Alabama Shakes- “American Dream” (Island)
The second single from this reunited tour de force serves as both a hopeful sign that a full-length release is around the corner, and a stirring modern protest-anthem that could have naturally resided within Marvin Gaye’s What’s Goin’ On-era a generation ago. Brittany Howard is ever-mindful about the sheer horsepower of her pipes, and the same can be said for her dexterous bandmates. But what’s most striking about “American Dream” is how they hauntingly reign in both components as a means of maximizing the emotional intensity of the song’s statement. It’s still unquestionably a battle-cry, just not in the typical rafter-rattling Howard fashion, and the results are a mournful examination of the disintegration of the national hope that was still very much alive when they broke through at the peak of the Obama-era.
BTS- “Swim” (Big Hit)
The leaders of the K-pop craze that invaded the American charts during the COVID-rattled years of the early 2020s returns, and this comeback-launcher is far moodier and methodical than any of their signature bangers, but their seemingly effortless contagion remains strongly in tact nonetheless. It boasts an icy combination of synth-pop, alt-rock, and a Hip Hop that, dare I say, recalls Twenty One Pilots, consequently boasting an intriguing blend of artistic evolution and their familiar pop powers.
Miley Cyrus- “Younger You” (Hollywood)
As Miley Cyrus had already proven on her 2023 smash, “Used to Be Young”, artist reflections on their youth offer a unique layer of potency when delivered by a talent that grew up in the public eye, with us all having beared witness to the glories and pitfalls that accompany life as a child star. This new country-tinged ballad, released to commemorate the 20th anniversary of her breakthrough Hannah Montana series, further elevates all of that magic. Her voice is at the peak of its powers here, as she delivers a poignant message to her younger self, particularly when reflecting upon her relationship with her parents. Unquestionably one of her greatest career performances to date, and what will prove to be one of the year’s standout pop records. (PS: the duet version with country superstar Lainey Wilson–who once made ends meet as a birthday party Hannah Montana impersonator–is quite worthy of your attention as well.)
Sam Fender and Olivia Dean- “Rein Me In” (Polydor)
This pair of rising British artists sound fantastic together on this duet version of the cut from Fender’s excellent People Watching album. The contrast between Fender’s brooding voice and Dean’s pure, soulful charms is contagiously complimentary and mirrored by the song’s sonic blend of plucky Heartland rock and brassy, effervescent pop. A delightful gem from two of the present moment’s most promising voices for the future.
Lady Gaga and Doechii- “Runway” (Interscope)
Culled from the sequel to the upcoming The Devil Wears Prada sequel, “Runway” is a bona-fide moment with Gaga and Doechii uniting to serve an smorgasbord platter of funky beats, Hip-Hop swagger, and pulsating dance fever. It’s immediately destined to dominate the club scene, not to mention grace the lip-sync battleground of RuPaul’s Drag Race, while providing a smiling nod to the fabulous, and vastly under-appreciated, Pose television series.
Madonna- “I Feel So Free” (Warner)
After seemingly endless speculation and anticipation, Madonna has officially confirmed the release of Confessions II, the long-hungered for sequel to Confessions on a Dance Floor, the 2005 juggernaut that ushered in yet another definitive and transcendent era in her expansive career. Like most latter-date Madonna tracks, this deep house anthem is better defined as an aural experience than a straight-forward recorded vocal performance. And what an intoxicating experience it is. There’s no denying that the pulsating production is as much the star here as Madonna herself, but there’s also no arguing against the reciprocal power and energy that they provide each other. It likely, and hopefully, merely scratches the surface of what awaits on the full record, but this is quite the delicious appetizer that the icon has provided us in the meantime.
Paul McCartney- “Days We Left Behind” (Capitol)
A stunning preview to his first proper album in six years, “Days We Left Behind” is a beautifully wistful reflection by one of the all-time great musical narrators on the charms, memories, and lessons of his bygone childhood. The fact that McCartney can still find new corners of inspiration within his life story to share with us at this juncture in his legendary discography is nothing short of impressive. All of the beloved and classic hallmarks of his music catalog shine bright on this performance, from the sweet resonance of his voice, to the intimacy of his lyricism, to the transformative emotions of his storytelling.
Reba McEntire- “One Night In Tulsa” (MCA)
Now into her seventies, Reba McEntire has crossed that golden threshold that we always knew she was destined for; following in the footsteps of country giants like Loretta, Dolly, Emmylou as timeless queens that would continue to be vital performers and artistic standard-bearers well into their twilight years. “One Night in Tulsa” is the confirmation of this premonition that we never really needed. It’s vintage McEntire: emotionally tender and dramatic all the same, a gorgeous depiction of that uniquely powerful vocal character that is slowly starting to show its age, but only to beautiful effect. The way she utters the line, “I’d spend a month in the desert, just to be together…” is the highlight, but this entire performance is gloriously emblematic of the magic that has made her one of popular music’s most treasured performers.
