The Backlog: 2025 Edition
We are so back
April is that time where the trickle of early releases has now fully turned into a thick onslaught of weekly album releases, and therefore it is time to start clearing the backlog. Will start with 15 albums many of which are from early in the year. You had to dig a little to find material, but plenty of good music was found. Expect 1-2 backlog pieces a month. I am working on some backlog material for vintage albums as well. One of the goals of this year's reviews is to expand beyond focusing just on yearly releases.
A reminder about the Subgenre Number System
1- Traditional Country
2- Country Rock
3- Modern Country
4- Pop Country
5- Southern Pop
(For those curious why Americana/folk does not have a dedicated section…. Perhaps it is an oversight, but in my experience, most of Americana or folk will fall into one of these categories. Between that and desire for consistency, no changes to the number system will be made.)
Additional note. In past years, individual album art was posted as part of blurb. Unfortunately, because of the email based nature of the newsletter, having a bunch of pictures imbedded made emails too large to properly load. It's a bummer.
Anyhow, let's jump in!
Max McNown- Night Diving
Tracks/Time: 10/33
Subgenre: 4, 3
A Gen Z breakout star whose TikTok success has so far translated well to full-length albums. McNown skillfully bridges stomp-and-holler folk with contemporary pop country without leaning into the tropes of either. While his youth occasionally shows through in lyrical clichés and platitudes, there is some promising detail and craftsmanship indicating more to McNown than a skill for virality. The warm, approachable production enhances the material, with particular technical highlights like the harmonica work on Marley standing out despite the song's other limitations.
Favorite: Azalea Place, Hotel Bible, Roses and Wolves
Least Favorite: Night Diving
Alison Krauss & Union Station - Arcadia
Tracks/Time: 10/35
Subgenre: 1
Krauss delivers one of the technically superior records of the year. The tracklist is composed of the expected progressive compositions mixed with traditional standards. The band undergoes a shift with Dan Tyminski's departure, introducing a new voice that alters the group's dynamic through a more tenor-focused harmony approach. In spite of these changes, it retains the trademarked masterful balance between classics and original material, all executed with the hallmark technical precision and crisp vocal work resulting in a worthy addition to Krauss and the band's work. Only critiques I could level are that it tends towards ballad heavy material. Not a problem per se, but it renders the interspersed uptempo numbers a bit jarring. Balancing consistency vs diversity on a record is difficult.
Favorite: Looks Like The End Of The Road, Richmond On The James, North Side Gal
Least Favorite: One Ray Of Shine
Kane Brown - The High Road
Tracks/Time: 18/58
Subgenre: 3, 4, 1, 2, 5
A characteristically ambitious project from Brown that demonstrates both his strengths and limitations as a genre-bending artist. The album's polish and execution are undeniable, even as it pulls from perhaps too many directions to maintain cohesion. Brown's lower register continues to impress with its warmth and texture, though his vocal limitations become apparent in trap-influenced and pop-leaning tracks, particularly when stretching to bis higher registers. While the sprawling nature of the record pretty much guarantees not every track will connect with listeners, the equal footing given to the fiddle and the 808s shows commitment to the experimental fusion, even if the balance doesn't always serve the material. The elevation in songwriting, storytelling, and production demonstrates clear artistic growth, even when ambition occasionally exceeds execution.
Favorite: Backseat Driver, 3 Things We Quit
Least Favorite: Models, Alright, Haunted, Start a Fire
Juliet McConkey - Southern Front
Tracks/Time: 8/28
Subgenre: 1
A fantastic talent I was previously unaware of presents a sophomore album that conveys intimacy with remarkable emotional precision. Rich vocals are a signature here and importantly, the production choices do not mask the greatest tool in her arsenal. Additionally, sufficient variation exists within the properly country arrangements based on the needs of the particular track. Some are sparse and raw as benefits the subject material, and others are more expansive as needed. A respect for simplicity and authenticity come to the thematic forefront, deliberately rejecting flash and flim-flam in pursuit of the real, down home, simple, and authentic.
