Higher
Higher gives Chris Stapleton's voice a warm, flexible setting. Country remains part of the sound, but soul rhythms and blues-based guitar playing shape much of the record. The approach is familiar, and its success depends on how well Stapleton uses those elements within each song. The strongest performances make that small space for change feel sufficient.
What Am I Gonna Do opens with a loose, rootsy arrangement around a song of romantic regret. South Dakota moves into a darker groove, with guitar bends and short bursts of lead playing adding tension around the vocal. The parts have character without turning the song into a showcase for speed or technique.
White Horse raises the pressure further. The arrangement builds towards a larger release, and the quicker movement at the bridge gives it an extra push. Stapleton's singing and the guitar attack work together, making the song one of the clearest arguments for the album's harder side.
The title track uses a different kind of control. Quietly delivered verses leave room for the voice to rise into a higher, more emotional chorus. Loving You on My Mind leans more openly into soul, with Morgane Stapleton's harmonies helping the vocal feel part of a shared performance. It Takes a Woman also benefits from that connection, allowing changes in vocal force to carry the feeling.
These songs show why the band often place as much value on a steady groove as on a large hook. The rhythm gives Stapleton room to stretch and adjust his phrasing, and the production keeps a comfortable warmth around him. At times, though, similar movements and repeated themes make the middle stretch less distinct. A forceful voice cannot give every familiar idea a new identity.
Mountains of My Mind closes with a useful reduction in scale. Acoustic guitar and an intimate vocal leave the questions in the writing unresolved, giving the final song more space than some of the fuller arrangements. It is a strong reminder that Stapleton does not need to sing at full power to hold attention.
Higher is an assured record with a few limits in its writing and overall variety. Its best songs combine expressive singing with thoughtful changes in rhythm and weight. The familiar sound rarely becomes a problem by itself, although the full sequence would benefit from more of the contrast found in its strongest moments.
