Songs like Sad But True by Jason Isbell and the 400 Unit
Based on a tempo of (+/- 10%) and a similar genre
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Jerry Cantrell
Brighten
106 bpm • D# Maj • 04:45 • -4.82db
32% Popularity • 40% Danceability • 73% Energy • 31% Liveness
3% Instrumentalness • 53% Positiveness
32% Popularity • 40% Danceability • 73% Energy • 31% Liveness
3% Instrumentalness • 53% Positiveness
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Cordovas
Rain On The Rail
106 bpm • C Maj • 03:35 • -6.6db
12% Popularity • 68% Danceability • 66% Energy • 13% Liveness
1% Instrumentalness • 80% Positiveness
12% Popularity • 68% Danceability • 66% Energy • 13% Liveness
1% Instrumentalness • 80% Positiveness
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Jason Isbell and the 400 Unit
Sad But True
106 bpm • D Maj • 04:30 • -4.8db
20% Popularity • 36% Danceability • 88% Energy • 22% Liveness
5% Instrumentalness • 48% Positiveness
20% Popularity • 36% Danceability • 88% Energy • 22% Liveness
5% Instrumentalness • 48% Positiveness
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The Reverend Peyton's Big Damn Band
Too Cool to Dance
106 bpm • F min • 03:04 • -6.19db
15% Popularity • 52% Danceability • 97% Energy • 32% Liveness
1% Instrumentalness • 72% Positiveness
15% Popularity • 52% Danceability • 97% Energy • 32% Liveness
1% Instrumentalness • 72% Positiveness
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The Black Keys
Mellow Peaches
105 bpm • C Maj • 03:47 • -7.49db
34% Popularity • 26% Danceability • 69% Energy • 10% Liveness
67% Instrumentalness • 30% Positiveness
34% Popularity • 26% Danceability • 69% Energy • 10% Liveness
67% Instrumentalness • 30% Positiveness
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Sass Jordan
Am I Wrong
107 bpm • A min • 02:36 • -7.13db
29% Popularity • 71% Danceability • 70% Energy • 35% Liveness
0% Instrumentalness • 96% Positiveness
29% Popularity • 71% Danceability • 70% Energy • 35% Liveness
0% Instrumentalness • 96% Positiveness
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Brandi Carlile
Black Hole Sun
107 bpm • G min • 06:16 • -5.44db
28% Popularity • 28% Danceability • 74% Energy • 9% Liveness
0% Instrumentalness • 22% Positiveness
28% Popularity • 28% Danceability • 74% Energy • 9% Liveness
0% Instrumentalness • 22% Positiveness
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Black Joe Lewis & The Honeybears
Five Dollars
107 bpm • A min • 03:08 • -5.75db
37% Popularity • 52% Danceability • 87% Energy • 34% Liveness
0% Instrumentalness • 86% Positiveness
37% Popularity • 52% Danceability • 87% Energy • 34% Liveness
0% Instrumentalness • 86% Positiveness
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Jason Isbell and the 400 Unit
When We Were Close
105 bpm • A Maj • 03:57 • -5.77db
18% Popularity • 56% Danceability • 67% Energy • 8% Liveness
1% Instrumentalness • 69% Positiveness
18% Popularity • 56% Danceability • 67% Energy • 8% Liveness
1% Instrumentalness • 69% Positiveness
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Colin James
Open Road
105 bpm • A Maj • 05:09 • -7.37db
17% Popularity • 61% Danceability • 66% Energy • 26% Liveness
1% Instrumentalness • 64% Positiveness
17% Popularity • 61% Danceability • 66% Energy • 26% Liveness
1% Instrumentalness • 64% Positiveness
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Chris Cornell
Showdown
105 bpm • E min • 03:23 • -6db
35% Popularity • 65% Danceability • 87% Energy • 34% Liveness
0% Instrumentalness • 69% Positiveness
35% Popularity • 65% Danceability • 87% Energy • 34% Liveness
0% Instrumentalness • 69% Positiveness
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Buffalo Nichols
Living Hell
105 bpm • B Maj • 03:42 • -6.74db
19% Popularity • 74% Danceability • 70% Energy • 13% Liveness
7% Instrumentalness • 29% Positiveness
19% Popularity • 74% Danceability • 70% Energy • 13% Liveness
7% Instrumentalness • 29% Positiveness
