2025 Saving Country Music Album of the Year Nominees

It’s time again to engage in the exercise to determine what will be crowned the Album of the Year. The point of this exercise is not to devolve music into a competition. It is to stimulate a lively conversation about what we all believe is the best album, using our differing perspectives to inform each other about the music that has spoken deeply to us over the year so that we might discover something we otherwise might have missed.This is why your feedback isn’t just encouraged, it will be considered in the final calculations. So if you have an opinion, please leave it below in the comments, including your list of top albums if you wish. However, this is not a straight up and down vote. Your opinion will count, but it will count even more if you put the effort out to convince us all why one album deserves to be considered above the others.If you think an album has been unfairly omitted, utilize the comments section to inform us. But please understand that upcoming, there will be an Essential Albums List that will be much broader, and might include your favorites, including the “Most Essential Albums” that were right on the bubble of being considered for Album of the Year (see bottom).…and before you comment, also remember the proper etiquette for approaching end-of-year lists.

This is just the very beginning of the end-of-year assessments at Saving Country Music. Song of the Year, Single of the Year, Artist of the Year, and many other end-of-year considerations are forthcoming, as are more album reviews from 2025 as we close out the year.

Treat yourself to a true expression of country and Western music, with an emphasis on the Western, carried to the innermost caverns of your heart by the evocative tones of Sam Stoane who awakens dormant emotions inside of you as she deftly delivers inspired songs and Western tales fit for premier acclaim.

It’s hard to not get giddy when you stumble upon a performer like this who clearly holds such promise in helping to shepherd something as obscure and undervalued as Western music to new and younger audiences. Sam Stoane does this by making the music feel cool, present, current, and fresh, while at the same time adhering to the rigid confines of the Western art form, and doing so with such love, reverence, passion, and conviction. (read review)

Bad Reputation is just one of those albums you cue up, listen to straight through, and then re-rack again. There’s not a snoozer in the bunch, and each song hits you as immediately infectious, but durable in its long-term appeal. Similar to his 2024 EP Tenkiller, there is a lot of rock in Roark’s sound, which comes expected in the Red Dirt realm, if not required. But what helps set this album off and yet ground it to the country roots is the spirited fiddle that makes an appearance on most tracks. Bad Reputation presents a range of textures and emotions, including the final acoustic song “Stay,” which sells you on Lance Roark the singer and songwriter, if no other song could. From high energy, anthemic rock songs, to sincere country ballads, Roark was patient in officially presenting his debut album to the planet, forging his own sound, finding the unique contours of his voice, and making his case for being Red Dirt’s next star. (read review)

We can now officially crown Colter Wall as a master craftsman of both types of music—country and Western. Memories and Empties isn’t just Colter Wall’s first stab at a dedicated country album. It’s really his greatest and most purposeful effort at songwriting in his career, not just from including so many original songs instead of traditionals and covers, but in the way Colter clearly wanted to express himself in a different manner, yet in accordance with the traditions of the traditional country genre.The reason Colter Wall has become so wildly successful with Western music is because he doesn’t just play the music, he champions it. He embraces it. He sells its virtues to the audience. That’s what Colter does for traditional country songs on Memories and Empties. Like we’ve seen from other artists lately, this album is Colter Wall proclaiming “This is country music.” (read review)

Legends never die, and good music never goes out of style. Luke Bell knew this instinctively, drawing inspiration directly from the old greats, and mining the past to compose his songs, and the sounds that enveloped them. Making music that sounds like it was from decades before is not always just an exercise in nostalgia or retro hipsterism. It’s an indemnity against the fickleness of current trends. Blue jeans will never go out of style. Neither will the classic country songs of Luke Bell.The King Is Back is not just a dump of posthumous tracks. It’s a complete work of the Luke Bell legacy that feels vital to the country music catalog, completing the picture of Luke Bell the artist, and hopefully, bolstering his legacy that has already outlived him, not dissimilar to other contributors such as Blaze Foley whose lives and careers were also cut short, but live on today as vital as any. (read review)

The pride of Monkey’s Eyebrow, Kentucky, and a certified Kentucky Colonel, you don’t get much more Kentucky or much more country than Kelsey Waldon, down to the Bill Monroe tilt of her hat. Uncompromising as she is genuine, Waldon has always leaned into her Kentucky roots, and made music her way. But it’s never been more her way than on her new album Every Ghost that she produced herself.

