Every once in a while, an artist comes along who manages to make country music feel both timeless and brand new. Anna Dahl, a Wisconsin native with years of songwriting and performing under her belt, does just that with her debut EP Little Bit Country. Recorded between Nashville’s hallowed Sound Emporium Studios and Canyon Private Studios East, this five-track collection balances sass and sincerity, heartbreak and empowerment. What emerges is a confident introduction to an artist who has lived, loved, and learned enough to know exactly what kind of stories she wants to tell.
The project opens with “Top Shelf,” a swagger-filled anthem that serves as both mission statement and playful warning. On the surface, it’s a girls’ night sing-along, but Dahl gives it bite—reminding listeners that true value lies in knowing your worth. With sharp hooks and a vocal delivery that dances between playful charm and firm conviction, the track is as much a rallying cry for self-respect as it is a barroom soundtrack. It’s easy to picture this one blasting from Broadway in Nashville, with crowds shouting along to its punchy chorus.
Next comes “Take Me to the Ritz,” a song that perfectly illustrates Dahl’s knack for embracing contradictions without apology. On one hand, it’s a dirt-road party jam—revving engines, catfish over the fire, and the freedom of backwoods nights. On the other hand, it’s a nod to the finer things in life: silk sheets, espresso in the morning, and, yes, the Ritz-Carlton. Rather than choosing one identity, Dahl insists on both, crafting an anthem for anyone who refuses to be boxed in. Producer Don Miggs leans into that duality, giving the song a polished gloss without stripping away its rowdy edge.
If “Top Shelf” and “Ritz” showcase Dahl’s playful side, “C-O-W-B-O-Y” is where she unleashes her full country-rock strut. With galloping guitar riffs and a chorus built for dance floors, it’s a head-turner. Lyrically, it celebrates independence and flirtation, written from a bold female perspective that doesn’t shy away from control of her own narrative. Dahl sings with confidence and spark, delivering one of the EP’s catchiest moments. This track feels tailor-made for summer nights—blaring from truck speakers while friends laugh and stomp along.
Then comes the shift. “Weight of a Heartbreak” strips away the sass and lays bare a tender vulnerability. The lone ballad on the EP it’s a slow-burning meditation on lost love, closure, and the heaviness of moving on. Farrar’s violin and Luke’s grand piano touches (echoing some of Dahl’s Nashville collaborators) add gravity, turning the song into a haunting centrepiece. Dahl’s voice—steady but tinged with ache—feels lived-in here, proof that her strength as an artist lies not only in her playful storytelling but also in her ability to hold space for pain.
Closing track “Wrong Guy” brings the project full circle with its bittersweet energy. The melody bounces along, deceptively light for a song about failed love and broken patterns, but that’s the brilliance of it: Dahl packages resilience in an upbeat wrapper, making it an anthem for moving forward without bitterness. It’s a reminder that heartbreak doesn’t have to define you—it can push you toward a better chapter. In many ways, it’s the perfect closer, echoing her belief that life is too short to stay stuck where you don’t belong.
What makes Little Bit Country remarkable is the songwriting or the production—it’s the way it channels Anna Dahl’s personality. There’s humour, grit, tenderness, and wisdom all woven together, backed by musicians and writers who clearly know how to let her shine. Don Miggs’ production provides a radio-ready sheen, but the soul of the project belongs to Dahl’s perspective: a woman who has lived in small towns and big cities, chosen family over fame, and found her way back to music on her own terms.
With “Little Bit Country,” Anna Dahl plants her flag firmly in the crowded country-rock landscape. She’s playful without being shallow, emotional without being overwrought, and polished without losing authenticity. The EP feels like an introduction, but it also feels like the beginning of a long road ahead—one where Dahl will only continue to refine her voice and her message. If this debut is any indication, she’s not a “little bit country” but a whole lot ready to take over.
For more information, follow Anna Dahl:
Website – Facebook – Spotify – YouTube