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Jason Isbell
24 Frames
105 bpm • E min • 03:13 • -10.21db
26% Popularity • 57% Danceability • 53% Energy • 14% Liveness
0% Instrumentalness • 76% Positiveness
26% Popularity • 57% Danceability • 53% Energy • 14% Liveness
0% Instrumentalness • 76% Positiveness
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The Reverend Peyton's Big Damn Band
Crime to Be Poor
107 bpm • G Maj • 03:15 • -5.94db
9% Popularity • 62% Danceability • 88% Energy • 12% Liveness
1% Instrumentalness • 69% Positiveness
9% Popularity • 62% Danceability • 88% Energy • 12% Liveness
1% Instrumentalness • 69% Positiveness
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Crown Lands
End Of The Road
107 bpm • F# min • 04:27 • -4.36db
17% Popularity • 33% Danceability • 92% Energy • 15% Liveness
0% Instrumentalness • 27% Positiveness
17% Popularity • 33% Danceability • 92% Energy • 15% Liveness
0% Instrumentalness • 27% Positiveness
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Jason Isbell and the 400 Unit
What've I Done To Help
105 bpm • E min • 06:40 • -6.27db
8% Popularity • 52% Danceability • 87% Energy • 32% Liveness
0% Instrumentalness • 30% Positiveness
8% Popularity • 52% Danceability • 87% Energy • 32% Liveness
0% Instrumentalness • 30% Positiveness
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The Sheepdogs
Scarborough Street Fight
105 bpm • G Maj • 04:30 • -6db
23% Popularity • 58% Danceability • 69% Energy • 7% Liveness
41% Instrumentalness • 67% Positiveness
23% Popularity • 58% Danceability • 69% Energy • 7% Liveness
41% Instrumentalness • 67% Positiveness
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Rodney Crowell
Something Has To Change
108 bpm • E Maj • 04:01 • -7.07db
31% Popularity • 80% Danceability • 62% Energy • 12% Liveness
17% Instrumentalness • 86% Positiveness
31% Popularity • 80% Danceability • 62% Energy • 12% Liveness
17% Instrumentalness • 86% Positiveness
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Eric Johanson
Buried Above Ground
108 bpm • C Maj • 03:24 • -7.31db
20% Popularity • 60% Danceability • 83% Energy • 14% Liveness
9% Instrumentalness • 72% Positiveness
20% Popularity • 60% Danceability • 83% Energy • 14% Liveness
9% Instrumentalness • 72% Positiveness
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Billy F Gibbons
More-More-More
108 bpm • F min • 03:02 • -4.06db
27% Popularity • 50% Danceability • 93% Energy • 48% Liveness
1% Instrumentalness • 52% Positiveness
27% Popularity • 50% Danceability • 93% Energy • 48% Liveness
1% Instrumentalness • 52% Positiveness
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Jerry Cantrell
Atone
108 bpm • F Maj • 04:13 • -5.57db
31% Popularity • 48% Danceability • 84% Energy • 17% Liveness
7% Instrumentalness • 21% Positiveness
31% Popularity • 48% Danceability • 84% Energy • 17% Liveness
7% Instrumentalness • 21% Positiveness
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Jason Isbell and the 400 Unit
24 Frames
108 bpm • G Maj • 03:12 • -7.52db
8% Popularity • 31% Danceability • 68% Energy • 96% Liveness
0% Instrumentalness • 74% Positiveness
8% Popularity • 31% Danceability • 68% Energy • 96% Liveness
0% Instrumentalness • 74% Positiveness
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The Sheepdogs
I Wanna Know You
108 bpm • A Maj • 03:30 • -5.42db
25% Popularity • 64% Danceability • 51% Energy • 10% Liveness
0% Instrumentalness • 48% Positiveness
25% Popularity • 64% Danceability • 51% Energy • 10% Liveness
0% Instrumentalness • 48% Positiveness
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Otis Gibbs
Panhead
108 bpm • G Maj • 06:14 • -10db
17% Popularity • 72% Danceability • 43% Energy • 7% Liveness
0% Instrumentalness • 56% Positiveness
17% Popularity • 72% Danceability • 43% Energy • 7% Liveness
0% Instrumentalness • 56% Positiveness
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The Allman Betts Band
Pale Horse Rider
108 bpm • C Maj • 04:43 • -6.15db