Kelsey Waldon has also never been more Outlaw in tone and texture. From grooving in half time, to the pounding bass drum and 2-tone bass guitar lines, this album puts you right back in the bell bottom ’70s in the best of ways. Instead of recording with studio musicians, she chose to go with her own touring backing band, The Muleskinners. That road-tested, groove-worn sound comes through in the results, leaving you wanting much more after the ninth track.There might be ample daylight between the popularity of Waldon and her fellow Kentucky contemporaries such as Sturgill, Tyler, and Stapleton. But she’s the one that’s kept it the most country as she continues to work to refine herself and her music in pursuit of the more perfect country song. (read review)

Just like every Turnpike Troubadours song, album, and era does, patient listening pays off as the depth of the lyricism slowly reveals itself, and the melodies nestle into the comfy recesses of your gray matter. The fact that a Troubadours song doesn’t always reel you in automatically is what also graces it with the gift of longevity. This is why no matter how old a Turnpike song is, in the right moment and frame of mind, it can still impart to you that first time feeling.

Maybe most important to note, The Price of Admission is a surprisingly twangy and country affair. This isn’t relevant to all the tracks. But multiple times when listening, you’re surprised at just how honky tonk the sound is. Hot steel guitar solos from Hammerin’ Hank Early burst through the mix, while Ryan Engleman explores the more woody, earthen tones of his Telecaster.

Where their previous, return album A Cat in the Rain might have been a little too blended and sedate, and might have needed a newer song or two near the end, The Price of Admission feels like the more full-bodied effort with bolder textures that will burrow beneath beneath your skin until it infects your bones in extended releases of joy. (read review)

Some albums you simply enjoy. Then other albums you listen to, and you feel like you’re living inside of them, and subsequently, they live inside of you. You carry their sentiment and melodies with you throughout the day. The stories impact you like they’re your own. You become emotionally invested in the moments, and the outcomes. They’re more than albums. They’re collections of emotional catalysts that you call upon because their potency is uncommon.

Olivia Ellen Lloyd’s Do It Myself is one of those albums. If you’re one of the souls it captures, it’s an album you’re destined to return to all year, and in subsequent years to come. It’s one of those albums that you measure all of the other albums against as the year unfolds. You could consider it a breakup record, but it’s a bit more textured and varied than that. It’s definitely a heartbreaker, but it’s not fair to characterize it as a downer. It’s leaves you too fulfilled for that. (read review)

We all can recite their names forwards and backwards, and do often whenever friends, family, and co-workers ask us to recite our top recommendations from the little “independent” country scene we won’t shut up about. It’s Tyler Childers, The Turnpike Troubadours, Cody Jinks, Sturgill Simpson, Jason Isbell, Sierra Ferrell, Charley Crockett, Charles Wesley Godwin, and a few others.

What do they have that The Joe Stamm Band lack, making them somehow secondary? The answer is nothing. There’s nothing this band gives up to the top names in independent country and Americana. The songs and songwriting, the stellar catalog of albums, and the blistering live performances, they don’t give an inch of ground up to anyone. Little Crosses is no exception. (read review)

Pour this out over rocks or take it straight. Find some skins and roll it up. Crush it and line it up on the back of a CD case. Cook it up in a spoon and load it up in a needle. However you take it, go hard into Sunny Sweeney’s Rhinestone Requiem, and forgo the moderation. It just might cause you to suffer a honky tonk relapse. But it’s so worth it.Sorry to be triggering to any teetotalers out there, but Rhinestone Requiem is Sunny Sweeney in her most purified form. Time and pressure, endless touring and multiple divorces, it’s all conspired to forge Sunny Sweeney into a genuine honky tonk maven.You could regard Sunny Sweeney as a veteran of the game. But listening through Rhinestone Requiem, the boldness of its audio flavors, and the passion brought to the songwriting, it gives you a sense that her career is just now in its peak. She’s making some of the most compelling country music of her career, and songs that will withstand the test of time because classic country like this is timeless. (read review)