Mumford & Sons featuring Chris Stapleton- “Here” (Island)
The latest single from the band’s most collaborative LP to date serves as a dream-match for lovers of 2010s roots music, with Marcus Mumford and Chris Stapleton’s respective and singular vocal gravels complimenting each other wonderfully. The song itself is nothing groundbreaking, but it doesn’t need to be, with its raw simplicity perfectly suited for the proceedings. This track is one of multiple reasons that Prizefighter has been hailed as a spirited rejuvenation for Mumford & Sons, and while he didn’t necessarily show signs of needing the same, it sort of feels that way for Stapleton as well. If this were 2015, “Here” would be a crossover smash. In 2026, it will stand as one of the year’s best gems worth seeking out.
Olivia Rodrigo- “Drop Dead” (Geffen)
One of the present decade’s most pivotal pop breakthroughs returns with the highly anticipated lead single to her third studio album, and it infectiously continues down the same golden path of all Olivia Rodrigo’s biggest hits to date: her soothing, bedroom-pop vocals presenting a sly and perfectly executed dichotomy to the frenetic chorus, enticingly escalating production, and self-admittedly stalker-ish lyrics. Her deliciously layered musical persona, and its accompanying flurry of vibrant genre influences remains as fizzy and fetching as ever, and “Drop Dead” proves it.
Maggie Rose- “Red Shoes” (Big Loud)
The modern-day soul songstress has never sounded so naturally effervescent and flat-out fun on record before. “Red Shoes” is a perfectly timed spring bop. It’s breezy and brassy, flirty and light, while still serving a stellar showcase of Rose’s voice and all of its golden thrills. A delightfully contagious and promising preview of the chanteuse’s next project.
Shinedown- “Safe & Sound” (Atlantic)
It’s no happy accident that Shinedown has subtly, but ever consistently, dominated the modern rock scene for the better part of the past quarter-century. Lead vocalist Brent Smith remains in possession of one of the genre’s most dynamic and balanced vocal ranges; he can shred his cords on heavy metal and immediately segue to a more introspective, pop-tinged ballad on a moment’s notice. It’s a blend that has served as the foundation of the band’s entire make-up, from the songwriting to the instrumentation. This latest introduction to their long-gestating eight studio set dives deeply into the heavier leanings of their sound, boasting a vocal and musical performance that is nothing short of blistering. And it’s coupled with the kind of unavoidable pop accessibility that, upon the first listen, makes it easy for a universal audience to connect with and indulge upon. And that’s a far more difficult accomplishment in mainstream rock than it appears.
Ringo Starr- “It’s Been Too Long” (UME)
The beloved and affable icon continues a resurgence in output that began with last year’s country-influenced Look Up, and its forthcoming follow-up, Long Long Road promises to continue in that spirit. This lead single has a tasty and twangy undercurrent via the guitar-riff framework, but for the most part, “It’s Been Too Long” is pretty much your standard Ringo rock. His vocals continue to receive their flight from his amiable charisma and charms, while the mostly straight-forward rock trappings are colored by his typical quirks, from a subtly trippy rhythm-section to seductively soulful backing vocals. Through it all, Starr still sounds sharp, engaging, and like the friendly, almost neighborly entertainer we’ve always loved.
The Strokes- “Going Shopping” (RCA)
Julian Casablancas and company return with the first taste of new Strokes music since 2020’s The New Abnormal, which served as a defining rock moment during the pandemic-era, and also extended the band’s influential discography into its third decade. The most noticeable aspect of this quirky new single is its heavy use of Auto-Tune/vocal distortion, which is by no-means a new stylistic trope for The Strokes. It’s certainly the most excessive use of it by them in some time, but it’s a technique they’ve often relied upon to craft a certain vibe and atmosphere on a given track. Their use of the technology has always felt more in spirit with “Believe”, rather than “Can’t Believe It’. In this case, it feels like a suitably sardonic choice tied to the underlying indictment of superficial sustenance that lingers throughout both the narrative, and the song-title, of “Going Shopping”. It won’t be for everyone, but there’s something undeniably intoxicating about this track that has you reaching for the repeat button…even if you’re doing so in an admittedly robotic manner. Regardless, it all seems to naturally fit within the overall artistic POV of this seminal 21st century band.
Jack White- “G.O.D. and the Broken Ribs”/”Derecho Dominico” (Third Man)
This feverish double single is vintage Jack White, pure and simple. The first half focuses on his classic and spooky brand of garage rock, primed and ready to soundtrack your favorite haunted house this fall, while sneaking in some pointed social commentary with its damnation of smart-phone culture and our over-reliance on technology. “Derecho Dominico” meanwhile is a tremendous showcase of the bluesiest depth of his singular brand of rock. Together, they shine harrowing spotlight on his ghostly and commanding vocals, insatiable guitar breakdowns, and the kind of drum solos that have never been common-place enough in popular music, especially in today’s age.
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