21% Popularity • 32% Danceability • 68% Energy • 9% Liveness
1% Instrumentalness • 20% Positiveness
21% Popularity • 32% Danceability • 68% Energy • 9% Liveness
1% Instrumentalness • 20% Positiveness
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Ian Moore
Muddy Jesus
108 bpm • D Maj • 04:53 • -8.88db
19% Popularity • 48% Danceability • 72% Energy • 37% Liveness
60% Instrumentalness • 26% Positiveness
19% Popularity • 48% Danceability • 72% Energy • 37% Liveness
60% Instrumentalness • 26% Positiveness
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Justin Townes Earle
Ain’t Got No Money
108 bpm • D min • 03:05 • -7.4db
31% Popularity • 44% Danceability • 66% Energy • 8% Liveness
0% Instrumentalness • 62% Positiveness
31% Popularity • 44% Danceability • 66% Energy • 8% Liveness
0% Instrumentalness • 62% Positiveness
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Blues Traveler
Funky Bitch
108 bpm • C Maj • 04:32 • -6.17db
28% Popularity • 59% Danceability • 74% Energy • 10% Liveness
3% Instrumentalness • 55% Positiveness
28% Popularity • 59% Danceability • 74% Energy • 10% Liveness
3% Instrumentalness • 55% Positiveness
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Ally Venable
Bring on the Pain
103 bpm • F Maj • 03:54 • -6.8db
18% Popularity • 34% Danceability • 50% Energy • 9% Liveness
3% Instrumentalness • 52% Positiveness
18% Popularity • 34% Danceability • 50% Energy • 9% Liveness
3% Instrumentalness • 52% Positiveness
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Ray Wylie Hubbard
Fast Left Hand
103 bpm • A Maj • 04:15 • -4.95db
27% Popularity • 59% Danceability • 68% Energy • 10% Liveness
0% Instrumentalness • 67% Positiveness
27% Popularity • 59% Danceability • 68% Energy • 10% Liveness
0% Instrumentalness • 67% Positiveness
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Steve Azar
Coldwater
103 bpm • E Maj • 04:07 • -6.92db
15% Popularity • 60% Danceability • 61% Energy • 10% Liveness
0% Instrumentalness • 37% Positiveness
15% Popularity • 60% Danceability • 61% Energy • 10% Liveness
0% Instrumentalness • 37% Positiveness
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Vintage Trouble
The World's Gonna Have To Take A Turn Ar...
109 bpm • C# min • 02:38 • -11.78db
14% Popularity • 71% Danceability • 43% Energy • 20% Liveness
0% Instrumentalness • 59% Positiveness
14% Popularity • 71% Danceability • 43% Energy • 20% Liveness
0% Instrumentalness • 59% Positiveness
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The Sheepdogs
Singing in the Band
103 bpm • E Maj • 03:14 • -9.22db
12% Popularity • 64% Danceability • 45% Energy • 8% Liveness
0% Instrumentalness • 53% Positiveness
12% Popularity • 64% Danceability • 45% Energy • 8% Liveness
0% Instrumentalness • 53% Positiveness
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Blackie & The Rodeo Kings
Stoned
103 bpm • A# Maj • 03:45 • -8db
27% Popularity • 61% Danceability • 65% Energy • 12% Liveness
33% Instrumentalness • 66% Positiveness
27% Popularity • 61% Danceability • 65% Energy • 12% Liveness
33% Instrumentalness • 66% Positiveness
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Melissa Etheridge
For The Last Time
103 bpm • D Maj • 03:17 • -3.39db
33% Popularity • 58% Danceability • 88% Energy • 22% Liveness
0% Instrumentalness • 76% Positiveness
33% Popularity • 58% Danceability • 88% Energy • 22% Liveness
0% Instrumentalness • 76% Positiveness
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Ray Wylie Hubbard
Bad Trick
103 bpm • A Maj • 04:01 • -6.45db
34% Popularity • 78% Danceability • 60% Energy • 13% Liveness
0% Instrumentalness • 75% Positiveness
34% Popularity • 78% Danceability • 60% Energy • 13% Liveness
0% Instrumentalness • 75% Positiveness
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The Reverend Peyton's Big Damn Band
Pot Roast and Kisses
110 bpm • G Maj • 05:01 • -4.47db
33% Popularity • 69% Danceability • 82% Energy • 12% Liveness
3% Instrumentalness • 93% Positiveness
