Hot damn, has 2026 been kicking ass musically so far, or what? There have already been so many top-shelf albums and singles released thus far, many of which I still need to circle back to and cover. Looking ahead to the next few months on the release calendar, keeping up is only going to get more difficult. But, what a joyous problem to have as a music fan! To help cover as much ground as possible as Summer 2026 gets in full-swing, this month’s digest is super-sized, and stacked with fifty singles that deserve space as a start-kit for your soundtrack to the hot months ahead! Enjoy!
Gracie Abrams- “Hit the Wall” (Interscope)
As Gracie Abrams emerged over the past few years as a rising singer-songwriter in the same stylistic realm and sphere of influence as A-listers like Taylor Swift and Olivia Rodrigo, her talent and potential has been apparent to me as a listener. However, she’s just been one of those acts that has failed to really grip my attention or intrigue. The lead single from her pending third LP, “Hit the Wall” does a great deal to narrow that gap. There’s just an underbelly of fiery passion, tension, and conviction that felt less palpable on previous tracks. I’m curious and hopeful for more when Daughter From Hell drops later this summer.
Avery Anna- “Blood Runs Thicker” (Warner)
This budding talent has been roaming around the Music City ranks for the past few years, mostly as a featured artist, but this revelatory track further solidifies she belongs front and center. I’m still working through her catalog, anchored by the 2024 debut Breakup Before Breakfast, and to my ears so far, this is the very best showcase of her various strengths: arresting vocals, passionate lyricism, and a crackling balance of country and rock roots. This is the arena that 21st century Nashville loves to overproduce with pointless loudness, but David Fanning keeps everything crisply reigned in but still appropriately intense. A voice to watch without question.
Willow Avalon & Kaitlin Butts- “Hypothetically Speaking” (Atlantic)
On this preview from Avalon’s forthcoming sophomore release, alt-country cult favorite Kaitlin Butts finds her spiritual sister, and together they craft a perfectly campy, hilariously morbid, and unapologetically vivid murder-tune. The Chicks are having a knee-slapping good-time listening to this somewhere. Meanwhile, Pink Pocket Pistol has quickly ascended my list of must-hear albums this summer. Poor Carl.
Duane Betts- “Down to Houston” (Sun)
Expertly crafted and performed Southern Rock, bolstered by delectably robust guitar work that makes every sizzling lick count, ruggedly evocative and swaggering vocals, and a red-hot house band the likes of which you’ll be hard pressed to find on any modern recording. Betts continues to proudly carry on his lineage, while giving it a fresh and personal bent.
Brandi Carlile- “Life on the Run” (Interscope)
Someday, when short-lists are assembled naming the truly great and definitive voices of this generation, Brandi Carlile’s name will be near the top. Which is why even a one-off release like “Life to the Run” manages to feel like such a pivotal revelation and treasure. Blanketed in banjo and boasting perhaps her rootsiest sonic environment since the Bear Creek-era, it may be her countriest performance outside of her work with The Highwomen. And like anything she touches, she delivers it with gorgeous grace, heart, and unbeatable emotion.
The Black Crowes- “Profane Prophecy” (Silver Arrow)
More than three decades on, and The Black Crowes continue to keep the spirit of pure rock and roll alive with as much passion, energy, and legitimacy as anyone in the entire music scene (outside of The Rolling Stones themselves- see below). “Profane Prophecy”, finds them sounding as rousing and electrifying as the days when Shake Your Money Maker lit up the rock airwaves.
Zach Bryan- “Say Why” (Warner)
As evidenced further down in the Digest, Noah Kahan is enjoying a prominent moment currently as the pop monoculture’s anointed king of roots music in the mainstream, and deservedly so. With that said, it’s difficult to imagine Kahan reaching that pinnacle without Zach Bryan’s underground ascendence to stadium-level popularity over the past several years. Fantastically slapping tracks like “Say Why” show that Bryan is also just continuing to hit his stride musically. Call it country-rock, Heartland, roots-rock, or Americana. Whatever label you want to bestow it, this track is it of the highest order, and with the added flourishes of horns into his gritty repertoire, it becomes harder not to regard him as the modern heir to 90s-00s-era Springsteen.
