Guitar interview reveals songwriting intent and track length context. Blues Rock Review — video drop, style notes. The Music Universe — “most fearless” quote, production details, album context.
Noah Hicks – Small Town Does
Noah Hicks leans into hometown pride with **“Small Town Does,”** his first 2025 single dropped July 15. It’s a dirt-road anthem built for backyard bonfires and meaningful roots[1]. Acoustic guitar and warm vocals bring you straight to Georgia farmland. He channels small-town solidarity and history in every line: “This one’s for the folks who know there ain’t nothin’ like a small town…” That lyric hangs long—it’s pride, nostalgia, and community rolled into one. The lyric video leans into storytelling—every hometown snapshot reinforces the vibe. Audio’s clear, visuals rooted in place, and it reads like he’s speaking directly to yours. Final Verdict: “Small Town Does” isn’t posture—it’s paint-by-numbers memory. Noah Hicks isn’t building hype—he’s building homes. If you grew up where everybody knows your name, this one’s your theme song. Sources: Big Machine Label Group — song release details, lyric quote, personal roots context. YouTube – Official lyric video — visuals, audio quality, mood.
Watchhouse – Beyond Meeting
Watchhouse deliver reflective gold with **“Beyond Meeting,”** a warm, acoustic-laced track from their July 17 release. It’s the sound of healing, growth, and reaching beyond small talk into real connection—just when you need it most. The song starts simple—guitar fingerpicking and nylon-string sincerity. When the harmonies kick in, you feel the tapestry: two voices woven together like shared stories around a campfire. Lyrics breathe: “If we’re lucky, we’ll go beyond meeting…” —a hopeful promise without fluff. It’s intimate but polished: audio’s crisp, picture’s calm, and the video frames their real personalities—on-camera authenticity that invites you in. Final Verdict: “Beyond Meeting” is a quiet handshake—it’s honesty meeting purpose on the first pause. Watchhouse doesn’t beg for attention—they deliver presence. And in a world full of noise, it’s the clarity you didn’t know you needed. Sources: YouTube – Official video — live-in-the-room vibe with clean production.
Struggle Jennings & Bryan Martin – Don’t Play Your Games
Struggle Jennings and Bryan Martin unveil “Don’t Play Your Games,” a stormy outlaw duet dropped July 18 as the lead single from their upcoming *1976* EP[1]. This ain’t polished Nashville—it’s raw country rebellion with grit under the fingernails. From the first rumble of bass and snap of snare, they’re throwing down a rule: don’t mess with this bond. Jennings growls like he’s standing on ancestral dirt, and when Martin joins, his roughneck grit pushes back—voices locking in a vow against betrayal: “I don’t play your games… when it all burns down, I won’t complain.” The official video is unapologetically real—industrial backdrops, two men standing their ground. Audio’s heavy; production’s sparse—like barroom truths with spotlight energy. This isn’t music—it’s a code being lived out. Final Verdict: “Don’t Play Your Games” is a battle cry in three minutes: loyalty over lies, heritage over hype. When Jennings and Martin collide, it’s a knockout—the kind that leaves a mark. This one’s forged in fire, not studio clay. Sources: All Country News — release date, EP context, lyrical breakdown. YouTube – Official music video — authentic visuals and audio clarity.
Taylor Demp – Little Spouse
Taylor Demp steps into the ring with “Little Spouse,” her latest single out just last week — a slow-burning country confession that lands like a midnight whisper and cuts deep[1]. It opens with gentle acoustic strums and Taylor’s voice — earthy, uncertain, raw. She’s not asking for sympathy; she’s stating the damage: “You make me wanna build a log house, little spouse on the prairie…” That lyric stuck in a r/lyrichelp thread too — listeners are hooked, drawn into a pastoral dream that doubles as a confession of emotional wear and pull.[2] The video keeps it stripped-down and intimate — Taylor alone in soft lighting, eyes glistening, every chord and glance feeling too close to ignore. Audio’s mellow but crystal-clear; picture feels like a living moment, not a polished production. Final Verdict: “Little Spouse” is pure mood and meaning. Taylor Demp captures heartache and hope in one breath, trading clichés for emotional truth. It ain’t catchy for the sake of hits — it’s catchy because it *feels*. And that feels like fire. Sources: YouTube – Official video — clear debut performance and studio audio. Reddit – lyrichelp — community buzz and key lyric drop.
Whiskey Myers – Midnight Woman
Whiskey Myers drop the simmering single “Midnight Woman” on July 18 as the third preview from their upcoming album, *Whomp Whack Thunder*, due September 26 via Wiggy Thump Records[1]. It’s swampy. It’s raw. It’s got that voodoo—Cody Cannon calls her “a storm that leaves you dizzy in her wake.”[2] The track builds slow—bass and drums creeping from the swamp, layered with gravel-dipped guitar—until it roars into a full-bodied Southern blues-rock groove. Cody’s voice is thick with swagger, the kind forged under hot lights and harsher nights. His lyrics paint a portrait: “She got that rhythm like Mustang Sally… strong enough to kill a full-grown man.” It’s not just a song—it’s a snapshot of danger wrapped in melody, a “midnight woman” that hits like curveball whiskey and midnight breeze[2]. Musically, it lives in that sweet spot between greasy blues and arena rock. Producer Jay Joyce’s fingerprints are all over it—raw edges intact, but the groove polished enough to let the band’s fire burn clean[1]. Final Verdict: “Midnight Woman” isn’t reaching for nostalgia—it’s staking its own land in the Southern rock spectrum. It drips with danger, soul, and swamp‑drawn intensity. If *Whomp Whack Thunder* runs this deep, we’re in for a scorcher. Sources: Entertainment Focus — Release date, album context (*Whomp Whack Thunder* out 9/26), genre description. Whiskey Riff — Cody Cannon quote, swampy groove description, lyric details.
The Outlaws – “Green Grass and High Tides” (Live 1977)
The Outlaws pull six-string magic with **“Green Grass and High Tides”**, a 10-minute epic from their self-titled 1975 album—performed live in 1977 as a signature show closer.[1] This song builds slow—classic twin-guitar harmonies weaving in twilight echo, up through solos that feel infinite. It’s Southern rock majesty layered over scrappy bar roots. Closing with a guitar duel that rolls for minutes? It’s showmanship and soul wrapped into one. Lyrically, it’s simple and powerful—a mournful goodbye to the ones gone and a celebration of the ride left behind. But where it shines is in the audio waves—sun-baked strings, grit-soaked guitars, and a groove heavy enough to sit in your chest. Final Verdict: “Green Grass and High Tides” isn’t just a song—it’s an atmosphere. It’s a guitar-led sunset that never dims. The Outlaws didn’t just play it—they *lived* it. For anyone chasing Southern rock fingerprints, this one’s a must. Sources: Wikipedia – The Outlaws band history, and info on “Green Grass and High Tides” from 1975 album. Wikipedia – Song details and live jam structure.