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40 Best Country and Americana Albums of 2018

Country music and its all-encompassing cousin Americana reminded us why the genre remains the pinnacle of storytelling

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Country radio may not have reflected the results, and the conversation around the topic was often rancorous, but there’s little doubt that 2018 belonged to women. Kacey Musgraves signaled a new beginning with the glorious, boundary-pushing Golden Hour; Brandi Carlile provided a cathartic statement about perseverance in turbulent times with By the Way, I Forgive You; and Ashley McBryde announced herself as a major new talent with her debut Girl Going Nowhere. Meanwhile, exciting Americana talents like Courtney Marie Andrews and Becky Warren released collections that highlighted their distinctive singing and songwriting voices. Not that the dudes were a slouch — Dierks Bentley and Brothers Osborne released top-flight mainstream country albums, while American Aquarium and Will Hoge offered potent documents of a nation in crisis. Established performers like John Prine and Kenny Chesney shared space with newcomers Kane Brown and Dillon Carmichael, just one of the many reasons this corner of the music industry is consistently worth watching.

Becky Warren Undesirable

Becky Warren, ‘Undesirable’

“We’re All We Got,” the first track on Becky Warren’s second album Undesirable, starts off with some Tom Petty-style electric guitar riffing and a doozy of an opening line: “Back home, they pass Christmas Day by killing something wild.” It’s a statement almost as audacious as the album’s concept: songs inspired by Warren’s conversations with vendors of Nashville’s homeless newspaper, The Contributor. What could have gone horribly wrong instead goes incredibly right, thanks to Warren’s richly detailed, empathetic writing and the muscular-but-lean rock & roll that serves as its vessel. Sure, tracks like “Sunshine State” and “Let Me Down Again” sound great with the windows down, but they also depict her underprivileged subjects as complicated people, struggling with grief or mental illness, finding a little joy here and there — just like the rest of us. J.F.

Mike and the Moonpies Steak Night at the Prairie Rose

Mike and the Moonpies, ‘Steak Night at the Prairie Rose’

In just 38 minutes, Mike and the Moonpies deliver a master class in country music on Steak Night at the Prairie Rose, a 10-song collection that cements the Texas band’s status as undeniable honky-tonk heroes. Chief Moonpie Mike Harmeier leads his group through freewheeling, two-stepping songs that celebrate both the freedom of the road and the familiarity of getting stoned on the couch, but it’s the poignant, heartache numbers that pack the most punch. The title track is a gorgeous tearjerker about spending barroom time with dad, while “Beaches of Biloxi” laments losing your nest egg — and wife — to those slippery Gulf Coast casinos. By the time Harmeier and guitarist Catlin Rutherford are swapping solos on the kiss-off closer “We’re Gone,” your faith in honest country music has been restored. J.H.

Sarah Shook and the Disarmers Years

Sarah Shook & the Disarmers, ‘Years’

North Carolina’s Sarah Shook & the Disarmers chronicle the dissolution of a long-term relationship on their marvelous second album, tightening up their playing and songcraft to make a powerful statement about resilience. Leader Shook retains her snarling, country-punk vocal delivery, cracking wise about her late-night carousing, self-medicating and bouncing between gender perspectives. She sings of reaching an exhausted breaking point in “New Ways to Fail,” warning, “I need this shit like I need another hole in my head,” and then finally breaking free in the album-closing title track as she reclaims her sense of self-worth. For anyone who felt overwhelmed and tired by the flood of terrible things in 2018, Years was a raised fist in the air to keep on going, no matter what. J.F.

Dierks Bentley The Mountain

Dierks Bentley, ‘The Mountain’

There’s no question that Dierks Bentley is a multifaceted artist — he can be a bluegrass revivalist, a drunk on a plane party boy and a smoldering balladeer. Sometimes those distinct personalities can split his fans down the middle, making it feel like his albums only serve one segment of his self, or his audience, at a time. That all changed on The Mountain, an LP born out of the Colorado soil where it was recorded and mostly written, and one that artfully joins all of those sides together. There’s the rock & roll Bentley on songs like the Brothers Osborne duet “Burning Man,” the banjo and fiddle-loving Bentley on the exquisite “Travelin’ Light” with Brandi Carlile, and the sultry piano-ballad Bentley on “My Religion.” But the magic in The Mountain is how it blends all of these elements, with each musical moment nodding to the next. Bentley no longer seems concerned with getting to the top. Rather, he’s perfecting the path of his ascension. M.M.

Mary Gauthier Rifles & Rosary Beads

Mary Gauthier, ‘Rifles & Rosary Beads’

A remarkable project by a veteran songwriter, in collaboration with veterans in the traditional sense, this inspiring LP is a fruit of the national Songwriting With Soldiers project. Gauthier gives voice to the wisdom, struggles and pain of U.S Armed Forces members — their spouses, too — and words are not minced. “Got holes in my ear drums, bruises and clots/ Double vision and my stomach’s in knots” sings the narrator of “Still on the Ride,” a song haunted by survivor’s guilt. The title track conjures “Vicodin, morphine dreams” with visions of “bombed-out schools and homes,” while the “The War After the War” testifies to the homeland battles of caregivers. Rifles & Rosary Beads is an important, powerful work, and worth far more than a hundred hollow Nashville slogans about supporting our troops. W.H.

Courtney Marie Andrews May Your Kindness Remain

Courtney Marie Andrews, ‘May Your Kindness Remain’

In a year that saw no end to political division and social unrest, some coped with anger. And others, like Courtney Marie Andrews, turned to kindness. In the bigger, bolder, more soulful follow-up to the stripped simplicity of 2016’s Honest Life, Andrews creates a campaign for compassion that opens with an absolute monster of a song, “May Your Kindness Remain,” transforming her into a folk-gospel preacher spreading her message with unbelievable vocal power but uncanny delicacy. Whether embodying an “Ohio”-era Neil Young on “Border” to looking at a bummer lover with a sarcastic eye on “I’ve Hurt Worse,” May Your Kindness Remain is the kind of compass we all need to navigate an uneasy climate. M.M.