In his care, road trips have become musicological catalogs and journeys of self-discovery, while characters have danced in and out of view, helping us to better understand ourselves. In his latest release, titled ‘Road to Medicine Bow’, he captures the colors and textures of the Wild West. This record was recorded at a couple of legendary studios, including Blackbird Studio A, East West Studio 2, and Sunset Sound Studio 1. The album, produced by Chuck Leah, Jeff Victor, Greg Scelsa and Brian Vibberts, embraces the entire production team and Chuck’s top-shelf band.

The album soaks you in the moment you listen to it with its exemplary mastering and vibe, making you think of a more elaborate and lush version of what truly sounds the Wild Wild West, with an eery capability to encapsulate more depth and dark emotion. It is just as musically compelling as it is compelling within the storyline of the stories told within this release, and Chuck Leah’s voice serves as the cherry on top- being worn down enough to contain a vast array of emotion, mixed with enough melodicism to serve as a musical vessel. It’s truly beautiful.

The introductory track, ‘Road to Medicine Bow’, comes off as more tribal and confrontational, drawing you in with mystique. The second track, ‘Homa Hills’, completely deviates from that and adopts an approach that’s a bit more earnest and heartfelt, with an acoustic soundscape that’s a bit more mellow but contemplative at the same time. Sweet strings grace the phrases of music as Chuck’s voice is tastefully layered upon the already complex mix of instrumentation, giving it the character that an old scroll would have compared to a new piece of paper.

1018 (See Me) then takes you into a more sonically contemplative soundscape through its chord changes and the sound design of the instruments in the background. It’s very emotional, frankly, and I think it can resonate with a lot of people, even if they don’t typically listen to the genre. The song builds up to a grand sequence at the end, that can only be appreciated when its felt with the multitudes of voices echoing each other and the wonderfully bold instrumentation. ‘Broke Foot Blues’ takes on a more quirky, Blues-ish approach, but its instrumentation fits the whole theme of the album.

Generally, I’d say all of the songs within this release do follow a strict adherence to the themes and the way related genres can enhance the mode of its conception. It can almost serve as the framework to a TV show or a movie, because of how harmonious and well-mastered it really is. This definitely shines within the track I just mentioned, as the blend of voices within the song (especially the woman’s voice!) adds a lot of character to the track. It almost reminds me of the some of the songs of the soundtrack to the movie ‘Princess and the Frog’.

‘Matter of Time’ then amends its mode with a bit more of a soulful approach through the keys and the use of church organs. It’s emotional and also very compelling to listen to, due to the true honesty within the lyrical content of the song. Chuck Leah is an artist that definitely does not come off as fake, at all. I can feel every inch of intent within each of these tracks. ‘I Don’t Know How to Say Goodbye’ which comes afterwards kind of mixes the motifs of all previous tracks, this time with a bit more of an anthemic feel without sacrificing the country base that makes up the instrumentation of the album. It definitely is a song that most people can sing along to, with a bit of an early 90s feel through the use of the electric guitars.

The album then closes off with the track ‘My Beat Up Truck’, a solemn but heartwarming track. This song is truly homely, making me feel whole as I listen to it. The use of accordion is also very interesting, in the midst of the acoustic instrumentation and the strings.

All in all, I’d say this album is extremely authentic and very well done. Everything is mastered so well that I feel like I’m part of the journey of the track listing of the album itself. The voices, the arrangement and the lyrical matter are all up to par, in its own unique way. This album feels like a time capsule in its own way as well, giving it more of a charm.

SCORE / Excellent – ‘Road to Medicine Bow’ is a wonderful album that honours the musical traditions of Americana with honest, heartfelt songwriting and production. It’s an album that will have you feeling transported to a different world, absolutely encapsulated in the instrumentation and the timbre of the work itself.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

You can catch up with Chuck Leah on Facebook, Instagram or check out his Official Website!

The post Chuck Leah – Road To Medicine Bow (EP Review) appeared first on Music Review World.

The performers of this conception include Cale Moon ‘Hound-Dog’ Dobro with no distinguishable act, Denise Stewart-Baker on backing vocals, JMAN on Drums and percussion, Pipes of Valinor on Gaelic Pipes and Woodwinds, and the elusive Dez Maree on Guitars, Bass, Arrangements, Lead and Harmony Vocals, Composing, Engineering and Producing.

