Country
Hailey Whitters “White Limousine”
“White Limousine” is a beautiful lie wrapped in rhinestones. Hailey Whitters takes the illusion of the high life — the big city, the big car, the big dreams
“White Limousine” is a beautiful lie wrapped in rhinestones. Hailey Whitters takes the illusion of the high life — the big city, the big car, the big dreams
There’s something about the phrase “I pulled a Hank” that says more in six words than most songs do in three minutes. Andy Griggs taps into that outlaw
“Blind Lover” by The Steel Woods is a slow-burning sermon of heartbreak, the kind that doesn’t beg for sympathy but lays it all out on the altar anyway.
Pokey LaFarge’s “End Of My Rope” isn’t your typical outlaw anthem — it doesn’t kick down the saloon doors or growl through grit. Instead, it croons its desperation
If outlaw music is a slow drag on a cigarette in the rain, then Buckcherry’s “Set It Free” is that first shot of whiskey that punches through your
Colter Wall’s “Kate McCannon” isn’t just a song — it’s a funeral dirge soaked in moonshine and vengeance. It rides the line between old-world ballad and modern outlaw
“Call Me the Breeze” has always been a freewheeling piece of outlaw gospel — a breeze-blown anthem for drifters, road dogs, and folks with more miles than maps.
“What’s Left of My Heart” doesn’t ask for pity — it just lays it all out on the table, bruised and still beating. Reckless Kelly’s been grinding out
Lainey Wilson doesn’t just sing a song — she embodies it. And with “Somewhere Over Laredo,” she steps into full-blown storyteller mode, spinning a Western tragedy that drips
“Los Diablos Tejanos” feels like a Texas ghost story told with harmonies and heat. The Wilder Blue — a band already known for their sharp storytelling and vocal
“Crystal Methodist” is what happens when a Southern girl grabs the mic, slams the pulpit shut, and says what everybody else has been too polite to say. Kasey
“Old Truck” ain’t just a ride down memory lane — it’s a full-blown outlaw rap-country confession, driven by regret, rebirth, and the kind of real talk most folks
“Po’ Folks” ain’t just a song — it’s a testimony. A Southern-fried anthem that balances pride and pain like a plate of cornbread and sorrow. When Nappy Roots
When Jamey Johnson sings about growing old, you stop what you’re doing and listen. “Someday When I’m Old” isn’t just a song about time — it’s a meditation
“Mine, Lord Willing” by Pynk Beard isn’t just a song — it’s a neon-lit daydream laced with gospel dust and whiskey echoes. Equal parts playful and reverent, it
Some bands evolve. Others endure. Tesla? They persist — like engine oil on denim or cigarette smoke in the backseat of a ‘78 Camaro. “From the Heart,” off
Some songs feel like a risk. This one? It feels like a damn revelation. “I Don’t Know How to Say Goodbye” pairs two voices you’d never expect to
“Broken Branches” is more than a collaboration — it’s a generational torch pass, lit with sorrow and reverence. When you put Dierks Bentley, John Anderson, and Riley Green
“Candle in the Dark” ain’t your average Southern rock track. Them Dirty Roses come out swinging with something slower, heavier — a late-night confessional dressed in denim and
“White Trash” by Colin Stough doesn’t apologize, doesn’t flinch, and sure as hell doesn’t ask for your approval. It comes out swinging, reclaiming a slur and turning it
“Southern Native” by Blackfoot, featuring the one and only Rickey Medlocke, ain’t just a song — it’s a war drum wrapped in electric thunder. This track stomps in
There’s a lot of noise out there — especially in the independent outlaw world — but every now and then, a voice cuts through it like a bootheel
“Outfit” isn’t just a song — it’s a life lesson passed down with a beer in hand and calloused hands pointing the way. Originally written during Jason Isbell’s
“Songbird” hits like a message from beyond the grave, and damn if it don’t make the hair stand up on your arms. Shooter Jennings teams up with his
Cole Goodwin’s “Girlfriend’s Got a Boyfriend” is a honky-tonk gut punch with a sly grin — the kind of song you laugh at until the truth catches up
Some voices don’t age — they just get weathered like good leather or a well-worn Strat. John Fogerty’s “Legacy: The Creedence Clearwater Revival Years” isn’t a single song,
“Texas Forever” lands like a dust storm rolling across the Lone Star State — unapologetically big, heartfelt, and sticky with the pride of roots. It’s the kind of
Some songs find you when you’re looking for trouble. Others find you when you’re finally ready to come home. “Found” by Cody Jinks is the latter — a
There’s a crack in Oliver Anthony’s voice that feels like it came from somewhere deeper than the throat. “Scorned Woman” isn’t just a breakup song — it’s an
Sierra Ferell – “Dollar Bill Bar” In “Dollar Bill Bar,” Sierra Ferrell invites us into a neon-lit haunt where heartbreak’s been on tap for decades. It’s a jukebox
If there’s ever been a barroom Bible verse for the outlaw country gospel, it’s “Willie, Waylon and Me.” David Allan Coe didn’t just write a song — he
Flatland Cavalry’s “New American Dream” ain’t waving any flags, but it damn sure is saying something worth hearing. It’s not protest music in the conventional sense — there’s
“Game I Can’t Win” might just be Charley Crockett’s quietest declaration of war — not against a person, but against fate itself. The track rides in slow, like
Some songs are made for radio. Others are made for rebellion. “Pop The Trunk” by Yelawolf is the latter—a shotgun-blast sermon from the backroads of Alabama, with zero
There’s something unholy and irresistible about “Hillbilly Happy” by 49 Winchester — a track that sounds like it was cooked up somewhere between a Waffle House parking lot
Margo Price steps back into the ring with “Hard‑Headed Woman,” and damn if she isn’t wearing her heart on her sleeve—lace‑trimmed, of course—while staring down life’s hard truths.