With so many excellent albums being released, it’s always difficult to know where to draw the line at what is the “top” of the year, especially when you have so many albums sitting right on the bubble. That is why at the very end of the year, Saving Country Music will publish a much more extensive “Essential Albums List.” Crowning that list will be the “Most Essential” albums that were inches away from becoming Album of the Year nominees. In 2025, these “Most Essential” albums will include (but might not be limited to):

Brennen Leigh, Charley Crockett, Cole Chaney, Colter Wall, Jake Worthington, James McMurtry, Jesse Lovelock, Joe Stamm Band, Juliet McConkey, Kelsey Waldon, Lance Roark, Luke Bell, Margo Price, Olivia Ellen Lloyd, Sam Stoane, Sunny Sweeney, Turnpike Troubadours

I like seeing all the music suggested here. I wanted to stump for the Ben Nichols album.
I agree with Tango–it’s great and I’ll probably have it as my AOTY.

Appreciate all the articles, insights and comments. I never post but find lots of good new music here. And thanks to the comments, I just discovered this new solo Nichols album. I missed it completely. And I’ve seen Lucero twice in the past year!

Love articles and comments.
I need to go back to Stamm, Colter and Boark because I didn’t really care for any of the songs enough to put on a Playlist.

We love the Jesse Lovelock album Trigger. Nomination deserved coming from someone who’s had a whole life of listening to the greats. This is special stuff.

I appreciate the passion folks have for the Jeese Lovelock album. I was the first to ever feature the album, and put songs from it on the Top 25 Playlist when they came available publicly. I put the album in the top image because I believe it deserves top consideration. There are lots of artists right now wondering why they didn’t even get honorable mention. Jesse Lovelock is in the mix here. But there a lot of great albums this year and competition is stiff.

My favorite albums were: Matt Daniel-“The Poet”
Brennen Leigh-“Don’t You Ever Give Up On Love”
Tami Neilson-“Neon Cowgirl”
Favorite EP: Chandler Dozier-“Bakersfield East”
Favorite Bluegrass: Pitney Meyer-“Cherokee Pioneer”

Jesse Lovelock and The Velvet Voices deserves serious consideration for Saving Country Music’s Album of the Year, moving beyond its “Most Essential” mention…for three compelling reasons; artistic integrity, critical momentum, and measurable impact.

This album isn’t merely “throwback” country; it is a meticulously crafted time capsule. Lovelock demonstrates an unparalleled commitment to artistic integrity. He offers listeners genuine Countrypolitan charm free from modern compromise. Lovelock achieves a creative feat that few modern artists even attempt with this debut.

The record has already garnered universal acclaim and a rare 8.3/10 star rating from SCM itself. The critical reception highlights its timeless quality and importance to the genre’s preservation. The “on the bubble” status on the current nominee list underestimates the finished product; the album is a definitive statement that resonates deeply with the very audience SCM serves. Elevating the album to the main AOTY list validates the critical praise already heaped upon it.

The argument for Lovelock strengthens with empirical data. In less than three months since its wide release, the album is finding a substantial audience, evidenced by his rapidly growing Spotify listenership of 18.6 k monthly listeners. This organic growth for a niche, non-commercial sound demonstrates a genuine public hunger for the exact kind of traditional country music SCM champions. This isn’t a major label push; it’s a quality product connecting directly with listeners who yearn for authentic country roots.
Jesse Lovelock and the velvet voices is more than an essential album; it is a vital, self-actualized work that is already leaving a mark on the independent country landscape, fully warranting the honor of SCM Album of the Year.

Jesse Lovelock and the Velvet Voices is being given serious consideration for Saving Country Music’s Album of thew Year. The official nominees is capped off at 10 because you have to cap it off somewhere. But the fairly obvious campaign to lobby for his win is being recognized.

You can tell the artists whose inspiration are their contemporaries which is limiting to what they can produce. Gets too samey. Odd choice in Lance Roark in my opinion. No homage to the great traditionalist singers or writers. Also kinda rocky and pretty elementary in lyrics .. not in the best way. country elements like fiddle kinda mask the issues going on here. I’m a hardcore critic of country. This album doesn’t make sense to me.