33% Popularity • 69% Danceability • 82% Energy • 12% Liveness
3% Instrumentalness • 93% Positiveness
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Jason Isbell and the 400 Unit
Streetlights
110 bpm • G Maj • 04:11 • -10.2db
10% Popularity • 59% Danceability • 42% Energy • 15% Liveness
0% Instrumentalness • 38% Positiveness
10% Popularity • 59% Danceability • 42% Energy • 15% Liveness
0% Instrumentalness • 38% Positiveness
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Chris Cornell
Sad Sad City
110 bpm • C Maj • 03:49 • -5.35db
35% Popularity • 58% Danceability • 86% Energy • 32% Liveness
0% Instrumentalness • 60% Positiveness
35% Popularity • 58% Danceability • 86% Energy • 32% Liveness
0% Instrumentalness • 60% Positiveness
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Tom Morello: the Nightwatchman
Stray Bullets
102 bpm • D Maj • 04:03 • -5.42db
14% Popularity • 60% Danceability • 88% Energy • 11% Liveness
0% Instrumentalness • 53% Positiveness
14% Popularity • 60% Danceability • 88% Energy • 11% Liveness
0% Instrumentalness • 53% Positiveness
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Melissa Etheridge
As Cool As You Try
103 bpm • D Maj • 03:36 • -3.54db
27% Popularity • 55% Danceability • 84% Energy • 8% Liveness
0% Instrumentalness • 82% Positiveness
27% Popularity • 55% Danceability • 84% Energy • 8% Liveness
0% Instrumentalness • 82% Positiveness
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Goodbye June
Baby, I'm Back
110 bpm • A Maj • 03:41 • -6.17db
28% Popularity • 75% Danceability • 63% Energy • 7% Liveness
0% Instrumentalness • 49% Positiveness
28% Popularity • 75% Danceability • 63% Energy • 7% Liveness
0% Instrumentalness • 49% Positiveness
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The Reverend Peyton's Big Damn Band
Til We Die
110 bpm • A# min • 02:47 • -6.15db
10% Popularity • 52% Danceability • 81% Energy • 5% Liveness
3% Instrumentalness • 72% Positiveness
10% Popularity • 52% Danceability • 81% Energy • 5% Liveness
3% Instrumentalness • 72% Positiveness
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The White Buffalo
Heart Attack
110 bpm • D Maj • 03:03 • -8.26db
32% Popularity • 65% Danceability • 87% Energy • 22% Liveness
0% Instrumentalness • 62% Positiveness
32% Popularity • 65% Danceability • 87% Energy • 22% Liveness
0% Instrumentalness • 62% Positiveness
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Blues Traveler
But Anyway (2.0)
102 bpm • C# min • 03:08 • -5.16db
14% Popularity • 71% Danceability • 87% Energy • 10% Liveness
0% Instrumentalness • 94% Positiveness
14% Popularity • 71% Danceability • 87% Energy • 10% Liveness
0% Instrumentalness • 94% Positiveness
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James McMurtry
Ft. Walton Wake-Up Call
102 bpm • C# Maj • 05:16 • -8.64db
18% Popularity • 71% Danceability • 64% Energy • 8% Liveness
0% Instrumentalness • 58% Positiveness
18% Popularity • 71% Danceability • 64% Energy • 8% Liveness
0% Instrumentalness • 58% Positiveness
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Sturgill Simpson
Make Art Not Friends
102 bpm • F Maj • 05:51 • -5.88db
45% Popularity • 25% Danceability • 76% Energy • 15% Liveness
0% Instrumentalness • 14% Positiveness
45% Popularity • 25% Danceability • 76% Energy • 15% Liveness
0% Instrumentalness • 14% Positiveness
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Keb' Mo'
Ridin’ On A Train
102 bpm • A Maj • 03:00 • -6.35db
24% Popularity • 79% Danceability • 89% Energy • 37% Liveness
16% Instrumentalness • 98% Positiveness
24% Popularity • 79% Danceability • 89% Energy • 37% Liveness
16% Instrumentalness • 98% Positiveness
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Big Sugar
Ride Like Hell
102 bpm • A min • 04:47 • -3.91db
26% Popularity • 45% Danceability • 84% Energy • 15% Liveness
0% Instrumentalness • 77% Positiveness
26% Popularity • 45% Danceability • 84% Energy • 15% Liveness
0% Instrumentalness • 77% Positiveness
