Low Lights

‘Low Lights’ was possibly one of the lowest points on Langley's ‘Dandelion’ album, but given how impressive Langley's third studio record is, the bar is incredibly high.

However divided her fans were on this track, there’s no denying the subtle differences between this and the bulk of her music. With its cinematic strings and gradual crescendo, Langley demonstrates her ability to deliver a passionate soliloquy without overcomplicating it.

~ Georgette Brookes

Buzzes Like Neon (with Adam Hood)

Originally an Adam Hood song, ‘Buzzes Like Neon’ becomes even warmer with Langley’s voice folded into it. Hood and Langley blend beautifully over a road-worn melody about distance, loneliness and being led on by the glow of someone who still feels worth chasing. It’s understated, easy and quietly addictive.

~ Caitlin Hall

Froggy Went a Courtin' (Intro / Outro)

On ‘Froggy Went a Courtin' (Intro / Outro),’ Langley turns a traditional folk standard into something more profound, using it as both a gateway and a closing reflection for Dandelion.

The reprise from the opening to the final moments creates a circular emotional thread, grounding the album in a sense of continuity and lived experience. In doing so, Langley elevates Dandelion beyond a collection of songs, shaping it into a cohesive narrative where memory, growth, and identity remain in constant conversation.

~ Soda Canter

Winter Wonderland (with Luke Bryan)

With Christmas country songs, we have to be a little more generous and look past the obvious cheesiness - after all, ‘tis the season to be cheesy and twee. We’re not sure this one will make it into our yearly December rotation, but we’ll admit Langley and Bryan’s vocals sound pretty smooth together.

~ Maxim Mower

i blame the bar

A bit of a sleeper track on hungover, ‘i blame the bar’ is a great representation of how Langley can roll her drawl into her clever rhymes and create the catchiest of melodies.

Lilting on a failed relationship, ‘i blame the bar’ is a hair toss to the past, her eloquent lyricism punctuating her indifference.

~ GB

It Wasn't God Who Made Honky Tonk Angels

Although not one of the biggest streamers on Dandelion, in a way, Langley’s cover of Kitty Wells’ 1952 hit feels like one of the most pertinent inclusions on the album.

The success of Wells’ version made her the first female solo artist to top the Billboard Country charts, with the song serving as a clapback to Hank Thompson’s ‘The Wild Side Of Life’, which demonises his former fiancee for leaving him. It’s an anthem for all the women that have been blamed for men’s inadequacies and insecurities.

Langley’s version is unashamedly honky-tonkin’, and her determination to help cultivate a sense of camaraderie among the leading women in modern country would no doubt have made Wells proud.

~ MM

Hey Ma I Made It

On ‘Hey Ma I Made It’, Langley delivers a heartfelt love letter to the woman who helped shape her, grounding her rising story in gratitude and humility. The song reveals early signs of the emotional depth that now defines her work, while underscoring the central role family plays in her life. It is both a milestone and a reminder that no matter how far she goes, she knows exactly where she comes from.

~ SC

20-20

‘20-20’ looks back at young love with the brutal clarity that only comes after it’s over. Langley remembers ignoring every warning sign, admitting everyone knew the truth but her.

The hook turns “love is blind and hindsight’s 20/20” into less of a cliché and more of a gut punch - because we’ve all been there.

~ CH

Don't We All (Acoustic)

On ‘Don't We All,’ Langley leans into a universal ache, turning simple wishes into something with much more depth. “I wish that straight and narrow wasn’t so damn hard to walk / And I could call the man upstairs every time I need to talk,” she sings, each line unfolding like a prayer whispered just loud enough to be heard. As she longs for hearts that hold together and lives that bend a little easier, Langley does not offer answers, only recognition. In that final refrain, she lands on a truth that feels deeply personal and widely shared: we are all searching for grace in a world that rarely gives it freely.