My take on Jesse Lovelock:
I like it. I like throwback music, but not everyone does. Im fact, it’s usually very polarizing here at SCM. Take Charley Crockett as an example, I like him, always have, but there’s many here who assail him, call him a fraud and on and on. Its nearly impossible to achieve universal consensus on any album discussed here, let alone a record engineered to sound like 1957.
Lovelock is a huge fan of Jim Reeves and Slim Whitman, he’s said so in the few interviews he’s done. Neither of those guys music has aged well or resonates with new generations. I think the background singers give it that time capsule sound. Countrypolitan indeed. Is Jesse onto something? Yes he is, and its marketable, but it’s niche. Remember Zephania Ohora ? That dude killed it with retro sounds on his two albums, totally emulating the early years of Haggard. He was toast of the town for a hot minute and then…poof he vanished into the ether. These days he’s all in on his two nightclubs and he plays in a Dead cover band. I guess as good as his sound was, it didn’t have staying power.

One thing I’d bet on is that Jesse lovelock doesn’t turn in the same paper with his second album . He’s actually an incredible soul singer believe it or not.. I heard him sing wrong number by Aaron Neville and was pretty blown away. The guy has been at music privately for a long long time.

As for the polarization of throwback ..Lovelock hits the bar differently than some of these artists and brought a whole new perspective to it.. he’s not really like any of those artists of old or new. Completely unique. That’s due to his acquired taste. I don’t think we have heard the best of lovelock. And I’m here to watch it go down.

I don’t think that the problem with Charley Crockett is Just his throwback sound- Even before the current neo-traditional era, there weren’t a lot of complaints about super retro artists, other than about him.

Charley did a lot of weird experimental stuff with his vocals and that stuff is really polarizing. For example, he was lisping for a while, which may or may not be an actual lisp that he has in real life, but he was definitely leaning into it (for example, see his cover of Ernest tubbs Saturday Satan Sunday Saint), And he does this weird modern thing where he sounds bored half the time which works for some songs but is not super traditional for country music. I think that and what people called his “aw shucks” act has as much to do with his critics as does the retro sound. People don’t complain too much when Sierra Ferrell (who’s probably the closest analogous artist to him) experiments with different sounds from the past, or has a silly visual costuming element, but her vocals are way more conventionally beautiful. Charley just has several different things going on experimentally that don’t work for everybody and it’s not the retro part that does it

Josh Hedleys a throwback artist. He received a lot of criticism for being ” hipster” and ” fake”. Sierra Ferrell has been given the same treatment by some commentors on SCM due to her costumes.
Way back in the day BR549, one of my favorite retro acts got criticized for their old timey sound and stage costuming being too retro.
Tami Neilson gets scorn by some of our regulars here for again being retro in music style and her fashion.
I’ve seen it everytime a retro act is presented on SCM. Harmonica Sam was praised by some, derided as fake by others. Zeph o Hora was called a hipster and fake on this site by commentors. Its a thing, some music fans just plain can’t stand retro throwback artists. Im not one of them, I like the older sounds.

The weird thing is when we go back in time and listen too retro music given that its 2025 we are as “fake” as the artist for listening to it and you cant get more fake than many of our modern day artists can you? I mean whos more fake out of Sierra Ferrell or a mainstream modern artist most of the top 40 the music is artificial and normally a computer and the “artist” hasnt written or played a note of it, and in some cases its not even them singing it.

The reason in many cases ive gone back too music with its roots in the past is that its less faked and more real than what modern music is and its the same reason these people play it too.

Sorry I just checked and it wasn’t Charley Crockett’s studio version of Saturday Satan. That was weird, it was a YouTube version on the 100.9 FM The Ceek – he literally puts on this really exaggerated list that he doesn’t have on the recorded version, and it’s those kinds of experiments that really turns people off. I think more than the fact that he was covering or writing old sounding music.

Dollar a day is my favorite but i def loved the waylon album so its a close second. But in reality i dont listen to a lot of albums. In reality mt favorite album this year is beatles anthology 4 but thats not a country album. Seems like a lot of people made a lot of good choices. Its been a good year for music

The whole “Punk” approach to traditionalism trigger draws is spot on . The Hank Williams III’s sentiment that “the older you sound, the more punk you’re being,” Lovelock’s album is described as maximally “punk” because it is perhaps impossible to sound any older in its execution, a bold artistic statement in a modern, often artificial music landscape. Punk sonically but also punk on how he built all this up ignoring traditional ways they tell you is necessary.

there’s so much to unpack with how this album was put together. Enthusiasts can connect the dots rather easily. But what’s nice is it looks like it’s getting picked up by generations who missed out on a particular music.