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Paul Cauthen
Bones
102 bpm • E min • 03:12 • -5.6db
39% Popularity • 61% Danceability • 84% Energy • 30% Liveness
0% Instrumentalness • 66% Positiveness
39% Popularity • 61% Danceability • 84% Energy • 30% Liveness
0% Instrumentalness • 66% Positiveness
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![Walls [Feat. Mike Viola] cover art](https://i.scdn.co/image/ab67616d00001e0249711f77aab610895afe3689)
Dawes
Walls [Mike Viola]
102 bpm • F Maj • 04:20 • -6.04db
22% Popularity • 62% Danceability • 57% Energy • 17% Liveness
0% Instrumentalness • 57% Positiveness
22% Popularity • 62% Danceability • 57% Energy • 17% Liveness
0% Instrumentalness • 57% Positiveness
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Big Head Todd and The Monsters
All True Man
102 bpm • A min • 04:04 • -9.05db
32% Popularity • 72% Danceability • 39% Energy • 15% Liveness
0% Instrumentalness • 72% Positiveness
32% Popularity • 72% Danceability • 39% Energy • 15% Liveness
0% Instrumentalness • 72% Positiveness
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Jason Isbell and the 400 Unit
Seven-Mile Island
101 bpm • D Maj • 04:08 • -10.3db
6% Popularity • 65% Danceability • 85% Energy • 18% Liveness
0% Instrumentalness • 40% Positiveness
6% Popularity • 65% Danceability • 85% Energy • 18% Liveness
0% Instrumentalness • 40% Positiveness
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Jeffrey Foucault
Here Comes Rainer
111 bpm • D# Maj • 04:41 • -10.35db
13% Popularity • 76% Danceability • 55% Energy • 11% Liveness
7% Instrumentalness • 57% Positiveness
13% Popularity • 76% Danceability • 55% Energy • 11% Liveness
7% Instrumentalness • 57% Positiveness
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Sass Jordan
Still The World Goes Round
111 bpm • D Maj • 04:01 • -6.89db
20% Popularity • 67% Danceability • 80% Energy • 22% Liveness
0% Instrumentalness • 73% Positiveness
20% Popularity • 67% Danceability • 80% Energy • 22% Liveness
0% Instrumentalness • 73% Positiveness
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Black Pistol Fire
Oh Well
101 bpm • A Maj • 02:47 • -8.17db
32% Popularity • 38% Danceability • 80% Energy • 22% Liveness
6% Instrumentalness • 18% Positiveness
32% Popularity • 38% Danceability • 80% Energy • 22% Liveness
6% Instrumentalness • 18% Positiveness
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Billy F Gibbons
S-G-L-M-B-B-R
112 bpm • F# min • 02:25 • -6.41db
21% Popularity • 53% Danceability • 91% Energy • 2% Liveness
0% Instrumentalness • 37% Positiveness
21% Popularity • 53% Danceability • 91% Energy • 2% Liveness
0% Instrumentalness • 37% Positiveness
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David Lee Roth
Nothing Could Have Stopped Us Back Then ...
100 bpm • G Maj • 02:44 • -11.4db
20% Popularity • 37% Danceability • 43% Energy • 14% Liveness
0% Instrumentalness • 29% Positiveness
20% Popularity • 37% Danceability • 43% Energy • 14% Liveness
0% Instrumentalness • 29% Positiveness
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Jason Isbell and the 400 Unit
Go It Alone
112 bpm • A min • 04:42 • -7.98db
14% Popularity • 57% Danceability • 67% Energy • 7% Liveness
0% Instrumentalness • 41% Positiveness
14% Popularity • 57% Danceability • 67% Energy • 7% Liveness
0% Instrumentalness • 41% Positiveness
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L.A. Rats
I’ve Been Everywhere
112 bpm • G Maj • 03:59 • -4.83db
37% Popularity • 62% Danceability • 97% Energy • 67% Liveness
68% Instrumentalness • 55% Positiveness
37% Popularity • 62% Danceability • 97% Energy • 67% Liveness
68% Instrumentalness • 55% Positiveness
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Shawn James
War
112 bpm • B Maj • 03:34 • -5.68db
22% Popularity • 60% Danceability • 88% Energy • 19% Liveness
0% Instrumentalness • 56% Positiveness
22% Popularity • 60% Danceability • 88% Energy • 19% Liveness
0% Instrumentalness • 56% Positiveness
