Here in the tail end of the year, we should be navigating the annual and forgettable deluge of iterative (and sometimes clever) Christmas music. But not this past week. This was a substantive week of new music.

While critical proclamations about “the best album yet” often ring hollow, I would add to this vacuous practice to say that Memories and Empties is Walls' best effort to date. Here is why: the writing is self-aware. From the first single to the last album track, there seems to be a barroom honesty to these lyrics, an understanding that he doesn’t play the game but that in and of itself doing so is part of his game. This album is a slight — but not total — departure for Wall, and that is great.

What most won’t say is that even though he’s 1,800 miles from Music Row, he’s shifting a bit to become more marketable. His embrace of honky tonk sounds gives this album the potential to break through. While superior on nearly every level of production, songwriting, and picking, Wall is showing that he isn’t immune to the influence of driving trends of 90s neo traditionalism. And this is a good thing.

Much like Benjamin Tod’s shift into this space, we see that while it may not be for any commercial gain, it is for creative expression and personal enjoyment. When I spoke to Tod, he said he was enjoying this kind of honky tonk music, so he wanted to make some. I trust the same could be said about Wall, because this stuff is fun. And if Wall ever spoke to journalists, we might know more about it.

Hell yeah. These covers (and one reissue) represent an incredible opening salvo for Butts as she starts the major label portion of her career. The song selection shows her range of influences, ability to make a song her own and a sense of self that is almost unheard of in the commercial space. “Sin Wagon” — man, hell of a rendition.

I’ve been a passive fan of Muscadine Bloodline, chiefly because the music is just good. The lyrics are fine, the sound is solid, but it just isn’t my thing. However, this album hits a bit differently. I can’t put my finger on it, but it's a touch different from the past, and I feel it’s better. If you were on the fence about them, check it out.

I’m pretty sure I saw Holler saying Woodland was someone I should know as I was listening to her EP on the Honky Harmony regularly updated new music playlist. These are beautiful songs, and I fully expect Woodland to rise into this in-between indie and industry-supported space for an album or two. We’ll be better for it.

A good timing, Red Dirt country song. Simple. And as I’ve said before, I’m a sucker for allusions to Oklahoma.

This sad little Western number struck a chord with me. The story's honesty and the painful details did it for me.

Y’all these two can’t miss. This belongs in a movie, as the first dance of a wedding vow renewal and your play list. I really love how they make music together. And I’m thrilled they are on Warner Records for these recent singles. Carper and Lawrence deserve the platform that Warner affords — and because of this exposure we may just hear this song (and the others) in the places it deserves to be.

I don’t often smile at songs when they come across my desk — but this one hit just that way. Trischka is a great addition to The Steeldrivers singular sound.

Do we need another song about how the industry/Nashville is difficult for artists? Well, yes we do, when Oladokum writes it. Oladokun deserves more than the industry gave her and I don’t believe it’s only about her race and gender (though that for sure plays into it). But I think its that she’s too smart. The imagery of the birds is so powerful.

I love a song that is honky tonk danceable but doesn’t fit into any specific genre. There is grass, there is Texas Dance Hall, there is folk. The lyrics are poetic and clean. This was a great find this week and thanks to my frineds over at Honky Harmony for putting it on my radar.

A cover of the cover that has become the definitive version. I would like to know who these performers credit with the inspiration for this song. I absolutely love the combination of Fabrizio’s and Kelley’s vocals. The soaring duet and somewhat discordant strings make this even more haunting redition of a dark song. Thanks to and her weekly suggestions for this song.