Nine Country Music Songs You Need To Hear This Week Feat. Parker McCollum, Miranda Lambert, Tucker Wetmore, Stephen Wilson Jr. & More

Parker McCollum - What Kind Of Man

Let’s get one thing straight: Parker McCollum has always had an intoxicating voice, but with the release of “What Kinda Man,” it’s never been stronger or more confident. Known for his blend of modern country flair and Texas roots, McCollum’s latest single takes him back to the core sounds that first made him a country music sensation. Written by McCollum himself, alongside songwriting powerhouse Natalie Hemby and the talented Jeremy Spillman, “What Kinda Man” is a masterclass in storytelling. It’s produced by the legendary Frank Liddell and Eric Masse, who’ve managed to bring out a rich, textured sound that perfectly complements McCollum’s vocal prowess. Instrumentally, the track is drenched in traditional country elements—acoustic and electric guitars, a foot-stomping drum and bass section, and a harmonica that takes center stage. From the opening chords, it’s clear that McCollum is tapping into the heart of traditional country music, yet he’s doing it in a way that feels fresh and exciting. His vocals glide effortlessly over the instrumentation, with an undeniable confidence that hooks listeners from the get-go. And when that toe-tapping chorus hits, it’s pure magic—his voice soars, bringing an irresistible energy to the track that’ll have you singing along on the first listen. McCollum tells the story of a rolling stone who finds himself once again at the door of a former flame, torn between his wandering ways and the pull of old love. It’s a timeless theme, but in McCollum’s hands, it feels personal and raw, like a page ripped from his own life. There’s a certain vulnerability in the song that’s as captivating as it is relatable. While McCollum has never shied away from experimenting with his sound, “What Kinda Man” sees him embracing a more traditional, rootsy approach that longtime fans will appreciate. It’s a nod to the country greats who came before him, while still carving out space for his unique voice in today’s country scene. It’s clear that Parker is on fire right now, and if this track is any indication, he’s just getting started. McCollum’s ability to blend the old with the new is what makes “What Kinda Man” stand out. It’s both a return to form and a bold step forward, reaffirming that he’s not just riding the wave of modern country—he’s shaping its future. And let’s face it, Parker McCollum is hot, hot, hot—in both talent and trajectory. As this single climbs the charts, it’s safe to say we’ll be hearing a lot more from the “Pretty Heart” singer as he continues to raise the bar in country music.

Miranda Lambert - Postcards From Texas

Let’s get one thing straight: Miranda Lambert is back, and we’re soaking up every note. Postcards From Texas, her latest release, is a love letter to her home state, but it’s also a witty, unapologetic diary that shows Lambert at her most comfortable and charismatic yet. Across 14 tracks, she crafts stories that are at once playful and poignant, all while leaning into the rich musical legacy of Texas. This is Miranda being Miranda—fearless, fiery, and full of life. The album kicks off with “Armadillo,” a spirited road-trip anthem that feels like a postcard you wish you’d received. With a plucky backbeat and Lambert’s signature twang, it sets the tone for the entire record—a mixture of nostalgia and forward motion, adventure and homecoming. It’s Miranda in her element, taking us on a journey that could only be hers. But it’s not just the storytelling that shines here; it’s the sonic landscape Lambert and co-producer Jon Randall paint. The musical palette is as wide and diverse as Texas itself, moving effortlessly from the honky-tonk charm of “Looking Back On Luckenbach” to the slow-burning grit of “Wranglers,” where Lambert channels a Neil Young-esque swagger. These songs don’t just nod to the past; they breathe new life into it. Tracks like “Bitch On The Sauce (Just Drunk)” bring out Lambert’s mischievous side, with a bluegrass-inspired melody that’ll make you want to kick up some dust. And then there’s “Alimony,” a shuffle so deliciously sharp in its lyrical reversal, you can’t help but laugh and marvel at her cleverness. It’s a song that feels like it’s always existed in the country music canon, but it’s Lambert’s fresh spin that makes it a standout. Of course, Lambert’s knack for classic storytelling comes through on “No Man’s Land” and “I Hate Love Songs,” both stripped-down, intimate tracks that showcase her gift for simplicity and honesty. These are the moments where Lambert doesn’t need to shout; her storytelling does all the heavy lifting. And her cover of David Allen Coe’s “Living On The Run” is pure rebellion, an unrepentant ode to the wild and free spirit that’s always been a part of her artistry. What stands out most in Postcards From Texas is how comfortable Lambert seems in her skin. Her voice is full of personality and charm, whether she’s making you laugh, reflect, or want to raise a glass. She’s not trying to be anything other than herself—and that’s what makes this album such a joy to listen to. Every song feels like a snapshot of who she is: a little wild, a lot smart, and completely unforgettable. Miranda Lambert hasn’t just delivered an album; she’s handed us a collection of stories that we’ll be coming back to, long after the road trip ends.

