The Best Country Music of 2015

Dave Heaton and Steve Leftridge
Chris Stapleton

In country music, the old and the new are never that far away from each other. They’re at least on speaking terms.

As one year among the many in country music’s timeline, 2015 didn’t offer anything particularly brand new, having much in common with the last few years. Many of the year’s biggest hit songs came from albums released the year before. There continues to be more big solo acts, commercially and in critics’ eyes, than superstar groups. Our “best country” list this year has one proper duo and two collaborations among solo acts; the rest of the albums each sport one person’s name on the cover. Like last year, two of the top three albums on our list were by female artists. Yet the biggest-selling acts of the year were mostly men.

That doesn’t mean in 2015 the genre didn’t have anything interesting to offer. The list we came up with -- which, as always, is just scratching the surface of the year in country music -- includes plenty of deep and surface-level pleasures for fans of country music, no matter how rigidly or loosely you define the genre. Want cowboy hats and beards? More fresh-faced dudes throwing some R&B rhythms into their country? Legends in relaxation mode? Newer artists making an initial impression? Critically acclaimed singers/songwriters deepening their approach? It’s all here.

The number one and number three albums on this 2015 list are by women who were two and three on our 2013 list, for their previous albums. Country’s present and future lie with them. But there are others on our list who have been making music for decades. Willie Nelson and Merle Haggard are the most obvious examples. Their album together is on our list, yet they each appear on other albums on the list, in voice or in song. In country music, the old and the new are never that far away from each other. They’re at least on speaking terms. -- Dave Heaton

Artist: Sam Outlaw

Album: Angeleno

Label: Six Shooter


Display as: List

List Number: 10

Display Width: 200

Sam Outlaw

Sam Outlaw’s surname might suggest that he’s a hard honky-tonking rebel, but the classic sound that Outlaw harkens to is instead a relaxed, balmy So-Cal countrypolitan. With pedal steel, piano, and nary a drum loop, Outlaw combines Glen Campbell’s ‘70s crossover-country, James Taylor’s breeze-borne melodicism, and George Strait’s neotraditional ranch-hand aesthetics into a laid-back blend at odds with anything on today’s hit-country radio. Angeleno came about after Outlaw caught the ear of guitar master and musicologist Ry Cooder, who produced and played on the album and also recruited cream-of-the-crop pickers like Dawes singer/guitarist Taylor Goldsmith, Punch Brothers fiddler Gabe Witcher, and My Morning Jacket keyboardist Bo Koster to join in. With such personnel, you know the record sounds terrific, but sealing the deal are Outlaw’s own wry, astute tunesmithing and handsome vocal character. Outlaw proves to be one romantic cowboy, as on the easy shuffle of “Love Her for a While", but he’s also willing to put an elbow to the ribs of current country darlings with songs like “Jesus Take the Wheel (And Drive Me to a Bar)". -- Steve Leftridge

Artist:Willie Nelson and Merle Haggard

Album: Django and Jimmie

Label: Legacy


Display as: List

List Number: 9

Display Width: 200

Willie Nelson and Merle Haggard
Django and Jimmie

This is the seventh Willie Nelson album Buddy Cannon has produced in the last seven years. It’s been a fruitful creative endeavor, Cannon essentially helping give this phase of Nelson’s career its own demeanor, one based on simple pleasures, including the aesthetic surfaces of Nelson’s guitar and voice. The same personality was brought to the latest album-length collaboration between Willie Nelson and Merle Haggard, their first as a duo since 1987. Django and Jimmie clearly has one eye looking backwards: the titular reference to their influences, their memorial song for Johnny Cash, a Bob Dylan cover, a tropical-tinged song about a hippie/groupie and new versions of a couple of their own older songs. That looking-back brings along with it a certain amount of forlorn longing related to our own mortality. On the whole the album feels frivolous, with touches of sadness; not a bad combination in their hands. -- Dave Heaton

Artist: Brett Eldredge

Album: Illinois

Label: Atlantic


Display as: List

List Number: 8

Display Width: 200

Brett Eldredge

Among the legion of solo male country acts this year, tourmates Thomas Rhett and Brett Eldredge stood out for their playful integration of other musical styles -- R&B, dance-pop -- into accessible, mainstream country sounds. On his second album Illinois, Eldredge leaned slightly more towards R&B, giving his generally light and pleasant songs an extra dose of gravity. Illinois contained some of the best surface pleasures of the year, through great melodies sung well, and also a heady atmosphere of romantic wish fulfillment. Two great singles projected infatuation; “Wanna Be That Song” should be the third, considering how well it uses songs to personify these longings. The album title and title song reflect another sentimental longing: for his home state. -- Dave Heaton