Charlie XCX- “Rock Music” (Atlantic)
So, Brat-summer went mostly over my head at the time, and to date, I’ve been most partial to Charlie XCX on features like “Fancy” and “I Love It”. Though, those 2024 singles do sort of slap as I’m listening to it retrospectively today. Oh, and “Boom Clap” does too. So, maybe I’m a bigger XCX fan in hindsight than I thought? As for the rock incarnation she pivots to here, I’m 100% digging it out of the gates; which of course tracks given that it seems destined for a bit of a backlash as a follow-up to the club beats that defined the preceding era. Her proclamation on “Rock Music” that ‘the dance floor is dead’ (2026-Madonna would like a word) will likely not endear her to the more siloed core of her base either. Regardless, her exploration of brash and angsty alt-rock feels incredibly natural and has me tuned in to see how this next album-arc unfolds.
Drake- “Janice STFU”/”2 Hard 4 the Radio” (Republic)
At the core of the surprising three-album bounty that the rap superstar dropped this month is this dizzying double-single. In “Janice”, he simultaneously calls out the tabloid gossipers that write about him and then gives them further source material by extending his war of words with Kendrick Lamar and taking a pot-shot at Jay-Z, while also striking out against the industry politics of his record label and mainstream radio. You could call it all rather hypocritical but there is no denying that Drake knows exactly what he’s doing, and these tracks display his Hip-Hop wizardry and execution at the peak of their powers. He remains a master of impactful rapping wordplay, and the interpolations (Lykke Li’s “I Follow Rivers” on the first track, and especially Mac Dre’s “Too Hard For the Fuckin’ Radio” on the second) are memorable and on-point. This double header strikes a perfect balance in terms of delivering straight-forward Hip Hop, and contagious urban pop.
Carter Faith- “If I Had Never Lost My Mind” (MCA)
A positively stunning performance that conjures up the same sort of thrilling country heartbreak that one gets from listening to Wynette records from the 70s, Womack records from the 00s, or Leah Blevins records from the current decade. Faith asserts herself as a worthy addition to the hallowed canon of torch & twang, while carving out her own niche within that space via her twisted, morbid POV. Her live performance of this on the recent ACM Awards is even better than the record itself, and the kind of talent spotlight that could save such institutional dinosaur telecasts from the brink of extinction.
Wyatt Flores- “Drive All Night” (Island)
A steamy, bluesy country-rock barnburner previews Wyatt Flores’ upcoming sophomore LP and further solidifies the Oklahoma native as one of the most vital young artists anywhere in music, much less country and roots. His voice and the band supporting him are both on fire here, and this performance unveils another new edgy element to his super arsenal.
Charles Wesley Godwin featuring Luke Combs- “Better That Way” (Big Loud)
It’s always great to see a superstar collab with an upstart roots favorite, and Luke Combs should be credited for doing so as often as he has. I would have preferred if the song content and production had stayed more loyal to Godwin’s catalog than that of Combs’ biggest hits, but this is still solid. Gotta love the Turnpike Troubadours shout-out too. Would love this exposure for both them and CWG to give them more of the widespread attention that they each respectively deserve.
Ariana Grande- “Hate That I Made You Love Me” (Republic)
The lead single from the newly announced Petal may not have the same immediacy and instant contagion of the superstar’s biggest hits, but make no mistake about it; “Hate” will be the summer’s most unsuspecting banger. And it is the track’s unassuming sneakiness–both in terms of it’s infectiousness and its sinister kiss-off burn–that is its greatest strength. Her vocals likewise remain pure and enchanting on a level that no other pop diva can currently come close to touching; a fact that is too-oft overshadowed by her abilities as a certifiable smash-maker.
Highly Suspect- “Big Shop of Horrors” (Elektra)
An on-brand hard-rocker from the alt-outfit that also stands as one of the year’s most unflinchingly topical singles. Johnny Stevens and company uses their inhabited sound to channel every ounce of fiery anger and disgust at both modern-day politics and worldwide genocide in a call-to-arms that reminds us how we can all lose sight of worldwide concerns, even though the superficial habits of our technology-strapped daily lives should have us more in-tune to these realities than ever before.
