He broke through about a decade ago at the forefront of a new generation of Outlaw Country.
No surprise that Jinks (like Hank Williams 3) came out of metal first. This new breed looked upon Johnny Cash as their hero, but superimposing what they thought he should be- a bit of Bon Scott and a bit of Lemmy, or had come to Ronnie Van Zant via James Hetfield.
This was the direct descendant of Copperhead Road- bluegrass at the crossroads with heavy metal.
When Jinks started making this music, mainstream country music was transitioning from a Fleetwood Mac/Eagles and Kenny Chesney’s Jimmy Buffet influence to a party style that was strongly influenced by early 00s hip hop (Nelly and Florida Georgia Line had one of the biggest country collaboration hits of 2020).
But the current country music landscape has switched to a more serious introspective vibe. While critics generally don’t like Morgan Wallen and Jelly Roll, their style is build off this vibe, and all across the charts - Zach Top, Cody Johnson, and Lainey Wilson among many others. It’s hard not to think that if Jinks had played the major label game, he could have cashed in.
That said (like Charlie Crockett who comes to the genre with a slightly different approach), Jinks probably isn’t too disappointed. He’s filling larger size venues while making the music he wants. At the end of the day, this is probably his ideal outcome. Heck, his song “Loud and Heavy” is (along with Johnny Cash’s “God’s Gonna Cut You Down”) one of the top walk up songs in Major League Baseball.
Armchair critics can find plenty to complain about - Jinks has been over prolific at times, the production quality has sounded DIY, etc
But 2025s In My Blood sounds like the kind of album you would want him to make. It is very much in the vein of 2024s Change the Game. Produced by long time bassist, collaborator and producer Joshua Thompson along with engineer Charles Godfrey (Dropkick Murphys, Yeah Yeah Yeahs, Swans) it provides an accessible starting point for new fans, while generally providing the kind of front to back listen to satisfy most long time fans. There is a guest spot from Charlie Starr of Blackberry Smoke who if you don’t know, play blues influenced Southern Rock. That style mix would seem a good fit for Jinks fans.
That 2024 album introduced Jinks as a newly sober troubadour who was looking inward like a late era country star might have done. Those themes run through here as well. That said, it’s not like his MO has changed that much - Hank Williams and David Allen Coe get namedropped, the rock songs rock and the country ballads could fill an arena. It’s drawn from the crossover radio appeal of Hank Williams Jr and Travis Tritt just as much as it is from the outlaw feel of Merle and Waylon, but it also reflects the more modern mindset of Tyler Childers or Colter Wall.
Which means this won’t change anyone’s opinion - songs like Lost Highway will scratch the itch for renegade country and closer When Time Doesn’t Fly could for seamlessly on country radio. But most songs like Monster and Found ride both sides of that.
Which is the genius of Cody Jinks. Chris Stapleton may be the only artist that fits the tightrope of country radio and serious songwriting.
For example, Jason Isbell would sound out of place on country radio (even though his songs when sung by others have become hits) and Blake Shelton is never going to be taken seriously by critics, despite his booming voice. In-between lies Jinks.
There will be some people who will never be satisfied (chasing the fresh sound of 2015s breakout album The Adobe Sessions) but for most fans, it’s a solid set of songs from a now well established artist.
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