Nine Country Music Songs You Need To Hear This Week Featuring Ella Langley, Kip Moore, Hudson Westbrook & More
- All Country News
- Oct 17
- 8 min read
Ella Langley - Choosin' Texas
Ella Langley’s new single, “Choosin’ Texas,” doesn’t just drop, it struts in, boots clicking, chin high, and a smirk that says she knows exactly what she’s doing. Out today, the track arrives as the latest reminder that Langley isn’t just part of country music’s next wave, she’s the rip current pulling it forward. Co-written alongside country royalty Miranda Lambert, prolific hitmaker Luke Dick, and rising Nashville pen Joybeth Taylor, “Choosin’ Texas” is the kind of song that feels lived-in from the first line. Produced by Langley, Lambert, and Ben West, the track is equal parts heartbreak and high noon swagger, a slow burn soaked in steel guitar, grit, and that kind of Alabama-born honesty that can’t be faked. “Just when I thought I got him to fall in love with Tennessee,” Langley sings, her voice sliding between confidence and confession. “I shoulda known better than to take him back to Abilene…” It’s a lyric that twists the knife just right, balancing heartbreak with self-awareness. By the chorus, “He’s choosin’ Texas, I can tell” you can almost see the dance floor spin, the cowboy boots tapping further away. The song plays like a showdown between love and loyalty, with Texas cast as both villain and siren. But Langley isn’t the one left in the dust, she’s the narrator who knows better now. That sharp, smoky drawl delivers each line with conviction, equal parts Miranda Lambert bite and her own brand of grounded charm. In an era where authenticity too often feels like a marketing angle, Langley wears hers like a badge. “Choosin’ Texas” isn’t just a heartbreak song, it’s a character study, a southern story sung by someone who’s lived enough to know when to stop chasing the sunset. With Lambert in her corner and her own pen sharpened to perfection, Ella Langley continues to prove she’s country’s next great truth-teller, effortless, cool, and unapologetically herself.
Chris Young - I Didn’t Come Here To Leave
In an industry that often measures artists by chart positions and streaming stats, it’s easy for longevity to turn into complacency. But I Didn’t Come Here To Leave feels like a reawakening. Most artists, by their tenth record, are coasting. Chris Young sounds like he’s just beginning. There’s a looseness to this project, free, unfiltered, confident that feels like a return to the spark that made him a star in the first place. It’s the work of an artist who’s not just comfortable in his skin, but proud of every scar that made him who he is. “I didn’t come here to leave,” he repeats, more mantra than title now. And you can hear it in every word, every note, every moment of this record. This isn’t Chris Young’s victory lap, it’s his rebirth.
Hudson Westbrook - Pretty Privilege
Perhaps no one in country music has had a wilder 2025 than Texas’ own Hudson Westbrook. From rowdy honky-tonk anthems to slow-burning heartbreakers, Westbrook has been on a creative tear this year, and his latest single, “Pretty Privilege,” proves he’s not hitting the brakes anytime soon. The swagger that’s become Westbrook’s calling card is on full display here. But this time, it’s sharpened, more self-aware, a knowing smirk behind the ball cap. “Pretty Privilege” isn’t just a catchy phrase; it’s a clever, modern twist on the classic country trope of the woman who stops a room cold. Over a smooth groove that feels equal parts dancehall-ready and dive bar-worn, Westbrook unspools his story: a man caught in the crossfire of beauty and confidence. “You ain't never waited outside / In a line wrapped ‘round a Dallas nightclub,” he sings, the lyric instantly painting a neon-lit picture of Texas nightlife and the effortless power some people wield within it. Vocally, Westbrook leans into his natural charm—smooth enough to make the flirt believable, rugged enough to make it feel real. It’s a balance few can pull off, and it’s what makes him one of Texas’ most exciting young voices right now. In a year where country’s been buzzing with crossovers and sonic experimentation, Hudson Westbrook is proving that staying true to your roots doesn’t mean standing still. With “Pretty Privilege,” he’s not just writing another song, he’s writing another chapter in his Texas-sized 2025.
Flatland Cavalry - Gone
Somewhere between a midnight drive on I-40 and the ghost towns that line it, Flatland Cavalry found the heart of their newest single, “Gone.” The Texas-bred troubadours, long known for their poetic storytelling and unvarnished honesty strip it all down here, offering a haunting meditation on the beauty and burden of a life lived in motion. Co-written by frontman Cleto Cordero alongside Ryan Beaver (Luke Bryan, Parker McCollum) and Aaron Eshuis (Tim McGraw, Rascal Flatts), “Gone” is the kind of song that makes you pull over just to catch your breath. It’s a road song in the truest sense, equal parts asphalt and ache, told through a lens of quiet revelation. Cordero opens the track with his signature easy drawl, painting the picture of a man who’s been everywhere but still searching for something that feels like home. “In my mind I’m just a drifter / A traveler, a visitor,” he sings, before the band kicks into high gear. The second verse erupts with a potent energy, threading confessional self-reflection with quick-witted poetry “Turning over miles, turning pages, turning stones.” It’s in that moment that Flatland Cavalry reminds us why they’ve become one of the genre’s most respected modern storytellers. They don’t just sing about the road, they live it. With “Gone,” Flatland Cavalry once again proves they’re more than a band, they’re philosophers of the plains, explorers of the in-between. In a genre often obsessed with destinations, they’ve mastered the art of honoring the journey. And maybe that’s the real magic here: “Gone” isn’t about running away. It’s about understanding that sometimes, the only way to find yourself is to keep moving.