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Nick Perri & The Underground Thieves
Feeling Good
100 bpm • A# Maj • 04:07 • -3.35db
24% Popularity • 74% Danceability • 87% Energy • 12% Liveness
1% Instrumentalness • 72% Positiveness
24% Popularity • 74% Danceability • 87% Energy • 12% Liveness
1% Instrumentalness • 72% Positiveness
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Billy F Gibbons
Desert High
100 bpm • D min • 03:27 • -10db
23% Popularity • 48% Danceability • 48% Energy • 14% Liveness
0% Instrumentalness • 33% Positiveness
23% Popularity • 48% Danceability • 48% Energy • 14% Liveness
0% Instrumentalness • 33% Positiveness
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Sam Morrow
Rosarita
100 bpm • D Maj • 04:24 • -6.89db
24% Popularity • 68% Danceability • 67% Energy • 3% Liveness
0% Instrumentalness • 83% Positiveness
24% Popularity • 68% Danceability • 67% Energy • 3% Liveness
0% Instrumentalness • 83% Positiveness
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Lucero
Coffin Nails
100 bpm • E Maj • 03:02 • -11.13db
16% Popularity • 69% Danceability • 52% Energy • 10% Liveness
8% Instrumentalness • 38% Positiveness
16% Popularity • 69% Danceability • 52% Energy • 10% Liveness
8% Instrumentalness • 38% Positiveness
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Jason Isbell and the 400 Unit
Alabama Pines
100 bpm • E Maj • 03:51 • -10.12db
29% Popularity • 50% Danceability • 55% Energy • 11% Liveness
0% Instrumentalness • 28% Positiveness
29% Popularity • 50% Danceability • 55% Energy • 11% Liveness
0% Instrumentalness • 28% Positiveness
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Josh Teskey
Thinking 'Bout Myself
100 bpm • E min • 03:41 • -8.3db
32% Popularity • 65% Danceability • 53% Energy • 26% Liveness
3% Instrumentalness • 68% Positiveness
32% Popularity • 65% Danceability • 53% Energy • 26% Liveness
3% Instrumentalness • 68% Positiveness
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Ryan Culwell
Head Like a Hole
113 bpm • E min • 03:50 • -6.9db
14% Popularity • 56% Danceability • 60% Energy • 11% Liveness
0% Instrumentalness • 18% Positiveness
14% Popularity • 56% Danceability • 60% Energy • 11% Liveness
0% Instrumentalness • 18% Positiveness
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The Sheepdogs
Roughrider '89
113 bpm • A Maj • 03:59 • -6.22db
19% Popularity • 48% Danceability • 57% Energy • 20% Liveness
67% Instrumentalness • 75% Positiveness
19% Popularity • 48% Danceability • 57% Energy • 20% Liveness
67% Instrumentalness • 75% Positiveness
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Randall Bramblett
Rocket To Nowhere
113 bpm • F Maj • 04:50 • -8.18db
5% Popularity • 84% Danceability • 47% Energy • 10% Liveness
0% Instrumentalness • 62% Positiveness
5% Popularity • 84% Danceability • 47% Energy • 10% Liveness
0% Instrumentalness • 62% Positiveness
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The Reverend Peyton's Big Damn Band
Sad Songs
113 bpm • C# Maj • 03:21 • -5.55db
13% Popularity • 55% Danceability • 71% Energy • 13% Liveness
0% Instrumentalness • 62% Positiveness
13% Popularity • 55% Danceability • 71% Energy • 13% Liveness
0% Instrumentalness • 62% Positiveness
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Jason Isbell and the 400 Unit
Danko / Manuel - Live
113 bpm • F# min • 08:00 • -9.32db
30% Popularity • 53% Danceability • 35% Energy • 88% Liveness
1% Instrumentalness • 24% Positiveness
30% Popularity • 53% Danceability • 35% Energy • 88% Liveness
1% Instrumentalness • 24% Positiveness
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ZZ Top
Brown Sugar
113 bpm • B min • 04:17 • -7.74db
35% Popularity • 42% Danceability • 60% Energy • 32% Liveness
5% Instrumentalness • 65% Positiveness
35% Popularity • 42% Danceability • 60% Energy • 32% Liveness
5% Instrumentalness • 65% Positiveness
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Son Volt
Arkey Blue
113 bpm • D Maj • 04:18 • -10.14db
10% Popularity • 34% Danceability • 63% Energy • 26% Liveness
