The Castellows – “Old Way”
The Castellows open their *Homecoming* EP with “Old Way,” a slow-burning ode to the porch-swing days before they hit Nashville—where small-town innocence meets road-tested grit. The trio dropped the EP on May 30 via Warner Music Nashville, and this opener sets the emotional tone immediately (Country Central, Entertainment Focus). The track starts soft—gentle guitar, a hint of fiddle—before Lily’s voice carries you back home. She sings of fields fading from sight and front-porch lullabies sounding more like distant memories. It’s that pull-you-in feel of nostalgia, but spiked with the unease of realization: you’re leaving something good behind. The Castellows lean into that tension. Their tight three-part harmonies are heartfelt without ever tasting saccharine. When the pedal steel weeps underneath, it’s like a road opening before you. They’re not rejecting their roots—they’re carrying them forward, and sometimes that’s heavier than you think. The video plays into that perfectly: slow panoramas of dirt roads, abandoned barns, and sibling glances that say more than any line ever could. No over-the-top production—just authenticity and heart. Final Verdict: “Old Way” grabs you by the ribs and doesn’t let go. It’s front-porch country built for the long haul: real, nostalgic, and ready to roll into what’s next. The Castellows aren’t just singing about leaving—they’re proving their roots run deep enough to stand the move.
Amanda Shires – “A Way It Goes”
Amanda Shires returns with “A Way It Goes,” the cinematic lead single from her upcoming album *Nobody’s Girl*, set for release September 26 via ATO Records[1]. Filmed and conceptualized by Taylor G. Kelly, this track marks her first solo work since *Take It Like a Man* (2022) and arrives in the wake of personal transformation—including her divorce from Jason Isbell[1][2]. The song opens with muted electric guitar and delicate fiddle, creating space for Shires’ voice—simultaneously intimate and resolute. A lyric like > “Spent a year looking inward and healing… I felt my heart sprouting feathers” reveals both vulnerability and growth, an emotional core shaped by the wreckage she mentions: *“Nobody’s Girl is what came after the wreckage, the silence, the rebuilding”*[1][2]. Produced with Lawrence Rothman in Nashville and Los Angeles, the sound blends quiet reflection with subtle expansiveness—Shires on fiddle, tenor guitar, and ukulele, backed by a roster of veteran session musicians. It’s both soft and spacious, honoring her Americana roots while charting new terrain[3]. The Taylor G. Kelly–directed video visually echoes the song’s emotional landscape. Set against dusty Nashville streets and sunrise-lit scenery, it complements the simmering tension without overshadowing the performance[1]. Reddit shares from fans describe it as “really love this song,” marking a strong positive split among indie listeners[4]. Final Verdict: “A Way It Goes” is Amanda Shires at her most reflective yet determined—proof that healing can be powerful, not just quiet. It’s a rich, layered comeback, equally thoughtful and assured, and a strong opener for *Nobody’s Girl*. Sources: Pulse of Radio via 99.7 The Wolf — album announcement, video credit, and “wreckage” quote. BrooklynVegan — discusses origin post-divorce, producer, and recording locations. Stereogum — mentions Rothman production details and multi-instrumentalism. Reddit /r/indieheads — fan reaction: “really love this song.”
