Zach Top Releases Two New Songs
Neotraditional Country (#510.8) on the Country DDS.
Zach Top’s career feels like it’s at a crossroads. And which way it turns could also have major implications on the entire country music genre itself. As the clear fontrunner when it comes to young traditional country artists, he’s the tip of the spear helping to re-instill twang and roots back into country music. But it’s hard to not conclude that his latest album Ain’t In It For My Health (2025) didn’t have the same heft and lift that his album Cold Beer & Country Music released in 2024 did.
Cold Beer & Country Music had the super hit in “I Never Lie,” and other very strong offerings “Use Me,” “Sounds Like The Radio,” and “Bad Luck”—all of which are well over 100 million spins on Spotify. The only song over 30 million spins from Zach’s Ain’t In It For My Health is the single “South of Sanity,” which is arguably the best, and most substantiate song on the album.
It was said when both of Zach’s recent albums were released, but especially his last one: his songwriting needs more body and originality if he’s going to sustain an A-list status in country. The story of this era in country music is not just that it’s “more country.” It’s also that the songs are more meaningful. Simply putting new spins on ’90s country themes isn’t going to cut it in the long term.
Smartly, Zach Top has released two new songs in hopes of re-igniting some of that initial momentum behind him. And generally speaking, they feel like they could be valuable in that pursuit.
“Good Girls & Cowgirls” is not going to earn Zach Top, or co-writers Carson Chamberlain and Tim Nichols any comparisons to John Prine. But you definitely can hear how an appeal can be found in this song. Unlike some of the tracks from Ain’t In It For My Health that were a little too “on the nose” with their familiarity with ’90s country standards, “Good Girls & Cowgirls” comes with a more fresh perspective, and one you can hear resonating with both the guys and the ladies in the audience, which is how a song can earn that viral lift.
Zach Top premiered the song at the Under The Big Sky Festival in Montana in July. Though sometimes new songs take a moment to warm up to, especially in the live context, the enthusiastic crowd was singing along by the final chorus, and ecstatic with the results.
“Good Girls & Cowgirls” is paired with the more sentimental song “Other Side of Hurtin’,” which might remind some of “South of Sanity” in it’s more slow and cerebral nature, if maybe a bit more inebriated. Again, you can leave your John Prine comparisons for Pony Bradshaw and Ian Noe. But you can see how the song is an answer to the call for songs with more substance from Zach Top. It was also co-written with Chamberlain and Nichols.
As “South of Sanity” shows signs of stalling in the teens on the charts—and never really made for an ideal summer single—these two new songs give Zach Top more options of where to draw from next, though songs like “When You See Me” and “I Know A Place” from the last album could also be strong options.
Even though it’s human nature to think that whatever trend is happening now is the one that will continue into perpetuity, life, and country music especially has always proven to be cyclical. Will this neotraditional country resurgence bolstered by Zach Top and songs like Ella Langley’s “Choosin’ Texas” elongate into the future? Or will we look back five years from now at this moment as fleeting?
This fate might hang on the fortunes of a specific song or two, like it has on “Choosin’ Texas,” and “I Never Lie.” Will either of these two new Zach Top songs perform similarly? Time will tell. But it does feel like a step in the right direction for Top.
7.5/10
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August 21, 2026 @ 10:32 am
“Will this neotraditional country resurgence bolstered by Zach Top and songs like Ella Langley’s “Choosin’ Texas” elongate into the future? Or will we look back five years from now at this moment as fleeting?”
I fear the answer to that question is the latter choice. While more traditional artists are flourishing right now, so are artists who are decidedly more pop. Even some of the bro country boys are still having radio and streaming success. Langley, Top, Johnson are all having huge success right now, but that’s because they felt fresh and different. I worry many mainstream country fans are already becoming bored with the traditional sound and may already be looking for the next big thing.
August 21, 2026 @ 10:35 am
The difference now between previous eras is you can have two avenues open to success at the same time thanks to streaming and an increasing number of country fans. Since not everyone has only one lane (radio), you can have your Morgan Wallens right next to Cody Johnson.
August 21, 2026 @ 10:50 am
That’s very true. Radio isn’t the end all be all of course. I guess I’m just really worried that the industry itself will start pushing and rewarding the pop side of country again. It’s been really nice to see traditional country back in the mainstream.
