New Country Music You Need To Hear This Week From Morgan Wallen, Carter Faith, The Creekers, Brothers Osborne & More

Morgan Wallen – Been By Now

Morgan Wallen has built a career on turning complicated emotions into songs that feel impossible to shake. Whether he’s singing about heartbreak, hometowns or hard lessons, there’s an undeniable ease to the way he makes listeners believe every word. On his latest release, “Been By Now,” that gift is on full display.

Carter Faith – Cherry Valley Forever

For years, Carter Faith has quietly built one of the strongest catalogs among Nashville’s rising class, earning respect from fellow songwriters, critics and devoted fans. Now the industry is giving her the recognition that has long felt inevitable. If Cherry Valley introduced one of country’s brightest new voices, Cherry Valley Forever confirms that Carter Faith isn’t just having a moment. She’s building a legacy.

Check Out Our Full Review

The Creekers – Follow The Sound

What makes The Creekers stand out isn’t just their musicianship, it’s their authenticity. They aren’t chasing trends or trying to dress bluegrass up as something it isn’t. Instead, they lean into the genre’s greatest strengths: honest storytelling, exceptional players, and songs that leave a lasting impression. In a moment when roots music is enjoying a well-deserved resurgence, “Follow The Sound” feels perfectly timed. It’s familiar enough to satisfy traditionalists while fresh enough to introduce a new generation to what makes bluegrass so compelling. The Creekers may be new to many listeners, but if “Follow The Sound” is any indication, they won’t stay under the radar for long.

There has never been much middle ground with Brothers Osborne. They don’t chase trends, they don’t sand down the rough edges, and they’ve built an entire career on trusting musicianship over algorithms. So the title of their latest release, “R.I.P. (SELLOUT EDIT),” feels like the ultimate tongue-in-cheek wink, a playful jab at the streaming era that arrives with a song far too alive to ever be accused of selling out. The duo is releasing two versions of the track, with the shorter “Sellout Edit” aimed at streaming while a full-length cut remains exclusive to members of their fan community. From its opening seconds, “R.I.P.” barrels forward with the kind of swagger only Brothers Osborne can deliver. John Osborne’s guitar work is rich, muscular and unapologetically loud, reminding listeners why he’s considered one of Nashville’s most gifted players. Every riff feels earned rather than manufactured, carrying equal parts Southern rock grit and country soul. Then there’s the secret weapon that has always separated the duo from nearly everyone else in modern country: those unmistakable blood harmonies. TJ and John Osborne don’t just sing together, they communicate in a language only brothers can. Their voices weave through the track with effortless chemistry, creating moments that feel simultaneously polished and primal. It’s the kind of harmony that can’t be replicated in a writing room or manufactured in a studio. The irony of the title only makes the statement stronger. While poking fun at the industry’s obsession with shorter songs and streaming optimization, Brothers Osborne have delivered something unmistakably their own, a track that refuses to compromise the qualities that made fans fall in love with them in the first place. If this is what “selling out” sounds like, country music could use a lot more of it. In reality, “R.I.P. (SELLOUT EDIT)”is another reminder that Brothers Osborne remain among Nashville’s finest creatives, artists whose fearless musicianship, towering guitar work, and once-in-a-generation harmonies continue to set the standard for what modern country music can be.

Dan + Shay – Her, The Kids, and Jesus

With “Her, The Kids, and Jesus,” Dan + Shay haven’t reinvented their sound, they’ve refined it. The song captures everything fans have loved about the duo from the beginning while revealing an even deeper emotional perspective. It’s heartfelt without feeling sentimental, polished without losing its soul, and destined to become one of those songs that audiences don’t just hear, they sing back. If “From The Ground Up” was the soundtrack to falling in love and building a future, “Her, The Kids, and Jesus”feels like the beautiful next chapter. And judging by its soaring harmonies and arena-sized chorus, it’s a chapter fans will be singing for years to come.

Charles Wesley Godwin – Christian Name

There comes a point in every great songwriter’s career when the question shifts from Can they write great songs? to Do they have something they need to say?

On Christian Name, Charles Wesley Godwin answers that question with quiet confidence. For years, Godwin has occupied a unique space in country music. He built one of the genre’s most loyal followings without chasing radio trends or viral moments, earning a reputation as a songwriter’s songwriter and a cult favorite whose records felt discovered rather than manufactured. While the rest of Nashville often sprinted toward the next big thing, Godwin stayed rooted in Appalachian storytelling, letting authenticity do the heavy lifting. His latest album suggests that may have been the smartest career move he could have made. hristian Name is Godwin’s most vulnerable and spiritually resonant project to date. Produced by Al Torrence and Dave Hide, the 13-track collection wrestles with unimaginable loss, enduring faith and the complicated process of finding hope when life feels permanently altered. Rather than offering easy answers, Godwin sits comfortably inside the difficult questions. The title track, “Christian Name,” stands as the emotional centerpiece of the record. The album’s only solo-written song, it honors the grandfather whose name he carries, transforming a deeply personal family connection into something universally moving. It’s the kind of song that reminds listeners why Godwin has become one of country music’s most respected storytellers. The guest list only strengthens the album’s emotional weight without ever stealing focus. Wyatt Flores joins Godwin on the aching “Hey There Son,” while Luke Combs appears on “Better That Way.” Both collaborations feel earned, serving the songs rather than functioning as headline-grabbing features. They understand the assignment: this is Charles Wesley Godwin’s story. And it’s one worth listening to. The album closes with “Brand New,” co-written with Stephen Wilson Jr., a fitting finale that explores redemption through faith and the belief that mistakes don’t define a person forever. It’s a quietly profound ending that leaves listeners with something increasingly rare in modern country music: hope that feels honest rather than manufactured. That’s what makes Christian Name so compelling. Godwin isn’t trying to reinvent country music. He isn’t chasing crossover success or algorithm-friendly hooks. Instead, he’s doubling down on the qualities that made audiences fall in love with him in the first place: thoughtful songwriting, emotional honesty and a willingness to embrace life’s hardest moments without dressing them up. In an era where “breaking through” often means sanding off the edges that made an artist unique, Charles Wesley Godwin offers the opposite blueprint. Sometimes staying underground isn’t a limitation. Sometimes it’s where the best art is made. With Christian Name, Charles Wesley Godwin hasn’t abandoned the lane that made him a cult hero. He’s simply widened it, delivering what feels less like another album and more like the defining statement of a songwriter entering his creative prime.