The song presents itself as a mix between country, folk, psychedelia, baroque pop and soul. It’s an extremely eclectic song with depth and emotion that bleeds through even though it has some slight issues with the mastering and the balancing. There is enough motivic variation within the instruments present within the song: the keys, the acoustic section, the strings, the synths, the vocals to keep you interested in the song as you listen to it.

One of the redeeming parts of this song is definitely the emotional structure that goes hand in hand with the chord structure of the song itself, presenting a dynamic but emotionally compelling sequence for one to emote to. In some instances, this song is almost like a neo-Western song, with enough amendments to make the genre modern. It’s exciting, complex, and filled with mini-motifs and solos from each instrument to keep your ears peeled.

The harmonized vocals also provide the song with a strong backing to the main vocals, which have been filtered off to provide an interesting and futuristic effect. It’s a track that definitely passes the test of musical variability, crossing between compositional and presentation techniques to give you a pleasant listening experience that goes beyond a ‘simple song’.

SCORE /Excellent – NIGHT STAR (Because of You) is a compelling track that simply unwinds with more possibilities the longer that you listen to it. It has a complex structure with a lot of motivic variation and a unique form of presentation, giving itself an edge over other releases out today.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

You can keep up with Bloo Fooz on Facebook, or take a look at the composer, Dez Maree’s Official Website

The post Bloo Fooz – Night Star (Because of You) (Single Review) appeared first on Music Review World.

For those who aren’t familiar with the country music genre, Humble, Texas’ Randy C Moore has been a widely recognised name in the genre for over twenty years, and has undoubtedly earned a place in the Nashville hall of fame for his touring and songwriting there from a very early age.

From the age of just fifteen, Moore was writing music, and it wasn’t long before his work was being broadcast on local radio stations in Texas and performing on stages across the country. Since then, he’s received international acclaim, performed alongside country music legends and other big names such as Bruce Springsteen and Bon Jovi, and even hosts the radio show Neon Music Country Legacy.

It makes sense then that such a seasoned artist should be tackling a true staple song such as ‘Cat’s In the Cradle’, originally sung by singer-songwriter Harry Chapin and released in December 1974. Moore’s cover is also special due to it being used in the upcoming movie Harry and Sandy Chapin’s “Cat’s In the Cradle”, soon to feature on streaming services.

Moore’s cover begins with the gently soothing sounds of an acoustic guitar, soon followed by Moore’s unmistakably hearty voice greeting listeners. The story told with great effect through the lyrics, as many people will know, is bittersweet. Told from the perspective of an absent father as he watches his son grow up to mirror his neglectful father’s behaviours, the lyrics speak to people from far and wide. Moore’s soulful voice perfectly kicks off this story, almost as if settling down to tell listeners a personal anecdote. His vocals immediately hold an emotional weight to them; a sombre echo that suitably encapsulates the emotions of a father seeing his child grow up and emulate his past mistakes.

The low-key guitar arrangement at the very start of the track allows for Moore’s wistful vocals to take centre stage, captivating listeners with the song’s pensive lyrics in his mournful vocal delivery. A soft percussive touch is added to the pleasant mix of acoustic guitar and Moore’s vocals as the song meanders further into the verse. The lyrics here reflect that the neglect of the parent starts right from the child’s birth (“The child arrived just the other day…But there were planes to catch and bills to pay”), immediately creating a tone of tragedy and regret which is felt heavily by listeners throughout the song.

The chorus itself is well crafted with Moore’s down to earth vocals, rhythmical guitar and steady percussion. Even without the elaborate string accompaniment and large-scale chorus that are recognisable features of Chapin’s original song, Moore’s version may be even more sobering in its delicate simplicity, allowing the storytelling to come front and centre in his cover. This is also prevalent in the more traditional ‘Americana’ country style that Moore adopts in this track, in contrast to Chapin’s classic folk ballad style. Having been in songwriting and music production throughout his illustrious career, Moore’s experienced touch as producer on this track alongside Barry Sanders and Rick Korn is definitely felt through the track’s high quality sound, mixing and instrumental arrangement, ensuring that the Country singer does absolute justice to this much-loved song.

The heartbreaking shift in storytelling to focus on the son’s growing emotional distance to his father is made clear musically through the fading out of percussion and the slowing guitars’ strums, as Moore’s rich vocals break with the emotion of a broken-hearted father (“He’d grown up just like me, my boy was just like me”). It’s an amazingly delivered line, and is sure to have at least some listeners tearing up. It’s special moments like this throughout the track that showcase the singer’s impressive ability to deeply resonate with audiences and drive home the feeling of relatability that many people may have when listening to this song.

