Dierks Bentley’s ‘Broken Branches’ Finds Grace in the Grit
The country star’s eleventh album is a raw, collaborative ode to imperfection and emotional truth, with standout moments featuring Stephen Wilson Jr. and Miranda Lambert.
Dierks Bentley has always been something of a musical shapeshifter — part old-school crooner, part festival-stage rocker. With his new album, Broken Branches, the Nashville veteran doesn’t reinvent himself. He digs in. Deep. And the result is a record that feels less like a bid for streaming glory, and more like a personal inventory.
A Title That Says More Than It Lets On
On the surface, Broken Branches sounds like another spin around the familiar country block. There are plenty of nods to trucks, heartbreak, and backyard beers. But listen closer — Bentley’s telling a different story this time. One where imperfection is worn as a badge, not a burden.
The phrase “broken branches” refers to people like him, Bentley says — those who didn’t quite “fit the mold” but still put down roots in Nashville’s tough but generous music soil. In a conversation with People Magazine, Bentley explained the album’s title as a tribute to those who live on the fringes — “the weird ones,” he calls them with something like pride.
The Sound of Familiar Voices — And Some Surprises
Bentley’s never been shy about sharing the mic, but this time, he’s pulling in names that span generations. John Anderson, a country legend in his own right, joins Bentley on the title track, while Riley Green, a torchbearer for the new school, gives the song a rowdy edge. The three of them together? Like a family reunion where everyone brought whiskey.
And then there’s Miranda Lambert. Her presence on a banjo-laced ballad midway through the album adds emotional weight — not the teary kind, but the kind that sits quietly in your gut and lingers.
Why “Cold Beer Can” Stands Out on Dierks Bentley Broken Branches
The opener, “Cold Beer Can,” could’ve easily been another lazy toast to light lagers. Instead, it turns out to be the record’s emotional center. Co-written with Stephen Wilson Jr., the track walks a fine line between melancholy and warmth. Wilson’s earthy vocals and no-frills guitar playing bring a kind of honesty that’s hard to fake — and Bentley doesn’t try to.
It’s also the album’s most sonically stripped-back moment, and that works in its favor. In a sea of overproduced radio fare, this one feels like it was recorded on a porch just before sunset.
Faith, Regret, and Songs That Don’t Flinch
Not everything on Broken Branches lands with the same subtlety. “Jesus Loves Me” plays with heavy themes — religion, heartbreak, and unanswered prayers — but does so with a kind of wounded wit that makes it stick. “Thought maybe if I hit my knees / She’d think about hitting the brakes,” Bentley sings. The payoff line? “Yeah, Jesus loves me / But she don’t.” It’s clever, but not smug. Sad, but not defeated.
Another standout, “Don’t Cry For Me,” closes the album on a note of quiet acceptance. No grand finale, no showy orchestration. Just a man taking stock of what he’s lost, what he’s learned, and what he’s still holding onto.
When It Goes Off-Script
Of course, no Bentley album would be complete without a wildcard or two. That moment comes in the form of “She Hates Me,” a stomping, sneering track that borrows a hook from early-2000s rock outfit Puddle of Mudd. It’s loud, unapologetic, and maybe a bit out of place — but in the context of the album’s “broken branch” ethos, it earns its seat at the table.
Some fans might shrug. Others might blast it at full volume on a highway with the windows down. Bentley, clearly, isn’t losing sleep over either reaction.
A Mid-Career Snapshot, Not a Sales Pitch
At this point in his career, Dierks Bentley has little to prove. He’s not chasing radio spins or algorithm clicks — not that he needs to. But what makes Broken Branches resonate is that it feels lived-in. It’s the sound of someone who’s been through a few things and isn’t afraid to say so out loud.
And that’s the quiet revelation here: these aren’t just songs. They’re checkpoints. Not polished statements, but open-ended conversations.
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