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Appalachian Country Songwriter Brit Taylor Drives Home With New Album ‘Land of the Forgotten’

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Brit Taylor is going back to her roots. The Eastern Kentucky songwriter has released her new album ‘Land of the Forgotten,’ and for her, it’s deeply personal. “This album feels like driving home to me,” Taylor says, and that sense of home carries real weight coming from the same Appalachian corner that produced Loretta Lynn, Keith Whitley, The Judds, and Tyler Childers.

Taylor’s songs are built from colorful memories of back home, delivered by a rich, layered voice that’s playful and cheeky as often as it’s cutting and commanding. The 11-song LP collects tightly written, hook-driven songs that frequently center on the working class, produced by the person who knows her musical strengths best, her husband, Adam Chaffins.

Taylor and Chaffins, along with their longtime collaborator, songwriter Adam Wright, and a few others, wove together a sonic tapestry that highlights Taylor’s singular voice and her love and compassion for where she’s from, balancing the ups and downs of life. “I think it puts a light-hearted spin on some of the tougher things about life,” Taylor says. “Not to make light of difficult times, but to remind us two things can exist at one time, and not to forget to take a look at the bright side too, and to not take it all so seriously.”

The album arrives on the newly formed RidgeTone Records, a label supporting Appalachian talent based in Prestonsburg, Kentucky, distributed through Thirty Tigers. It’s a warm, rooted collection from one of the region’s most compelling new voices.

Country-Pop Hitmaker Hunter Hayes Completes His Trilogy With New Album ‘Evergreen’ And A Title-Track Visualizer

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Hunter Hayes is closing the loop on an ambitious three-album journey. The country-pop hitmaker has released his 10-track album ‘Evergreen,’ along with an official visualizer for the title track, filmed at the lush Cheekwood Estate & Gardens.

The record completes a trilogy that began with ‘Wild Blue’ and ‘Red Sky,’ tracing a journey from optimism through conflict to resolution. Across its 10 tracks, Hayes weaves together pop, country, folk, R&B, and indie rock, with lyrics centered on renewal, self-discovery, compassion, and presence, the foundation for a healthy relationship with himself, the world, and others.

He has a clear vision for what he wanted it to feel like. “I wanted to make an imaginative album, not a reaction to the world around me, but rather a dream of the world I want to create,” Hayes shares. “I want the music to feel like free therapy. Something that makes you feel better, more understood, more alive.” He describes the album as “a letter from your future self,” an emotional reset and a statement of manifestation, guided by his motto, “Be good to yourself and the world around you.”

Recorded with co-producer Alex Flagstad, ‘Evergreen’ captures the full scope of Hayes’ creativity with songs that are as emotionally rich as they are musically daring. The high points run deep, from “Until She Comes Along,” a bluesy number that blossoms into a fun rock tune showcasing his growth as a songwriter, to the cinematic “Around the Sun,” an affirmation that whatever you’re going through, you’ll come out the other side. There’s also the playfully vulnerable “Every Piece,” the infectious “Wait,” and the atmospheric, scene-setting title track. It’s Hayes at his most fully expressive chapter yet.

Charlotte Sands Goes Bold And Self-Assured On Her New Album ‘Satellite’

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Charlotte Sands just unveiled her new album, ‘Satellite,’ a bold, emotionally charged 10-track record that captures her at her most expansive and self-assured. The album gathers fan-favorite singles “Afterlife,” “neckdeep,” “HUSH,” “back to you,” and “one eye open,” and pairs them with a slate of previously unreleased songs.

Known for her genre-blurring sound, fearless vulnerability, and electric live presence, Sands pushes her vision further than ever here. The album sets soaring melodies against razor-sharp lyricism and punchy, high-impact production, landing somewhere both intimate and anthemic.

Sands opened up about where the record came from. “‘Satellite’ was born from a search for meaning, identity, and self-worth. It’s a collection of moments from the last two years of my life—the highs and the lows, the joy and the grief. It’s about drifting, discovering, questioning your purpose, and learning to trust the quiet pull that brings you back to yourself,” she shares.

Since her 2018 debut, Sands has charted in the U.S. Top 40 for more than 15 weeks, won Best Breakthrough Album at the Heavy Music Awards, and amassed over 300 million global streams, all as a fully independent artist. Relentless touring fueled her rise, with stages shared alongside My Chemical Romance, 5 Seconds of Summer, and YUNGBLUD. In 2024, she launched a successful global headline tour behind her album ‘can we start over?.’ The new record sharpens everything that’s made her a force, and it stands as her most confident statement yet.

