So you know every word to every song on Continuum, and you’ve already burned your way through The Search For Everything (Mayer’s latest, and ever-so-slightly more country effort). What to play next? Merge genres with these five tracks that have serious John Mayer vibes, from gritty guitar solos to on-point lyrics that beg for a singalong.
“Second One To Know” – Chris Stapleton
Of course John Mayer’s guitar-shredding skills are one of a kind, but Mayer’s outlaw contemporary Chris Stapleton’s “Second One to Know” has one of the best guitar riffs in country music at the moment. It’s extremely catchy and immediately appealing, with multiple rocking guitar solos featured throughout. This song will especially appeal to fans of John Mayer Trio and Mayer’s blues-rock side.
“Makin’ Me Look Good Again” – Drake White
Drake White is John Mayer if John Mayer was from the deep South. Blues, rock and pop have heavy influences on both artists’ music, and many of White’s songs have the soul, rawness and live quality behind them that also characterize many of Mayer’s hits. “Makin’ Me Look Good Again” is a definite example of their similar styles.
“‘Til Summer Comes Around” – Keith Urban
It’s easy to pair Keith Urban and John Mayer together after they appeared together on CMT Crossroads. The two traded guitar solos in a fun competition, trying to outdo each other while showcasing their insane level of talent. One of the most talked about songs from the evening was their duet of Keith Urban’s “‘Til Summer Comes Around.”
“Rainy Season” – Hunter Hayes
This slow-burner from Hunter Hayes is totally reminiscent of Mayer’s epic track “Gravity.” Hayes’ emotional vocals and hard-hitting lyrics would take center stage if it wasn’t for the dominating Mayer-inspired electric guitar that solidifies the song’s spot on this playlist.
“Shady” – Adam Doleac
The opening instrumentation on Adam Doleac’s lighthearted summer track is a dead-ringer for Mayer’s 2001 track “83.” (Seriously. CMT Crossroads 2.0?) The gentle guitar on “Shady” meshes with Mayer’s softer acoustic side (which is arguably just as fantastic as his famous power-solos), and both choruses are breezy yet totally jam-worthy.