And we’re not turning for the exit here.

[Video]
[6.57]

Jeffrey Brister: I always feel like I want more from country music. More drama, more flourish, more emotion. It doesn’t have to be more sophisticated, I don’t care about that — I just want it more concentrated, a more densely packed version of what I’ve got. “Freedom Was A Highway” gets close, all bluster and bombast, but it ultimately feels a bit constrained. Hemmed in by its own convention. But this is pretty good, just not big enough for me.
[6]

Oliver Maier: I would not have clocked that two different people sing on this without the credits to help me out. Melodically docile and lyrically ticking off all of the country nostalgia clichés, though there’s a stirring 80s bigness — and a very nice guitar solo — that mean it’s hard for me not to feel fond of this.
[6]

Thomas Inskeep: Finally, a song making headway on country radio about summers and the past that’s not a string of endless clichés (lookin’ at you, Luke Bryan and all your minions). On top of that, Paisley’s not sounded this good in years — maybe a guest role, not having to do the heavy lifting, better suits him these days? (And of course, his guitar solo rips.) Allen’s got a slightly thin, but lovely voice, and he pairs well with Paisley. This is the kind of record that mainstream country should be aspiring to be.
[8]

Iris Xie: This strongly makes me believe ‘inoffensive’ should be its own radio genre. I’d be pretty happy listening to this at my dentist’s office.
[6]

Mark Sinker: *zizek coke-sniff*: “cynical reason is no longer naïve, but is a paradox of an enlightened false consciousness yeehaw” 
[6]

Edward Okulicz: Those drums are big, boomy and as dumb as the metaphor in the title. But this bit of sunbelt pop would have sounded great between, I don’t know, “The Boys of Summer” and Mr Mister on the radio in the 80s, because as big as the bottom end in, it’s got a lovely lightness to its melody and Allen’s wistful voice makes this cheesy and fond rather than sickly. 
[7]

Alfred Soto: More sentimental twaddle, more pining for a parochialism the singers resented as young men. Keeping it afloat is the attractive vocal melody, the acknowledgment that young men stifled by small town parochialism turned to hip-hop, and a Brad Paisley solo expressing these ambiguities without effort.
[7]