Tucker Wetmore - Silverado Blue

Washington State native Tucker Wetmore is having a breakout year, and his latest release, Silverado Blue, proves once again that his star is on a meteoric rise. Known for his signature blend of swagger and twang, Wetmore continues to showcase why he’s fast becoming a household name in country music. With the recent announcement of his debut EP, Silverado Blue not only solidifies his presence but sets the stage for even greater things to come. Written by Wetmore, alongside seasoned songwriters Brett Sheroky and Dan Wilson, Silverado Blue hits all the emotional high notes of a bittersweet love story. The song captures the tense, heart-racing moments of a final night spent with someone before everything changes. Wetmore taps into the universal struggle of wanting to hold on while knowing you must let go—a theme that resonates deeply, making the song both relatable and poignant. From the opening chords, Silverado Blue feels like a slow burn, reflective and bittersweet, much like the memories it seeks to evoke. Wetmore’s smoky, unpolished vocal takes center stage, steering away from the overproduced tendencies of modern country and instead leaning into an authentic, raw sound. His voice, husky and rich, doesn’t require embellishment; in fact, the stripped-back production allows his storytelling to shine even brighter. What stands out most in Silverado Blue is Wetmore’s ability to convey conflicting emotions. He wants her to stay, but as the song unfolds, he prioritizes her needs over his own desires. “Hitting pause on his own wishes for her to stay,” Wetmore sings with sincerity, capturing the complexity of love and sacrifice in a way that feels refreshingly honest. The lyricism, much like the melody, is simple yet profound. “Silverado Blue” isn’t just a song about a truck or a fleeting romance; it’s about a moment in time—a pause before the inevitable goodbye. It’s about the blue of the night sky, the blue of the memories, and the blues of a heart torn between hope and reality. Wetmore’s ability to craft songs that balance vulnerability with a confident swagger is part of what makes him a standout in the crowded country landscape. With Silverado Blue, he’s proving that he’s not just another rising star; he’s a storyteller with depth, a performer with charisma, and an artist who can tug at your heartstrings while keeping you hooked from start to finish. As Wetmore’s profile continues to grow, it’s easy to imagine him headlining stadiums in the near future. His authentic sound and storytelling prowess have him poised for superstardom, and Silverado Blue is the latest evidence that Tucker Wetmore is more than ready for the spotlight. His star isn’t just rising—it’s blazing a trail across the country music sky.

Stephen Wilson Jr. Feat HARDY - Father’s Son Acoustic

Stephen Wilson Jr. has been steadily climbing the ranks in country music with his raw, powerful songwriting and gritty vocal style. His latest acoustic take on "Father's Son," featuring the dynamic HARDY, showcases his ability to elevate his artistry even further. The stripped-down version of the track is an intimate and soul-baring look into the complex relationship between father and son, and it adds a new layer of emotional depth to the song. The collaboration between Wilson and HARDY is seamless, as their respective tones—a blend of Wilson's Midwestern gravel and HARDY's Mississippi grit—complement each other perfectly. "Father's Son" explores the bittersweet reality of a son grappling with his inherited identity. Wilson opens the song with poignant lines:

"He was named by my Grandma / She got it from the Bible / And he passed it on to me / Like my grandaddy's rifle." These words capture a sense of legacy passed down through generations, while the weight of that legacy becomes both a source of pride and conflict. Wilson’s battle to forge his own path and escape his father’s shadow is a theme that resonates deeply, as he admits, "Yeah, I fought it like hell / Hell, he became a rival." It's an all-too-familiar struggle for many, making the song relatable yet profoundly personal. The acoustic rendition strips away any production distractions, leaving the listener alone with the lyrics and the sheer vulnerability in Wilson’s voice. It's a bold move that allows every word to land with gravity, particularly in lines like:

"I've never known better, yeah / 'Cause every bone's tethered / You wanna change my name / Gotta drain my blood." Here, Wilson acknowledges that his identity is inextricably linked to his father, no matter how hard he tries to break away. In this version, the acoustic guitar underscores the melancholic realization that some things are simply unavoidable—like being your father's son. HARDY’s guest appearance adds a layer of rugged authenticity. Known for his no-nonsense storytelling, he meshes perfectly with Wilson’s introspective style. The chemistry between the two artists brings out the raw emotion embedded in the lyrics. As the song builds, the chorus hits with even more intensity: "Everything I am's everything he was / God damn, I am my father's son." This acoustic version of "Father's Son" takes Stephen Wilson Jr.'s storytelling to new heights. It’s not just a song; it’s an exploration of identity, inheritance, and the reconciliation of who we are versus who we strive to be. This rendition reaffirms Wilson's status as one of country music’s most honest and introspective songwriters, proving that he's a force to be reckoned with. The addition of HARDY gives it an edge that further amplifies the song's emotional heft, making this acoustic performance a true standout.

For Stephen Wilson Jr., this song marks another step toward cementing himself as a unique voice in country music—a voice unafraid to confront life's most complex relationships head-on.

Ryan Larkins - Home State

Ryan Larkins has quickly become one of country music's most exciting voices, and his new track "Home State" is a shining example of why he’s a standout in the genre. With his smooth, heartfelt delivery and thoughtful songwriting, Larkins continues to carve his own path, blending tradition with a fresh perspective. At its core, "Home State" is a love song, but it’s far from your typical ballad. Instead of simply serenading a sweetheart, Larkins uses the metaphor of home to capture something deeper: the feeling of finding comfort, familiarity, and belonging in the presence of the one you love. It's a clever twist on the classic country theme of returning home, one that evokes the nostalgia of small-town roots while adding a romantic touch. The laid-back production complements Larkins’ tender timbre perfectly, creating an intimate atmosphere that feels both personal and universal. Soft guitar strums and gentle percussion allow his voice to take center stage, drawing listeners into the story he’s telling. It’s a track that invites you to slow down and savor the moment, much like the feeling of being with someone who makes you feel at home. Lyrically, Larkins showcases his skill as a storyteller, weaving together vivid imagery and heartfelt emotion without falling into clichés. He paints a picture of wide-open roads, familiar front porches, and the warm embrace of a loved one, capturing the essence of home in both a literal and emotional sense. This is where "Home State" truly shines—it’s not just about a place, but about the people who make that place feel like home. With the release of "Home State," anticipation for his upcoming Bones EP is at an all-time high. Larkins continues to prove that he’s more than just a rising star; he’s a force to be reckoned with in the ever-evolving world of country music. If this song is any indication, his upcoming project will be filled with the kind of heart and authenticity that sets him apart from the rest. Ryan Larkins has found a way to make every song feel personal, yet relatable, and "Home State" is no exception. As we eagerly await more from this CMA-nominated singer-songwriter, it’s clear that his roots—both musical and personal—run deep, and his future is as bright as the home state he so beautifully sings about.

Erin Kinsey - Gettin’ Away With It

Rising country star Erin Kinsey is making waves yet again with her latest release, Getting Away With It, the title track from her forthcoming EP, set to drop on October 1. Co-written with Lauren McLamb and Brandon Hood, and produced by the ever-talented Josh Kerr, this song showcases Kinsey’s unmistakable blend of charm, grit, and undeniable vocal power. Getting Away With It is a clever take on using one’s wit, strength, and yes, those "pretty blue eyes," to get exactly what you want—on your own terms. Kinsey strikes a refreshing balance, embodying an independent spirit that doesn’t need validation or approval but knows how to play the game with style. This isn't just about manipulation, though; it’s about intelligence, confidence, and knowing your worth. Kinsey explores this theme with a combination of playfulness and depth. Lines like "you think you're running the show, but I'm the one in control" demonstrate the song’s ability to ride the fine line between fun and fiercely empowering. It’s not just about charm; it’s about self-assurance and savvy, and Kinsey delivers these sentiments with conviction. Kinsey’s vocal delivery on this track is a standout. Her voice soars over the driving beat, giving the song an infectious energy that feels both fierce and freeing. The production, anchored by Kerr’s signature touch, complements her voice perfectly, with heavy guitar riffs and a strong backbeat creating an anthemic soundscape. There’s an edge here that we haven't always seen from the Texas native, and it suits her well. It’s fun, fiery, and shows off a side of Kinsey that fans will undoubtedly love. What’s particularly exciting about Getting Away With It is how it highlights Kinsey’s growth as an artist. While she’s always been an incredible storyteller, this song hints at a bolder, more confident direction in her music. The song feels like a declaration, not just in its lyrics but in its execution—Kinsey is no longer just getting her footing in the industry, she’s running the show. With Getting Away With It as the lead single from her new EP, it’s clear that Kinsey is gearing up to take her rightful place among country music’s rising stars. This track is fun, empowering, and clever, a perfect storm of everything Erin Kinsey represents as an artist—independent, unafraid, and ready to make waves. October 1 can’t come soon enough.

