When you’re talking about 20 best Cody Jinks songs, you’re diving into the catalog of one of modern outlaw country’s most authentic voices. This Fort Worth native didn’t just wake up one day and decide to play country music—he earned every gravel-coated note through years of paying dues, first in a thrash metal band before returning to his Texas roots. What makes Jinks special isn’t just his baritone rumble or his refusal to play by Nashville’s rules; it’s the way he channels the ghost of Waylon Jennings through a lens that’s entirely his own.
Cody Jinks has built his empire independently, releasing albums through his own Late August Records and consistently charting without mainstream radio support. His 2016 breakthrough I’m Not the Devil hit No. 4 on Billboard’s Country Albums chart, while 2018’s Lifers climbed to No. 2. With over 2.7 million monthly Spotify listeners, Jinks proves that authenticity still resonates in an era of polished pop-country production.
Loud and Heavy
“Loud and Heavy” stands as perhaps Jinks’ most recognizable anthem, and for good reason—this Adobe Sessions cut captures everything that makes his sound essential. The production here is deceptively simple, with a clean acoustic guitar foundation that allows Jinks’ vocals to command every moment, while the arrangement builds with understated power that mirrors the song’s emotional weight. Released in 2015, this track showcases his ability to merge traditional country storytelling with a rock-influenced intensity that never feels forced. The way he delivers each line feels lived-in, like he’s recounting actual bar-stool confessions rather than performing for an audience, and that authenticity is what separates Jinks from countless Nashville pretenders.
Hippies and Cowboys
From his 2010 album Less Wise, “Hippies and Cowboys” became an early calling card that established Jinks’ lyrical perspective and musical identity. This track demonstrates his knack for capturing the duality of Texas culture—the free-spirited rebellion and the conservative traditionalism existing side by side—through imagery that feels specific to Fort Worth honky-tonks but universal in its themes. The production maintains a stripped-down approach that was ahead of its time, predating the current Americana movement’s emphasis on organic instrumentation by several years. When you hear this song on quality headphones, you catch the nuances in Jinks’ vocal delivery that reveal his metal background—there’s a controlled aggression in his phrasing that country singers rarely possess, giving even his most traditional moments an edge that keeps things unpredictable.
I’m Not the Devil
The title track from Jinks’ 2016 breakthrough album carries a mysterious narrative weight that showcases his storytelling at its darkest and most compelling. Co-written with Ward Davis, this song almost wasn’t the album’s centerpiece—Jinks has mentioned the album was nearly complete before they wrote this track, but its power was undeniable enough to rename the entire project. The arrangement here is sparse but effective, with atmospheric production recorded at Sonic Ranch in Tornillo, Texas, that creates a cinematic quality perfectly suited to the song’s morally ambiguous narrator. What makes this track particularly effective is Jinks’ refusal to explain or justify the character he’s inhabiting; he trusts his audience to sit with the discomfort and draw their own conclusions, a confidence that’s rare in modern country music where everything tends to be spelled out in literal terms.
Must Be the Whiskey
“Must Be the Whiskey” from the Lifers album showcases Jinks tackling one of country music’s most time-worn subjects—drinking to cope—with a perspective that avoids both romanticization and heavy-handed moralism. The production here features a fuller band arrangement than some of his earlier work, with pedal steel and keys adding texture without cluttering the sonic space, allowing his vocals to remain the focal point. Lyrically, Jinks walks a tightrope between acknowledging the destructive patterns of using alcohol to numb pain while maintaining the first-person perspective that makes the narrative feel immediate rather than preachy. This track demonstrates his growth as a songwriter, showing that he can tackle familiar themes without falling back on clichés, instead finding fresh angles through specific details and honest emotional observation.
Mamma Song
One of the emotional centerpieces from Adobe Sessions, “Mamma Song” reveals Jinks’ ability to write with vulnerability and tenderness without sacrificing his hard-earned authenticity. The arrangement here is beautifully restrained, featuring primarily acoustic instrumentation that creates an intimate atmosphere perfectly suited to the song’s personal subject matter. What sets this track apart is the specificity of Jinks’ observations—rather than trading in generic sentimentality about mothers, he includes details that feel pulled from actual memory, giving the song a documentary quality that makes the emotional payoff earned rather than manipulative. The production choices support this intimacy, with close-mic’d vocals that put you right in the room with Jinks, making this a standout moment that shows his range extends far beyond the outlaw persona.
