REVIEW BY Emiko Taylor for JACE MEDIA MUSIC
In the ever-spinning wheel of modern country music—where pop hooks often outweigh heartfelt grit—Bryce Leatherwood’s self-titled debut album is a reassuring, full-bodied reminder that country’s roots still run deep. Released via Mercury Nashville, Bryce Leatherwood doesn’t just nod politely to the genre’s past—it wraps it in a warm bear hug and says, “Let’s ride.” The result is a 12-track collection that feels as much like an homage to legends as it does a confident, boots-on-the-ground introduction to one of country’s most promising new voices.
Leatherwood’s journey is the kind of story Nashville loves. Raised in Woodstock, Georgia, and schooled in the dusty lore of Merle Haggard and Conway Twitty from the bench seat of his grandfather’s pickup truck, Leatherwood’s brand of country was forged early. His twang isn’t affected—it’s inherited. After honing his stage chops in college bars and small-town venues, Bryce made his leap into the national spotlight by winning Season 22 of The Voice, coached by none other than Blake Shelton. But where many talent show winners fade after the final curtain falls, Leatherwood got to work.
His self-titled debut proves that his victory was no fluke. With seasoned producer Will Bundy (Riley Green, Ella Langley) at the helm, Leatherwood threads a careful needle between the traditional and the contemporary—never straying too far from his roots, but not afraid to flirt with the genre’s more progressive edges either.
From the first notes of the opening track, “In Lieu of Flowers”, it’s clear what kind of artist Bryce Leatherwood is. The song, a cheeky-yet-sincere request to send up beers and boot-stomping tributes when he’s gone—complete with namechecks of Joe Diffie—is pure honky-tonk gospel. But more than that, it introduces the album’s MVP: Leatherwood’s voice. Smooth yet rough-hewn in all the right places, it’s a voice made for country storytelling. It’s the kind of voice that doesn’t just sing about heartache and hometowns—it believes in them.
American Songwriter called the album “a true 21st-century country music album with flares that pay homage to the past,” and that’s a fair summation. Leatherwood’s vocal tone is steeped in barroom smoke and Sunday morning regret. When he leans into a ballad like “What If She Does”—a stunning, blues-laced heartbreaker imagining the pain of love lost—you’re reminded of why voices like his used to rule the radio.
The standout moments on Bryce Leatherwood come when he blends his traditionalist instincts with radio-friendly energy. “Neon Does” is a prime example—a rollicking, feel-good Saturday night anthem that feels tailor-made for windows-down highway cruising. It’s followed by the clever and crowd-pleasing “The Finger”, which turns a bitter breakup into a sly, singalong revenge tale. If you’re playing this one live, you better believe the audience will be raising more than just a glass.
Elsewhere, “Where the Bar Is” keeps the momentum going with its blend of rock-driven instrumentation and a storyline rooted in small-town escapism. Meanwhile, “God Made” delivers a more playful, upbeat vibe, pairing Telecaster twang with subtle modern production touches. It’s the kind of song that shows Leatherwood knows how to have a good time—and that he’s not afraid to colour outside the lines.
What sets Leatherwood apart from other new-country hopefuls is that he’s clearly lived these songs—or at least come close enough to them that they ring true. He co-wrote several of the album’s most personal tracks, including “Shenandoah”, a heartfelt ode to romantic devotion, and “The One My Daddy Found”, a touching tribute to his parents’ decades-long love story. The latter in particular showcases his ability to combine intimate storytelling with broader appeal, a skill that defines country music at its best.
And while Leatherwood doesn’t write every track on the album, he knows how to pick songs that sound like his own. Whether it’s the aching “Cheap Cologne”—a stone-cold “done-me-wrong” anthem—or the swaggering “Something Bout A Girl”, Leatherwood’s interpretive skills make each track feel authentic.
If the album feels like a victory lap, it’s only because Leatherwood has earned the miles. Since winning The Voice, he’s hit a string of career milestones: debuting on the Grand Ole Opry, headlining his first national tour, and returning to The Voice stage for this year’s finale. He recently made a stop at Today with Jenna & Friends where he performed “In Lieu of Flowers,” receiving a surprise video message from mentor Blake Shelton himself.
But Leatherwood isn’t coasting on TV fame. He’s out there earning his place. With festival dates lined up across the U.S. and a return to Nashville’s CMA Fest, he’s keeping the boot leather worn and the dream alive.
The Tracklist: A Breakdown
Let’s take a quick look at what you’ll find on Bryce Leatherwood:
- In Lieu of Flowers
- Neon Does
- Something Bout A Girl .
- Still Learning
- What If She Does
- Cheap Cologne
- Where the Bar Is
- God Made
- Shenandoah
- The One My Daddy Found
- The Finger
- Hung Up On You
Final Verdict: Country’s Past Meets Its Future
Bryce Leatherwood’s debut is more than just a well-crafted album—it’s a mission statement. It says country music still has room for artists who revere the genre’s past while pushing it forward. He isn’t trying to reinvent the wheel, but he’s putting a damn fine polish on the ride.
For longtime fans of traditional country who’ve grown weary of over-polished pop-country hybrids, Bryce Leatherwood is a breath of fresh Appalachian air. And for newer listeners, it’s an invitation to fall in love with country music the way Leatherwood did—through stories, steel guitars, and a voice that feels like home.
At just 24, Leatherwood has managed to create a debut that feels timeless and timely all at once. If this is his first chapter, we can’t wait to hear the next.
A richly authentic debut that balances tradition and polish with remarkable ease. Country music is alive and well, and Bryce Leatherwood is here to prove it.
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