The track ends with Moore’s humble ensemble back in full force; guitars, percussion and vocals all coming together in a crescendo, with the last wistful notes echoing all of the complex emotions that this track so expertly expresses throughout.

Score/Excellent: Randy C Moore puts his heart and soul into delivering a worthy tribute to a beloved song and a much missed artist, while allowing his own style to sensitively permeate the track; breathing new life into a classic that many fans of the original are sure to appreciate.

[We rank singles, EPs and albums on a scale of Poor, Mediocre, Good, Excellent, Outstanding]

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Canyon’s voice is the song’s defining element. His vocals are rich, resonant, and rustic in tone, carrying the weight of lived experience. The delivery is steady and unhurried, allowing the lyrics to land with impact rather than being lost in unnecessary embellishment. He sings with a kind of unforced confidence, the kind that comes from an artist who knows his lane and embraces it fully. There is warmth and grit in his timbre that recalls country greats like Randy Travis and George Strait, but Canyon manages to sound distinctly like himself, which is no small feat in a genre that often rewards imitation.

Lyrically, the song leans into a conversational style that makes it instantly relatable. The refrain “I’m gonna miss her cooking, she makes everything tough, that real strong stuff” captures Canyon’s knack for blending tenderness and truth into a single line. It’s an example of writing that feels rooted in everyday experience yet has enough wit and charm to stand out. The words are not trying to reinvent the wheel, but they resonate because of their honesty and the way Canyon delivers them.

The instrumentation deserves special attention. The interplay between acoustic and electric guitar is clean and complementary, with the rhythm guitar laying a solid foundation while the lead guitar adds tasteful flourishes. The electric guitar solo midway through is especially well executed, providing just the right amount of spark to keep the momentum building without overwhelming the song. Its tone is crisp and slightly biting, contrasting nicely with Canyon’s warm vocals. The presence of feminine backing vocals is another strong choice, adding harmonic depth and expanding the emotional palette of the track. They appear at just the right moments, softening the edges of Canyon’s rugged delivery and giving the song a layered texture.

Production-wise, Real Strong Stuff is balanced and professional. The mix allows each instrument to breathe, with clear separation between vocals, guitars, and rhythm elements. Nothing feels cluttered, and the arrangement is smartly structured to let the song unfold naturally. The gradual build keeps the listener engaged, and by the time the closing guitar lick arrives, the track has said everything it needs to without overstaying its welcome. The fade-out is subtle but effective, leaving behind an aftertaste of nostalgia that makes you want to spin it again.

What makes Real Strong Stuff particularly compelling is the way it straddles tradition and accessibility. Canyon isn’t chasing trends or trying to force a crossover moment. Instead, he leans into what he does best: telling a story with straightforward honesty, supported by strong musicianship and a voice that commands attention. It’s the kind of song that could easily resonate with longtime country fans while still appealing to casual listeners who crave authenticity in their music.

SCORE / Outstanding – Real Strong Stuff feels like the work of a veteran artist comfortable in his skin, bringing together decades of craft and experience into a song that is engaging, heartfelt, and built to last. It’s a track that doesn’t just sound like country music, it feels like it, honest, grounded, and enduring. Go listen!

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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Jeff Batson is a native of the St. Louis suburb of Cahokia, Illinois, US. He began his musical journey in high school, and his early performances at iconic local venues like The Fabulous Fox Theater garnered him a strong following in the local music scene. He has shared the stage with the likes of rock ‘n’ roll artists like Gary US Bonds and Three Doors Down, as well as country music legends such as Hank Williams Jr., Keith Urban, Tracy Byrd and Collin Raye. Last but not least, he has also shared the stage with the bluegrass legend Dr. Ralph Stanley.

He has also been quoted by local publications that he was a ‘natural frontman’. After conquering the local scene, he set his sights on Nashville and made the move in 1997.

He then settled in Music City (Nashville), and then split his time between live performances and honing his songwriting talents, leading to amassing more than 40 cuts by other artists. ‘The Rock’, the title cut on Tracy Lawrence’s Grammy-nominated Gospel release, cracked the Top 20 on the country charts. He also lent his talent to ‘Wasted’ and ‘Last Time ’til the Next Time’, co-written and recorded by Jamie Richards, who took both songs into the Top 20 on the Texas Music Chart. His own recording of ‘That’s a Winner’, which pays tribute to the late great St. Louis Cardinal’s announcer Jack Buck, remains a St. Louis baseball fan favourite.