David
Also from Adobe Sessions, “David” represents Jinks’ ability to craft character-driven narratives that feel like short films compressed into three-and-a-half minutes. The song tells the story of its titular character with empathy and detail, avoiding the tendency to either lionize or condemn, instead presenting David as a fully realized person whose choices and circumstances intersect in complicated ways. The musical arrangement supports the storytelling with a steady, mid-tempo groove that gives Jinks room to deliver the narrative with the pacing of a skilled storyteller rather than rushing through verses to get to a chorus hook. This track exemplifies the Adobe Sessions era’s stripped-down aesthetic, where every musical choice serves the song rather than calling attention to itself, creating a cohesive listening experience that rewards close attention to both the lyrics and the subtle instrumental work supporting them.
Cast No Stones
“Cast No Stones” stands among Jinks’ most powerful statements on judgment, hypocrisy, and the human tendency toward moral condemnation, delivered with the conviction of someone who’s been on both sides of that equation. The song’s title references biblical themes without becoming preachy, instead using that framework to examine more universal questions about forgiveness and understanding. Musically, the track features a fuller arrangement than some of his more stripped-down work, with electric guitar accents and a driving rhythm section that gives the song a rock-influenced urgency that matches the lyrical intensity. The way Jinks delivers certain lines—with a combination of weariness and defiance—suggests years of dealing with people’s assumptions and judgments about who he is based on appearances or past mistakes, making this more than just a philosophical exercise but a personal reckoning set to music.
Somewhere in the Middle
From the Less Wise album, “Somewhere in the Middle” captures the existential uncertainty that defines much of Jinks’ best work, examining the space between extremes where most of life actually happens. The production here maintains the lo-fi aesthetic of his early independent releases, with a warmth and grain that gives the recording character often missing from more polished contemporary country. Lyrically, Jinks avoids easy answers or tidy resolutions, instead sitting with the discomfort of not having everything figured out—a refreshing perspective in a genre that often traffics in certainty and simple solutions. This track has become a fan favorite for good reason; it articulates feelings many people experience but rarely hear expressed in country music, particularly the male-dominated outlaw subgenre where vulnerability is often coded as weakness rather than honest self-examination.
Fast Hand
“Fast Hand” showcases Jinks’ ability to write uptempo numbers that maintain his artistic integrity while getting crowds moving in live settings. First appearing on the Blacksheep EP before being re-recorded for Adobe Sessions, this track demonstrates his skill at crafting songs with immediate hooks without sacrificing lyrical substance or sonic authenticity. The arrangement features a propulsive acoustic guitar rhythm that drives the song forward, with just enough additional instrumentation—including some subtle electric guitar work—to give it dimension without overproducing the raw energy that makes Jinks’ music compelling. This song has become a concert staple for good reason; it captures the energy of his live shows while working equally well in more intimate listening contexts, showing his range as both a performer and recording artist.
Lifers
The title track from Jinks’ 2018 album Lifers serves as a meditation on commitment, perseverance, and the working-class values that inform his entire aesthetic and artistic approach. Released through Rounder Records (his last album with the label before returning to complete independence), this track reached audiences through alternative country channels and word-of-mouth rather than traditional radio promotion. The song’s narrative focuses on a character who embodies the kind of steadfast dedication Jinks himself has shown to his craft—someone who shows up every day, does the work, and doesn’t look for shortcuts or easy answers. The production balances traditional country instrumentation with a modern recording clarity that allows every element to shine, from the pedal steel accents to the rhythm section’s steady pocket, creating a sonic landscape that feels both timeless and contemporary.
No Words
From the I’m Not the Devil album, “No Words” demonstrates Jinks’ understanding that sometimes silence speaks louder than explanation, exploring relationships where communication has broken down beyond repair. The arrangement here features a haunting quality achieved through strategic use of space—what’s NOT played matters as much as what is, creating tension that mirrors the lyrical content about things left unsaid. This track showcases Jinks’ growth as a melodic writer; while his earlier work sometimes prioritized mood and atmosphere over memorable hooks, “No Words” manages to be both emotionally heavy and melodically sticky, the kind of song that embeds itself in your memory after a single listen. The vocal performance captures multiple emotional layers simultaneously—frustration, resignation, and lingering affection—showing the kind of nuanced acting through singing that separates great vocalists from merely competent ones.
