In a musical landscape often chasing trends and shiny new sounds, Danny Paisley’s Bluegrass State of Mind stands like an old cabin in the pines—sturdy, weathered, and stubbornly beautiful. Dropping May 23 via Pinecastle Records, this 10-song collection is as much a testament to Paisley’s half-century devotion to Bluegrass as it is a reminder that
Chadwick Easton
From the very first twang of “A Dozen Reasons,” Ashleigh Graham makes it clear she’s not here to reinvent the wheel — she’s here to drive it down a winding Appalachian backroad with the windows rolled down and the banjo turned up. I’ll Just Drive, her debut full-length via Pinecastle Records, is a clarion call
There is a moment near the end of Longing – A Love Across The Ages when the Forgotten Prince, newly awakened after thousands of years entombed, pleads with the gods of every name—Ra, Odin, Zeus—not to save himself, but to save the woman he has come to love. “Close your eyes and take my hand,”
CARSEX remind me of everyone from the Circle Jerks and the Dead Kennedy’s to Alice In Chains and Nirvana, all wrapped into one modern outfit, with everything these bands of the past used to bring to the table. And that’s just the music on the ‘Human Interest’ album. It only took a few listens to get into
Hip-hop flavor, pop ambition, and post-Idol hunger collide on a track that knows exactly what era it’s in — Ajii and Jordan Anthony’s new single “Cherry” isn’t just a flirtatious pop duet—it’s a precision-engineered blend of modern rap aesthetics and melodic pop sensibilities, tailor-made for a generation raised on TikTok soundbites, melodic trap, and AutoTune crooners.
In an era when too much mainstream country settles for generic party lines and rhyming “beer” with “here,” James Robert Webb’s Weekend Outlaw stands apart for its lyrical depth — a rare album that not only knows how to have a good time, but also how to say something meaningful while doing it. URL: https://www.jamesrobertwebb.com/
Jennifer Belle, a dynamic force in the country music scene, has earned three prestigious nominations at the 2025 Josie Music Awards, underscoring her exceptional talent and dedication to her craft. The nominations are: Rising Star – Modern Country/Pop Female Story Enhanced Performance Video of the Year – Female Vocalist of the Year – Country Female Alumni
In a landscape where modern country music increasingly blurs the lines between tradition and pop sensibility, Maddye Trew stakes her claim with a breakout anthem that’s as clever as it is catchy. With her latest single, “Single of the Year,” Trew proves she’s not just a voice to watch—she’s a songwriter with something to say.
In an era dominated by overproduced TikTok singles and AI-curated hitmaking, Amanda Barise’s “Cute and Deadly” is a refreshing case study in controlled reinvention. The song is more than a debut — it’s a proof of concept: a well-executed first move from an artist who’s been strategically building momentum since American Idol Season 23. This isn’t a
How We Feel – Ready For War, seems to be the marching orders for this band out of Cleveland, OH, consisting of Chris Bianchi (Forever In Terror), and close friend on drums/percussion Brian Lamtman. Bianchi himself is still young, but is no newcomer – he has the powerful voice of a seasoned vocalist. How We Feel recently
In an era saturated by algorithm-driven singles and micro-genre trends, Master Plan, the new full-length release from New York City’s Skyfactor, lands as a confident and refreshingly unselfconscious entry into the adult alternative rock space. It’s an album that underscores the enduring value of thoughtful songwriting, ensemble cohesion, and the kind of musical maturity that
You ever hear a song that sounds like it was written by the ghost of a gladiator who just discovered power-pop? No? Well now you have. “Phoenix Rising Soul” by Different Moon is one part inspirational sports movie, one part magical rebirth sequence, and one part mid-2000s AMV-core. I mean that in the best possible
I’ll be honest—my first listen of Collabs: Live at Garcia’s at The Cap left me grinning from ear to ear. It’s got big feelings, big guests, and big moments. Sometimes that works wonders. Sometimes, not so much. “The Mayor” is one of the tightest songs here. George Porter Jr. shows up and turns a solid groove into
For Neah McMeen, the car was more than a mode of transportation — it was a sanctuary. In her poignant new single “Girls Cry In Cars,” the rising Nashville talent captures that universal, unspoken ritual with sincerity and grace. “Girls Cry In Cars” marks McMeen’s third single and arguably her most emotionally resonant to date.
“One More Time” is another bold departure. The sleek pop song texture and memorable bass line will have immediate admirers. Another vocalist shift, this time back to a male singer, manifests itself in a distinctly different fashion. Multi-tracked vocals provide added flash. It has a light Latin flavor, and the song’s bouncy rhythms never grate
In “Chelsea Summer Nights (Acoustic),” Sheri Miller delivers a hauntingly tender tribute to a time, a place, and a love that lingers like smoke in an old hotel hallway. Stripped to its acoustic bones, this version allows every nuanced lyric and vocal inflection to shimmer with authenticity, drawing listeners into a confessional space that feels
There’s a distinct thrill that comes with hearing a rock song where the rage is earned, the guitars are loud, and the frontwoman is in full control of the storm she’s conjuring. Rachel DeeLynn’s “Egomaniac!” fits comfortably into that lineage—one forged by bands like The Pretty Reckless, Paramore, and more recently, acts like The Warning
Taylor Jules’ latest banger, “Don’t Give a Funk”, is absolutely about to be blowing up on social media, and it’s easy to see why. The song’s explosive mix of funk, pop, and rock is going to start turning heads—and snatching likes—everywhere from TikTok to Twitter. It’s that rare track that feels like it was made
After hearing ‘Waiting To Be Seen Part 2,’ it makes the best sense to explore the music of Part 1, but these two albums which complete one another, can be played in any playlist fashion without hurting the overall concept of the two albums, and songs like “Already Broke” and others from Part 1 come
Look, I’ve been around long enough to watch rock and roll rise, fall, and claw its way back from the dead more times than I can count. I’ve seen the hair metal gods fade, the grunge kids burn out, and the punk scene wax and wane. But every once in a while, a track lands
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