Hiss Golden Messenger- “In the Middle of It” (Chrysalis)
A lively and alluring reminder that singer-songwriter MC Taylor and his troops are continuing to quietly craft one of the very best iterations of latter-day folk-rock. The singular gravel in Taylor’s voice, coupled with the group’s soul-stirring lyrics and crackling musicianship, continues to tap into a deep well of greats in the folk-revival and classic rock canons, while vibrantly pushing those sounds forward to the future. With a sunny added dose of indie-pop flavor, this song is tailor-made for blissful, breezy summer days, and will be like cat-nip for roots music fans with sweet-tooth for top forty sounds.
Niall Horan- “Dinner Party” (Capitol)
The Irish charmer continues to show both his affinity and skill in crafting fizzy, dreamy, slightly folk-induced pop-rock. The hazy polish of the production proves to be the perfect pairing for Horan’s hypnotic vocals, when it could easily drown out other acts or suffocate the song. He’s not doing anything revolutionary here; this is a straight-forward pop account of new love. There’s something so unavoidably welcoming and engaging about Horan as both a public figure and an artist, and “Dinner Party” once again captures that easy-going quality in spades.
Houndmouth- “Tiger Blood” (Dualtone)
The alt-blues-rock-Americana hybrid returns after a lengthy absence with a raw and rippling account of one’s mental wellness and the events that have contributed to its current state. It sounds heavier than it really is on record. Matt Myers’ voice is both blood-curdling and charming all at once, with the rumbling guitar work and bawdy backing vocals keeping things refreshingly light.
Natalie Imbruglia- “Upside Down” (BMG)
This Australian songbird may have been the definition of a one-hit wonder in 90s radio land (1997’s “Torn”, which is still a certifiable standout decades later BTW), but she has amassed a larger discography than most listeners realize. “Upside Down” launches what will be her seventh studio set and first in five years, and it’s immediately captivating on the strength of its sparkling pop sheen as well as Imbruglia’s voice, which remains sweetly resonant. The song itself meanwhile continues to champion the reflective singer-songwriter pathos that was always at the heartbeat of her one iconic smash.
Johnny Blue Skies & The Dark Clouds- “Situation” (Atlantic)
Of all the bawdy and randy exercises that meld Sturgill Simpson’s country-rock signatures with disco on Mutiny After Midnight, “Situation” is probably the most deliberate and cohesive. This makes it not the most jaw-droppingly shocking in terms of sonic abandon or explicit lyricism, but it also makes it one of the record’s best tracks, and certainly most durable as a single. And it also boasts one of the album’s most fiery instrumental jams from the Dark Clouds to boot. It’s like “Stayin’ Alive” on acid. A thrilling example of the kind of kick-ass, creative genre explorations that Simpson has always delivered, but does so in new and surprising ways in the Johnny Blue Skies realm.
Cody Johnson featuring Brothers Osborne- “Fool Proof” (Warner)
A stellar slice of post-90s contemporary country, packed with sumptuous down-home production and tongue-twisting and Garth-recalling wordplay. The BrOs’ blistering Southern-Rock-infused presence brings out some bluesy Travis Tritt-esque qualities to Johnson’s standard Texas twang, and per usual, TJ Osborne sounds as suavely smooth on record as anyone currently playing the game.
Noah Kahan- “Doors” (Mercury)
Noah Kahan’s emergent hot-streak as both popular music’s most in-demand rock-star and deeply resonant folk scribe continues with this fiery, undeniable hit. “Doors” follows in the Heartland-meets-Americana footsteps of icons like Springsteen, Petty, and Mellencamp by combining irresistibly jangly rock anthemia with strikingly personal portraits of his youthful roots and the shadow they cast over his adulthood. He makes it all uniquely his own through the power of his soaring vocals- at once gloriously cathartic and tenderly vulnerable and sensitive.
Adam Lambert- “Eat U Alive” (More Is More)
The lead single from his sixth studio set finds Lambert in all of his dramatic, glam-rock glory, and it’s a setting that he still pulls off in as fresh and authentic of a manner as he did when he first shot out of the American Idol canon nearly two decades ago. His soaring voice remains one of the great modern wonders in both pop and rock music; as stunningly pure and deliciously flamboyant as ever.
