The 10 Best Country Albums of 2022: Staff Picks

Prior to earning a third-place finish on America’s Got Talent, Milligan’s undeniable vocal talents and onstage chemistry were already apparent, when he portrayed Elvis Presley in the CMT series Sun Records while he was still a high school senior. His major-label debut is a swirl of ‘90s honkytonk (“Sound Like Something I’d Do”), smooth Strait-esque ballads (“She”) and hints of ‘80s country (“Cowboy Kind of Way”). On “Hearts Don’t Break Even” and “Don’t Look Down” his deep baritone brings to mind Josh Turner, and he holds his own on a pair of ace duets with Vince Gill (“Goin’ Down Swingin’”) and Elvis Presley’s TCB band lead guitarist James Burton (“Long Haul”). A must for fans of neo-traditional country. — JESSICA NICHOLSON

On Nashville native Lee’s third album, his cool vocal delivery and swagger suggest a heartland roots-rock star, melding country, folk and rock, while his rich, detailed lyrics reveal an observant, impactful songwriter. In “Rusty,” he encapsulates the incessant tug toward the familiarity of a hometown, but also the rugged desire for escape and exploration on one’s own terms. Fans of his previous outing, Honky Tonk Hell, will undoubtedly be drawn to tracks including the piano and fiddle-drenched “Angel Band,” “Hammer Down,” or the blues-shaded heartbreaker “Over You” (which includes the incisive line, “Take me through the valley to Williamson County/ Where even the garbage is clean”). — J.N.

Wilson followed her No. 1 Billboard Country Airplay hit “Things a Man Oughta Know” with a pair of excellent collaborations, “Wait in the Truck” with HARDY and the Country Airplay No. 1 hit “Never Say Never” with Cole Swindell. For the Louisiana native’s sophomore album, she teamed with producer Jay Joyce (known for his work with Miranda Lambert, Eric Church and Brothers Osborne) to craft an album that highlights both the singer-songwriter’s sturdy pen and Southern bonhomie, while painstakingly detailing exactly who she is as an artist. “Hillbilly Hippie” opens the set with a freewheeling, ‘70s rock vibe, while “Grease” simmers in sultry R&B. But she’s adept at traditional-leaning country, too, as intensely personal stories like “Those Boots (Deddy’s Song)” add a sparkling veracity to a set filled with blue-collar odes to tireless grit (“Heart Like a Truck,” “Live Off”) and high-flying dreams (“Wildflowers and Wild Horses”). Wilson earned two CMA wins this year, and with both a headlining tour and an opening slot on Luke Combs’ 2023 tour ahead of her, she’s poised to take her rising star to even greater heights. — J.N.

Combs tries adulting on for size — and finds he likes it. On his Grammy-nominated third studio album, Combs arrives on the other side of 30 and decides to “dig into this life thing,” as he told Billboard earlier this year. With his trademark husky twang, Combs looks at regrets on ballad “Tomorrow Me” and the spirited “Outrunnin’ Your Memory,” a duet with Miranda Lambert. Meanwhile, long-term commitment works well for Combs on “The Kind of Love We Make,” while he serves up a love letter to his fans on “Doin’ This,” about how he would still be performing no matter how many –or few — people showed up. Though largely autobiographical, Combs looks at life’s milestones through a lens relatable to all. — MELINDA NEWMAN

On this keenly observational, insightful album, the Tennessee-based, non-binary and pansexual artist blends classic country instrumentation with a rough-hewn voice and songs centered on their conflicted relationship to growing up in the South. The album examines white privilege and racial disparity (“Heritage of Arrogance”), the insidiousness of local politics (“We’re gonna run this town straight into the godd–n ground/ But we’re gonna run it,” they sing in the honky-tonk shuffle “Run This Town”), the rising cost of living that can shutter artistic dreams (“Books & Records”), and the experience of shifting liberal perspectives in the South (the bluesy “Redneck, Unread Hicks,” with piercing lyrics about “Singing ‘Black Lives Matter’ to a Jimmie Rodgers melody,” and a backyard celebration with two wedding gowns). The closer, “My America,” wrestles with the kind of country they will leave behind when they are gone. — J.N.

After her years of striving to break through in Music City (later chronicled in her “Ten-Year Town”) and having her top-shelf songcraft recorded by artists including Little Big Town and Martina McBride, singer-songwriter Hailey Whitters slowly garnered attention as a recording artist with projects Black Sheep and The Dream. Her third album is her best outing yet, recognizing the enduring influence of her rural Iowa roots and detailing the interpersonal workings of a big family raised in a small town on songs like “Raised,” “Boys Back Home” and “Big Family.” Spirited sketches of rural living abound with “water tower skylines” (“Middle of America” featuring American Aquarium’s BJ Barham), or a “coffee can full of cash” (“Everybody Oughta”), while she brings a heartfelt, inclusive touch to those overlooked for just being who they are (“Pretty Boy,” “Everything She Ain’t”). Her songs are hooky yet conversational, while also laced with the exuberance and keen humor that made the Chicks so popular. — J.N.

Lambert goes on a fantastic voyage on her fine Grammy-nominated set, one that takes the listener on an emotional travelogue of the heart. Almost every song references a city or location, as Lambert is in constant motion — whether she’s looking for love or running from it. “In His Arms” is a wistful ode to missing a loved one, while “Geraldene” is a spiky, funny rebuke of a woman messing with Lambert’s man (is there a better backhanded compliment than calling your romantic rival “trailer-park pretty”?). The Country Airplay top 10 hit “If I Was a Cowboy” is an easygoing gender twist on the wild west trope, but don’t sleep on “Music City Queen,” which rolls down the river alongside new wave greats the B-52s. — M.N.

That Nelson is still making records at age 89 is laudable, but that he is creating at this high a level on his 72nd album feels like a remarkable gift. In his weathered but resilient voice, Nelson reflects on getting older with wisdom and grace on this Grammy-nominated effort. “Energy Follows Thoughts” is a metaphysical look at how to live, while “Dusty Bottles” compares aging to a fine wine. Nelson remains as strong a writer as singer, but also knows the value of a beautiful cover, as show by his exquisite takes on Leonard Cohen’s iconic “Tower of Song” and even the Beatles’ “With a Little From My Friends,” as well as the gorgeous Chris Stapleton/Rodney Crowell-penned “I’ll Love You Till The Day I Die.”  — M.N.

With song titles like the sassy “Brenda Put Your Bra On” and poignant “Gospel Night at the Strip Club,” McBryde’s Grammy-nominated concept album about life in the fictional small town of Lindeville has a lot to live up to and, luckily, it does. Named as an homage to beloved Nashville songwriter Dennis Linde and his penchant for creating colorful characters, the album finds McBryde and her collaborators, which include Brothers Osborne, Brandy Clark and Pillbox Patti, creating a community full of quirky but loveable townsfolk, whose daily struggles and triumphs ring true, and will have you wishing they were real. In a world filled with paint-by-numbers songs, Lindeville feels like a triumph of heart and talent. — M.N.

Bryan has drawn comparisons to Kris Kristofferson and Bob Dylan for his raw, emotional material. Those are impossibly high standards to meet, but there’s no denying that Bryan is already showing thrilling promise as a singer/songwriter. His breakthrough hit, “Something in the Orange,” is a crushing tale of losing a love that is not going to return no matter how much he pleas. “Cold Damn Vampires” takes on those that will try to steal your passion (including, perhaps, the music industry), while “She’s Alright” takes the listener’s breath away with its evocation of the blunt pain of losing a loved one. No matter the subject matter on the 34 (!!)-track set, Bryan leads with his heart in this arresting, vulnerable project. — M.N.