Taylor Acorn – “Goodbye, Good Riddance” – https://www.youtube.com/watch?v=wSd4gYDEmqo
Taylor Acorn delivers a gritty breakup anthem with “Goodbye, Good Riddance,” her first single since signing to Fearless Records on July 11, 2025[1]. Written as a cathartic middle finger to a toxic past, it roars with pop-punk energy and unapologetic release[2][3]. The track kicks off with crunchy guitar riffs and high-octane drums that feel made for stadiums. Acorn’s voice delivers lines like “have a good life without me in it” with both smirk and sting. She’s channelling Avril Lavigne’s angst and Paramore’s big‑chorus power, but with an emo‑rock sincerity all her own[2][4]. Lyrically, it’s a victory lap—tossing a “good riddance” to someone who messed around and blew it. Acorn called it “one of my favorite songs I’ve ever written,” praising its fun, gritty tone and predicting it’ll be a killer live moment[1][2][5]. The chorus hooks instantly, designed to rally hands—and reeds—at any Summer School Tour stop. The music video leans into that vibe, offering a vengeful atmosphere while ditching relationship clichés. Rather than dramatizing heartbreak, it re‑armifies Acorn with race tracks, defiant expressions, and crowd-friendly visuals—implementing community strength over melodrama[3]. Final Verdict: “Goodbye, Good Riddance” is Taylor Acorn at full throttle—empowered, edgy, and in control. It’s not just a breakup anthem—it’s a statement of self-worth and swagger. This track proves she’s stepping confidently into her Fearless era—and she’ll keep taking no prisoners on stage. Sources: The Daily Music Report — release date, Fearless Records debut, songwriter note. Folk N Rock — sonic comparison to Avril Lavigne/Paramore, live energy quote. Rock Sound — tone, video vibe, empowerment context. Chorus.fm — release details. MetalNerd — songwriter’s statement about favorite-written track and live expectations.
Chase McDaniel – “Lost Ones”
Chase McDaniel goes deep with “Lost Ones,” the soul-bearing title track from his autobiographical debut album, arriving September 19 via Big Machine Records[1]. This waltzing ballad doesn’t shy away from heavy truths—McDaniel channels grief, hope, and a relentless fight for light[2]. From the opening mournful piano and weeping steel guitar, you feel the weight behind McDaniel’s gravelly baritone. When he sings, > “Hurtin’ so loud but they don’t make a sound,” you hear a voice not just telling his story—but speaking for those standing in shadows, waiting to be seen. Co-written with Chris LaCorte and Josh Miller, the song forms the emotional backbone of an album rooted in McDaniel’s life—from losing his father to addiction to wrestling with depression—but tempered by resilience and catharsis[1]. Produced by Lindsay Rimes, it’s a sparse, haunting country-rock confessional. The music video, directed by Robby Stevens, mirrors the song’s message: woodland landscapes, a man struggling to light a flame, and handwritten words plastered over confessions like “Lost, Broken, + Addicted.” It ends on dawn’s first light, as McDaniel asks gently, “Hey man, you need a light?” and the 988 Suicide & Crisis Lifeline appears on screen—an authentic reach-out disguised as art[2]. Final Verdict: “Lost Ones” transcends music—it’s a lifeline. Chase McDaniel strips away the noise to deliver a raw, intimate message: you’re not alone. If you’ve ever felt unseen or unheard, this song is your mirror, your moment, your moment to breathe. Sources: Big Machine Label Group — Album announcement, personal backstory, Sept 19 release, co-writing details. The Music Universe & Big Machine video press release — Video breakdown, visual imagery, and mention of 988 helpline.
Margo Price Ft Jesse Welles – “Don’t Wake Me Up”
Margo Price teams up with Arkansas folk-rocker Jesse Welles on “Don’t Wake Me Up,” the second single from Price’s forthcoming album Hard Headed Woman, due August 29 (Pitchfork). Released July 15 with a video that cheekily riffs on Bob Dylan’s “Subterranean Homesick Blues,” the track feels like an open-air road trip—equal parts day-dreamy folk and ramblin’ outlaw swagger (Shore Fire Media). A lazy shuffle of brushed drums, twang-kissed guitars and Welles’ chiming harmonica set the scene. Price’s voice glides in with soft defiance, trading lines with Welles about wanting “a hit of that highway air.” The chemistry clicks: her honey-and-smoke drawl complements his dusty tenor, turning the chorus into an invitation you can’t refuse. Lyrically, it’s pure wanderlust. Price says the words began as a poem inspired by Arkansas poet Frank Stanford before she and husband/co-writer Jeremy Ivey shaped it into a song (Stereogum). Images of Waffle Houses, cow pastures and 24-hour diners flicker like mile-marker memories—perfect fuel for restless spirits. Production stays loose and analog-warm, courtesy of producer Jonathan Wilson. Instead of chasing radio gloss, they let tambourines jangle, guitars ring and harmonies breathe, echoing Price’s stated goal to keep this record “free-wheeling and fearless” (Hot Press). The result lands somewhere between cosmic Americana and back-porch country-soul. The Hannah Gray Hall–directed video seals the vibe: cue cards flashed on a downtown Nashville street, vintage motel signs, sunrise drives—Dylan reference fully intact but spun with Price’s own rebel flair (Holler Country). It feels like thumbing a ride through an Americana fever-dream. Final Verdict: “Don’t Wake Me Up” is both an homage and a forward push—proof that Margo Price can honor the canon while carving her own lane. Paired with Jesse Welles’ raw harmonies, the song drifts like highway air through open windows: sweet, restless and impossible to bottle. If the rest of Hard Headed Woman keeps this momentum, buckle up—the ride’s just beginning.
