Cole Lumpkin and Zach Denike’s latest track, “Damage Control”, is a smooth yet gut-punching anthem for anyone who’s ever questioned trust and tried to pick up the pieces after love goes sideways. Dropping December 11th, the song is a genre-blending emotional rollercoaster that proves these two aren’t just rising stars—they’re already here.
Built from a spontaneous freestyle with an acoustic guitar, “Damage Control” evolved into a rich, layered production that feels both intimate and cinematic. Cole’s production work is razor-sharp, pulling in flamenco-tinged guitars, intricate percussion, and even a cheek-flick bubble sound effect that bounces through the second verse. It’s the kind of track that keeps surprising you, no matter how many times you hit repeat.
Lyrically, the song is loaded with standout lines. The opener—“7 months together on the 7th call she picked up the phone”—sets the tone for a story full of suspicion and frustration. Then there’s “She got a table at 1OAK but the girls are a no-show”, a line so specific it feels ripped straight from real-life drama. By the time they hit “I try and find a brand new piece of me every day but it seems like the pieces just fading away,” you’re already too deep in your feelings to turn back.
The chemistry between Lumpkin and Denike is undeniable. Both artists have spent nearly a decade in the industry, working with names like John Legend and The Goo Goo Dolls, but their friendship and creative bond make this track feel effortless. Lumpkin’s smooth production pairs perfectly with Denike’s heartfelt delivery, creating a track that’s equal parts vulnerability and swagger.
What makes “Damage Control” so addictive is its ability to feel personal while staying universally relatable. It’s as much about piecing yourself back together as it is about questioning whether the pieces were ever whole to begin with. Lumpkin and Denike don’t just tell a story—they make you feel like you’re living it.
For two artists who’ve already sold out shows, charted internationally, and worked with major acts, “Damage Control” feels like a natural next step. It’s polished without being overproduced, emotional without being melodramatic, and catchy without trying too hard. It’s the kind of song you put on during late-night drives when the city lights blur into memories you’re not ready to let go of.
“Damage Control” isn’t just a song; it’s a mood, a moment, and a reminder that Lumpkin and Denike are here to stay.