We Get By
“We Get By” from the 30 album (released in 2012) represents an earlier phase of Jinks’ career, before the critical and commercial success of I’m Not the Devil brought him to wider attention. This track captures the economic anxiety and stubborn resilience that defines much of working-class American life, delivered without condescension or romanticization. The production here has a different feel from his later work—slightly less polished, more immediate—giving it a documentary quality that suits the subject matter perfectly. What makes this song endure beyond its initial release is its universality; the specifics are Texas-centric, but the core message about making do with what you have and finding dignity in struggle resonates across geographic and cultural boundaries. For fans exploring his deeper catalog, this track offers essential context for understanding how Jinks developed his artistic voice.
Wish You Were Here
Jinks’ cover of Pink Floyd’s “Wish You Were Here,” released in 2017, represents a bold artistic choice that could have backfired spectacularly but instead reveals new dimensions in both the original song and Jinks’ interpretive skills. Stripping away the progressive rock elements and reimagining the song through an outlaw country lens, Jinks honors the original’s emotional core while making it completely his own. The arrangement features predominantly acoustic instrumentation with strategic use of pedal steel that adds a mournful quality perfectly suited to the song’s themes of absence and longing. This cover showcases Jinks’ musical background—his years playing metal inform his understanding of how to build tension and release, while his country roots give him the tools to recontextualize the song in a way that feels natural rather than forced. Released as a standalone single rather than as part of an album, this track demonstrated his willingness to take risks and trust his artistic instincts even when the path isn’t obvious.
Same Kind of Crazy as Me
From The Wanting (one of two albums Jinks released simultaneously in October 2019), “Same Kind of Crazy as Me” explores themes of acceptance and finding someone who understands your particular brand of dysfunction. Co-written with Greg Jones and Ward Davis, this track showcases Jinks’ collaborative strengths—he’s confident enough in his artistic vision to bring in other writers without diluting what makes his music distinctive. The production features a fuller arrangement than some of his stripped-down work, with layered harmonies and a driving rhythm that gives the song commercial appeal without compromising its authenticity. Lyrically, the song avoids the trap of either celebrating dysfunction or condemning it, instead occupying a more complex emotional space where self-awareness doesn’t necessarily lead to change but at least creates the possibility of connection with someone on the same wavelength.
Holy Water
“Holy Water” showcases Jinks exploring religious imagery and spiritual themes with the nuance and complication they deserve rather than falling back on easy faith-based platitudes. The arrangement here features a brooding intensity achieved through minor key progressions and restrained instrumentation that builds gradually, creating a sense of gravity that matches the lyrical exploration of redemption and doubt. What makes this track particularly effective is Jinks’ refusal to provide easy answers—the song sits with questions rather than rushing to resolve them, reflecting a mature understanding that spiritual life is rarely as simple as contemporary Christian country would have you believe. His vocal delivery here carries a searching quality, as if he’s working through these ideas in real-time rather than reciting pre-packaged beliefs, giving the performance an authenticity that makes the listener lean in rather than tune out.
What Else Is New
“What Else Is New” from Adobe Sessions demonstrates Jinks’ ability to write songs about resignation and weariness without falling into self-pity or nihilism. The track maintains a sardonic humor even while dealing with genuinely difficult subject matter, showing the kind of gallows wit that helps people survive hard times. The production here exemplifies the Adobe Sessions aesthetic—recorded in an adobe room at Sonic Ranch in Tornillo, Texas, the space itself becomes part of the sound, giving the recordings a warmth and dimension that digital manipulation can’t replicate. This song has become a cult favorite among Jinks’ hardcore fans, the kind of deep cut that doesn’t get radio play but functions as a marker of insider status, separating casual listeners from devoted followers who’ve spent time with the full albums rather than just streaming the hits.
Ain’t a Train
Released as a single from After the Fire (2019), “Ain’t a Train” co-written with Josh Morningstar, showcases Jinks exploring metaphor and symbolic imagery with more ambition than some of his more literal narratives. The production here marks a slight evolution in his sound—recorded independently through his Late August Records after leaving Rounder Records, the track shows what creative freedom looks like when an artist owns their entire process. The arrangement features a driving rhythm section and layered guitars that give the song a road-worn urgency, perfectly suited to themes of constant motion and the search for something that remains just out of reach. This track demonstrates Jinks’ continued growth as a songwriter, showing he hasn’t become complacent even after achieving the level of success many independent artists only dream about, instead pushing himself to explore new thematic territory and musical approaches.