August 21, 2026 @ 11:45 am
Currently the industry is largely reliant on Instagram and Tiktok. Zach Top benefited from his social media fame when he was coming up but sadly he hasn’t put out enough great songs to secure his standing. Neither of these two songs are any better than what’s on his last album. Social media attention is so fleeting anyway it seems like a bad marketing strategy to rely on that, plus it doesn’t translate directly to ticket sales. Maybe the best strategy for modern artists and upcoming artists is to be more focused on being B tier and securing that market in smaller venues and maintain more loyal fanbases. I’m half talking out of my ass here but it feels like this social media attention thing is starting to grow stale and people want something more real. Myspace is supposedly coming back and there is a nostalgia chasing that Gen Z and Gen A are into.
August 21, 2026 @ 5:47 pm
I agree maintaining a fan base on the B tier could be a more lasting career plan than briefly making the A tier before flaming out. There’s definitely more than one lane out there these days.
August 24, 2026 @ 8:04 am
Absolutely correct on mainstream country radio. To drive your point home, I just checked the playlist for our leading local country station (WXXK, Lebanon, NH) and found the last time “South of Sanity” was played. I then copied an entire hour of music that included that song. Note the variety in song styles and ages. Most SCM posters would be switching stations after every other song, but this kind of mix is what’s driving country radio to new highs in all age groups, especially among women. The good, the meh, and the unspeakably ugly all in one hour, and the ratings show the listeners like it.
08:29 Taylor Swift – I Knew It, I Knew You
08:25 Luke Bryan – All My Friends Say
08:17 Zach Top – South Of Sanity
08:13 ERNEST – Would If I Could
08:07 Florida Georgia Line – Get Your Shine On
08:04 Luke Combs – Be By You
07:58 Reba McEntire – Why Haven’t I Heard From You
07:54 Lainey Wilson – Somewhere Over Laredo
07:51 Chris Young – Aw Naw
07:48 Kenny Chesney – Carry On
07:38 Dylan Marlowe & Dylan Scott – Boys Back Home
07:35 Parker McCollum – Killin’ Me
07:32 Lauren Alaina – All My Exes (ft. Chase Matthew)
07:28 Travis Tritt – It’s A Great Day To Be Alive
August 24, 2026 @ 8:42 am
Country radio these days is basically a multi-genre playlist/mixtape. Perhaps many people are drawn to it because of the distinct differences between each song. That might actually be a good thing for a modern radio station competing with streaming services, especially those that allow users to curate their own lists, but it’s terrible for genre distinctions being respected.
There’s really no point in “country” stations unless they actively snub the junk. There are stations like that, and they are wildly popular, but can they compete with the mixtape stations? I don’t know.
I think the days of leaning into a style of music are waning. We’re all becoming antiquated as listeners. I’d rather listen to country today, melodic death metal tomorrow, 90s and 2000s alternative rock the next day. I want to focus on one style at a time and lean into it. When I’m listening to Cody Jinks, I’d rather Cody Johnson followed, not Insomnium or Dark Tranquillity or Matchbox Twenty or Gin Blossoms or The Fray….I’d rather lean into each of those styles on subsequent days. That’s a dying form of art consumption.
August 25, 2026 @ 3:21 am
I feel that Country has always had two sides to it, even when I was growing up in the 70s, a lot of the Country I heard on the radio, was more Pop, with the Kenny and Dolly kind of tunes. But then I also thankfully heard the Don Williams side early on, which is why I still love proper Country to this day.
August 21, 2026 @ 11:13 am
This guy is one of the few mainstream people that’s actually “SCM.” I really want him to succeed.
August 21, 2026 @ 11:22 am
I wish Youtube recommended these ZT songs instead of Sam Smith’s ‘Constant Companion’ ..which is trying to be Country.
August 23, 2026 @ 12:39 pm
I gave in to YouTube’s constantly pushing and listened to Benny Rivers, ready to shrug it off.
But damn it, the music is actually very good for what it is and the lyrics beats most of what I’ve heard lately.
August 21, 2026 @ 12:00 pm
Other Side of Hurtin’ is solid. Probably not a song you go back to 10 years from now and listen to a bunch, but a solid, classic country sounding ballad.
Good Girls and Cowgirls is pretty “meh”. Probably does super well live and with Top’s female audience, but not something I need to listen to again.
Too soon for me to say this shows he can rebound, but I certainly hope he does. Feels like Top has everything when it comes to be a star in terms of the live show bona-fides, his guitar playing, etc. except the song catalogue – so far.