Tigirlily Gold – Something To Drink About

There are breakup songs that wallow, breakup songs that rage, and then there are breakup songs that smirk while walking out the door. Tigirlily Gold’s “Something To Drink About” belongs squarely in the latter category, delivering a neon-lit kiss-off that’s as witty as it is wildly satisfying. Built around a razor-sharp hook, sisters Krista and Kendra Slaubaugh prove once again that they understand something many artists spend years chasing: revenge songs work best when they’re having fun. Co-written with hitmakers Pete Good and Shane McAnally, “Something To Drink About” trades heartbreak for humor, turning a habitual barfly’s excuses into the very reason he’ll be ordering another round. The opening verse immediately sketches the kind of guy country music knows all too well. There’s always another Bud Light, another game on TV, another excuse to stay out until closing time. But instead of pleading for his attention, Tigirlily Gold flips the script with devastating precision. “I’ll give you something to drink about.” It’s a line that lands like a mic drop. The brilliance of the song isn’t just its title, it’s how every verse raises the stakes. An empty bed. A Polaroid of a body he’ll never touch again. Another man with “bigger hands” holding the woman he took for granted. Each lyric twists the knife with a grin, proving that the best revenge isn’t anger, it’s moving on. What continues to separate Tigirlily Gold from the pack is their chemistry. As sisters, there’s an effortless confidence in the way they deliver every line. They don’t sound like they’re trying to convince themselves they’re over him, they sound like they’ve already forgotten his name. That authenticity gives the song an extra edge, making every sarcastic jab feel earned instead of manufactured. In a genre overflowing with drinking songs, “Something To Drink About” cleverly asks a different question: What if you’re not the one drowning your sorrows? Instead, Tigirlily Gold hands the bottle to the guy who never appreciated what he had. It’s clever. It’s fearless. And it’s exactly the kind of country anthem destined to echo through neon-lit bars long after last call. Sometimes the coldest revenge isn’t getting even, it’s giving someone exactly what they deserve… and then leaving them with something to drink about.

Ashley Cooke – famous to frances

Ashley Cooke has never sounded more willing to tell on herself. On “famous to frances,” the fast-rising country star trades polished perfection for uncomfortable honesty, proving once again that some of the best country songs aren’t about having the answers, they’re about finally admitting the truth. At a time when country music continues to blur the lines between Nashville storytelling and pop accessibility, Cooke has quietly carved out a lane that feels uniquely her own. Her latest release is another reminder why she’s become one of the genre’s most compelling young voices: equal parts radio-ready, emotionally sharp, and fearless enough to laugh at her own bad decisions. Written by Cooke alongside Johnny Clawson and Kyle Sturrock, “famous to frances” revolves around one brilliantly simple idea. While everyone else in her life remains blissfully unaware of the chaos unfolding behind closed doors, her therapist knows every messy detail. It’s a concept that feels instantly relatable in an era where social media encourages carefully curated lives while therapy sessions reveal the truth underneath. Cooke leans into that contrast with razor-sharp wit, balancing self-awareness with vulnerability. Rather than casting herself as either victim or hero, she embraces the complicated middle ground, keeping a toxic relationship hidden from family and friends while confessing everything to the one person paid to hear it.

It’s funny until it isn’t. And that’s exactly why it works. Sonically, “famous to frances” lands in the sweet spot Ashley Cooke continues to own. Bright pop-country production keeps the track soaring, while enough grit in both the lyrics and her vocal delivery prevents it from ever feeling lightweight. If there’s one thing Cooke has consistently proven, it’s that she’s not interested in writing predictable breakup songs. Instead, she finds fresh angles inside familiar emotions, turning therapy sessions, self-deprecating humor, and emotional contradictions into songs that feel refreshingly original.

With “famous to frances,” she once again demonstrates that creativity doesn’t always require grand concepts. Sometimes it simply means telling the truth from an angle no one else thought to explore. Ashley Cooke isn’t just making pop-country hits. She’s making smart ones. And if “famous to frances” is any indication, she’s only getting better at turning life’s most uncomfortable conversations into songs listeners won’t be able to stop talking about.

With “Bone Dry,” Colin Stough doesn’t rely on volume to leave an impression.

Instead, he delivers one of the year’s most emotionally nuanced country recordings, one that understands heartbreak isn’t always loud. Sometimes it’s quiet. Sometimes it’s empty. And sometimes, simply feeling understood is the first step toward healing.

In a genre built on storytelling, “Bone Dry” reminds us that some of the most unforgettable stories are whispered, not shouted.

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