by Norman Warwick

Sites like Songfacts and, especially Paste on-line, remind me that there has been life after those old John Stewart songs I still sing, folk and country beyond Townes and that there are still kids out there who, to coin Guy Clark, prefer to play it on Picasso´s Mandolin. Journalists like Ellen Johnson and Geoffrey Himes always impress me with their wonderful articles. Ellen and the excellent staff writers at Paste on-line magazine recently posted their round up of the ten ´best´country albums of the year at


Like everything else in 2020, country music was full of unexpected moments—many of them painful. Even before the coronavirus pandemic started spreading wide in the U.S. and forcing shutdowns, Nashville, Tennessee—country music’s epicentre—was fighting its own share of battles.

A tornado tore through The Music City in the first week of March, causing severe damage to the East Nashville neighbourhood, where many country artists live and work. Even when engulfed by damage and sickness, the country community rallied. Even when they lost some of the greatest among them, like Kenny Rogers, John Prine, and Charley Pride, (commemorations by Sidetracks & Detours remain available in our archives) country musicians found the strength to stay engaged with fans (if only through live streams and zooms etc), fight for much-needed social change and share some truly stellar records in the process.

After telling us all that, the writers at Paste opened their list by genererously shining a light on artists on the long-list they had whittled down, which included: Lori McKenna, Kathleen Edwards, Sam Hunt, Ashley Ray, Kelsea Ballerini, Little Big Town, Lucinda Williams, Mickey Guyton, Margo Price, John Moreland, The Secret Sisters and so many other talented women and men who wrote and sung their hearts out, even when tours stopped and Nashville’s lights went out.

There were also plenty of exceptional Americana and country-adjacent records that probably deserve a list of their own, like Lilly Hiatt’s Walking Proof, Waxahatchee’s Saint Cloud, Katie Pruitt’s Expectations, Courtney Marie Andrews’ Old Flowers … and the list goes on.

This trimmed down list, though, embraced the ten ´core country´ albums that stuck with Paste the most, and followed their writers around until they pleaded that we, too.  listen a little closer and you can hear Paste’s Best Country Albums of 2020 playlist on Spotify here.

Below we repeat what Paste had to say about each album.

Cam: The Otherside


We waited a long time for Cam to release The Otherside, the follow-up to her 2015 debut Untamed. The fiery singer/songwriter first flashed on my radar with her 2017 single Diane, a tale of two infidelities that also appears on The Otherside. Diane is the descendant of Dixie Chicks fables and Shania Twain’s girl power anthems, but it’s also something entirely new, and I’ve been eager to hear more ever since. Cam, neé Camaron Ochs, does not disappoint on The Otherside, a pop-country, radio-ready costume piece that is begging to be displayed live on stage. While we’ll have to wait a bit longer for a Cam tour, there’s plenty to keep us entertained in the meantime in the form of these eleven songs, some of which were co-written or produced by pop forces like Jack Antonoff, Harry Styles and Sam Smith. There’s the heartfelt opener Redwood Tree, disco-infused title track and the risk-it-all love story set against a doomsday backdrop in Till There’s Nothing Left. She’s one half of a stylish couple on Classic and a somber counsel on Girl Like Me, where she details her personal journey to success in the crazed country eco-system. In all, The Otherside is further proof that the spunky Cam can do whatever she wants—and it would do us well to pay attention. —Ellen Johnson

The Chicks: Gaslighter

The Chicks

The Chicks (hey, a band I´ve known for a long time) have never tolerated liars, cheaters or scoundrels. They coaxed dirty secrets from their lovers’ mouths on Let ‘Er Rip, promising strength in the face of the truth. In another case, the offender in question was such a scumbag they plotted his murder. In 2006, on their most recent album Taking The Long Way, they still weren’t ready to make nice. While they’re famous for romantic songs like Cowboy Take Me Away and hopeful ballads like Wide Open Spaces, Natalie Maines, Martie Erwin Maguire and Emily Strayer have always been tough as nails. So it should come as no surprise that the band is consistently resilient on their relentless fifth LP  Gaslighter.

