photo courtesy of Samantha Rae

Album Review of Samantha Rae: The High Road

Samantha Rae had a big year last year. Just focusing locally and on last year, since the accolades have continued in 2026, she was the winner of the Country Artist of the Year award at the Boston Music Awards. She was also nominated for Country Artist of the Year by the New England Music Awards as well as the Nashville-based Josie Music Awards. Her album The High Road was nominated for Album of the Year at the New England Music Awards, and one of the songs on The High Road, “I See in You,” won the original song competition at the Williamsburg International Film & Music Competition. That was all well-earned acknowledgement of not just Samantha’s talent but also the talent of her co-writer, bandmate, and co-conspirator Jay DellIsola, as well as the impeccable quality of this record, The High Road.

Samantha Rae delivers a dozen catchy country ballads and rockers on The High Road, delivered in a modern sound that would play well alongside current hitmakers like Ella Langley and Ashley Cooke, and yet, without sacrificing that current sound, Samantha also serves up plenty of that old school sass and style reminiscent of icons like Dolly and Reba.

image courtesy of Samantha Rae

So what about this award-nominated album? Well, The High Road is every bit as top-shelf as its praises suggest. And that’s apparent from the very beginning. You know how sometimes the opening notes of an album instantly cause you to think, in that moment, “oh, this is gonna be good!”? Well, the cymbal strike and guitar strum at the beginning of disc-opener “Taking Me Down” is one of those moments. Very quickly, this song will have you swaying along, and screaming along with Samantha’s drawn-out “I… never had a prayer without you” and other “I…” lyrics. It’s not a fast-tempo number, but it’s absolutely energetic and very fun-country, kicking things off with good vibes.

The vibes turn more ominous – or, at least, the second song’s opening guitar notes do – as if foreshadowing what’s coming next, though the song is called “Gaslighter,” so its direction is not exactly a secret. And while the eerie tone persists in bridges and even parts of the verses, the chorus itself is empoweringly energetic, with the same sort of vibe that drives Carrie Underwood’s “Before He Cheats” or Meredith Brooks’ “Bitch.” Samantha displays the swagger to carry the “don’t mess with me” mantle, while the arrangement and instrumental performances are as big-stage and radio-ready as the vocals.

photo courtesy of Samantha Rae

It’s followed by perhaps the oddest song on the record, “Pinocchio.” The track’s an absolute attitude-filled banger. And it sounds like Pinocchio’s kind of a prick, which is a sentence I never expected to write. You’ve kind of gotta think this is one of those circumstances where the names have been changed to protect the innocent (or guilty) because the emotion behind the vocals is powerful. The lyrical choices are clever, leaning into references that only this character reference could produce. You’ll totally get into this tune, all the way to the end, as Samantha’s voice really soars during the song-closing lyrics “I’m wide awake, it’s your mistake that you let me go. Now I’m wide awake, it’s your mistake that you went so low. Oh, Pinocchio.”

“Want Me Back,” next, is an energetic and playful follow-up. Then “Burning in My Soul” follows, with its cool, mid-tempo country-bluesy vibe.

It’s a nice set-up for the album’s first full-on ballad, the memorably emotional “Where You Are.” Interestingly, something about the piano opening of “Where You Are” is vaguely reminiscent – to me, at least – of the opening measures of Motley Crue’s “Home Sweet Home.” Of course, other than the feeling in that short moment, this one’s a purely country ballad. “Where You Are” is one of those lump-in-your-throat numbers that causes the hair on your arms to stand up, with warm piano providing support but mostly leaving room for those vocals, crisply clear but with a rough, emotional edge, helped along by prominent violinwork that just adds to the song’s poignance.

photo courtesy of Samantha Rae

After that, deep sigh, whew! And time to bring the energy level back up. “143 (I Love You)” kicks off with guitar licks that recall Lonestar’s “Never Enders,” one of my favorite Lonestar songs, even though the title track from the band’s 2016 Never Enders never really gained much footing on country radio. In any case, “143” is as emotional as the record’s preceding track and a little reminiscent, but it’s both of those things packaged as a joyful, mid-tempo country rocker that’ll bring a quick smile to your face. It seems like a number that’d get a live audience bopping and swaying, likely a live favorite.

From there, the album veers back toward defiant spunkiness with another of those songs that sounds like it has an interesting story behind it, “I Only Cry in Trucks.” It’s a song that coolly calls out specific pick-up trucks – yeah, I know, very country but with a nifty spin. The song’s topic and its sassy energy, though, is focused more on the “only crying” part, with the trucks acting as supporting castmembers. There’s some fun fiddlework, a nifty pluckin’ guitar run, and, of course, Samantha’s insistent, powerful vocals driving this fun number.

Samantha Rae and Jay DellIsola; photo courtesy of Samantha Rae

“Back to You” follows, another mid-tempo emotional broad-appeal country rocker, with a really cool spot in the back half of the song where the music drops out and highlights a powerful Samantha Rae wail of “you give me all I need,” a musical turn that’ll make you stop and notice. “Therapy,” next, is another of those attitude-driven songs, replete with the warning, clearly not undeserved, of “I’m good where I’m at, but you’re gonna need therapy after that.”

The mood brightens on the disc’s penultimate track, “I See in You.” As much as the prior number was a warning, this mid-tempo country rock number is something a couple in love might play for each other, a song that may be a little lyrically sappy but is delivered in such a way that it’s simply not. Well-placed harmonies, engaging stop-starts, dynamic vocals that carry both power and nuance. And occasional singalong “ooh, la la la” backing vocals. Yeah, this is a wicked cool song.

The record ends with “Time.” Twelve whole songs, but the record still seems to end too soon. “Time,” however, is a soft, encouraging number with a message of hope that’s likely something most of us need from time to time. Ideally placed guitar twang and an empathetic vocal from Samantha that really seems to relate to the lyrics, it’s a nice, soft ending to The High Road, a pleasant, tuneful landing to an enjoyable 12-song flight.

As I mentioned at the beginning of the review, this album is well-deserving of all its accolades. Whether you’re a fan of new country or classic country, you’ll find a lot for your ears and emotions to love on The High Road.

Looking Ahead

You can catch Samantha Rae live, with shows at several New Hampshire and Massachusetts locations – many of those listed as “Samantha Rae & Jay acoustic” shows – currently listed on the “Tour” page of her website. Of course, check back for more shows as they’re added.

On the recording front, Samantha is currently finalizing work on a second album targeting a 2027 release, if I’m not mistaken. As teasers, two advance singles from that record, “Gone Fishin’ (For a Man)” and “My Life,” have already dropped. If those two tracks are any indication, there’s not gonna be a sophomore slump. So if you’re new to Samantha Rae, start with The High Road, and then join me in looking forward to the next full-length album, coming soon!