Miranda Lambert- “Crisco” (MCA)
As the Urban Cowboy era of country music continues to enjoy some reappraised acclaim some four decades later, Miranda Lambert builds upon the glitzy overtones of last year’s “A Song to Sing” (and it’s also worth remembering she produced Ella Langley’s 80s nodding Dandelion) with the charming novelties of “Crisco”, a direct celebration of the flirtations that country and disco enjoyed back when icons like Dolly Parton, Glen Campbell, and Kenny Rogers were dominating the country and pop charts. And while this curious segue in her discography may make her devotees in the Outlaw and neo-trad subsets groan, there’s no denying how well Lambert and her production team curate the very best elements of that era here. The countrypolitan strings are prominent here, but so are the steel licks and honky piano as well, and they make an infectious juxtaposition. “Crisco” sounds like it was birthed in the same sessions as Dolly cult-faves like Heartbreaker.
Ella Langley and Morgan Wallen- “I Can’t Love You Anymore” (Columbia)
A late-blooming, surprise release from Ella Langley after the initial roll-out of the dominant Dandelion, this superstar duet strikes a positive, sweeping middle-ground between her more rustic country twang and Wallen’s unabashed bro-pop sound. It proves to be quite infectious, and boasts charisma in droves compared to Wallen’s overhyped duet with Tate McRae last year. Prepare for this track to continue the Hot 100 love affair for both Langley and Wallen, and subsequently 2020s country as a whole.
Last Dinner Party- “Big Dog” (Island)
Holy hell, are the Grace Slick vibes strong here or what? It’s an influence, among many other classic rock icons, that has always been present in Last Dinner Party music, but Abigail Morris just unleashes them (along with those of Florence Welch) with unforgiving abandon here. This is a ferociously powerful moment, especially for a one-off single, and further proof that the future of rock, female-led or otherwise, is in very capable hands with this rising troop.
Little Big Town- “Hey There Sunshine” (MCA)
Karen Fairchild’s voice remains a gem in contemporary music, and this is a tenderly beautiful showcase of this fact. She digs deep to evoke every layered emotion one feels after emerging from a dark life period and finding a renewed appreciation for life. I would have liked a little more emphasis on some bright harmonies from her bandmates to more prominently emphasize the happier shades of the rebirth as the track progresses, but this is still an expectedly beautiful release from this venerable band nonetheless.
Lizzo- “Bitch” (Atlantic)
On this final preview of her imminent fifth LP, we find Lizzo slyly interpolating the 1997 Meredith Brooks smash into a pop-rap mashup that boldly strikes out against the notorious detractors who have clouded her public image during the past two years. She long ago learned the nostalgic power to be found in revisiting iconic choruses from the past, and “Bitch” continues to find her capable of evolving them to fit both her style and the narrative of her own songs. I like it, though not as much as her canned singles from 2025, or this spring’s “Don’t Make Me Love You”. I’m just thrilled she’s finally getting another album out there.
Madonna and Sabrina Carpenter- “Bring Your Love” (Warner)
A blockbuster pairing that immediately heightens the anticipation for Confessions II among the Madge-devotees, while Carpenter’s presence provides the track with considerable potential as a cultural, summer-defining moment on a grander mainstream scale. Whether that truly comes to fruition or not, there’s little doubt that the dance scene has found its newest anthem with “Bring Your Love”. It boasts as much spiritual connection to the “Vogue”-era as it does the haunting seduction of the original Confessions, and Sabrina and her sparkling charisma unsurprisingly feel right at home in this setting.
Paul McCartney & Ringo Starr- “Home To Us” (Capitol)
It’s baffling to think the two surviving Beatles had never collaborated on a proper duet prior to this, but Paul & Ringo sure do make up for decades of lost time on this joyous performance. The full-circle nature of them collaborating only elevates the track’s celebration of one’s youthful roots, and they sound positively elated to be singing together again. Nothing but happiness and sweet-spot nostalgia to be found here.