Ultimately, Gaslighter is powerfully split between the band who were once the Dixie Chicks and who are now The Chicks. Old demons dance alongside new loves. Meanwhile, Natalie, Emily and Martie shout from the mountaintops their political opinions, cries for justice and messages of support on behalf of abused women everywhere, all to the tune of polished, country-pop gold (in part thanks to the production savvy of Jack Antonoff). —Ellen Johnson

Brandy Clark: Your Life Is a Record

Brandy Clark

Six-time Grammy nominee and widely-respected country songwriter Brandy Clark (make that two artists known to your reliable Sidetracks & Detours guide !) is back with an album of her own stories. Clark has collaborated on songs for Kacey Musgraves, Miranda Lambert, Little Big Town and more throughout her career, but it’s rare to hear her solo work. Your Life is a Record is Clark’s third solo LP, following 2016’s Big Day in a Small Town and 2013’s 12 Stories, one of our favorite country albums of the decade. It’s mature and wise—not the pickup truck anthems you might hear on the radio. Your Life is a Record is a moving collection of eleven songs sung and written by a woman who has lived a lot of life in her forty four years. The characters in these stories are empathetic (I’ll Be The Sad Song), innovative (yet forlorn), on the brilliantly sad Pawn Shop and ever-evolving Who You Thought I Was. But they’re far from perfect, which is what makes this Record so real and relatable. —Ellen Johnson

Caylee Hammack: If It Wasn’t For You

Caylee Hammack’s debut album begins with a good scolding. ´You should’ve never come over,´ she exclaims. ´You should’ve left early and kept your hands to yourself / You knew better / You should’ve never promised me bliss if you couldn’t keep it.´

Stand back—she’s breathing fire. But as the album opener, titled Just Friends, continues, it becomes clear that the issues in this relationship weren’t entirely to blame on the handsy guy. Hammack continues, ´I should’ve listened to my mama / And not let you in my head / I should’ve told ya that I loved ya / But not let you in my bed.´ Her predicament is a familiar one to anybody who hustled into a relationship with a friend too quickly. The 26-year-old Hammack wrote or co-wrote and produced all thirteen tracks on If It Wasn’t For You, her debut album released earlier last month, and the Georgia native peels back the curtain on everything from failed friends-with-benefits arrangements and redhead stereotypes to existential woes and family issues (namely on Family Tree, which is akin to Kacey Musgraves’ Family Is Family). —Ellen Johnson

Jason Isbell and the 400 Unit: Reunions

Jason Isbell

Jason Isbell (that´s three names recognised now and we have even featured Jason in our Sidetracks & Detours pages in the past) isn’t the kind of guy you’d think of as haunted, but he’s surrounded by ghosts on his new album. Some of them are the literal shades of people he (or his narrators) once knew who are gone now. Others are figurative: past selves, maybe, lingering in the shadows that memory casts. Together, they’re the spirits that constitute Reunions, Isbell’s latest LP with his band The 400 Unit, and the follow-up to his 2017 release The Nashville Sound. It’s not surprising that Isbell would find himself in the company of ghosts. It’s a function of getting older and realizing how much you, and the world around you, have changed over time, of discovering that parts of life that once loomed large in your mind aren’t as big you seem to remember. Isbell turned 41 this year, young enough that his formative years still seem closer than they really are, and old enough for the Alabama-born singer to have discovered that taking the longer view helps ease the sting of all those hard-learned lessons that can pile up in early adulthood. That is, if you’re lucky enough to come through it with your wits intact and with enough perspective to see the journey as something more than a bumpy ride over rough terrain. Isbell has both smarts and perspective, and each seems to increase a little bit more from one album to the next. He’s always been an empathetic songwriter with a distinctive willingness to see the world from a point of view other than his own. Like any good storyteller, Isbell creates characters, and he has a storyteller’s ability to bring them to life by infusing them with enough of his own experiences, be it sobriety or fatherhood, to make their struggles and small triumphs resonate. —Eric R. Danton