Benjamin Tod – “Goner”
Benjamin Tod returns with **“Goner”**, released July 11, 2025, featuring Madison Hughes and available in both studio and “Live & Alone” acoustic versions (Amazon Music). The song kicks off slow and deliberate—acoustic guitar setting a somber tone beneath Tod’s weathered voice. It feels like a confession, not a performance. He’s a troubadour whose life spilled into the music through years on the road, addiction, and redemption with Lost Dog Street Band behind him (Glide Magazine). Lyrically, “Goner” digs into the fear of being lost or left behind. It’s about reckoning with your demons and needing rescue—a theme Tod has revisited before, but carries here with refined vulnerability. Reddit fans have speculated on its spiritual edge, reminiscent of emotional confessions in tracks like Twenty One Pilots’ “Goner” (Reddit discussion). The arrangement is spare, highlighting his voice and the weight behind each word. The “Live & Alone” take adds extra grit—the vulnerability laid bare, acoustic lines echoing like raw testimony (Benjamin’s Facebook post). The “Official Music Video” ties it together visually—under moonlight, with clear skies and solitude, echoing the song’s themes of isolation and confession (YouTube). Final Verdict: “Goner” is a raw plea from a man who’s lived through the wreckage and come out willing to be honest. It doesn’t aim for mainstream hooks—it aims for your soul. For fans who follow Tod beyond Lost Dog Street Band, this is a continuation of that dark, beautiful journey: survivor songs that don’t pretend the fight’s over. Strap in and feel every word.
Brooke Lee Ft. Lukas Nelson “Dandelion”
Brooke Lee and Lukas Nelson join forces on “Dandelion,” a sun-drenched country-soul anthem fueled by resilience and friendship. After their meeting at Luck Reunion, Brooke invited Lukas to join this track—his signature twang and guitar calling back to her own smoky soulfulness (Holler Country). The song rides smooth and easy, with acoustic guitar and laid-back drums setting a mellow tone. Brooke’s voice shines first—sturdy and heartfelt—as she sings about being “ripped right out of the ground so my roots don’t run too deep,” a nod to pulling strength from hardship. Lukas backs her with warm harmonies that feel like a high-five from someone who’s been through the same storms (Holler Country). Lyrically, it’s a tribute to survival—“You can keep your roses and I’ll keep growing wild”—celebrating the overlooked, like dandelions breaking through the concrete. Brooke says this song became her anthem after her grandfather’s passing, deepening an already meaningful message (Holler Country). Musically, the song strikes the perfect balance between soul and country, carrying Brooke’s delta roots with Lukas’s red‑dirt flair. The visualizer complements it beautifully—sunlit visuals, relaxed smiles, a feel‑good vibe that feels like the perfect summer evening (Wide Open Country). Final Verdict: “Dandelion” is a charming lesson in survival, friendship, and grit—with zero bitterness and all heart. Brooke Lee and Lukas Nelson prove you don’t need grandeur to make a country anthem; sometimes all it takes is a melody, a metaphor, and a whole lot of soul.