Reba McEntire- “Hurt Like That” (MCA)
The country queen has yet to drop any indication of a new studio album, but if the rapid run of recent singles from her is any inkling, she must have a killer bounty of material waiting in the wings. This is the kind of classic country heartbreak that has always been her greatest strength, and the reason she deservedly sees her name uttered in the same breath as Patsy and Tammy. The dawn of her seventies has done nothing but confirm that her inimitable voice is aging like a fine wine.
Tift Merritt- “Finest Feelings (One Riot)
One of the most uniquely special, and vastly underappreciated, vocalists of the 2000s and 2010s returns after a nearly decade slumber, and “Finest Feelings” makes it quickly apparent how much she was truly missed. Tift has one of those classic pure voices and pairs it with a POV that is both soulfully vintage and thoughtfully contemporary. This first teaser of Sugar just scratches the surface of all of those qualities, but is a promising start that assures she has plenty pivotal moments to offer in this new season of her discography.
Midland- “Drinkin’ Dark Whiskey” (Rounder)
The superb Gary Allan was among the first mainstream country artists to start tapping into the greatness of Chris Stapleton’s songwriting when he included this killer honky-tonk fireball on his See If I Care album way back in 2003. It should come as no surprise that the boys from Midland do thrilling job unearthing it here. They’ve long since shaken off the “imposter” stigma hurled at them by so many in Nashville at this point, and it’s because of fantastic outings like this. Let’s face it: curated as they may have been in some regards, Midland has achieved more legitimate country greatness in the last decade than many of these modern Music City A-listers will across their entire career. More please.
Maren Morris- “Parachute” (Columbia)
Morris is truly in her sweetest spot when she strips things down to her barest singer-songwriter identity, as demonstrated by the bones (no pun intended) of “Parachute”. I think I would have preferred more of a coffee-house approach on this track, though the dreamy production on her vocals does suit the song’s imagery well, and the looming rock licks elevate the ethereal nature even further.
Muna- “Dancing on the Wall” (Saddest Factory)
Muna reminds a lot of Haim, not just vocally, both with their skill to conquer that fine-line, dichotomous balance between deep, sterling songwriting and fetching sonic contagion. Muna tend to push things quite a bit further in the pure pop direction and that’s precisely what they do during “Dancing on the Wall”. No complaints from me; we’ll have plenty of time for deeper introspection later. This is a bop, pure and simple, and one that deserves to dominate summer playlists.
Kacey Musgraves- “Loneliest Girl” (Lost Highway)
Ms. Musgraves may be struggling at times with the sexual dry spells of the single-life, but this latest single chooses to also focus on the all the upsides that come with being unattached. And while those counterpoints could have resulted in another single equally as cheeky as “Dry Spell”, where Musgraves uses her singular sass to elevate the 2000s country trope of ex-bashing, she unsurprisingly delivers something more layered. Like so much great country music, this song tussles between literal directness and veiled emotion. There are moments where she means exactly what she says, like when she’s dismissing the drama, or protecting herself from future pain, or relishing the freedom provided by the independence. But as the mournful steel and hushed confessional tone (this track does feel like a true-blue Same Trailer throwback) suggests, there’s a lingering sadness and longing that hints she hopes her bachelorette status, like her relationship prior, also has an expiration date.
Old Crow Medicine Show featuring Molly Tuttle, Del McCoury & Ronnie McCoury- “My Side of the Mountain” (Hartland)
In the contemporary bluegrass world of 2026, this track serves as a collaborative record on the same level as some of the great supergroup albums littered throughout the rock & roll or country lexicons. It basically serves as a three-minute Hall-of-Fame exhibit spotlighting the golden sounds of bluegrass past, present, and future, with the amount of talent collected here nothing short of staggering. Knowing his well-publicized love for bluegrass, hearing this record is surely a thrill for co-writer and reigning country superstar, Luke Combs.