August 21, 2026 @ 12:11 pm
Good Girls and Cowgirls is very paint-by-numbers. “sugar and spice” was a clique long before Zach Top was born. I predict Other Side of Hurtin’ will flop because the songwriting is clunky. I notice with good songwriting by critical brain shuts down and I just experience the song. Multiple times in Other Side of Hurtin’ I kept thinking “why did he go with those lyrics?” It took me out of the song multiple times.
August 21, 2026 @ 1:20 pm
See, I’m more of a “grade on a curve” guy when it comes to songwriting. Would this level of songwriting be acceptable for me if this was Jason Isbell, Sturgill Simpson, John R. Miller, Evan Felker, etc? Absolutely not. But Top isn’t trying to play in the arena. He’s trying to be in the Cody Johnson, radio friendly 90’s country realm. And in that arena – for me at least – the bar is a lot lower.
I have no idea if Other Side of Hurtin’ will succeed – I don’t have high hopes since South of Sanity was arguably a better song and could only reach the teens on the charts. But at least it does show Top/his management understand he needs a bit more “oomph” to his songs to stick around now that the viral nature of his breakout is over.
I don’t listen to much mainstream country music these days, life has changed for me in a way I’m not spending as much time in a vehicle and when I am I just fire up a podcast or playlist, but if either of the songs above came on when I was around I wouldn’t want to stick pencils in my ears. It’s a lower bar for mainstream country music, fair or unfair, but at least Top is staying above the proverbial Medonza Line in that regard.
August 21, 2026 @ 1:56 pm
I agree. Zach Top needs a little more “oompah pah” to his songs.
August 21, 2026 @ 2:12 pm
I do agree with grading Zach Top on a curve. He’s at his best when performing covers.
I’ve held onto this hot take for awhile but I think Evan Felker’s writing is overrated. I play shows with this guy that does some Turnpike songs and Felker’s songwriting style drives me absolute nuts. He’s not a brilliant songwriter in my opinion. He does two things that I find very annoying. He will say a line then slightly reword it and stretch it out to where he’s went 8 bars saying the same damn thing but slightly different. He also has so many pointless details in his lyrics that really add nothing to the song. It’s just wordiness.
August 21, 2026 @ 1:44 pm
“Multiple times in Other Side of Hurtin’ I kept thinking “why did he go with those lyrics?” It took me out of the song multiple times.”
I like the chorus and music and these two things might be a solid base for a great song. I think my problem with the current version is that the verses don’t fit with the chorus in an optimal manner. I think things could have been made more clear, but that depends a lot on the intention of the writing, and I don’t know what that was.
I’m not sure how to interpret the song lyrics, but I think the main thing of the song might be that the singer is actually the one bringing up the woman he broke up with, and not so much the other person in the bar sitting next to him (who was merely asking “how are you doing?”).
If that’s the intention and main thing behind the lyrics, I think it’s a cool idea but one that might have been done a bit more clearer. For instance by changing:
How ’bout we just talk about the weather?
Hey, don’t you think them Cubs are lookin’ better?
These days she just ain’t my favorite subject
I’ll buy a round, what are you havin’ next?
to:
How ‘bout we just talk about the weather
Hey don’t you think them cubs are looking better
She’d join me on the couch to watch the game
Watching without her now just isn’t the same
For me, these altnernative lyrics are clearer because 1. they are more directly about the woman and 2. it’s clearer that the singer is actually the one mentioning her and bringing her up. All in all, that in turn makes the connection to the lyrics of the chorus much better and much stronger. Something similar with the first verse could be done, with just a few changes.
August 21, 2026 @ 12:41 pm
I feel like “When You See Me” is a stronger song than either of these. I understand how slow the charts move these days, but if that song never becomes a single it will be a shame. I felt the same way about “Lonely for Long” off of the last album. As much as I respect him for signing with a more independent label, I think that is keeping him from the chart success he deserves. It may also keep him from selling out, though.
August 21, 2026 @ 1:17 pm
I couldn’t agree more.
I’m still scratching my head to put it diplomatically as to how EITHER “Good Times & Tan Lines” and “South Of Sanity” were ever designated official singles.