Tigirlily – “Thinkin Bout That”
Tigirlily delivers a heartfelt shift with “Thinkin’ Bout That,” the latest single inspired by a moment when Krista’s fiancé, Walker Montgomery, pointed out a house—and sparked a whole conversation about the future (Today’s Best Country, The Music Universe). The track opens soft and reflective—crisp acoustic guitar and gentle harmonies that let Krista and Kendra shine. Their voices entwine like whispers between sisters who’ve lived and loved together, giving the song an intimate feel that lingers long after the last chord. Lyrically, this is about more than love—it’s about stepping into new territory: houses, futures, the “what-ifs” that come with grown-up commitment. Lines like “you should start thinkin’ bout that” aren’t just sweet—they’re anchors, nudging the listener toward a life once thought too distant. Produced by Pete Good and co-written with Jess Grommet and Willie Morrison, the song balances modern Nashville sheen with the duo’s genuine emotion (Today’s Best Country, The Music Universe). The music video keeps it simple—warm lighting, close-up shots, and the sisters performing in a cozy setting. No hype—just heartfelt delivery and genuine connection. Final Verdict: “Thinkin’ Bout That” is Tigirlily at their most vulnerable and relatable. It’s grown-up, grounded, and gorgeous—a gentle anthem for anyone who’s ever dreamed of more. Whether you’re at the start of your journey or reflecting on past steps, this song is a quiet reminder: love often begins with a simple thought lingering in the future.
Marcus King – “Carry Me Home”
Marcus King delivers a haunting, homesick anthem with “Carry Me Home,” the first single from the upcoming *Darling Blue* album, set to drop September 26 (MusicRow). In his words, it was “the first song that poured out of me,” a deeply personal homage to the Blue Ridge landscape (Grateful Web). The track opens with a soulful guitar sigh — part blues, part gospel, all honest. Marcus’s voice carries that familiar ache, now deepened by reflection. Layered harmonies feel like old roots, grounding the song in Southern dirt and memory. Lyrically, this is a love letter to home. It’s an ache for the land—the mountains, the air, the belonging. King’s choice to pen it so quickly tells the tale: this isn’t crafted; it *spilled out* of him (Grateful Web). Musically, it slots perfectly between country, folk, and blues-rock—the kind of emotional depth found on *Mood Swings*, but brighter, wiser, and more homespun (MusicRow). The visualizer mirrors the tone—fields lit by fading sun and no-frills imagery, letting the music and emotion take center stage. Final Verdict: “Carry Me Home” is Marcus King at his most genuine—homesick, heartfelt, and wholly connected to his roots. With *Darling Blue* on the horizon, this single proves he’s not just a guitar virtuoso—he’s a storyteller with something real to say.
Hudson Westbrook – “Damn Good Taste In Whiskey”
Hudson Westbrook’s “Damn Good Taste In Whiskey” is a sharp, barstool confession that grabs you by the collar — part heartbreak anthem, part cheeky red-dirt boast. The track is the latest teaser from his upcoming debut album *Texas Forever*, due July 251, and it proves the 20‑year‑old Stephenville native is forging a proper outlaw legacy2. The song opens on a warm mid-tempo groove flickering with acoustic guitars, fiddle, and a steady drumbeat that feels familiar without feeling safe. Westbrook’s voice—earthy, self-aware, and Texas-proud—delivers a line that’s already echoing through small bars across the state: > “I guess I like things that burn my chest… But a damn good taste in whiskey.”2 Written alongside Randy Montana and produced by Lukas Scott & Ryan Youmans, the track blends red-dirt authenticity with enough polish for mainstream ears2. The accompanying “Visualizer” captures the mood — low-light bar scenes, whiskey-soaked melancholy, and that Texas pride that doesn’t need neon to make its point0. With charting singles like “House Again” and a fast-growing streaming presence, Westbrook’s on the rise2. Final Verdict: “Damn Good Taste In Whiskey” is a well-aged statement of purpose — laced with humor, honesty, and Texan heart. Hudson Westbrook isn’t riding tradition — he’s remixing it with swagger and vision. With *Texas Forever* dropping soon, this ride’s only just revving up. Citations: CountryCentral reports *Texas Forever* drops July 25. The Music Universe and Holler Country detail release info, writing credits, and key lyric line. YouTube visualizer shows the mood and video style.