Favorite: Quiet Moments, When I Say I
Least Favorite: Drunken Moon
Canaan Smith - Chickahominy
Tracks/Time: 11/37
Subgenre: 1, 3, 2
Canaan Smith's evolution into a rustic, traditionally-inclined artist continues to unfold, following the trajectory discussed in January’s coverage. While the record shows promise, it suffers from inconsistency, particularly in its songwriting. Though occasional evocative details emerge, the overall lyrical work remains unpolished. The production maintains a certain charm, despite sometimes lacking necessary punch. Smith's charisma and gregarious presence, reminiscent of say, a Chris Janson, lends an engaging quality to the project, even if it doesn't quite reach essential listening status.
Favorite: Chickahominy, Ain't Much to Write Home About, Everyday Joe
Least Favorite: 18 Stoned and Stupid, Green
Sam Grow - Winfield
Tracks/Time: 12/40
Subgenre: 3, 2, 1
I saw Grow aptly described as "two-thirds of Luke Combs". Grow shares a similar warm, growly tone and muscular arrangement style. The production leans into a rustic, semi-traditional foundation of guitar and drums, strategically employing electric guitar for emphasis while occasionally incorporating traditional elements. What elevates Grow beyond mere comparison is his gripping exploration of divorce's impact on children, where he demonstrates remarkable empathy and insight by inhabiting a child's perspective. These deeply emotional moments mark him as an artist to watch, even as other portions of the record retreat into more familiar territory - generic platitudes and generic "look, I’m country!" material.
Favorite: Drinking in a Dry County, Lying in Church, Two Sides
Least Favorite: Small Towns, Never at the Same Time
Kameron Marlowe - Songs for the Soul
Tracks/Time: 10/37
Subgenre: 3, 1
In theory, ten songs hitting the same emotional note would be problematic, but this conceptual record devoted to heartbreak succeeds by thoughtfully exploring different facets of the experience without overstaying its welcome. Marlowe's warm, fantastic vocals skillfully lean into the emotion of each particular song, while the arrangements appropriately stay out of the way. For a sober, pondering record, the relative simplicity serves the material well, allowing the thematic exploration of loss and sadness to remain the focal point.
Favorite: Hello Whiskey, The Basement, Dear God
Least Favorite: Burning House
Ryan Waters Band - All I've Ever Known
Tracks/Time: 4/25
Subgenre: 2, 5
A previously unknown act that reveals precisely why they've remained under the radar. This project embodies almost a parody of Nashville's most formulaic output, combining lifeless drum loops that drain the mix of any atmospheric quality with overbearing electric guitars and raspy vocals lacking the range, color, or punch to effectively complement the production. While fleeting moments suggest Waters might find more success in a different subgenre, the overall impression is of a young act desperately chasing viral TikTok appeal by simultaneously adopting the worst aspects of multiple radio trends. The invocation of George Jones' name in what amounts to a hard rock track is a jarring example of this fundamental disconnect.
Favorite: Her and Nascar
Least Favorite: Deer God, Whiskey in a Weekday, Take It From Me
Kassi Ashton - Made From The Dirt: The Blooms
Tracks/Time: 15/52
Subgenre: 5, 3
A long-simmering Nashville presence may finally get some recognition with this deluxe edition of her debut record. She's pushing material to radio and features a strategic duet with Parker McCollum that might pop off. The production leans into pop-country arrangements that often overshadow Ashton's most compelling asset; her powerful, controlled vocals that balances technical prowess with emotional sweetness. The album's standout moments occur when the production elements recede, allowing her voice the space it deserves. On the deluxe edition of the record, the added tracks often display more diverse sonic styles, opening things up and making for a more enjoyable experience without stretching too long and overstaying it's welcome. Her prospects for a mainstream moment may be tougher than expected as the suburban Nashville "bachelorette music" audience shifts to the more stripped-back style that is coming in vogue, but the expanded tracks here show a path forward for Ashton.
Favorite: Sounds Like Something I'd Say, All Over You, Juanita
Least Favorite: Ride Or Die Radio
Ty Myers - The Select
Tracks/Time: 16/1:06
Subgenre: 3, 1, 4
Myers is very young. The nature tack he aims for on the record occasionally verges on pastiche. No 17 year old can credibly talk about mortgage payments. Sonically, he strikes a balance between John Mayer's more folksy early 2010’s work and Drake White's country-blues-soul hybrid. While the occasional horns add nice texture, the runtime reveals the limits of his thematic and production range. The fundamental issue isn't talent but just not having enough life experience. By choosing a personal perspective rather than exploring others' stories, the album's substantial length outpaces its material. The result is a clean, enjoyable, and technically impressive listen that nevertheless lacks the depth to make the whole album click. It's more suitable for saving the hits to a playlist. An exciting start.