~ SC

Beautiful Lies (with Tanner Usrey)

A rawer, more rough-around-the-edges sound than what we’re used to with Langley, Usrey’s ‘Beautiful Lies’ gives the 2026 ACM Female Artist of the Year the chance to showcase her alt-country and Americana chops. Appearing on Usrey’s 2023 album, Crossing Lines, this yearning, drawn-in collaboration is one of Langley’s most underrated offerings.

~ MM

Damn You

The follow-up to Langley’s first major label single, ‘If You Have To’, ‘Damn You’ introduced listeners to the then-up-and-comer’s darker, more brooding side. Featuring one of Langley’s signature, undulating earworm hooks, if ‘Damn You’ was released on hungover or Dandelion, it would be celebrated as a radio smash-in-waiting. A strong indication of what was to come.

~ MM

I Gotta Quit

Langley’s honky-tonk bop, ‘I Gotta Quit’ is deliciously catchy. As she runs each line into the next, Langley’s Southern drawl and itchy guitars evoke a runaway locomotive. For a style of song that has largely been dominated by male voices, Langley brings her Dandelion energy to this upbeat ditty.

~ GB

broken in (acoustic)

On ‘broken in (acoustic),’ Langley strips the song down to its emotional bones, allowing every scar and hesitation to unfold before us. The acoustic setting sharpens the ache in her performance, transforming the track into a meditation on the ways love, heartbreak, and experience slowly shape a person over time. Rather than resisting those rough edges, Langley leans into them, finding quiet strength in the wear and tear of life.

~ SC

Never Met Anyone Like You (with HARDY)

A clever volte-face of a song, ‘Never Met Anyone Like You’ finds Langley and HARDY flexing their songwriting muscles and experimenting with a surprising, unconventional song structure.

Until you reach the bridge, it feels like ‘Never Met Anyone Like You’ is a sweet, warm-hearted love song. But once you reach the jarring plot twist, it retrospecively casts a new light on the entire narrative, with the introduction of HARDY’s favoured rock guitars and screamo-inspired delivery giving this track an unexpected but energising conclusion. We’re still not sure why this didn’t make it onto Dandelion.

~ MM

If You Have To

Langley’s first ever release with Columbia Records, ‘If You Have To’ follows in a similar sonic vein to ‘This Version Of Us’, with Langley’s wistful croons drifting evocatively across a pensive set of keys. Even though this track might not be pride-of-place in Langley’s setlist these days, it’s nonetheless a stellar debut, and a touching yardstick of how far she’s come.

~ MM

Last Call For Us

Combining country music and heartbreak, ‘Last Call For Us’ registers the end of her relationship. Assimilating the last call with that of a bar, Langley croons over delicate keys and a relaxed beat, bidding her partner a final adieu. With echoes of Patsy Cline and Loretta Lynn, this old-fashioned, end of the night ode was a hard-hitter off her Dandelion album.

~ GB

Where You Left It (Acoustic)

One of Langley’s signature acoustic tracks, which always conclude her albums on an intimate, contemplative note. As much as we love the eye-catching and sleek production on hits such as ‘Choosin’ Texas’ and ‘Be Her’, there’s always something special about hearing Langley’s vocals alongside nothing more than an acoustic guitar.

Those No. 1 hits grab all the headlines, and rightly so, but the pared-down acoustic odes - like the beautifully intricate ‘Where You Left It’ - remind us why Langley is rightly revered as such a brilliant songwriter.

~ MM

Somethin’ Simple

Langley trades edge for introspection on ‘Something Simple’, capturing the tension between ambition and rest. “While I’m livin’ the dream / All I’m dreamin’ about is slowin’ down just a little,” she admits, grounding the song in a truth that feels both personal and universal. As she closes with a longing for “somethin’ simple,” Langley reveals a softer vulnerability, one that hums beneath the neon buzz of chasing more.

