The Musical Divide

Photo credit: Sam Waxman.

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I’m not sure how to gauge country music in 2023, especially within the mainstream. We seem to be in a weird transitional period, where it seems like any artist not named either Morgan Wallen, Luke Combs, Zach Bryan, Chris Stapleton, Jelly Roll, or Lainey Wilson struggles to break through the never-ending noise and hype cycle. And it’s not just a mere changing of the guard; pretty much any artist not within that aforementioned camp struggled with album sales this year, too.

And that’s before mentioning what even constitutes a “hit” song anymore. In the past, I’ve usually compiled a list like this by noting anything that peaked within the top 20 of the country airplay chart in the calendar year (and changed it to include the Hot Country Songs chart last year) Given how slow singles move nowadays, though, I decided to venture on over instead to the Billboard year-end Country Airplay chart.

And, uh … woof. I’ve felt increasingly detached from country radio’s nothing-burgers for years now, but it’s really disappointing to see a list of songs I first heard or heard of all the way back in early 2022, for crying out loud! That’s why I’ve decided this year to base this list off of the Hot Country Songs chart, instead.

Even that, though, presents its fair share of weird problems, given that Morgan Wallen holds an incredibly strong monopoly on the chart with 22 out of 100 songs, none of which I care about. And in terms of overall diversity … again, it’s rough. I guess I can’t even blame country radio for not being able to keep up any longer after all.

But said list is probably the “best” measurement we have, so let’s get to it. For the record, I won’t be including certain singles like “Something in the Orange,” “She Had Me At Heads Carolina,” or other ones from last year that made my previous hits list, even if they are included on Billboard’s for this year. It’s more of a judgment call thing, so if you’re curious about my thoughts on a song and why it may or may not be here, feel free to ask. Let’s get started.

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No. 10 – Jordan Davis, “Next Thing You Know”

I’m likely still far from being a Jordan Davis fan, but between “Buy Dirt” and this song, he’s really quietly been building up a quality selection of singles. It helps that this leans into some really organic production off of the warm acoustics and soft pedal steel patter, allowing the single some restrained grace and warmth to keep it from being overly saccharine.

And the thing is, for as much as this does blatantly try to pull at the heartstrings through the longview, slice-of-life framing from the start of a relationship to settling down together in old age, it’s broad in scope but grounded in the little details included (wearing scrubs and a funny white hat to welcome a child, for instance). It’s sweet and lighthearted in a good way, and a mature step forward for Davis overall.

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No. 9 – Keith Urban, “Brown Eyes Baby”

Speaking as someone who’s been waiting for Keith Urban to capture his early era magic for far too long, “Brown Eyes Baby” is probably the closest he’s gotten to that territory in quite some time. For one, he’s finally leaning back on his electric guitar chops and giving us a really nice, slow-burning groove – and with a decent outro, to boot.

But he’s also one of the artists who can pull off “nice guy” lyrical territory well, too, being the shoulder to cry on here for a friend in a way that feels sweet and genuine, thanks to his lighthearted charm and charisma. I mean, it’s certainly more convincing coming from him than a certain someone who helped write this, so even if it’s not particularity well-written, it’s certainly well-executed. Good to have you back, buddy.

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No. 8 – Zach Bryan feat. The War & Treaty, “Hey Driver”

I can’t tell if I’m actually a Zach Bryan fan anymore, or if I’m just afraid of what his fans will do to me or my family if I try to think too much harder about it. I’m definitely burned out on the lo-fi production style he’s helped inspire in recent years, but that doesn’t mean it can’t result in magic from time to time.

This was the first example of that for me this year, a piano-and-acoustic ballad where Bryan’s ramshackle, drunken ramblings somehow match nicely with Mike Trotter’s belting. I’m going to pull out my usual “this doesn’t work as a duet” nitpick, but I’m less inclined to care here, given that this sort of openly confessional perspective is one Bryan has mined plenty before on his own, and that Trotter really does add so much needed and appreciated punch – like the voice that gets to shine for this character at their actual best, rather than the one Bryan portrays at their messiest. Maybe I also just like it as a way to elevate The War & Treaty’s platform, even if I wish Tanya Trotter was given more to do here. Either way, good stuff.

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No. 7 – Megan Moroney, “Tennessee Orange”

Like with Jordan Davis, I still feel at a distance with Megan Moroney, even if what I’ve heard from her has mostly been promising. This was her debut single, and a good showcase for country music’s organic pivot of this year, given the prominent pedal steel showcase and warm acoustic foundation. And the college football concept evident here has always been well-executed, where she’s fallen head over heels for someone to the point where she’s wearing his team’s colors despite still rooting for her home team – and has to explain to her family why. I grew to like this one more as the year went on, and it’s my favorite thing I’ve heard from her thus far.

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No. 6 – Jelly Roll, “Need a Favor”

I still find Jelly Roll to be more interesting than outright great (a running theme for this list of artists for me, I guess). But I clicked with “Need a Favor” immediately and only grew to like it more as the year progressed. The production does play to a pretty conventional post-grunge setup off the dour acoustics, but with the added bit of fiddle working nicely off of his huskier tone, this is much more raw and rough-around-the-edges than expected.