Jeff then embarked on a DoD (Department of Defense) tour, performing for the US military in Saudi Arabia, Kuwait, Bahrain, the United Arab Emirates and Diego Garcia, giving him a keen understanding of those who serve. Jeff then co-wrote ‘Make a Wish’ and ‘Hometown Heroes’, both released as singles on Laura Bryna’s debut project under Equity Records titled ‘Trying to Be Me’.

‘Hometown Heroes’ caught the attention of the US Air National Guard, who created a national promotion using the song in radio commercials and the music video in television commercials. His tribute to the selfless service of firefighters as well, titled ‘Don’t Call Me a Hero’, received instant acclaim from the global firefighting community and continues to be played at their events across the country. In 2024 – 2025, he also took two releases, ‘End of the Grains’ and ‘Come on Sunshine’ to the Euro Academy of Country Music Chart.

In his songwriting, Jeff is described as possessing an authentic gift for turning real emotions into music. In live shows, he sings those songs with a passion that will excite any fan of good, honest music.

The song starts off with an extremely exciting motif, with the syncopation of the percussion and the melody of the guitar. The tempo of the song and the general groove of it make it very easy to follow and enjoyable to listen. It has an extremely upbeat feel, and clean, relatable lyrics that would definitely translate to a large variety of people.

The song also has motivic variation in the way it is composed and the chord structures within it. The banjo is also quite interesting, providing some trills. I think the contextual information of Jeff’s career is definitely supported by this song, with enough range and dynamicism. It’s exciting and filled with thrills. A cool song, indeed.

SCORE / Excellent – Somebody’s Somebody is an exciting, upbeat song that has enough motivic variation and chord changes to tug at your heartstrings, while providing the listener with enough systems within the song to truly enjoy and keep up with it.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

You can catch up with Jeff Batson on his

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The post Jeff Batson – Somebody’s Somebody (Single Review) appeared first on Music Review World.

In the 1980s, when BritPop arrived, Bradburn gravitated towards more melodic and sophisticated songs, stepping beyond traditional chord progressions, harmonies, and orchestrations.

Bradburn’s latest single, “Caller 18”, a tune that incorporates ideas from his pop-rock roots with modern upbeat country, “describes elements of the dating scene that are universal when trying to find someone”.

So let’s have a listen …

Starts with drums and a two-chord guitar vamp. With a slow chugging rhythm guitar and an arpeggiated lead guitar riff, this song sounds like something from 80s pop rock (think The Cars or The Pretenders). The song does have a semi-country-sounding lead in the middle bridge. I think the lead guitar playing is rather simplistic and gets a bit repetitive.

Also, Bradburn’s voice sounds more suited for 80s pop-rock than country music. While the song is solid for what it is, I don’t see this track getting much play on commercial country radio because it sounds too much like an 80s pop-rock song. But it was a fun listen.

SCORE/Good: John Bradburn’s new single “Caller 18” is a throwback to 80s pop-rock delivered inside a country rock facade. It’s a good song. Reminds me of The Cars. Have a listen! Much love, Beth

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

The post John Bradburn – Caller 18 (Single Review) appeared first on Music Review World.

Brayden is a country artist hailing from Pound, Virginia, USA. An Appalachian artist with deep roots in country and bluegrass. He began his music journey at age 17 and claims wide influences from Keith Whitley and Townes Van Zandt to Korn and Pink Floyd. Brayden is known for his stripped-down arrangements and simple, but emotionally effective songwriting.

According to Brayden, the lyrics and stories behind songs are what bring the music to life. His music has been reviewed several times here on Music Review World. You can find those reviews here.

So let’s have a listen …

The song starts with a fiddle and acoustic guitar. The vocals are nice; he has a country rasp to his voice, which reminds me of Slaid Cleaves. I hear a dobro or steel guitar, and a piano in the mix; it creates a lovely sonic landscape in this track. I like the instrumental arrangement on this track. The lyrics are simple, but effective. Very nicely mixed and produced song.

SCORE/Excellent: I’m dancing in the yellow light after listening to Brayden Mullins’ new single “Yellow Light.” The instrument performances and simple, but emotionally effective, arrangement, complete with guitars, fiddles, steel/dobro, and piano create a complex soundscape for your ears! Definitely give this one a listen. Much love, Beth

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

You can also keep up with Brayden Mullins on his official website.

The post Brayden Mullins – Yellow Light (Single Review) appeared first on Music Review World.