Kip Moore - The Crown
Kip Moore is back, and he’s not asking for permission. With his latest single, “The Crown,” Moore invites listeners into a world where the stakes are high, the fire is real, and the reward is nothing less than the metaphorical crown of life itself. Co-written with Luke Preston and Andrew DeRoberts and co-produced by Moore and DeRoberts, “The Crown” is a sonic declaration of intent. It’s a song that dares you to burn it all down, shed what no longer serves you, and step boldly into your own power. Moore’s songwriting, already renowned for its unflinching honesty, reaches new heights here, alchemizing raw emotion into something both combustible and magnetic. This is classic Kip Moore: equal parts grit and grandeur, with a musical swagger that feels lived-in and immediate. It’s the work of one of country music’s most honest alchemists, a storyteller who knows that sometimes the path to triumph begins in chaos. “The Crown” doesn’t just ask you to listen, it dares you to rise, to risk, to claim what’s yours. In an era of glossy, often safe country music, Moore reminds us why he’s a rare voice unafraid to challenge the status quo.
Joshua Ray Walker - Stuff
In a world obsessed with what’s new, Stuff asks us to pay attention to what’s left behind, the things that once meant everything to someone. “All these items,” Walker says softly, “they’re just hoping for a second chance.” It’s hard not to see the parallel. Because with Stuff, Joshua Ray Walker isn’t just giving voice to forgotten things. He’s reminding us that meaning doesn’t vanish when something or someone gets left on the shelf. Sometimes, it just needs the right songwriter to pick it up, dust it off, and let it sing again.
Adam Doleac - Dream House
Adam Doleac is back, and with Dream House, his third studio album, he’s more grounded and more captivating than ever. The 12-track collection finds the Mississippi-born singer-songwriter balancing the tender strands of life: faith, family, and the people who make dreams worth chasing. From the first notes of “That Ol' Jeep,” Doleac sets the tone, paying homage to a trusty companion that’s carried him through countless miles and milestones. It’s a song steeped in nostalgia, yet propelled by the kind of energy that reminds listeners why country music thrives on the road and in the heart. Following closely is “I Wanna Go,” a free-spirited anthem that pairs wanderlust with love, perfectly capturing a life built on faith in the journey and the joy of shared adventure.
But Doleac isn’t just reaching for the open road, he’s turning inward, too. Tracks like “All Moms Go To Heaven” and “Lookin' Forward to Lookin' Back” reveal a songwriter deeply aware of his roots and responsibilities. The perspective of a son, a husband, and a new father informs these songs, lending them an emotional honesty that is as warm as it is universal. Across Dream House, Doleac delivers his finest vocal work and sharpest pen yet. It’s an album that doesn’t just tell stories, it invites listeners into them, offering a mirror to the moments that define love, family, and personal growth. If the past few years have been about chasing dreams, this album proves that Adam Doleac has finally arrived and he’s built something worth coming home to.
Wesko - Hold On
Country music’s rising star Wesko is back with a bold new statement. Today, the singer-songwriter drops his six-track EP Hold On via Warner Records and underscore works recordings, a collection that threads together vulnerability, grit, and unmistakable storytelling. Hold On rounds up some of Wesko’s recent fan favorites, “Hard Times,” “Use Some Carolina,” “Pretend,” and “Mr. Tennessee” and spices them up with two fresh offerings: the reflective title track “Hold On” and the stirring “It Can Wait (The Prayer).” Together, the songs feel less like a collection and more like a journey, a pulse on the highs and lows that define life, love, and the chase to find your place in the world. From the hard-hitting realism of “Hard Times” to the soulful introspection of “It Can Wait (The Prayer),” Wesko’s songwriting lands with a mix of poignancy and relatability. There’s a quiet confidence here, a sense that this is an artist not just chasing success, but building a legacy rooted in honesty and heart. It’s clear Wesko is a storyteller at his core, one who writes with a sharp eye for detail and a steady hand for melody. With Hold On, he doesn’t just deliver songs; he offers listeners a space to reflect, to feel, and ultimately, to hold on. In a crowded landscape of country music hopefuls, Wesko is proving he’s one to watch, not just for his sound, but for the stories only he can tell.
Ashley Brooks - For The Bar
There’s a certain kind of loneliness that can’t be drowned in neon lights or spilled drinks, and Ashley Brooks captures it perfectly on her latest single, “For the Bar.” Written alongside Russel Sutton and Jacob Rice, the track is a late-night confessional set to slow-burning, smoky melodies that linger long after the last chord fades. Brooks’ signature Southern rasp draws you in, a voice both intimate and unflinching. Over atmospheric guitars that shimmer like city lights in a rain-soaked street, she navigates the in-between moments of heartbreak, the ones that happen after the crowd thins, where the drinks keep flowing, the heart keeps aching, and truth slips out in whispered confessions. “I think you should leave with me / I think you should come mess up my sheets, baby / I ain’t looking for a dance or a drink in my hand / I’m just looking for somebody that can do what I can’t with a broken heart / I didn’t come here for the bar,” she sings, baring desire and vulnerability in equal measure. Brooks’ storytelling is at once relatable and unflinching, a reminder that healing doesn’t come easy, and sometimes the only place to face your heartache is under dim lights and between sips of something strong. By the time the last note fades, Brooks leaves listeners with a sense of catharsis, a mix of longing, honesty, and that rare feeling of seeing yourself reflected in a song. With “For the Bar,” Ashley Brooks proves once again that country music’s power lies not in perfection, but in the courage to sing the truth, no matter how much it hurts.
ALL COUNTRY NEWS
Country Music News & Entertainment
Country Music Country Music News Country Music Outlet Latest Country News Recent Country News New Country Music Newest Country Music New Country Music Newest Country Music New Country Songs Country