The reason “Good Times & Tan Lines” was a misguided choice for the lead single……………besides it’s awkward, ill-fated timing…………..was that when you really think about it, overt summer anthems are a rarity in recent years as far as singles are concerned. They were undoubtedly extremely common during the height of Kenny Chesney and the Zac Brown Band’s commercial careers, and continued on through the bro-country era obviously………….but since then we just haven’t seen overt summer anthems get green-lit as singles. They’re usually relegated to the form of stand-alone “summer EPs” separate from their full-length albums (think Russell Dickerson, Scotty McCreery, Tucker Wetmore, etc.) So I just think it was a misguided decision to say the least releasing it in the latter half of summer.
As for “South Of Sanity”……………I’d argue it had already succeeded endearing itself to the audience that matters most: independent country fans. It was released as the only promotional single ahead of his sophomore album’s release, and thus had time to connect with his die-hard fans before the rest of the album was revealed to the world. But as a MAINSTREAM RADIO SINGLE? I just don’t think that was the move at all: as it just sounds TOO sparse and wears more quickly on repeated listen because of that. They should have just let “South Of Sanity” take a life of its own in the indie jukebox circuit while prioritizing other tracks to mainstream radio.
I definitely think “When You See Me” was what they should have launched the era with. HUGE missed opportunity there.
August 21, 2026 @ 2:31 pm
I don’t know why Zach Top is being largely ignored by mainstream radio. I have been making an effort to turn on the one mainstream Country channel 95.5 (Nashville country station) and I pulled up the playlist online and they played 1 Zach Top song (I Never Lie) compared to 9 by Ella Langley.
August 21, 2026 @ 5:52 pm
My problem with Zac Top is that he’s basically impersonating a bunch of artists that are either retired or dead.
August 22, 2026 @ 9:41 am
So is Langley, and radio and people love her.
August 21, 2026 @ 7:47 pm
I just attribute it in part to Leo33 not making the best decisions this past year as far as singles are concerned.
I just feel the major momentum he amassed with “I Never Lie” was fumbled with both the singles this album cycle. He has absolutely nothing to worry about when it comes to the more independent, grassroots end of his fanbase, but he’s definitely lost a lot of buzz era-to-era on the mainstream crossover end of things.
I also think while he and his touring band/session musicians maintained a high threshold of quality in terms of musicianship with both albums while also leaning slightly more into bluegrass influences compared to his debut album……………..the lyricism failed to improve era to era. And I used this following analogy before, but for as talented as Top obviously is……………..he kind of reminds me of early 00s rock bands like Jet, Wolfmother & The Darkness whose whole schtick was being a spitting image of other eras of rock music/nostalgia-emulating with their debut breakout albums, but all of them never really succeeding at escaping the shadows of their influences and just rapidly falling out of favor with mainstream listeners because of that. I’m not saying Top can’t or won’t ultimately develop as an artist beyond the Alan Jackson influence/resemblance, but I’m just saying I can see how some kind of look at him as someone who is more cosplaying his idols/influences than carving his own lane thus far.
August 21, 2026 @ 1:05 pm
I attribute Top’s notable plunge in buzz from his debut album to his current sophomore era…………..to his label just completely botching the single release strategy this era.
First they realize a summer song in the latter half of the summer (“Good Times & Tan Lines”) that winds up peaking around Thanksgiving. And then they follow that up with a very understated, somber, personal ballad (“South Of Sanity”) that, while honest and true to his life, is just so slow and sparse for mainstream radio and has awkwardly been scaling the chart throughout the spring and summer when most casual radio listeners are preferring something with more tempo.
I just think they’re 0-2 with selecting the right singles this era………….when they should have 1) extended the debut album three singles deep with “Use Me” to coincide with the fall and early winter, and THEN 2) release “When You See Me” as the lead single from his sophomore album.
August 21, 2026 @ 1:23 pm
Flip–Flop is a summer smash hit. They dropped that ball too. I gave these new tunes a listen, and they’re so so. I’ll give em a few more spins, but I’ll be passing on the Ticketmaster arena show where I can see plenty of Blue Dots and astronomical prices. I’ve seen him 3 times, so I’m good.
August 21, 2026 @ 1:28 pm
Even though I’ve never cared for “Flip-Flop”, I do agree that if they were going to release a beachy-leaning song as a single, THAT was the better choice between that and “Good Times & Tan Lines”.
I would have released “When You See Me” first, then probably “Flip-Flop” second, and then finally something like “Between The Ditches” third if the era had legs and they wanted to release one of the better tracks to stretch the era out like icing on the cake.