Joe Stamm band. Little Crosses. Amazing music. Joe has such an amazing voice. That alone makes me want to play this album on repeat. JSB is awesome and totally deserves this award!

Any other fans from Sweden ? I’m liking this Jesse Lovelock story very much. The musik supports it well. Fantastic album of course. Couple people are starting to share this album here. Big fans of Saving country musik. Herd his musik through Sonic-Spellistan magazine.

Sam Barber’s Music for the Soul album has been on repeat since it dropped this summer. From the album’s beginning to end Sam simply crushes it and puts his song writing maturity on display for all to enjoy.

My favorite SCM albums have been
Jason Boland – Last Kings..
James McMurtry – Black Dog..
Matt Daniel – The Poet
Ken Pomeroy – Cruel Joke
Colter, Turnpike, and Tyler

Elon Musk should seriously look into harnessing the power of the natural talent deposited in that young lady, for I suspect it would prove to be a source of clean energy more abundant than all the dirty ones combined. Why more members of the SCM populace are not clued in to her talent is one of those mind-boggling mysteries of nature to me. No doubt it helps her keep a low profile someplace with a few pretty horses around, as is her wont.

Other country/roots albums that rocked my world this year include those by Luke Nelson, Kristina Murray, Darrin Hacquard (I’m surprised not to have heard a peep about him around these parts), Tyler Childers, Tobacco City and— from among the nominees—Olivia Ellen Lloyd, Sam Stoane, and the late, great Luke Bell. And, yes, the Turnpike Troubadours. Since the award is theirs to lose this year (and very rightly so), from among those who were nominated I’ll give my vote to Olivia Ellen Lloyd in a lame attempt to keep things interesting.

Here for the Jesse Lovelock record. He’s the most unique artist of 2025. Hes not like the typical “throwback” artist He’s really just got his own style going on. Can’t wait to hear another record from him.

For my money, it’s gotta be Turnpike’s “Price of Admission.” A definitive record from the best band in country music and one of America’s best songwriters across all genres.

Last but not least, a plug for a personal fave from Richmond, VA: Mackenzie Roark & the Hot Pants album “The Ghost of Rock & Roll.” Well worth your time, SCM friends.

The lovelock and colter albums were my favorite this year.. can’t go wrong with colter we kinda know we’re going to get a great record out of him. He’s got a great support system of people who contribute to his greatness which is what artists should have. What really thrills me is Lovelock because he seems to be a one man show as of now with great ideas and vision.

He’s also got the older crowd behind him because he’s reminding them of the good times and memories that have been slowly leaving sense granddad played old records. He can reach a broad audience of young and old folks. I also believe he’s got “hit” potential as a writer. I choose Lovelock for that reason

Memories and Empties is SO good. The songs all feel like old friends come for an evening visit. Some are so fun, others so sad and dang if they don’t make me want a gospel album from Mr. Wall! Pure poetry and his incredible voice has never sounded better. A+

It’s Little Crosses for me. Stamm is a great songwriter and singer. I discovered the album here! I was pleasantly surprised. Given Stamm’s voice, I was expecting a Chris Stapleton like figure; long hair, beard, etc. The fact that Stamm looks more like the guy who owns the local hardware store and not the guy who just blew in from spending six months in the mountains living off grid, is surprising. Very underrated performer and songwriter. The band is solid. Joe should be one of the bigger names in Americana.

Kinda late to the conversation and loving the comments this year..but It’s Lovelock luke or Colter.. those are the records I loved they embodied the golden age of music in there own ways and I believe represent SCM at the core the best. They take traditional forms and put their own spin on it. A lot of throwback artists can come across as tribute that’s when it becomes corny. These guys are authentically creating inspired work and you can hear it if your antenna is up and are a student of that great music left behind. There essentially reminding the audience what they missed out on.