Brad Paisley- “Fallin'” (EMI)
I’m not sure what the hell is going on with the logistical side of Brad Paisley’s career at this point, but if there’s any artist that’s currently a screaming example for needing to escape the major label system, it’s him. His most promising work–perhaps ever–was criminally shelved, and has now been followed by several years of random, endless single releases that never seem to lead to the promise of a full studio project. This newest digital concept, titled Tacklebox, now finds Paisley randomly dropping both vaulted and fresh tracks to stream. The upside is that we get to hear some of his best work in over a decade, with all tracks deeply rooted in the sound of his late 90s launch. Which again suggests that there’s plenty of gas left in the aging superstar’s tank. Let him drop some damn albums already. He’s got the street-cred and fan-following to properly jumpstart his legacy arc, and deserves better than this kind of 2000s-era Nashville label start & stop promotion that stalled various careers and left decade-long catalog gaps for acts like Faith Hill and Jo Dee Messina.
Grace Potter- “Love Me Not” (Fantasy)
Easily the quirkiest single of the rock siren’s impressive catalog, “Love Me Not” starts out as a churning rock & soul reflection, before taking an abrupt left-turn on the second verse into a frenetic onslaught of jangly hippy rock, saucy samba rhythms, and zany backing vocals. It probably sounds like a hot mess on paper, and honestly it would be in the hands of a lesser artist. Not with Grace Potter at the helm though. I love how it’s both so soulfully passionate and so, well, unhinged. It shows her taking entertaining and playful risks with her sound, without taking any of it too seriously. And it has me even more intrigued for her album than I would already be normally. She’s a gem in today’s music world.
Shaboozey- “Born to Die” (Empire)
“Born to Die”, the first formal follow up to Shaboozey’s seismic 2024 breakthrough album expands upon that record’s buzzy sonic framework by incorporating the kind of stomping urgency and horn textures of the 2010s’ folk-rock rise-up. They make for suitable and crowd-pleasing trappings for his musings here on mortality and life’s fleeting nature, which in turn thematically live up to the Western imagery of the forthcoming record. The results are pretty darn great. It’s ridiculous to expect it, or any further release of his, to ever reach the commercial heights of “A Bar Song (Tipsy)”, but this song and the natural evolution it hints at certainly help dispel the notion that Shaboozey would be a mere flash in the pan artistically.
Sombr- “Potential” (Warner)
What a fitting title to attach to this rising voice and the latest in his cavalcade of post-Grammy sophomore singles, which have all been fetching bangers. This one immediately feels like the catchiest one of the lot.
Red Clay Strays- “Demons In Your Choir” (RCA)
These Alabama powerhouses aren’t letting any mainstream industry attention distract them from the pure spirit and authenticity of their core sound, and refreshingly so. They realize they have something uniquely special and organic, and that it’s why their success has been such a beacon within the homogenized country and rock scenes. They continue to imbed gospel sounds and religious overtones into their work, but this quality remains as organically genuine and palatable as the rest of their signatures. Case in point: the delicious social commentary at the core of this record, aimed squarely at the viscously veiled intent of so many religious institutions and their followers. This song, this band, and Brandon Coleman’s generational pipes. My God, what a force they all are.
The Revivalists- “Heart Stop” (Concord)
They remain one of the most underrated rock forces of the last decade, and have not missed a beat since the runaway success of “Wish I Knew You”. “Heart Stop” finds the group continuing to skillfully blend moody rock and bombastic pop-leaning hooks, with the ferocious longing of David Shaw’s dynamic rock growl rightfully taking center-stage.
Olivia Rodrigo- “The Cure” (Geffen)
Rodrigo preps us for a sad-girl summer on the second release from her forthcoming third album, and it’s as strikingly lonely and confessional as any heartbreak number she has unleashed thus far in her young, potent career. Her deliveries, writing-style, and production choices continue to display alternative influences are just as prominent as any from the Taylor Swift–subset. Play this side-by-side with Foo Fighters’ “Everlong” or “Disarm” by The Smashing Pumpkins, and you’ll have a seamless hat-trick of alt-rock gold.