~ SC

Dandelion

It might seem strange to have ‘Dandelion’, such a pivotal track in Langley’s 2026 era, so far down this ranking. But there are just so many striking and fantastic examples of songwriting and melody-making across that project, that the passive ambience of ‘Dandelion’ becomes a little forgettable. It’s still an enchanting track, though, and if you’re looking for a mellow, relaxing soundtrack, ‘Dandelion’ and ‘Butterfly Season‘ are your go-tos.

~ MM

Way Of The World (with Noah Cyrus)

A left-field inclusion on Cyrus’ indie-folk-leaning, star-studded 2025 album, I WANT MY LOVED ONES TO GO WITH ME, ‘Way Of The World’ is understated and relaxed throughout, but it has an unmistakably captivating ambience. The undulating, rhythmic groove, the soul-searching lyricism, the enchanting hook and Cyrus and Langley’s low-key vocals complementing one another make for a spellbinding combination. ‘Way Of The World’ once again highlights Langley’s musical versatility.

~ MM

love you tonight

‘love you tonight’ captures the specific loneliness of knowing something will hurt tomorrow and choosing it anyway. A drink, a dance, a last-call cab; it all feels like a good idea until morning.

Langley sings it with painful clarity, turning intoxicated want into self-aware heartbreak: loving him tonight, hating herself tomorrow.

~ CH

We Know Us

Langley captures the exhausting familiarity of a love that refuses to break clean. “It’s 10 P.M., you’re callin’ again… so I give you an answer, it’s the same ol’ answer,” she sings, distilling the cyclical nature of the relationship into a moment that feels both inevitable and inescapable. Rather than reaching for resolution, Langley leans into that repetition, revealing a connection built on habit, history, and the understanding that sometimes knowing each other too well is exactly what keeps you stuck.

~ SC

Broken

There will always be rumours around what this song is about, but the fact of the matter is that this song comes from a pure, raw feeling. Rich in relatability, ‘Broken’ sees Langley beg for the space to feel her pain. It’s soft and simple, and could just as feasibly be about her mental health struggles as it could be about heartbreak.

~ GB

Bottom Of Your Boots

One of the leading contenders for Langley’s successor to ‘Be Her’ and ‘Choosin’ Texas’ as her next major Country Radio single, ‘Bottom of Your Boots’ is another retro, dancefloor-ready jam cushioned by sleek synths and a driving drum pattern. Langley’s charismatic delivery is once again on-point, as the ‘nicotine’ crooner playfully sparks up a new romance.

~ MM

Make Me Wanna Smoke

‘Make Me Wanna Smoke’ is Ella at her most restless and rock-leaning, turning bad-for-you attraction into something combustible.

It’s all push and pull: wanting to quit, wanting one more hit, knowing better and doing it anyway. With its punchy country-rock edge, the song makes temptation sound dangerous, messy and wildly fun.

~ CH

monsters

Possibly one of the best insights into Ella Langley’s inner mind, ‘monsters’ explores her battles with imposter syndrome and self-criticism. With heavier drums and solid guitar riffs, Langley belts out her woes with exceptional vigour, creating a turn-it-up track that further connects her to her fans.

~ GB

cowgirl don't cry (acoustic)

With ‘cowgirl don't dry (acoustic),’ Langley strips away the bravado to reveal one of her most emotionally exposed performances to date. The sparse acoustic arrangement places every crack and quiver of her voice front and center, transforming the song from a gritty anthem into something more intimate: a meditation on survival, loneliness, and the quiet exhaustion that often hides beneath strength.

~ SC

Wish I Didn't Know Now

Arriving as part of Apple Music’s 2025 collection of Toby Keith covers, Langley’s rendition of ‘Wish I Didn’t Know Now’ ended up stealing the show. Langley’s ability to somehow make every chorus she performs sound even catchier than it did before comes to the fore here, with the sparse backing highlighting her spellbinding vocals. A fitting tribute to one of country music’s most influential figures.

~ MM

people change

Upbeat on the surface but heavier underneath, ‘people change’ finds Langley trying to make peace with one of life’s most frustrating truths. People change their minds, their hair and sometimes each other “out of no damn where,” and she knows she’s not exempt from that either. There’s pain in her voice, but also release.