Favorite: Never Get Tired of Loving You, Love is Two Faced, Firefly, Thought It Was Love
Least Favorite: Can't Hold Me Down
Tony Logue - Dark Horse
Tracks/Time: 12/46
Subgenre: 2, 1
Logue continues to prove himself, building on the high standard set by his previous releases. His seamless fusion of Appalachian country, southern rock, and outlaw sensibilities creates a sound that feels both expansive and organically cohesive. This balancing act successfully combines rock vigor with heart-on-sleeve Appalachian storytelling traditions. While the immediate gut-punch narratives that characterized earlier works aren't here as they were on earlier releases, Logue's attention to small, evocative details still significantly elevates the overall storytelling quality. His distinctive raspy vocals provide consistent emotional resonance, effectively communicating the themes and discussions present throughout the record.
Favorite: Cinnamon Blonde, So Help Me God, Thorns
Least Favorite: Grindstone
Palmer Anthony - Same Blue Eyes
Tracks/Time: 6/19
Subgenre: 3, 2, 1
Palmer Anthony's output is a mostly youthful Texas country perspective. The genre of Texan country is expanding to include harder rock forms and Anthony has thus far cast a wide net. This EP is no different. So the cost benefit analysis of diverse short projects applies here as well: Diversity showcases versatility, but sacrifices artistic identity. The lyrical styles here do not flatter as much as last year's album length release did. Although in past years he appeared heavily on my end of year list, this is mostly a pass for me.
Favorite: Send My Love To Caroline
Least Favorite: I Could Be Your Neon
Wilder Blue - Still In The Running
Tracks/Time: 9/33
Subgenre: 1, 2, 4
Wilder Blue's prolific output (their fourth album since debuting in 2020) continues to outshine most contemporary releases, though signs of creative strain are beginning to emerge. While not stretched terribly thin, most of what is here might have been B-sides on previous efforts. The band leans even more heavily into their harmonic strengths, exhibiting a technical virtuosity that's undeniable. That this was accompanied by a lyrical step backward relative to their previous work is unfortunate. Nevertheless, their general Wilder Blue sound and style remains intact, reinforcing their status as an act that defies easy categorization, but is eminently enjoyable.
Favorite: When the Last Light Fades, Modern Man, Mountain Heart
Least Favorite: The Secret of Love
Kip Moore - Solitary Tracks
Tracks/Time: 23/1:25
Subgenre: 2
This lengthy independent release crystallizes the best elements of Moore's now finished mainstream run. His rough-hewn yet distinctly clear perspective provides a personal but broadly reflective backbone for this large project. The emotional landscape isn't uniformly positive, there is an undercurrent of angst and nihilism that edges many tracks, though these darker elements never feel contrived. The persistent sense of longing that has always characterized Moore's work receives a comprehensive exploration. While not every song is essential, none actively detract from the album's considerable strengths, resulting in a comprehensive artistic statement.
Favorite: Flowers of December, Stole It, Southern Sun
Least Favorite: Wildfire
Anne Wilson - Apple Music Nashville Sessions
Tracks/Time: 4/17
Subgenre: 4, 5
This four-song EP offers reimagined versions of Wilson’s established tracks, highlighted by a notable duet with Gabby Barrett—her closest contemporary in the country-CCM crossover space. While the arrangements diverge from the originals, they don’t fundamentally transform these otherwise straightforward devotionals. Wilson’s powerful vocal presence remains her defining characteristic, lacking technical finesse but making up for it in power and presence. This probably is best as an introduction to Wilson for curious listeners without requiring someone to wade through her extensive discography, particularly relevant now that the deluxe edition of “Rebel” spans a sprawling 33 (!) tracks with numerous live and acoustic variations slapped on there for no apparent reason.
Favorite: Amazing Grace (ft. Gabby Barrett)
Least Favorite: What A Beautiful Name
Thanks for reading!
-Joe