68% Instrumentalness • 44% Positiveness
10% Popularity • 34% Danceability • 63% Energy • 26% Liveness
68% Instrumentalness • 44% Positiveness
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Eric Johanson
Never Tomorrow
99 bpm • A Maj • 02:51 • -6.14db
25% Popularity • 71% Danceability • 71% Energy • 10% Liveness
0% Instrumentalness • 92% Positiveness
25% Popularity • 71% Danceability • 71% Energy • 10% Liveness
0% Instrumentalness • 92% Positiveness
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Bones Owens
When I Think About Love
99 bpm • G Maj • 02:52 • -5.39db
20% Popularity • 66% Danceability • 73% Energy • 3% Liveness
0% Instrumentalness • 84% Positiveness
20% Popularity • 66% Danceability • 73% Energy • 3% Liveness
0% Instrumentalness • 84% Positiveness
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The Black Keys
Going Down South
114 bpm • B min • 03:48 • -7.45db
44% Popularity • 48% Danceability • 76% Energy • 28% Liveness
5% Instrumentalness • 62% Positiveness
44% Popularity • 48% Danceability • 76% Energy • 28% Liveness
5% Instrumentalness • 62% Positiveness
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Jason Isbell and the 400 Unit
Overseas
114 bpm • E min • 05:07 • -4.99db
13% Popularity • 46% Danceability • 86% Energy • 6% Liveness
0% Instrumentalness • 51% Positiveness
13% Popularity • 46% Danceability • 86% Energy • 6% Liveness
0% Instrumentalness • 51% Positiveness
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The Allman Betts Band
Airboats & Cocaine
114 bpm • E Maj • 04:20 • -5.8db
14% Popularity • 36% Danceability • 86% Energy • 34% Liveness
1% Instrumentalness • 49% Positiveness
14% Popularity • 36% Danceability • 86% Energy • 34% Liveness
1% Instrumentalness • 49% Positiveness
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Jack White
Taking Me Back (Gently)
99 bpm • A Maj • 04:35 • -12.05db
30% Popularity • 64% Danceability • 42% Energy • 12% Liveness
2% Instrumentalness • 71% Positiveness
30% Popularity • 64% Danceability • 42% Energy • 12% Liveness
2% Instrumentalness • 71% Positiveness
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Ally Venable
Heart of Fire
114 bpm • C# Maj • 04:35 • -6.6db
12% Popularity • 62% Danceability • 70% Energy • 20% Liveness
19% Instrumentalness • 47% Positiveness
12% Popularity • 62% Danceability • 70% Energy • 20% Liveness
19% Instrumentalness • 47% Positiveness
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The Sheepdogs
Carrying On
114 bpm • D Maj • 03:10 • -6.04db
22% Popularity • 73% Danceability • 69% Energy • 9% Liveness
2% Instrumentalness • 84% Positiveness
22% Popularity • 73% Danceability • 69% Energy • 9% Liveness
2% Instrumentalness • 84% Positiveness
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Shawn Camp
I'm Comin' Honey
114 bpm • G Maj • 02:33 • -8.78db
19% Popularity • 53% Danceability • 81% Energy • 15% Liveness
0% Instrumentalness • 88% Positiveness
19% Popularity • 53% Danceability • 81% Energy • 15% Liveness
0% Instrumentalness • 88% Positiveness
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Jason Isbell and the 400 Unit
Cross Bones Style
114 bpm • E Maj • 06:23 • -6.3db
19% Popularity • 46% Danceability • 80% Energy • 7% Liveness
2% Instrumentalness • 31% Positiveness
19% Popularity • 46% Danceability • 80% Energy • 7% Liveness
2% Instrumentalness • 31% Positiveness
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Son Volt
Living in the USA
114 bpm • A Maj • 04:54 • -9.56db
14% Popularity • 66% Danceability • 57% Energy • 13% Liveness
0% Instrumentalness • 77% Positiveness
14% Popularity • 66% Danceability • 57% Energy • 13% Liveness
0% Instrumentalness • 77% Positiveness
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The Reverend Peyton's Big Damn Band
Poor Until Payday
114 bpm • C# Maj • 03:53 • -6db
26% Popularity • 57% Danceability • 48% Energy • 10% Liveness
0% Instrumentalness • 49% Positiveness
26% Popularity • 57% Danceability • 48% Energy • 10% Liveness
