Love & Fear — Zac Brown Band

Zac Brown Band drops Love & Fear at a moment that feels tailor-made for a big statement, pairing a new album with the launch of their Sphere Las Vegas run. The record explores emotional duality, the push and pull between hope and doubt, resilience and vulnerability, while still sounding like ZBB at their richest: bold arrangements, strong storytelling, and harmonies that hit in waves. With a tracklist that moves comfortably from reflective to expansive, Love & Fear feels like both a reset and a reminder of their range.

“Someone Else & Jesus (feat. Dasha)” — Ricky Manning & Dasha

Dasha steps into Ricky Manning’s viral heartbreak ballad and turns it into a two-sided story that cuts deeper. Instead of simply covering “Someone Else & Jesus,” she adds a brand-new verse from the woman’s perspective, giving the confession a second pulse and a fuller emotional frame. Her tender, smoky delivery contrasts and complements Manning’s raw edge, making the duet feel like the song finally got to say everything it needed to.

“Proving Me Right” — Tucker Wetmore

Tucker Wetmore slides into his next chapter with “Proving Me Right,” a cool-blooded post-breakup track that doesn’t need to shout to sting. Set on a mellow, confident groove, he watches an ex circle back into the same old habits and meets it with steady, clear-eyed resolve instead of drama. The writing is sharp but not bitter, like the calm clarity you get once you’ve finally stopped second-guessing yourself. It’s the sound of someone moving forward, quietly knowing they've called it.

“Oh The Things Men Do” — Elizabeth Nichols

Elizabeth Nichols serves up a sly, laugh-through-the-eye-roll anthem that pokes fun at the predictable playbook some guys run when they’re trying to impress. She narrates the whole charade with a wink and razor-sharp timing, turning irritation into something irresistible and sing-along ready. Beneath the humor, there’s a clean message of self-respect: don’t confuse flashy charm for real character. The accompanying video seals the deal by flipping a storybook setup into a midnight reality check, matching the song’s vibe of “cute, but I see you.”

“Dookie” — Pat McAfee

Pat McAfee’s jump into music feels like the natural next plot twist in a career built on loud moves and big swings. “Dookie” introduces him not as a novelty feature but as someone who’s been quietly writing for years, using melodies and half-formed choruses as a personal release valve long before cameras were on. With ERNEST and Big Loud helping shape those pages into a real recording, the track lands as a surprisingly earnest first step, part diary, part victory lap, and fully McAfee in its unapologetic energy.

“Giving Her Away” — Luke Combs

Luke Combs delivers a heart-heavy new cut that feels extra intimate thanks to the story behind it. “Giving Her Away,” written by his longtime friend Josh Phillips, carries that full-circle warmth of old hometown days meeting the present moment, and Combs sings it like he’s honoring a shared past as much as the song itself. The result is tender and lived-in, the kind of track that sneaks up on you — soft at first, then suddenly sitting in your chest.

“Cold Heart on Fire” — Josiah Siska

Josiah Siska returns with a slow-burning traditional stunner that feels like stepping into a honky-tonk where the air is warm, and the lights are low. “Cold Heart on Fire” leans into classic country textures and patient storytelling, letting his deep, commanding vocal carry the ache and the hope in equal measure. After a year away, he sounds locked in and purposeful, not just releasing a love song, but reminding everyone how powerful old-school country can feel when it’s delivered with this much conviction.

Tell Me, Again — Peech.

Peech. keeps his momentum rolling with Tell Me, Again, an EP that builds on the emotional pull of his breakout single “Tell Me.” By offering the original alongside acoustic and instrumental versions, he gives listeners a few different doors into the same lingering, late-night feeling — that haunted question of whether the people who shaped you ever look back, too. The project showcases his sweet spot: pop-clean hooks that still carry country warmth, balancing polish with real ache.

Bottomland — Bottomland

Texas duo Bottomland arrive with a self-titled debut that feels like a “we’re here” statement, not a warm-up. The album rides the border of Texas country and Southern rock, stacked with gritty guitars, road-worn storytelling, and a lived-in barroom pulse. With co-writes from a strong Nashville bench and early fan traction already building around their sound, Bottomland plays like the start of something loud, rowdy, and built to last.

“Levi’s and Leather” — Kyle Kelly

Kyle Kelly paints a smoky, slow-motion honky-tonk scene on “Levi’s and Leather,” pulling you straight into the moment a night changes course. Inspired by a real after-hours stop, the song captures the instant electricity of a stranger walking in and turning every head without saying a word. Classic country instrumentation keeps it timeless, while Kelly’s gritty detail makes the atmosphere feel tangible, the kind of track you can smell like beer and neon.

“Wild Woman (Lainey Wilson Version)” — Aerosmith, Yungblud & Lainey Wilson

Aerosmith and Yungblud’s “Wild Woman” gets a fresh spark with Lainey Wilson stepping in to steer the storm. Her bold, unmistakable vocal adds a dusty country edge to the blues-soaked rock foundation, not softening the song but sharpening its bite. The collaboration feels less like a remix and more like a re-ignition, classic-rock swagger meeting modern country fire in a way that makes the title feel newly earned.

Who I Am — Aaron McBee

Aaron McBee’s debut album Who I Am is exactly what the title promises: a full-length self-portrait with no edits. Co-written entirely by McBee, the record threads gritty Texas country through rock-leaning muscle, but the real anchor is his plain-spoken honesty. Every track feels pulled from real rooms, real mistakes, and real growth, giving the album a raw clarity that invites you into his life instead of keeping you at the surface.

“Please Please Please” — Ashley Anne & Grace Tyler

Ashley Anne and Grace Tyler turn a fan-favorite social moment into an official release, and their version of “Please Please Please” lands like a slow-exhale confession. By dialing the tempo back and letting the melody breathe, they reveal a softer emotional core inside the pop original, trading its urgency for intimacy. Their harmonies fold together effortlessly, adding a country-leaning warmth that makes the plea feel even more personal.

“Til I Found You (Wedding Version)” — 2 Lane Summer

2 Lane Summer delivers a fan-asked-for re-imagining that’s built for first dances and soft-focus memories. The “Wedding Version” of “Til I Found You” strips the original down to piano and voice, letting the romantic lyric and the duo’s signature harmonies sit right up front. It’s gentle without losing power, and the real-life context, their fans requesting it for weddings and even proposals, makes it feel like a gift back to the community that’s been carrying the song.

26 — Christian Hayes

Christian Hayes releases 26 as a six-song snapshot of a life in motion, capturing the feeling of standing on the edge of a wide-open future. Blending rock, folk, and pop with Appalachian heart, the EP highlights his knack for evocative lyrics and melodies that feel both personal and universal. It’s reflective without being heavy, and confident without forcing it — a coming-of-age project that sounds like an artist settling into himself.

“Morning Light” — Jake & Shelby

Jake & Shelby release “Morning Light” with a story that makes the song feel even more essential. Written after Shelby revisited her foster-care memories while supporting the Cape Cod Foster Closet, the acoustic track is raw, brave, and rooted in real healing. Her voice carries both tenderness and strength, turning personal history into something listeners can hold onto, too. With proceeds supporting children entering foster care and fans already emotionally invested from early snippets, “Morning Light” lands as a reminder of music’s power to tell the truth and do good at the same time.

Photo Credit: Ross Halfin