That being said colter is a mega star, Luke is unfortunately not with us and lovelock is climbing . Hard to choose but I’m going to put more fuel behind Lovelock because he’s done a lot of ground work on his own and I respect the he’ll out of that. his work also validates a win. This business not for the weak.

Jesse Lovelock pushes back against the current pop-country mainstream in the most hardcore way while preserving the legacy and craft of traditional country music that is both authentic and commercially viable.

The combination of critical praise(8.3/10 SCM) (5/5 stars from Country Music People sept issue) deep authenticity, and overwhelming organic listener support (20k Spotify) in less then three months is indeed pretty crazy. makes Jesse Lovelock and the Velvet Voices a truly deserving candidate for the top honor.

Lovelock might be the only “fully independent “ artist on the list so yeah what he’s got going on is incredible. It said initially the album was only available on SoundCloud with a link from SCM that was pretty awesome to do seeing as he wanted to connect with people who were in it for music only. he essentially gave his album away and it’s paying off that’s why you see his big monthly listeners 20k or whatever. that competes with or outdoes what small indipendent labels can push for a new artist. Says a lot.

If we’re looking at traditional formats I think Wall, Lovelock, Luke represent that the best. I really like the Jesse lovelock album glad to see his nomination for album of the year. Definitely deserved. I think it’s a durable work. Played this album a lot. He’s not like any of the other nods to the past artists we’ve heard befor. He’s doing something can’t quite put a finger on. He very well could walk away with AOTY award.

I have to go with the price of admission. I played that over and over for a while. One surprise album that i kept playing a lot was Pug Johnsons El Cabron..should at least be an honorable mention in my opinion. I haven’t had enough time with Lance Roarkes album but it feels like its a top 5 for me. I’d finish my list off with Brennen Leigh, Juliet McConkey and Sam Stoane.

based on artistic merit, Lovelock’s album could be seen as making a more profound and artistically significant statement within the context of the publication’s mission. So I see why people are chiming in on his record. It really makes sense. He’s not folk, rock or Americana heavy leaning. Like the majority of the nominees. His album really is traditional country leaning as he makes a rather abstract interpretation. He’s went a few steps beyond. I think lovelock had the best album of the year and I’m happy to see others agree.

Turnpike Troubadours: the price of admission. For me, this album wins hands down. As with most of their other albums, and just as trigger said in his review (and seems to have said over the years about almost every one of their albums), this album cannot be appreciated on just a few listens. Honestly, it took me months before this album fully captured my attention. I feel this is a consistently great band, with one of the most amazing, thought-provoking, and soul-searching songwriters out there for the past 10 years. Just as trigger said, this album starts slow and that almost put me off of it. Ultimately though, every single song packs a punch, and this has been my go to album for a while now. TT for the win!

Jesse lovelock has done something none of these throwback artists back artists have done with certain elements which is why I really loved his record. And I usually don’t like those records because all of them seem to be a direct rip from one of those old time artists. Someone mentioned Zeph Ohora. He clearly took the Merle thing too far down to the colors and. Composition on album art and vocal style. Just not enough originality . Originality will give an artist staying power.

Lionel Richie tells a story about how he shared a demo at Sony and was told “ this is great but you sound like the impressions, I want to hear what you sound like” and that was a pivotal moment in his career.

This is where lovelock separates him self from all these nominees and frankly many big artists beyond. Hence the buzz outside this publication. He’s very uniquely original which is why his gaining a rather fast organic following. That being said I think he Delivers the best album of 2025 and I read the review on Lonesome Highway Magazine and they too said this album will be hard to top. Jesse Lovelock delivered.

Just checking everything out here..This lovelock guy is super lowkey very minimal on his socials. He’s really not trying to be anything but himself. Massive organic reach. This is a great example of letting the work speak for itself. People can get behind that. People love that.

This is a call to artists to get inspired again take risks and make the music you want to make not for the idea of what might sell. This is what lovelock has done and why we may see him light the candles on the album of the year. Best album of 2025 goes to Jesse Lovelock

Just listened to the Jesse Lovelock album straight through to see what all this hype is about and I came to critique it hard. Holy shit this album blew my mind. Its concepts are wayyy beyond what we’re used to hearing. Everything everyone is saying is true. This will be an album people will look back on. Do yourself a favor play this record cranked loud sit back and prepare to have your mind blown. Jesse Lovelock has arrived and I’m here for it.