The Rolling Stones- “In the Stars” (Capitol)
“In the Stars” arrives in advance of the iconic band’s twenty-fifth album, and if its any indication, the glorious twilight renaissance achieved with 2023’s Hackney Diamonds may just have multiple legs to it. And how lucky for us. Like that album, this single shows no signs of exhaustion from their sterling six decades of touring or Mike Jagger’s eight decades of age. With Andrew Watt (the producer behind McCartney’s recent excellent LP) back at the helm, “Stars” manages to once again show the Stones capable of rocking out as convincingly and entertainingly as they did half a century ago. It’s honest-to-goodness, straight-forward rock & roll and lacks not one iota of vigor, power, or anthemic euphoria.
Silversun Pickups- “Long Gone” (New Machine)
A beautifully chilling portrait of a pair whose relationship has knowingly reached its expiration with a long-gestating dissolution about to come to fruition. For any couples currently wrestling with such a fate, you won’t find comfort in Brian Aubert’s ethereal performance, particularly one liners like “Hold your breath and take it, I’ll be long gone before we break it.” Haunting as the vocals are, don’t let them distract you from the equally enthralling breakneck guitar work that remains relentless throughout, or the exquisitely doomed atmosphere. Beautifully devastating.
Harry Styles- “Dance No More” (Columbia)
Harry Styles may only disco occasionally on his newest record, but as evidenced by this bop and newest single, he sure makes the most out of it when he does. Boasting Styles’ charismatic and stylish vocals, a smooth dance-funk blend, and a call-response hook, he’ll have no problems getting listeners to join in his call to bring grooving energy back to the dancefloor. It’s positively entrancing, and easily one of Styles’ most intoxicating concoctions to date.
Aaron Lee Tasjan- “Lost & Alone” (New West)
Like the Hiss Golden Messenger track up above, Aaron Lee Tasjan’s new music is a much-welcomed return from one of modern-day’s very best folk-rock architects. “Lost & Alone” once again finds Tasjan seamlessly distilling his delightfully sardonic personality, sharp lyricism, and downbeat personal and world observations inside a brightly clapping, jangly potion of his folk, rock, and country influences.
Shania Twain- “Dirty Rosie” (Republic)
After the dance-centric direction of previous album, 2023’s Queen of Me, the legend muddies up her sound here with a heavy, gritty helping of country-rock swamp and sizzle. Of course, this doesn’t mean that Twain has abandoned her signature affinity for anthemic ear-worminess. It may be less immediate and take additional listens, but “Dirty Rosie” will indeed hook itself in your brain. She continues to embrace the growing rasp in her voice, courtesy of both her well-documented vocal struggles and just age; Shania Twain is in her sixties folks- I know it’s difficult to come to terms with. Her vocals are reminiscent of latter day records from the likes of Emmylou Harris, Stevie Nicks, Tanya Tucker, and perhaps most prominently, Americana godmother Julie Miller. These rugged sonic settings–easily the most enticingly loose of her career–really are wonderfully suited for her modern-day voice, while also providing a perfectly-timed full-circle path at this stage in her career. Based on other teasers, promising collabs with the likes of Tucker, T-Bone Burnett, and Mountain Grass Unit, this new record could prove to be the most interesting artistic turn she’s ever taken.
The War & Treaty- “Don’t Say Goodbye” (Atlantic)
Mr. and Mrs. Trotter return to the indies after dabbling with the Nashville label system on their last two records, and you can absolutely hear the surging liberation they must feel after exorcising that needless bureaucracy. As ever, they prove to be spell-binding masters in conjuring up the timeless magic and power of classic soul on “Don’t Say Goodbye”. And while they’re both unmitigated powerhouses in their own individual right, it’s hard not to gravitate toward Tanya here. Right out of the gates, she rivals prime Aretha in track-stopping fashion. Simply gorgeous.
Lola Young- “From Down Here” (Island)
A raw and stirring account sung from the numb period after one has matured and recovered from the reckless ways of their youth. They may be in a better and healthier place now, but there’s also no denying that it’s a less riveting space as well. They know they’re better off leaving their past lifestyle behind, and while they know they can’t indulge in those demons again, it’s not going to stop them from longing for the feelings that accompanied it. Young possesses such a unique and guttural timbre to her voice; perfectly tailored to deliver the kind of strength and simultaneous loneliness of the almost certain autobiographical narrative found here.
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