Colorado
“Colorado” captures the romanticized Western imagery that runs through much of Jinks’ work, but filters it through a lens that acknowledges both the beauty and the harsh realities of life in the American West. The arrangement here is expansive and cinematic, with instrumentation that evokes wide-open spaces without resorting to clichéd sonic markers. What makes this track work is the specificity of detail—Jinks includes observations that could only come from someone who’s actually spent time in the landscape he’s describing rather than just trafficking in second-hand imagery from other songs and movies. The song has become a live favorite, particularly when Jinks performs in Colorado (including his notable Red Rocks concert), where the geographic specificity creates an immediate connection with audiences who recognize the places and feelings he’s describing.
Rock and Roll
“Rock and Roll” from Adobe Sessions represents Jinks’ most direct acknowledgment of his musical influences beyond traditional country, paying homage to the genre that first captured his imagination as a young musician. The arrangement here features more electric guitar than many of his tracks, with a groove that wouldn’t sound out of place on a Southern rock record while maintaining the country foundation that defines his sound. This track showcases the genre-blending that makes Jinks difficult to categorize but easy to appreciate—he’s not interested in purity tests or staying within prescribed boundaries, instead drawing from whatever influences serve the song. For listeners who appreciate how different audio equipment can reveal new layers in recordings, this track rewards close listening with its interplay between acoustic and electric elements, creating a sonic landscape that’s richer than it might first appear.
The Wanting
The title track from Jinks‘ second October 2019 release explores desire, longing, and the human tendency to always want what we don’t have. Co-written with Tennessee Jet, this song represents the lighter counterpoint to After the Fire‘s darker themes—Jinks has described The Wanting as “coming up for air” after exploring heavier emotional territory. The production features a more upbeat energy than much of his catalog, with an arrangement that emphasizes forward momentum rather than dwelling in darkness. What makes this track resonate is its honesty about the perpetual dissatisfaction that drives both ambition and misery—Jinks doesn’t offer solutions or suggest that wanting less is the answer, instead simply acknowledging this fundamental aspect of human nature with a combination of frustration and acceptance. The melody here is more immediately accessible than some of his more brooding work, showing his ability to write hooks without sacrificing the lyrical depth that defines his best material.
Frequently Asked Questions
What is Cody Jinks’ most popular song?
“Loud and Heavy” from the 2015 Adobe Sessions album remains Cody Jinks’ most recognizable and streamed track, serving as the introduction to his music for many new listeners. The song perfectly encapsulates his artistic approach—stripped-down production, honest lyrics about life’s weight and complexity, and vocals that carry genuine emotion rather than polished perfection. “Hippies and Cowboys” from Less Wise also ranks among his most popular tracks, particularly with longtime fans who discovered him before his mainstream breakthrough.
What genre is Cody Jinks?
Cody Jinks operates primarily within outlaw country and Americana, but his music incorporates elements of Southern rock, traditional country, and even his thrash metal background in subtle ways. He represents the modern independent country movement that prioritizes artistic authenticity over commercial radio success, recording with organic instrumentation and refusing to follow Nashville’s production trends. His sound has more in common with Waylon Jennings and Merle Haggard than contemporary mainstream country, though he’s carving out his own distinctive lane rather than simply recreating the past.
Where was Cody Jinks’ Adobe Sessions recorded?
Adobe Sessions was recorded at Sonic Ranch in Tornillo, Texas, a residential studio located near the Mexican border known for its analog warmth and inspiring creative atmosphere. The album’s title references the small adobe room where much of the recording took place, with the space itself contributing to the album’s distinctive sonic character. Released in January 2015, the album marked a crucial turning point in Jinks’ career, charting on Billboard’s regional Heatseekers charts and leading to touring opportunities with Sturgill Simpson that expanded his audience significantly.
How many albums has Cody Jinks released?
Cody Jinks has released over ten studio albums throughout his career, starting with albums in 2008 after transitioning from his thrash metal band Unchecked Aggression to country music. His most recent releases include In My Blood (2025), Cody Jinks Sings Lefty Frizzell (2024), Change the Game (2024), and Backside of 30 (2024). He’s maintained a prolific release schedule through his independent label Late August Records, demonstrating remarkable productivity for an artist who also tours extensively and refuses to compromise his creative vision for commercial considerations.
Is Cody Jinks independent or signed to a label?
Cody Jinks currently releases music through his own Late August Records, maintaining complete creative and business control over his career. He previously worked with Rounder Records for his 2018 album Lifers, but returned to full independence for his 2019 releases After the Fire and The Wanting, both of which debuted in the top positions on Billboard’s Country Albums chart. This independent success proves that artists can achieve significant commercial results without major label support, particularly when they’ve built a dedicated fanbase through years of consistent touring and authentic music that resonates deeply with listeners seeking alternatives to mainstream country radio’s offerings.