Jesse’s always been cutting edge go through his instagram I’ve followed him for years. He never showed his cards except for some visual art stuff. Which is other worldly too. He’s one of those guys who can go any direction he wants. Rare talent

Cole Chaney’s “In the Shadow of the Mountain” and Joe Stamm Band’s “Little Crosses” anre both excellent, but I think Marcus King’s “Darling Blue” was the best this year.

Excluding The Price Of Admission, I would cast my vote for Sunny Sweeney. She made an absolutely career defining album and her voice has never sounded better.

I listened to the entire Jesse Lovelock album when it was mentioned here the first time and while I like misty blue, the rest of it kind of melds into less memorable variations on the theme for me. I think its crying for some songs in a slightly different tempo, key or something else to produce some contrast or sense of motion.

While one listener might perceive the album’s consistent tempo as a lack of contrast, many fans and the artist’s supporters view that very consistency as the defining strength. I do anyway. It was immersive and like Trigger said “a great feat of achievement “

The fact that you enjoyed that track but found the rest “less memorable variations on the theme” suggests that you appreciated the style in isolation but perhaps found an entire LP of that specific mood challenging. This highlights the common divide between people who listen to music for variety versus those who listen for immersion and a specific aesthetic journey. He made a concept album of the journey and it hopes to take you places.

A great year for real country music. I loved all the albums Trig mentioned and also a lot from the commenters.
One album that really standard out for me is Kristina Murray ” little blue”. Original, real and fresh.
Running up is Jeremy Pinnell ” decades” i just love that guy.

Other albums i loved are:
Grayson Jenkins ” country parables”
Jack Blocker ” the land most high”
Leon Majcen ” making a living ( not a killing)”
Nicholas Jamerson ” the narrow way”
Levi Foster ” we made fire”
Becky Buller “songs that sing me”

Just an FYI. I have legitimate reasons to believe that some or most of the comments about Jesse Lovelock and The Velvet Voices are being left by the same person or a small group of people using different aliases. I’m going to leave the comments up for the moment, but please understand this as you read through the comments.

If people want to post under different screen names, this is allowed. Impersonating people, or using different names to deceive people in some way is not.

Let’s be honest. This is not close. There’s The Price of Admission and then there are the rest competing for second place. The competition for second place is compelling though. It’s got to be Memories and Empties, Charley Crockett, then Luke Bell, then Kelsey Waldon, then Joe Stamm Band from this list, plus Marcus Kind Band’s new one, James McMurtry’s album, and the excellent Hayes Carll album nobody’s even mentioning. The Nicholas Jamerson album is top-notch as well. Best live album of the year — thank you to Charles Wesley Godwin, who can do absolutely no wrong in my ears!

I think Todd Day Wait’s “Letters from the Road” deserves to be on here. It’s my favorite album of 2025. Understated, unassuming, down to earth, and very singable.

This is a solid list. I know it is tough to narrow down to just a few. I feel like Nicholas Jamerson put out the best record of 2025. It baffles me that he is not as popular as some of his Kentucky counterparts. Saw him live recently, and it’s just as good or better than the studio. I have also had Courtney Patton’s new album in heavy rotation since it came out in January. It leans more soul than straight up country, but you can feel how much she put into both writing and performing those songs. I have to give my friend the props she deserves.

1. Ty Myers- The Select
2. Kolby Cooper- Love you, Goodnight
3. Pecos And The Rooftops- From Me
4. Jason Boland & The Stragglers- Last Kings Of Babylon
5.Micky & The Motorcars- Micky & The Motorcars

This is a great list, but it’s incomplete without Kassi Ashton’s Made From The Dirt. Much like the Price of Admission, each song grows on you and leaves still more to discover with each listen, but most are immediate earworms too.

I loved Philip Bowen’s Appalachia Forever not only for the evocative lyrics and stellar musicianship but also because I saw him open for Dwight Yoakam here in Connecticut on one of the nights that The Mavericks were unable to appear. Philip did a one hour set that had us giving him a standing ovation.

Source: savingcountrymusic.com