~ CH

closest to heaven

Langley’s biggest tear jerker and possibly most slept on track. ‘closest to heaven’ is Langley’s imagination of what her grandpa would have said to her grandma before he died. It’s beautifully poignant and will have you reaching for the tissues.

The monologue style in her grandpa’s words and the steel soaked backing emphasise the heartache of losing the one you love most. This is Langley at her most vulnerable, and it’s stunning.

~ GB

Speaking Terms

A deeply powerful, evocative meditation on her faith, ‘Speaking Terms’ is an insightful pulling-back-of-the-curtain of the moment before our protagonist builds a strong relationship with God.

It finds Langley lamenting how she doesn’t find enough time to pray, and when she does, it sometimes feels like she’s stuck in a “one way conversation”. This vulnerability lays the foundation for the soul-stirring hope and belief of ‘Butterfly Season’.

~ MM

Could've Been Her

‘Could’ve Been Her’ is a bittersweet reflection on the life Langley could have been living if she hadn’t decided to follow her dreams. As she adds more detail to this hypothetical life, it becomes clear the old flame she is singing about was a toxic partner, and we’re left feeling relieved that Langley realised she was destined for a different life. It’s low-key, it’s understated, but it’s deeply moving. It feels like a spiritual sister-song to Lainey Wilson’s ‘Things A Man Oughta Do’.

~ MM

made it out of mexico (acoustic)

The acoustic version of ‘made it out of mexico’ strips the story down to its sunburnt ache: a fleeting trip, a stranger who becomes more than expected and a plane ticket home that doesn’t bring her heart with it. Between the souvenir t-shirt and the bottle top in her pocket, Langley makes vacation romance feel almost impossible to leave behind.

~ CH

Hell Of A Man

‘Hell Of A Man’ walked so ‘weren’t for the wind’ could run. It’s Langley reflecting on her inability to stick around even when she’s got a good thing but ultimately, no man is better than chasing her dreams. There’s a deep-routed soul-searcher within her and she’s unrelenting. He could well be a hell of man, but hell if a man will tie her down.

~ GB

hungover

‘hungover’ takes the language of drinking and turns it into the aftermath of a toxic love you keep swearing off. With acoustic guitar tucked beneath her voice, Langley sings about being “still a long way from sober,” knowing the kiss feels good in the moment but never leads to closure. It’s love-drunk regret in its purest form.

~ CH

Strangers (with Kameron Marlowe)

A rock-tinged collaboration with Marlowe, Langley offers captivating harmonies throughout, before entering the fray for a strong second verse. A dramatic, emotionally charged anthem that finds two new exes reflecting on the torment of trying to cut off contact once and for all. Even as Langley has racked up a dizzying number of smash hits in the years since, ‘Strangers’ remains a fan-favourite.

~ MM

cowboy friends

Langley cements her signature blend of wit and swagger into a rowdy ode to complicated companionship. Beneath the playful bravado and barroom charm, Langley slips in the kind of keen emotional awareness that has quickly separated her from many of her contemporaries, proving once again she understands the difference between attitude and authenticity.

~ SC

You & Me Time

Langley embraces a more playful, light-hearted tone for ‘You & Me Time’, a rose-tinted take on love that marks a welcome dose of levity, and a departure from the heavy-hearted introspection that pervades much of Dandelion. The upbeat instrumentation and Langley’s laid-back delivery make this a hidden gem on the album.

~ MM

That's Why We Fight (with Koe Wetzel)

On ‘That's Why We Fight,’ Koe Wetzel leans into the kind of volatile honesty that has long defined his work, capturing the push and pull of a love that burns as fiercely as it breaks.

But it is Langley who commands the space here, finding a harder, rock-leaning grit that suits her voice and elevates the track’s tension. Her delivery shows a growing confidence in playing with a lyric, bending phrasing and tone to add bite and nuance. Together, they mirror the chaos of a relationship held together as much by conflict as by connection.