Samantha Rae performs as a New England-area headliner and also supports national acts as a high-energy opening act. Some of her achievements include multiple nominations such as ‘Country Artist of the Year – Female’ by the Josie Music Awards out of Nashville, Tennessee, ‘Country Song of the Year’ for the single ‘Taking Me Down’ by the InterContinental Music Awards out of Los Angeles, California, and having won the ‘Album of the Year’ award from Indie Boulevard Magazine for her debut album, ‘The High Road’.

She has also amassed 1/3 of a million Spotify streams on the same debut album, with 80,000 algorithmic Spotify listener recommendations attached to the release and 1/2 a million streams across all streaming platforms.

In terms of being an opening act, she has performed shows that include Armalee, LoCash, David Nail, Tyler Farr, Sugar Ray, Lady A, Keith Urban, Carly Pearce, The Randy Rogers Band, Chase Rice and Dierks Bentley.

It is also noted that Samantha Rae co-writes and co-produces all of her original music with her creative partner and manager, Jay Dellisola. They write and produce in their home studio, working directly with an established team of Country music makers in Nashville to craft a unique sound tailored to her energetic and sultry vocal tone. They also outsource, travelling to London often to work at the legendary Abbey Road studio.

With all this information brewing high expectations, let’s listen to ‘The High Road’, an album that has already garnered a lot of praise.

The album’s contents definitely match the hype, living up to what it’s purported to be. It’s definitely reimagined country music, with mastering and compositional standards to match the time period. There’s spunk and attitude sprinkled throughout all of the songs, and I can certainly infer how Samantha’s vocal timbre influences her artistic choices and decisions- it has a smoothness to it, without being necessarily broken or too wispy, with the sassiness of someone confident of her vocals mixed with a little bit of Lisa Marie Presley’s vocal eccentricities, just in a much flowier manner.

In terms of the album itself, the whole masterpiece is very well-mastered with no instrumentation or compositional segment necessarily out of place. The aim to fulfil an adequate amount of linguistic variation is achieved by the lengthening of melodic pieces within key instruments in each song, and none of the songs are necessarily monotonous. The tiny, weak point of this album is the lack of innovation. It works well and thrives as a celebrated scepter of country music traditions, but perhaps to entice listeners, a little bit of experimentation to other subgenres of maybe folk, rock or gothic music could’ve helped to elevate the experience. Otherwise, I think that in terms of a true-blue modern country album that sticks to tradition, it’s no surprise that this album won an award.

The songs can be categorised and attached to various facets and strengths that chronicle Samantha Rae’s ability to be somewhat versatile and the dimensions of her emotions. There are songs like ‘Taking Me Down’ and ‘Burning In My Soul’ that reflect the skill of crafting an energetic number that’ll definitely have the crowd reciting along, sort of in a stadium-rock-but-country version, while songs like ‘Gaslighter’ and ‘Pinocchio’ provide the listen with a bit more depth, tackling themes of deception and sassier vocal melodic tones using certain themes like ‘Western Desert’ style or even a bit of blues to complement the more varied choices of chord progressions apparent during these songs, taking you through a richer and more holistic emotional rollercoaster as you listen to it. Another subcategory of songs visible in this album is the softer, emotionally charged and chill numbers, such as ‘I See in You’ and ‘Time’, showing aspects of artistic vulnerability, accented by the constant strums of the guitar and the sweet background vocals without losing an edge at all.

Another plus point to this release is how you can hear aspects of different instrumentation, be it the banjo or even just the simple electric guitar, shining through with various melodic chops and solos sprinkled within these songs. Some percussion changes apparent also help to provide excitation to what would hypothetically be a dull percussive section, but it delivers on all aspects: melody and rhythm. Samantha also boasts a wide vocal range, which will definitely grace your ears when she puts the emphasis on delivery when it comes to certain lyrics, hitting highs that still aesthetically match her groove. All in all, a decent album.

SCORE/ Excellent – The High Road is an album that delivers all that is distinct about Country music without sacrificing convention for quality. It has emotional depth and enough variation beyond simply technicality, aided and elevated by the thundering voice of a proficient songstress that knows her niche and how to execute it within her means. An interesting symbiosis of artist, producer, background singers, as well as instrumentalists.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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The post Samantha Rae – The High Road (Album Review) appeared first on Music Review World.