Jordana Bryant - I Could See It

Jordana Bryant is quickly solidifying herself as a fresh voice in country music, blending youthful vibrancy with a maturity in songwriting that suggests she’s here to stay. Her latest single, I Could See It, is a prime example of her ability to seamlessly marry pop sensibilities with country authenticity. The track plays like a sun-soaked love story, filled with tender moments and an infectious, sing-along-ready chorus. The song immediately captures attention with its catchy, upbeat melody and Bryant’s breezy delivery. She opens with the lines: "I could be the song in your head every summer, The kind of classic that you can’t forget, Baby, I could see it..." These lyrics set the tone for a flirty yet earnest exploration of what could be, teetering between fantasy and a love that feels just on the edge of reality. There's something unmistakably charming about Bryant’s ability to craft lyrics that are both relatable and brimming with romantic possibility. The imagery of "Silverado silhouettes" and dancing under the stars taps into the classic country love song aesthetic, while her pop-flavored delivery ensures the track will resonate with a wide audience. Bryant’s sharp pen is on full display as she plays with the idea of unspoken attraction. In one standout verse, she sings: "Boy, I got you caught, thinking I wouldn’t notice The way you stared at me across the room, But baby, I could see it..."Here, Bryant deftly flips the script, acknowledging the tension between two people who both know there's something more, but haven't yet acted on it. It's playful, confident, and perfectly encapsulates the heart-fluttering excitement of a budding romance. The songwriting is sharp, using just enough detail to paint a vivid picture without overcomplicating the message. The chorus, though, is the song's crowning achievement. The hook—"I'm just saying I could see it"—feels like the type of line destined to get stuck in your head for days. It's a universal sentiment, carrying a mix of hope, possibility, and uncertainty, all wrapped up in an irresistible melody. Bryant balances this with a vocal performance that's both understated and powerful, delivering each line with a warmth that invites listeners in. Production-wise, I Could See It is polished without losing the heart of country. The acoustic elements complement Bryant’s voice, while the pop-infused beats give the song a contemporary edge. It’s a balance that feels effortless, allowing Bryant to stand out in a genre that increasingly blurs the lines between pop and country. Jordana Bryant continues to prove that she's a force to be reckoned with. The song showcases her growth as both a songwriter and performer, while maintaining the authenticity and charm that have endeared her to fans. It’s a sweet, heartfelt track with the potential to become a staple on summer playlists and a testament to Bryant's future as one of country’s rising stars. Bryant’s ability to combine thoughtful lyrics with irresistible melodies makes I Could See It an undeniable win. If this track is any indication of what’s to come, it’s clear that Bryant has only just begun her ascent in country music—one song at a time.

Lukas Nelson + Sierra Ferrell + The Travelin’ McCourys’ “Someone Like You”