~ SC

girl who drank wine

With its haunting intro and dusty dive-bar setting, ‘girl who drank wine’ flips the usual cowboy-meets-girl trope on its head. A regular tries his same old lines on a woman who clearly isn’t the least bit impressed, and that difference is exactly what drives him crazy. She’s gone in a flash, but leaves behind something almost-mythical.

~ CH

I Can't Love You Anymore (with Morgan Wallen)

The layup for this release was almost as good as the track itself, and still no one saw it coming. The duet with Morgan Wallen is the culmination of years of friendship and two-way support between the pair. And what’s even more pure? There are no romance rumours associated with it. It’s a fun summer tune with a toe-tapping beat and such catchy lyrics that you almost forget the song is about heartache.

~ GB

This Version Of Us

Penned for the second season of Netflix’s Nobody Wants This, ‘This Version Of Us’ is a grossly underrated ode from Langley that captures that aching feeling when you know a relationship is approaching its end, but you want to stay in the fleeting comfort of the moment for a little while longer. It’s bittersweet, piano-driven country storytelling at its finest.

~ MM

Most Good Things Do (Acoustic)

A strikingly tender and intricate ode to the challenges of moving on, ‘Most Good Things Do’ is a gentle, stripped-back reflection on how easily our protagonist is transported back to happier times with her ex. The hook is as enchanting as it is heartbreaking, and is one of the most striking of Langley’s acoustic tracks.

~ MM

better be tough

Leaning into grit and guarded resolve, Langley delivers an edgy anthem that demands resilience. Her smoky vocal cuts through the track’s driving pulse, balancing vulnerability with defiance, as she sets clear terms for love in a world that rarely plays fair.

A standout on the stellar, no skips hungover album.

~ SC

Country Boy's Dream Girl

Ella Langley was a Dandelion before she even knew it ,and it’s all here in this track. ‘Country Boy’s Dream Girl’ paints Langley as the perfect partner for a mossy-oak wearing, truck driving, whiskey sipping man. Simultaneously, it paints the picture of her perfect man while her Southern drawl rolls across muted guitars and a kicker of a bassline.

~ GB

Hell at Night (with BigXthaPlug)

It's perhaps a controversial choice to have this song so high on this ranking, given the mixed responses to BigXthaPlug’s surprise country pivot in 2025. But ‘Hell at Night’ is undoubtedly one of the stand-out offerings from that project, with few of her contemporaries able to capture the fire and swagger than Langley can on a hook like this, before BigX enters the fray for some cascading rapped verses.

~ MM

Excuse the Mess

One of Langley’s best features, outside of her distinctive talent, is her incredible relatability. ‘Excuse The Mess’ lets the listener inside her mind and plays on the common ‘please excuse the mess’ apology when one has an unexpected visitor.

A chance encounter with a love interest has Langley explaining away the temporary damage they might find. There’s a slight bluesy vibe to this one, and it’s impossible not to sing along.

~ GB

Loving Life Again

With ‘Loving Life Again,’ Langley offers a quiet counterpoint to the noise of the Billboard Hot 100, where high-gloss hits and viral moments often dominate the conversation.

Amid the flood of summer-ready anthems and chart-stacking releases, Langley delivers something far more patient and enduring. This is not a song that demands attention, it earns it, settling gently on the heart with each listen. The faint “yoohoo” echoing in the background from Grandma feels like a distant call from home, a small but powerful detail that pulls you back into a place of comfort and safety. It is a modern classic, the kind that lingers long after the song has ended.

~ SC

Butterfly Season (with Miranda Lambert)

Given Lambert’s role as a co-producer on Dandelion, and a key writer across the project, it was only right that the Texas trailblazer would join Langley on one of the tracks. ‘Butterfly Season’ is the ideal choice, and plays as a quietly optimistic reflection on a tumultuous year for Langley.