August 21, 2026 @ 5:35 pm
The label did him no favors – that is for sure. But I still maintain the reason his sophomore album didn’t take off is…the songs were just not that good.
If you have great songs, the timing of releasing them matters a lot less than if they are mediocre songs where the margin for error is so small between people/radio supporting it or not.
August 21, 2026 @ 7:51 pm
Yeah, his musicianship (and to an extent production) are certainly the strongest aspects of his releases thus far…………..while the songwriting is obviously the weakest link.
I honestly think it would help Top to reach out and collaborate with some professional songwriters, at least short-term (obviously those that suit his style better, not the usual suspects of Music Row).
August 21, 2026 @ 1:25 pm
As for how I feel about his two new songs…………”Other Side Of Hurtin'” is EASILY the better of the two in my opinion.
I don’t think either are as radio-friendly as “When You See Me” (I also think “Between The Ditches” could connect more thematically to listeners, arguably, though I still think the former is easily the best option they have)……………but “Other Side Of Hurtin'”, while nothing groundbreaking topically, is well-written and I can see appealing to both ends of his fanbase overall.
“Good Girls & Cowgirls” maintains that higher threshold of instrumental quality and production that you expect from Top and his team at this point, but lyrically it just didn’t do anything for me and reinforces many of the criticisms I had regarding the songwriting throughout most of “Ain’t In It For My Health”.
August 21, 2026 @ 1:39 pm
I can see Good Girls and Cowgirls maybe nudging the top 10 next spring. Bouncy and harmless, but not a breakthrough banger.
I can’t see Other Side of Hurtin’ as a radio single at all. The hook, if you can call it that, takes him way too long to deliver, and the whole song generally drags. Points deducted for yet another whiskey/proof reference as well. I’m hearing more Doug Stone in this than anyone else from the prime ’90s years. He should be doing better than that by now.
The more I listen to him, the less I really love anything but his voice.
August 21, 2026 @ 1:46 pm
Zach Top and Carson Chamberlain have to cut more outside songs. This thing of Zach and Carson writing with one other guy on every song they release is a bad move IMO, but that is the music business for you. They live in a trance of scarcity, even at the Top. (see what I did there?)
August 21, 2026 @ 2:03 pm
They caught such lightning in a bottle and had such fortuitous timing with his first country record, I understand the desire to not mess with the sauce and try it again. Also, they apparently had dozens of similar songs sandbagged and ready to go. But I definitely think now they need to get some fresh blood in there.
Say what you want about Cody Johnson, like George Strait, he knows he not the best writer in the room. Go find those great songs, and have them challenge your own stuff for what is best.
August 21, 2026 @ 5:30 pm
I wonder how much of it has to do also with Top wanting to keep his feet in the “Billy Strings” world so to speak where he is celebrated as an “artist” who is capable of writing his own songs, being a great guitar picker, and singer?
Say what you will about Cody Johnson, but nobody is pretending he is anything more than what he is. Top seems to still be trying to find his feet a little bit in that regard – understandable considering his age and track record compared to Johnson who was already a big fish in the Texas scene before Nashville came calling.
By the time Music Row called Cody Johnson he was likely a lot more aware of what he did very well as an artist and what he needed support to fill in some gaps on (songwriting). Feels like for his career to really get to another level, Top or someone around him is gonna have to come to grips with the best plan isn’t for him to write 15 songs for an album.
August 21, 2026 @ 2:28 pm
Imagine if guys like ZT or Brad Paisley were to sit with any of the killer songwriters we have out there are learn to really get poetic. I don’t care one lick about what sells or how many seats are sold, but combining their level of talent with lyrics that came out of Kristofferson, Prine, JTE, or even folks like Isbell and letting all of those aspects shine – dang.
The traditional country genre is something that I respect, but generally none of it will impact you with profound concepts that make you really think. Until then I just can’t totally get in to any of these guys and gals.
August 21, 2026 @ 7:55 pm
Yeah I like both songs.