The LA-based artist has built a striking identity around her bright blue hair and captivating energy, cementing her place as an alt-pop it girl. Behind the bold aesthetic sits a fiercely hands-on creative who designs all her own merch, builds her signature makeup looks, and creative directs every visual. Looking ahead, Sands brings her live show to European audiences in 2026 as a support act on Simple Plan’s tour, a major milestone in her international rise.

CVCHE Drop Their Gloriously Weird Debut ‘Get Fluffy’ From A Cabin Full Of Vintage Synths

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Experimental Rural Canadian Techno supergroup CVCHE just dropped their debut album, ‘Get Fluffy,’ out now. The record pulls together a year’s worth of the band’s unapologetically weird and hypnotic cuts, capturing both where CVCHE started and where they’re aiming next. It’s a snapshot of a project built on instinct, isolation, and a pile of vintage synths in the woods.

The band described how it all came together. “We made this album with no intention of making an album or sticking to any style. We just know each other well and wanted to make music together, and with a pile of vintage synths in the woods… Isolation helps. No one cares about what you’re doing except the trees, the synths, and maybe the wine. Everything slows down. You stop worrying about ‘making a track’ and just follow whatever texture or mood shows up. The place pushed the music where it wanted to go,” they share.

‘Get Fluffy’ arrives with new single “CVCHE or the Highway,” a tongue-in-cheek closer that leans fully into the project’s playful menace. “It’s the last piece of the puzzle and the only track fans haven’t heard yet. ‘CVCHE or the Highway’ is the moment that kind of sums up what the album is doing. The energy we had on that day, the weirdness, the humor… It’s not a hard ultimatum. It’s more like, ‘this is where we’re going. If you’re down, put your socks on and let’s go,'” they say.

CVCHE recorded the collection over the course of a year while moonlighting in some of the biggest rock bands in the world. The supergroup channels the talents of Jimmy Shaw (Metric, Broken Social Scene), Liam O’Neil (Kings of Leon), Dave Hodge (Broken Social Scene, Leisure Cruise), and conceptual artist Jon Morris (Windmill Factory, NOWHERE.io) into a 10-track project they’ve been unveiling piece by piece. The result is a hypnotic, genuinely playful ride that rewards listeners willing to follow it into the strange.

The album features recent single “18 Days Later,” written during a mysterious 18-day disappearance and self-imposed blackout, plus fan favorite “The Star,” which came together during a late-night jam session with Chris Seligman of Canadian indie-rock band Stars. Other cuts include “Welcome To CVCHE,” “Eyes of Darkness – A Novel by Dean Koontz,” “Thumper,” and “Private Volcano.”

Willa Ford Returns After Two Decades With ‘amanda,’ A Bold And Healing Pop Rebirth

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Willa Ford just released her long-awaited sophomore album, ‘amanda,’ out now, and it’s her first full-length in more than 20 years. The pop artist follows up her 2001 debut ‘Willa Was Here’ with a deeply personal body of work, and she’s paired the release with a new music video for the track “Disassociate.”

The album takes its title from Ford’s birth name, and it stands as a rebirth and a reclaiming of a dream nearly lost. After joining a longtime friend for informal songwriting sessions in 2023, the Northern California-based artist reconnected with a musical passion she’d kept dormant for years, the same talent that fueled her Top 40 breakout “I Wanna Be Bad.” As she dug deeper, Ford suffered her first bout with PNES, a type of seizure later traced to unresolved trauma tied to her past in music. Working through that trauma while learning to cope with her condition, she poured everything back into the music and arrived at the catharsis of ‘amanda.’

“Disassociate” stands among the album’s most revealing moments, offering an unflinching look at Ford’s experience with PNES (psychogenic nonepileptic seizures). “Through working with neuroscientists and neuro-psychs we learned that my brain had blocked out certain traumatic events, and that those events were interconnected with music—so it makes sense that I wanted to stay away from music for so many years,” she says. Driven by pulse-pounding rhythms and bright synth, the track captures the raw sensation of her seizures alongside a fierce determination to keep moving. “The more I learn about what happened to me, the better my chances are of no longer having the seizures,” she explains.

Other highlights run wide. “Love4Life” is a euphoric ode to her husband, former Tampa Bay Buccaneers linebacker Ryan Nece. “Burn Burn” turns her inner monologue into a soaring anthem of self-salvation. “Carousel” showcases the full depth of Ford’s sonic imagination, drawing on her love for the symphonic pop of Pet Sounds-era Beach Boys. The record glows with the kind of honesty that turns personal struggle into something genuinely moving.

Ford reflected on the journey. “When I first started writing these songs, I didn’t know what I was writing for. But if I hadn’t unlocked certain things through my music, I don’t know if the seizures would have started—and it’s because of the seizures that so much has finally come to light. It feels remarkable to get to this place after all these years, and to be putting out a record that’s been incredibly healing for me,” she says.