In a remarkable and unexpected twist, Lukas Nelson, Sierra Ferrell, and The Travelin’ McCourys have collaborated to reinvent Adele’s heart-wrenching ballad “Someone Like You,” breathing new life into the timeless song with a vibrant bluegrass interpretation. Known for its profound emotional depth and stripped-back piano arrangement, the original track is a cornerstone of modern pop balladry. But in the hands of these seasoned bluegrass musicians, it’s transformed into a lively, foot-tapping tune, without losing the raw, bittersweet emotion at its core. The collaboration begins with Lukas Nelson’s unmistakable vocals leading the charge. His voice, always tinged with a hint of world-weary wisdom, offers a compelling contrast to Adele’s original delivery. While Adele’s version is steeped in sorrow and longing, Nelson brings a rustic, almost conversational tone to the lyrics, like a man recounting a lost love over a fireside gathering. There’s a calm acceptance in his interpretation, yet the ache is still palpable, especially when paired with the stunning harmonies of Sierra Ferrell. Ferrell’s ethereal voice is the perfect complement to Nelson’s earthy style, adding a layer of vulnerability that beautifully enhances the emotional texture of the song. Her range and vocal agility allow her to dip into tender, mournful notes while also soaring through the song’s more climactic moments. Together, Nelson and Ferrell create a vocal interplay that feels like a dialogue between two lovers who have come to terms with their inevitable parting. The Travelin’ McCourys anchor the entire arrangement with their signature bluegrass instrumentation. Their expert handling of the banjo, mandolin, and fiddle adds a dynamic energy that shifts the song from somber to lively without ever feeling rushed or out of place. The quickened tempo, driven by the crisp plucking of the banjo and the bright strumming of the mandolin, infuses the song with a lightness that contrasts beautifully with the melancholy lyrics. It’s a transformation that speaks to the resilience found in bluegrass—an ability to express sorrow and joy simultaneously. One of the most striking aspects of this bluegrass rendition is how it maintains the emotional integrity of Adele’s original, even as it ventures into entirely new sonic territory. Where Adele’s piano ballad thrives on simplicity and intimacy, The Travelin’ McCourys create a fuller, more textured landscape, layering the instrumental arrangement in a way that feels rich and expansive, yet never overpowers the vocals. The fiddle weaves in and out, adding subtle flourishes that evoke the kind of nostalgia and heartache the song demands, while the mandolin’s bright tones bring a sense of hopefulness, even in the face of loss. In this reimagining, “Someone Like You” is less about wallowing in heartbreak and more about moving forward, about finding solace in the rhythm of life and the community that bluegrass music fosters. It’s a song of acceptance, where the pain of loss is acknowledged but not dwelled upon. Instead, there’s a sense of renewal—a testament to the power of music to transform not just melodies, but emotions. Lukas Nelson, Sierra Ferrell, and The Travelin’ McCourys have crafted a version of “Someone Like You” that feels as timeless as the original, yet distinctly their own. It’s a bluegrass triumph that underscores the genre’s ability to breathe fresh life into even the most iconic songs, while showcasing the versatility of the artists involved. Their rendition stands as a reminder that great music transcends genre, and that sometimes, the most poignant interpretations come from the most unexpected places.

Lakeview

Lakeview’s debut album is a genre-bending masterpiece, serving as both a love letter to their roots and a bold leap into the future of country-rock. This collection feels like the culmination of years of relentless hustle, back-breaking blue-collar work, and the sheer willpower of Jesse Denaro and Luke Healy. These two don’t just straddle the line between genres—they demolish it, blending country grit with the intensity of metal-core and the catchiness of early 2000s pop rock. At the heart of this album is Lakeview’s unwavering commitment to family, community, and faith, all of which pulse through their music with undeniable sincerity. Tracks like “Home Team” and “Loser” have already racked up impressive streaming numbers, but the magic of this album lies in the deep cuts. "What I Know Now" is an anthemic heartbreaker, with thunderous drums and searing guitars that feel ready-made for stadium stages. It's a song about lessons learned, wrapped in the timeless packaging of country heartbreak, but delivered with a rock-star edge. One of the album’s many strengths is its ability to take listeners on a journey through different emotional landscapes. "Wrong Side of the Track" is a raucous country-rock jam perfect for windows-down drives, while "Here Lies a Girl" is a haunting ballad of betrayal that showcases the duo’s storytelling prowess. And then there’s "Before I Die," a reflective standout that proves Denaro and Healy are more than just a rowdy good time—they’re introspective, too. Despite the heaviness of some tracks, Lakeview never forgets to have fun. “Bad Day to Be a Beer” is a boot-stomping party anthem that’ll have you reaching for a cold one, while “W.H.Y” and “I Don’t Call” give us glimpses of the duo’s softer, more vulnerable side, with raw lyrics and stripped-down production. Throughout the 18 tracks, Lakeview wears its musical influences on its sleeve, but with an authenticity and grit that makes their sound wholly unique. The album isn’t just a collection of songs; it’s a celebration of the journey, the sacrifices, and the belief that hard work truly does pay off. Denaro and Healy have created something rare—an album that feels both familiar and entirely fresh, a perfect blend of small-town values and big-city sound. In a world where genre lines are constantly being blurred, Lakeview stands at the forefront of the rock-country crossover. Their debut album is proof that they’re no one-trick ponies, but rather, trailblazers in their own right. This is an album that demands to be played loud, and more importantly, it demands to be felt.