Ruston Kelly: Shape & Destroy

Ruston Kelly

Shape & Destroy is not the first time Ruston Kelly’s journey has been captured in song. His debut—2018’s Dying Star—showcased his considerable melodic gifts and fearless honesty as it explored Kelly’s trip to and from rock bottom. It’s an album that’s equal parts harrowing and heartening, and it pointed the way for Kelly to deliver on his enormous promise as an artist. Shape & Destroy finds him on the right path, but not yet out of the woods. Nowhere is this more clear than in two back-to-back songs—Alive and Changes—that examine Kelly’s journey from two very different perspectives. ´Looking at the flowers coming up from the ground through all of the rubble of everything that I tore down,´ he sings in Alive, a slow-burning love song to life (and a supportive partner). One track later, however, he kicks off the strummy, upbeat Changes buried in the rubble. ´What the hell am I doing down here?´ Kelly sings. ´I thought that I was finally in the clear. All it takes is once to make your demons reappear.´ What a difference a couple of years, hard work, personal reflection and loving, supportive relationships make. Where Dying Star offered only glimmers of hope that Kelly’s garden would someday flourish, Shape & Destroy is a modestly verdant landscape as far as the eye can see—maybe not ´tall and purposed´ quite yet, but healthy, happy and headed that way. —Ben Salmon

Ashley McBryde: Never Will

Ashley McBride

Ashley McBryde has—and has had for a long time—the makings of a huge country star. That couldn’t be more clear on Never Will, her latest album, which has something for every type of country fan. First Thing I Reach For is an honest honky-tonk ode to vices that spares no details. On album closer Styrofoam she dedicates three minutes of spoken-word sweet nothings to the creators of the impossible-to-decompose material that was miraculously chilling liquids of all varieties well before Yetis were on the market. The mandolin takes centre stage on the bluegrass-indebted Voodoo Doll, which is one of the most impressive songs on the album, if only for its light flirtation with pure, unadulterated black magic. Martha Divine, another single that earned McBryde a place on several “most anticipated releases of 2020´´  lists, is the album’s other highlight and the eternal damnation of a serial home-wrecker. If radio execs and DJs have any sense at all, they’ll play Ashley McBryde until we’re beggin’ them to stop. Few are as deserving of mainstream genre stardom as her, and Never Will is all the proof we need. —Ellen Johnson

Sturgill Simpson: Cuttin’ Grass, Vols. 1 & 2

Sturgill Simpson

What do you get when you cross one of country music’s finest storytellers, a crack team of bluegrass’ best players and a lawnmower? The best dang hootenanny of the whole dang year, that’s what. Modern-day outlaw Sturgill Simpson is owner to a discography of idiosyncratic country tunes, from his breakout, psychedelic-inspired Metamodern Sounds in Country Music to 2016’s soft spoken roots record A Sailor’s Guide to Earth to last year’s aggressive country-rock/anime package SOUND & FURY. He’s been breaking rules and yet remained beloved for nearly a decade now, but who knew that he’d make some of his best work recreating songs he’d already recorded? Simpson recruited a cast of star bluegrass musicians like Tim O’Brien and Sierra Hull to re-record songs from throughout his career in a series of sessions at Butcher Shoppe Recording Studio. The result is the cleverly titled Cutting Grass Vol. 1 and, as of just a few weeks ago, Vol. 2. These records have been two of the year’s greatest surprises. Containing bluegrass recreations of some of Simpson’s best songs like Breaker’s Roar, Turtles All The Way Down and All The Pretty Colours, the Cuttin’ Grass records provide something so rare and entertaining: an artist covering his own songs. It’s the perfect soundtrack for a lonely 2020 day: unabrasive, uncomplicated—but never sleepy—folk music, sung by its creator and his fiddlin’ friends. Simpson probably could’ve cut the track lists in half, but who is he if not dedicated? Don’t fight the sheer volume of these records: just throw ‘em on, maybe pour a drink or two and sail away on Sturgill Simpson’s lawnmower. —Ellen Johnson