0% Instrumentalness • 49% Positiveness
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Big Head Todd and The Monsters
Thumbelina
114 bpm • E Maj • 03:26 • -6.54db
7% Popularity • 54% Danceability • 87% Energy • 11% Liveness
23% Instrumentalness • 95% Positiveness
7% Popularity • 54% Danceability • 87% Energy • 11% Liveness
23% Instrumentalness • 95% Positiveness
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Scott H. Biram
Can't Stay Long
114 bpm • G Maj • 03:18 • -8.3db
27% Popularity • 74% Danceability • 61% Energy • 11% Liveness
0% Instrumentalness • 85% Positiveness
27% Popularity • 74% Danceability • 61% Energy • 11% Liveness
0% Instrumentalness • 85% Positiveness
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TK & The Holy Know-Nothings
Bottom of the Bottle
114 bpm • G Maj • 04:13 • -5.89db
14% Popularity • 62% Danceability • 68% Energy • 7% Liveness
0% Instrumentalness • 52% Positiveness
14% Popularity • 62% Danceability • 68% Energy • 7% Liveness
0% Instrumentalness • 52% Positiveness
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Drivin N Cryin
Straight To Hell
115 bpm • G Maj • 05:41 • -12.78db
41% Popularity • 44% Danceability • 46% Energy • 5% Liveness
0% Instrumentalness • 51% Positiveness
41% Popularity • 44% Danceability • 46% Energy • 5% Liveness
0% Instrumentalness • 51% Positiveness
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Nathaniel Rateliff & The Night Sweats
Survivor
98 bpm • G# min • 04:01 • -5db
48% Popularity • 75% Danceability • 68% Energy • 9% Liveness
15% Instrumentalness • 71% Positiveness
48% Popularity • 75% Danceability • 68% Energy • 9% Liveness
15% Instrumentalness • 71% Positiveness
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The Sheepdogs
Rock and Roll (Ain't No Simple Thing)
98 bpm • A Maj • 03:23 • -4.72db
30% Popularity • 54% Danceability • 65% Energy • 10% Liveness
1% Instrumentalness • 84% Positiveness
30% Popularity • 54% Danceability • 65% Energy • 10% Liveness
1% Instrumentalness • 84% Positiveness
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The Suitcase Junket
Black Holes and Overdoses
115 bpm • F Maj • 03:13 • -7db
17% Popularity • 57% Danceability • 79% Energy • 7% Liveness
0% Instrumentalness • 44% Positiveness
17% Popularity • 57% Danceability • 79% Energy • 7% Liveness
0% Instrumentalness • 44% Positiveness
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Jerry Cantrell
Black Hearts and Evil Done
115 bpm • F# Maj • 06:02 • -7db
28% Popularity • 58% Danceability • 50% Energy • 11% Liveness
1% Instrumentalness • 33% Positiveness
28% Popularity • 58% Danceability • 50% Energy • 11% Liveness
1% Instrumentalness • 33% Positiveness
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Billy F Gibbons
Hey Baby, Que Paso
115 bpm • D Maj • 02:53 • -4.55db
22% Popularity • 64% Danceability • 94% Energy • 19% Liveness
0% Instrumentalness • 77% Positiveness
22% Popularity • 64% Danceability • 94% Energy • 19% Liveness
0% Instrumentalness • 77% Positiveness
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John Mellencamp
Did You Say Such A Thing
115 bpm • A Maj • 03:39 • -6.86db
32% Popularity • 67% Danceability • 84% Energy • 18% Liveness
0% Instrumentalness • 96% Positiveness
32% Popularity • 67% Danceability • 84% Energy • 18% Liveness
0% Instrumentalness • 96% Positiveness
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Blind Melon
In the Very Best Way
97 bpm • C Maj • 03:34 • -5.43db
30% Popularity • 57% Danceability • 82% Energy • 10% Liveness
0% Instrumentalness • 30% Positiveness
30% Popularity • 57% Danceability • 82% Energy • 10% Liveness
0% Instrumentalness • 30% Positiveness
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Shinyribs
Bitch Better Have My Money
115 bpm • D min • 03:53 • -5.3db
35% Popularity • 76% Danceability • 76% Energy • 14% Liveness
14% Instrumentalness • 96% Positiveness
35% Popularity • 76% Danceability • 76% Energy • 14% Liveness
14% Instrumentalness • 96% Positiveness