Unlike the album’s title-track, which perhaps leant a little too far into the mellow, hazy ambience, ‘Butterfly Season’ strikes the perfect balance between serenity and verve, without sounding apathetic.

~ MM

Don't Mind If I Do (with Riley Green)

The title track to Riley Green’s 2024 album, ‘Don’t Mind If I Do’ was the second instalment of duets from the pair. The lesser played of the two, this song feels like a gentle heartbreak lullaby. It’s quietly devastating and shares the hopelessness of a broken heart that can’t quite let go, desperate for a reconciliation.

~ GB

paint the town blue

One of the first songs that clearly hinted at Langley’s impending explosion in popularity, 2023's ‘paint the town blue’ once again highlighted the Alabama native’s penchant for sinuous, infectious hooks coupled with fiery electric guitars.

The elongation of the final vowel here feels like a stylistic choice that's cut from the same cloth as Parker McCollum’s break-out hit, ‘Pretty Heart’, with Langley a packaging up the satisfyingly witty titular lyric into a galvanising, stadium-ready chorus.

~ MM

Be Her

How do you follow up a song as globally successful as ‘Choosin’ Texas’? With ‘Ber Her’ - that’s how. For any other artist, the next single would be dwarfed by the ubiquity of ‘Choosin’ Texas’, but ‘Be Her’ kept the momentum going strong as the excitement built ahead of Dandelion.

Featuring an irresistible hook and a cushioning, synth-backed instrumental, ‘Be Her’ is, in many ways, the earworm that made everyone finally acknowledge, beyond doubt, that Langley is here to stay for good.

~ MM

girl you're taking home

‘girl you’re taking home’ is one of Langley’s most quietly devastating cuts, built on comparison, abandonment and the ache of knowing someone else got the version of him you wanted.

Over slow steel guitar, she contrasts neon and whiskey with back porch lights and family introductions, asking why she was good enough for last call, but not good enough for home.

~ CH

weren't for the wind

Epitomising the darker, rock-tinged sound that Langley leans into across still hungover, ‘weren’t for the wind’ oozes swagger and drama as our protagonist prepares to ride off into the sunset. The combination of haunting steel and Langley’s charismatic delivery creates a certified earworm, and showcases her ear for a killer hook.

~ MM

you look like you love me (with Riley Green)

The song that truly announced Langley to the world as a the next major star of country music. Revolving around wonderfully old-school spoken-word verses, Langley and Green team up to regale listeners with a Wild West-inspired love-story.

In an era of perfectly polished hooks and heavy, pop-leaning production, ‘you look like you love me’ felt as fresh and contemporary as it was nostalgic and retro. ‘you look like you love me’ remains one of Langley’s most iconic songs, but such is her prowess, the track has since been usurped by the likes of ‘Choosin’ Texas’.

~ MM

nicotine

A soft country ballad built around one of Langley’s strongest metaphors, ‘nicotine’ turns wanting someone bad into something almost chemical. She sings about needing a fix, craving “one more drag” and knowing full well this person is “the one I want but I just don’t need.” It’s desire as dependency, wrapped in a slow-burn melody.

~ CH

Choosin‘ Texas

On ‘Choosin’ Texas,’ Langley delivers the kind of runaway hit that could easily invite fatigue, but instead deepens its hold with every listen. At this point, its success feels inevitable, yet the real power lies not in its reach but in the feeling it sparks.

Like Shania Twain’s ‘Any Man of Mine’ or Faith Hill’s ‘This Kiss,’ it carries an undeniable pull, the kind that turns a moment into a memory, one that you’ll hold for decades to come. 

From the neon-soaked guitar opening, Langley taps into something electric and communal, the urge to throw your hands up, claim the nearest dance floor, and shout every word like it belongs to you. It is the kind of early, career-defining achievement that reminds you why songs like this matter in the first place. Further, it celebrates that we have collectively somehow chosen our new reigning Queen of Country.

~ SC