Artist: Maddie and Tae

Album: Start Here

Label: Republic


Display as: List

List Number: 7

Display Width: 200

Maddie and Tae
Start Here

Maddie and Tae made a big impression in 2014 with their clever hit “Girl in a Country Song”, giving voice to the voiceless female figures in all those hit bro-country anthems. Their debut album Start Here rather smartly avoids trying to replicate that song’s success, instead focusing on building great harmonies, atmosphere and feeling within more straightforward songwriting -- with still occasional dips into clever-for-clever’s sake. They excel at present-tense takes on the fleetingness of youth: the “Downside of Growing Up”, as they call it on the final track. Start Here is clearly concerned with introducing the duo as a strong force, above and beyond a song that could, in the commercial country world, be considered a novelty. -- Dave Heaton

Artist: Eric Church

Album: Mr. Misunderstood

Label: EMI


Display as: List

List Number: 6

Display Width: 200

Eric Church
Mr. Misunderstood

That “Jeff Tweedy is one bad mother” line in the title track might be just a bit of ass-covering so that Tweedy doesn’t play Tom Petty to Eric Church’s Sam Smith over Wilco’s “Misunderstood". Nevertheless, it turns out that Tweedy wasn’t the only one capable of an excellent surprise this year. Following up last year’s arena-rumbling album The Outsiders, Church dials things back with the on-the-sly, no-hype Mr. Misunderstood. Church, as the title indicates, continues to position himself as a Nashville renegade, and in terms of his songwriting on this record, he indeed combines enough tough and tender originality to make him a Music City outlier. Backed by his fierce road band, the album cooks hot at times, but Church is one of the few Nashville cats who can kill with just his acoustic. He’s a terrific singer, employing a heartsick tenor on “Mixed Drinks About Feelings” alongside Susan Tedeschi, a swamp-funk falsetto on “Chattanooga Lucy", a resolute holler on “Knives of New Orleans", and the conversational confessions of “Holding My Own". Holding his own? Understand this: With Mr. Misunderstood, Church proves that he’s well ahead of rest of the pack. -- Steve Leftridge

Next Page




Ivy Mix's 'Spirits of Latin America' Evokes the Ancestors

A common thread unites Ivy Mix's engaging Spirits of Latin America; "the chaotic intermixture between indigenous and European traditions" is still an inextricable facet of life for everyone who inhabits the "New World".


Contemporary Urbanity and Blackness in 'New Jack City'

Hood films are a jarring eviction notice for traditional Civil Rights rhetoric and, possibly, leadership -- in other words, "What has the Civil Rights movement done for me lately?"


'How to Handle a Crowd' Goes to the Moderators

Anika Gupta's How to Handle a Crowd casts a long-overdue spotlight on the work that goes into making online communities enjoyable and rewarding.


Regis' New LP Reaffirms His Gift for Grinding Industrial Terror

Regis' music often feels so distorted, so twisted out of shape, even the most human moments feel modular. Voices become indistinguishable from machines on Hidden in This Is the Light That You Miss.


DMA's Go for BritElectroPop on 'The Glow'

Aussie Britpoppers the DMA's enlist Stuart Price to try their hand at electropop on The Glow. It's not their best look.


On Infinity in Miranda July's 'Me and You and Everyone We Know'

In a strange kind of way, Miranda July's Me and You and Everyone We Know is about two competing notions of "forever" in relation to love.


Considering the Legacy of Deerhoof with Greg Saunier

Working in different cities, recording parts as MP3s, and stitching them together, Deerhoof once again show total disregard for the very concept of genre with their latest, Future Teenage Cave Artists.


Joshua Ray Walker Is 'Glad You Made It'

Texas' Joshua Ray Walker creates songs on Glad You Made It that could have been on a rural roadhouse jukebox back in the 1950s. Their quotidian concerns sound as true now as they would have back then.


100 gecs Remix Debut with Help From Fall Out Boy, Charli XCX and More

100 gecs' follow up their debut with a "remix album" stuffed with features, remixes, covers, and a couple of new recordings. But don't worry, it's just as blissfully difficult as their debut.


What 'Avatar: The Last Airbender' Taught Me About Unlearning Toxic Masculinity

When I first came out as trans, I desperately wanted acceptance and validation into the "male gender", and espoused negative beliefs toward my femininity. Avatar: The Last Airbender helped me transcend that.


Nu Deco Ensemble and Kishi Bashi Remake "I Am the Antichrist to You" (premiere + interview)

Nu Deco Ensemble and Kishi Bashi team up for a gorgeous live performance of "I Am the Antichrist to You", which has been given an orchestral renovation.


Rock 'n' Roll with Chinese Characteristics: Nirvana Behind the Great Wall

Like pretty much everywhere else in the pop music universe, China's developing rock scene changed after Nirvana. It's just that China's rockers didn't get the memo in 1991, nor would've known what to do with it, then.

Collapse Expand Reviews

Collapse Expand Features
PM Picks
Collapse Expand Pm Picks

© 1999-2020 All rights reserved.
PopMatters is wholly independent, women-owned and operated.