Honestly, if you've ever sat in a parked truck with the windows down just to hear the end of a song, you probably already get Chris Stapleton. But his fifth studio album, Higher, feels like something else entirely. It isn’t just another collection of radio-friendly country hits. It’s a 14-track slow burn that manages to be both the loudest and the quietest thing he’s ever done.
Released in late 2023 and continuing to dominate the conversation well into 2026, the Chris Stapleton Higher songs represent a shift. Most people think of Stapleton as the "Tennessee Whiskey" guy—the bearded titan with the voice that sounds like it was filtered through a barrel of bourbon. While that’s still true, Higher shows a guy who isn't afraid to let the groove take the lead over the growl.
The Secret Sauce of the Higher Tracklist
What most people get wrong about this album is thinking it’s a "breakup record." Sure, it starts with "What Am I Gonna Do," which is about as lonesome as it gets. But the heart of the album is actually a love letter. Specifically, a love letter to his wife, Morgane Stapleton. She isn't just a backup singer here; she's the co-producer alongside Chris and Dave Cobb. You can feel her influence in the way the songs breathe.
Recording at RCA Studio A in Nashville—the same place where legends like Dolly Parton and Elvis tracked—gave these songs a specific kind of "air." It doesn't sound digital. It sounds like five people in a room trying to capture lightning in a bottle.
Breaking Down the Standouts
- White Horse: This was the lead single and, man, does it rip. It’s the closest thing to a "rock" song on the record. It’s got this cinematic, Western vibe that feels like it belongs in a Yellowstone episode. Interestingly, Chris actually wrote this song years ago with Dan Wilson (the guy who co-wrote "Someone Like You" for Adele). It sat in a drawer because it didn't fit the vibe of his earlier stuff.
- Think I’m In Love With You: This one caught everyone by surprise. It’s got a 70s soul-pop rhythm that almost feels like Al Green. It’s groovy. It’s sexy. It’s not "trucks and dirt roads" country.
- It Takes A Woman: A total gut-punch of a ballad. It’s stripped back, featuring just Chris and Morgane’s harmonies. If you want to know what their marriage sounds like, it’s this song.
- South Dakota: This is the "heavy" one. It’s bluesy, dark, and features some of Stapleton’s best guitar work. He isn't just a singer; the guy can absolutely shred when he wants to.
Why the Title Track "Higher" Almost Didn't Happen
The song "Higher" itself has a wild backstory. Believe it or not, Chris wrote this song way back during his first-ever demo session when he moved to Nashville. That’s over 20 years ago.
Morgane had been begging him to record it for every single album since Traveller. For whatever reason, he kept saying no. Maybe he wasn't ready to sing it yet? The vocal performance on the version we finally got is insane. He hits notes that most male country singers wouldn't even attempt. He actually mentioned in an interview with Kelleigh Bannen that they ended up recording it in a key that was a step and a half higher than the original demo just because he was "feeling good" that day.
Talk about a flex.
Exploring the Deep Cuts and Gritty Details
If you're looking for the soul of the Chris Stapleton Higher songs, you have to look at the second half of the record. This is where things get "country" in the traditional sense.
"The Bottom" is a masterclass in songwriting. It takes the old "drinking to forget" trope and flips it. He sings about how he doesn't have a problem as long as he can't see the bottom of the glass. It’s poetic, dark, and feels like something George Jones would have fought to record.
Then you have "Crosswind." This is basically a trucker’s anthem for the modern era. It’s got this driving rhythm—pun intended—that mimics the feel of a long haul on a windy interstate. It’s about perseverance. It’s about the "matter of will" that keeps a person moving when they probably should have quit miles ago.
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The Full Circle Moment
The album structure is actually pretty brilliant. It opens with a question in "What Am I Gonna Do" (What am I gonna do when I get over you?) and ends with a definitive answer in "Mountains Of My Mind."
In that final track, which is a solo acoustic performance, he basically tells the listener (and himself) that he’s going to be fine. It’s a quiet, introspective way to end an album that has so many big, loud moments. It’s the sound of a man finding peace after a long, noisy journey.
Real Talk: Is It His Best Work?
Music critics are split. Some say Starting Over was more cohesive. Others argue that Traveller will always be the king. But Higher feels like the most "Chris" album. It doesn't care about genres.
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You’ve got:
- Soul/R&B influences on "Think I'm In Love With You."
- Hard Rock vibes on "White Horse."
- Classic Country storytelling on "The Bottom."
- Gospel undertones on the title track.
It’s a lot. But because his voice is the anchor, it never feels messy. It just feels like a guy who finally has enough clout to do whatever the hell he wants.
Practical Ways to Experience Higher
If you're just getting into these songs, don't just shuffle them on a tinny phone speaker. This is "headphones music."
- Listen for the "Nashville Sound": Pay attention to the pedal steel guitar played by Paul Franklin. He’s a legend for a reason. His work on "The Day I Die" is haunting.
- Watch the Live Versions: Stapleton is one of those rare artists who actually sounds better live. His performance of "White Horse" at the CMAs is a masterclass in stage presence.
- Check the Credits: Look at the songwriting credits. You'll see names like Miranda Lambert on "What Am I Gonna Do." It’s cool to see how these superstars collaborate behind the scenes.
Next Steps for the Stapleton Fan:
Go back and listen to the track "Higher" one more time, but focus specifically on the 3:00 mark. That vocal run isn't just talent; it's decades of grit and whiskey. Once you've done that, grab the vinyl. The production by Dave Cobb is so rich that digital streaming actually loses some of the low-end warmth of the bass and the "thump" of the drums. It’s an album that deserves to be heard in its most physical, raw form.