I’m shocked Dan & Gay actually put out a decent song with Cody Johnson a dead clock is right twice a day but they are such low bar anything is better than their typical trash
August 21, 2026 @ 11:54 pm
Since I have no idea about the radio landscape in the States: People often talk about so-called “country radio” there. Which stations are influential and widely listened to? Who is responsible for the programm, the music being played there? And, this is my actual question, why do these stations so stubbornly refuse to play Red Dirt or neo-traditionalist artists, even though they are commercially successful and responsible for a large amount of country music’s current success? How is it possible for these stations to be so out of touch with the tastes of so many listeners? Whose interests are these radio types acting in? Why isn’t there more pressure on these stations to ensure musical diversity? Thanks to anyone who can explain this.
August 23, 2026 @ 2:49 pm
Country radio in USA is very vast. You have to be really deep in the weeds to follow it. There’s also a number of charts. Stations report to charts. Mediabase/country air check is the major one there’s last I knew 154 reporting stations. Within that there is also market size in major, large, medium, and small and a song has a weight to it on each station. They don’t exactly release the weight on each one and what a spin is worth. It is also a different weight on time of the day it is played. If it is in the middle of the night it is worth a lot less than in the middle of the day when more are listening. My local station is Wyrk and that is a medium market station in Buffalo, ny which last I knew Buffalo was the 81st in market size for the country. There’s about 6 labels that about all the artists are on in country music out there. They tell a station to play a song and which one is the current single to push. They also have to advertise in the periodicals and a top 30 single or higher can almost push to be a million a song.
Below that other stations may report to musicrow so there is a different chart altogether.
There is mixed stations too that play a little of everything.
Texas is its own different world. It has gone bigger and some artists will travel outside the area but they can make a living staying within the borders of the state generally. There is 93 reporting stations in Texas. Even have their own music awards too.
Hope this helps you in answering your question and shows you some direction.
August 25, 2026 @ 4:31 am
Thank you very, very much for your detailed reply. That is truly very interesting and, as you’ve written, obviously very vast. Your explanations helped a lot to get a clue how country radio in the US works.
August 22, 2026 @ 2:35 am
…a bit too much brain and not enough ear in this interesting discussion here – sauf “who” sadly. these two new zach top songs are fine – not great – but sonically good enough to be played on the radio. the really good news is, however, that zach top sounds like no one else on the radio at present. and he sounds real. that’s his unique selling proposition. better choice of singles – can be done, better songwriting – can be done too, but sounding more unique combined with technical prowess would be much more difficult to orchestrate.
if the label and his entourage (carson chamberlain et al) are any good, they’ll have an ace up their sleeves after these two neat testers. if not, some tougher decisions – like with his band members – may have to come next. overall he’s still on track. if he should fail, the whole neo-neotraditonal wave will just peter out. cody johnson has just peaked, at least judging from his uninspired new album.
August 22, 2026 @ 6:36 am
Fine wine and good whiskey take time to mature, I think he’s put out plenty of great stuff in a very short period of time. Touring is hard and there isn’t a ton of time to come up with new stuff, back in the day, whenever that was it wasn’t unusual for many groups to wait two years before their next release.
With the digital age too many of us expect they people to just pump it out nonstop.
I guess my take is just be patient, it’s hard to force brilliance.
August 22, 2026 @ 8:43 am
He sports a cigarette, guess he’s aiming for the outlaw label now.
August 22, 2026 @ 10:00 am
Nah, he’s just a smoker.
August 22, 2026 @ 9:59 am
The videos on Youtube of Top playing these songs alone on an acoustic guitar are excellent. “Other Side” reminds me a lot of Kevin Denney.
September 4, 2026 @ 9:01 am
Agree. Really brings out what a talented vocalist he is (not to mention a superb guitar).
August 22, 2026 @ 5:05 pm
Saw Zach Top 2 weeks again . An incredible live performance. He adds an extra layer to his songs that the recordings don’t have. The crowd was into it and singing all of his songs. And this was in western New York. I think he needs a few more “sounds like the radio” songs about country music and love songs like “there’s the sun.” Those songs bring the crowd to life the most aside from his absolute smash hits, and resonate deeply with all types of fans. They just partner so well with his sound. This was one of my favorite concerts I’ve attended and I hope to see him again in concert.
August 23, 2026 @ 9:54 am
Would love to see Zach branch out and write with someone like Jason Eady
August 24, 2026 @ 5:34 am
the guy is very good in what he does, i think it’s unfair to put him up with top songwriters like Noe or Bradshaw, he’s a different kind of beast.
Like comparing Iron Maiden and Mayhem just because they’re both “metal”
September 4, 2026 @ 8:59 am
I really, really like “Other Side”. Has really grown on me.