“Awaystead” is co-written with Noah Gibbings and published by Dirty Bird South Muzik. Bing reports that this “isn’t just a song-it’s a shotgun blast of heartbreak, grit, and Southern rebellion that fires the first official shot of the Black Dirt Music movement” says Bing, ‘Awaystead’ is for the ones who’ve been burned, betrayed, and reborn.”

Bing says “Black Dirt Music is what happens when country collides with rebellion, soul, and raw storytelling. No polish. No filter. Just real-life sh*t.”

Fueled by his rowdy fan base known as the Church of Heathens and backed by his own whiskey brand Bangtail, Bing is “carving a disruptive new lane in the country landscape-where bar fights, backroads, and brutal honesty reign supreme.”

“We’re not here for the spotlight. We’re here to build our own stage,” says Bing. “This song is for the Hoss Nation. For the rebels. For the broken. For the ones who aren’t afraid to feel it and still raise hell.”

Brandon Bing likes to say, he “is more than a country artist-he’s a movement.” You do have to give it to him, as the creator of Black Dirt Music, founder of Bangtail Whiskey, and the face of the rising Hoss Nation, Bing is redefining what it means to be country in 2025.

In the one sheet for the song, the artist says, “Awaystead drags traditional country through the mud and resurrects it into something darker, louder, and unapologetically real. It’s the kind of song you blast while leaving behind a toxic past and flooring it toward freedom.” Let’s press play.

The song starts with an Aerosmith like single-note riff then full on into some metal power chords. So at first, I think I’m listening to a hard rock or alternative rock song. Not a sound you typically hear in country music. But then the male vocals come in, and you can definitely tell they’re country.

The male singer has a very country voice and accent. But if it weren’t for the vocals, you could not tell that this is not a full-on alternative/hard rock anthem. Everything about the instrument tracks screams very hard rock.

I like the clever lyrics and that you can hear the acoustic guitar strumming away under the vocals to keep the country-theme going. When we get to the chorus we learn that “Awaystead” actually means “A-wasted!”, as in “I’m getting wasted.” It’s definitely a break-up song, which is a common a country music theme. The lead guitar solo is definitely a hard rock solo.

The performances on this track are excellent, as is the mix and production. This song definitely has some built-in radio appeal. It will be interesting to see if it can gain traction/get in rotation on commercial country radio.

SCORE/Excellent: This song kicks ass! Brandon Bing goes full-metal jacket on this tune, putting a country twist on an alternative rock vibe. I hope some commercial country radio stations pick this song up and see how it performs in rotation. The song is definitely radio ready! Much love, Beth

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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“‘Leavin Song’ is about facing the pain of a breakup head-on,” says Stephen, “but also recognizing that moving on is part of healing. There’s strength in that message.” The song blends heartfelt country/rock storytelling with themes of heartbreak, betrayal, and redemption.

For this new single, Stephen teamed up with a former bandmate and California producer, Tyler Blake. Both played alongside each other in the early 2000s modern rock band Subdivine. Stephen compares his sound to Chris Stapleton, Jason Isbell (my cousin), and the Zac Brown Band.

The press release Stephen included with his submission declares “[w]ith its driving rhythm, emotional vocals, and polished production, ‘Leavin Song’ is radio-ready and ideal for country rock, Americana, and crossover stations looking for fresh yet familiar sounds with real substance.” Todd Stephen is currently touring, regionally, in support of “Leavin Song” and his 2023 album Beaches and Bonfires, “working to connect with new listeners and expand his presence on regional airwaves.” I appreciate this message.

So let’s have a listen …

The song starts right away with vocals singing “Hey hey, this is my Leavin’ Song”. The track sounds country, not so much country-rock. The singer has a pretty good voice for country, definitely has that country twang!

The production and mixing on this track are very nice. I think, however, the instruments could be dialed back just a bit to let the vocals shine more. It’s like the vocals are competing for space against the mix, particularly in the bridge and choruses, when there’s a big increase in volume and density of instruments in the mix. The balance is good in the verses where the instruments are more sparse. That being said, the vocalist does a really nice job delivering a highly emotional performance.

I really like how the lyrics flow in this song, very fitting for a Leavin Song. Finally, I love the single cover. It sets the tone for the sound of the song.

SCORE/Excellent: Todd Stephen has a country voice reminiscent of Chris Stapleton and Jason Isbell, delivering his new single “Leavin Song” with a heartfelt emotional vocal performance that should appeal to mainstream country radio. I’m looking forward to hearing more great country tunes from this artist! Curiosity peaked yet? Much love, Beth

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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