Chris Stapleton: Starting Over

Country rockstar Chris Stapleton (left) has written tons of songs for pop singers like Kelly Clarkson and Justin Timberlake, (all three names deliver music I love) and he frequently finds himself flirting with soul styles and the blues. That’s quite a few genres crammed into one little sentence, but Stapleton is comfortable with them all. It’s the first two (country and rock), though, where he spends the most time on his new album Starting Over, which, as the name might imply, is a record of fresh starts. The Kentucky-born, Nashville-based roots musician made waves with his 2015 southern rock opus Traveller and again in 2017 with the double album From A Room. Now, he’s winding it down with Starting Over’s country-folk lullabies, like the tender cover of Joy Of My Life by John Fogerty, (a writer of my generation) and the even-more-tender original Maggie’s Song, a tribute to a bygone beloved four-legged family member that will definitely make you cry. Stapleton also reckons with the devil on his shoulder in the stony Devil Always Made Me Think Twice (which another country artist on this list, Hailey Whitters, covers on her own 2020 album) and welcomes the day with a brown bottle in hand on Whiskey Sunrise. He even makes a rare reference to the mass shooting at a 2017 country festival in Las Vegas on the foreboding Watch You Burn. Stapleton is unafraid to sing about issues that might make country fans uncomfortable, but he’s also right at home on familiar slow-burning roots tunes and southern rock staples. Starting Over is a choose-your-own-adventure country journey. —Ellen Johnson

Hailey Whitters: The Dream

Hailey Whitters

Last year, the Iowa-raised, Nashville-based singer/songwriter Hailey Whitters released Ten Year Town, a number about something country artists have been moaning about for the entirety of the genre’s existence: small towns, how they trap us and how they’re always there waiting, even if you’re lucky enough to make it out. But Ten Year Town, now the opener on Whitters’ new album The Dream, which she fully funded herself with money she earned waiting tables and plucked from her savings, doesn’t feel sorry for itself, or bemoan a geographical situation. Her outlook remains overwhelmingly positive. ´Dreams come true and I think mine will,´ Whitters sings. With this album, she graduates from Dream-er to do-er. But the real dream, for many, that is, is ´a paycheck at the end of the week,´ an indulgent cigarette, the miracle of the earth’s rotation and some people to accompany you on the long ride. ´We’re all just livin’ the dream,´ Whitters sings on the record’s final song. The Dream cherishes working-class triumphs and even failures, as country music always has. You won’t find a radical change where that content is concerned. But Hailey Whitters’ heartfelt manner of describing those ups and downs is what makes her dream so damn charming. —Ellen Johnson

Ellen Johnson, journalist

Ellen Johnson, by the way,  is a former Paste music editor and forever pop culture enthusiast. Presently, she’s a copy editor, freelance writer and aspiring marathoner. You can find her tweeting about all the things on Twitter  @ellen_a_johnson and re-watching Little Women on Letterboxd.

She seems to me a writer of rare insight, incisive wit and innate charm. The creative talents on this list of recordings could not be in better hands.

Ben Salmon´s piece (right) is good enough and strong enough to send me swimming upstream to acquire the music he describes.

Eric Danton (left) ably and helpfully chronicles and contextualises the works he writes about and, like his colleagues he guides us on or journey by pointing out the new whilst reminding us of the familiar which seems to me to be not only the purpose of a journalistic tour guide, but also the reason for art itself.

Of course, just because these journalists, and their colleague Geoffrey Himes (right) who posts regular lengthy features for Paste on-line, and has also written for Jazz Times, all write like a dream doesn´t necessarily mean you will share their taste nor even agree with their assessments. The albums above, though, have been bravely collated so that you can tracks from all of them and make up your own minds. Any songs, of course, that can inspire the kind of writers listed were always pretty damned likely to earn the Sidetracks & Detours seal of approval,….and indeed, they did so on first hearing. 

Listen to Paste’s Best Country Albums of 2020 playlist on Spotify here.

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