And I’d say the same for the content, especially in country music, where him outright acknowledging he’s only using faith for his own personal advantage at his lower points is honestly kind of ballsy and probably more relatable than some would like to admit. I liked “Son of a Sinner” for its intimate vulnerability, but this is a bit more direct and punchy for the better. Preach it, brother.

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No. 5 – Zach Bryan feat. Kacey Musgraves, “I Remember Everything”

From here, most of the rest of these selections feel like victories for country music – in particular here, a No. 1 hit for Kacey Musgraves that I don’t think anyone saw coming. But it’s Zach Bryan’s victory, too, and it’s also probably his most polished song to date, given the spacious, string-filled mix and echoing percussion. And that’s for the best, given that he doesn’t sound too great here – even if, once again, his slurred, messy rambling is intentional. Even still, for me it works in painting the picture of a fallout in which it’s clear that liquor got in the way of a good thing, especially when Musgraves’ expressive delivery through her character shows how she can’t help but still love this person – even if she clearly can’t still be with him. Heartbreak at some of its finest this year.

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No. 4 – Kelsea Ballerini, “If You Go Down (I’m Going Down Too)”

Despite what I just said, this is one case that feels more like a disappoint than a victory for country music. This just barely etched out a top 20 peak at radio, which is a shame, given that it’s my favorite thing I’ve ever heard from Kelsea Ballerini. Heck, even last year’s Subject to Change – an album I quite adored for its plethora of great pop-country hooks – took a backseat to the divorce-fueled Rolling Up the Welcome Mat - which I still think is great, just not to the same extent, especially given the messy drama surrounding it since its release.

Oh well, I’ll just stick with this fun, Chicks-inspired buddy anthem about having each other’s backs, come hell or high water. What I’ve always enjoyed about this – beyond the bubbly, neotraditional-inspired production and bouncy melodic flow – is how self-aware Ballerini is in knowing she’s not really a hellraiser, but can at least fantasize about being one with her closest ally. Definitely mischievous, but who among us hasn’t had a bit of devilish, would-be fun with friends where we share our darkest fantasties?

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No. 3 – Luke Combs, “Fast Car”

I’m going to skip crafting the thesis that other music writers have already provided in favor of this: It’s a faithful cover of one of the best songs of all time, so much so that there aren’t any hackneyed changes – I do believe there’s a change regarding the “we’ve got to make a decision” line toward the end, but he’s still singing from the perspective of that desperate checkout girl – and even if it ended up becoming a big moment for Luke Combs this year, he’ll probably be the first to tell you it’s still Tracy Chapman’s and always will be. So if it was about recreating the magic and giving the song a second life it didn’t really need but certainly benefited from regardless, I say … well, excellent.

As it is, I still think there’s a resonance to Combs’ gruff texture adding a valid point-of-view to this timeless classic about trying to be someone in this world. Better than the original? Of course not – hence why it’s a tad lower on this list - but even Combs will tell you that, I’m sure. If anything, it’s his love for the source material in every regard that shines through most, and while that usually doesn’t make for an interesting or exciting cover, I’d say this is a nice exception.

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No. 2 – Chris Stapleton, “White Horse”

Man, I wish more of Higher had leaned into the southern-rock muscle that Chris Stapleton has always carried but has only rarely actually utilized, because ‘White Horse” is one of his best-ever songs! And the thing is, I don’t know if I have much more to add than that – it’s a kickass southern-rock song that excels off its several excellent solos, Stapleton’s fierce howl, and just a fantastic sense of pacing and progression all around. It’s set up to rock just on foundation alone, where even the noncommittal, loner sense of framing in the thematic sentiment is set to work against Stapleton’s rougher delivery and persona. Maybe his character will settle down someday, or maybe he won’t. It doesn’t matter, because he’s rocking to his own rhythm right now, baby.

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No. 1 - Tyler Childers, “In Your Love”

This one surprises me. I’ve never been a huge Tyler Childers fan, and while the Rustin’ in the Rain project is probably the one album of his that has impressed me most thus far next to Purgatory, it still left me wishing for a bit more meat on the bones, if that makes sense.

But “In Your Love” was the standout track to me from the get-go, not just from the album but from Childers’ discography in general. It’s one of his most striking cuts to date, given that it shies away from his usual Appalachian-based sound and songwriting in order to present itself as something akin to a ‘90s country ballad.

And I don’t know what exactly is I found so alluring about the song itself, beyond that great melody and hook. On paper, it’s a straightforward love song, but I have to give credit to Childers here for selling it with sincere weight, where a promise to be there for someone truly feels like deep-seated commitment meant to last forever and onward. And then there’s the production, which plays things a tad darker off the piano and even touches of synths, of all things, but in a way that strengthens the promise made as a serious and grounded one. It’s a weird fit overall, but somehow it works. It could be my story, or your story, or Childers’ story … or in can be the queer one depicted in the music video. All I know is in a year where drivel “Try That In A Small Town” exists and would never touch a list like this, it’s good to know there are artists like Childers making country music a more all-encompassing place, and with much better music, to boot.

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Up next: I’m going to handle my upcoming lists for favorite albums and songs a bit differently this year, with songs being different from this list in the way I talk about everything: singles, deep-cuts, and whatever other oddities are out there. Stay tuned!