John Mayer Spins His Favorite Grateful Dead Cuts Every Sunday On His SiriusXM Listening Party

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John Mayer hosts a weekly SiriusXM series, “Grateful Dead Listening Party,” where he spins his favorite Grateful Dead tracks every Sunday night and shares why each one means so much to him. The two-hour show airs on SiriusXM’s Life with John Mayer (ch. 14) on Sunday nights at 9:00 pm ET, with rebroadcasts on the Grateful Dead Channel (ch. 23) throughout the week. Episodes also land on the SiriusXM app after they premiere.

Mayer laid out the story behind the show in his announcement post. “In the days after we lost Bobby Weir, I tried listening to Grateful Dead music as a way to be soothed. I found it harder than I’d thought. I felt as if I was listening alone, like the mainframe that connects all who listen at any given time had gone offline. (It turns out that a presence like Bobby’s makes for an immeasurable absence.) After talking with friends who felt the same, I knew I wanted to start Grateful Dead Listening Party. Every Sunday night at 9pm Eastern/6pm Pacific on SiriusXM’s @lifewithjohnmayer channel, I’ll be playing two hours of my favorite @gratefuldead and @deadandcompany recordings, talking a little about each one. It’s a way for those who have felt lost to ‘meet up’ and listen to the music together. It’s not live, but I’ll be tuning in. Sometimes the least you can do is also the most you can do… we shall find a way forward,” he wrote.

The series lives on SiriusXM’s Life with John Mayer channel, a 24/7 music experience he hand-selects himself. The channel pulls from his classics, collaborations, and never-before-heard material, blended with the songs he loves, and rounds it out with exclusive shows like “How’s Life with John Mayer” and “New Music Friday-Tuesday.” The new listening party gives Dead fans a warm, communal place to gather around the music together.

Godsmack Crank Up The 25th Anniversary Of ‘Awake’ With Five Bonus Tracks And Smoky-Green Vinyl

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Godsmack just dropped the 25th anniversary deluxe edition of ‘Awake,’ out now as a digital deluxe and on deluxe 2LP smoky-green color vinyl and CD via Republic/UMe. The commemorative release comes with a holographic lithograph of the cover art and five bonus tracks, including “Why,” which landed on the ‘Any Given Sunday’ soundtrack, plus a Black Sabbath cover of “Sweet Leaf.”

The reissue marks a quarter century since one of the band’s defining records. Following their multi-platinum self-titled debut in 1998, Godsmack came back in 2000 with an album that surpassed every expectation. It delivered a run of fan favorites like “Bad Magick,” “Awake,” and “Greed,” and locked in the band’s standing as one of the era’s defining hard rock acts. The title track earned Godsmack their first Billboard No. 1, while “Vampires” brought the band their first Grammy nomination. This deluxe edition celebrates an album that still hits home with fans around the world.

Godsmack are also deep into their massive GODSMACK – THE RISE OF ROCK WORLD TOUR 2026, a sprawling North American run with special guests Stone Temple Pilots and Dorothy. Promoted by Live Nation, the trek brings the band’s high-octane live show to amphitheaters across the country, with stops in Austin, Chicago, Denver, Phoenix, California, and Toronto, Canada, before it wraps September 26 at Ford Idaho Center Amphitheater in Nampa, ID.

Squeeze Unearth ‘Trixies,’ The Album They Wrote As Teenagers Fifty Years Ago

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Squeeze just released ‘Trixies,’ an album more than 50 years in the making, out now. Here’s the twist: it’s the band’s first album in eight years, yet also the very first one they ever wrote. Chris Difford (then 19) and Glenn Tilbrook (then 16) penned these songs at the dawn of their partnership, building a collection of stories set in a fictional nightclub. Five decades later, the pair have finally completed the circle and brought that teenage vision to life.

Long before classics like “Up The Junction,” “Tempted,” “Cool For Cats,” and “Labelled With Love,” before the 2008 Ivor Novello Award for Outstanding Contribution to British Music, the world tours and festival sets, there was ‘Trixies.’ The collection runs through crime-scene vignettes like “The Place We Call Mars” and “Don’t Go Out In The Dark,” the riotous come-hither charge of “Why Don’t You,” and the evocative acoustic scene-setter “You Get The Feeling.”

Difford explained why the songs sat on the shelf so long. “We fully committed ourselves to songwriting but this was three or four years before we even got to make our first record. Long story short, these were songs that we just didn’t have enough musical experience to record properly,” he says. After rediscovering the original 1974 cassette, the band, who’ve played more than 600 shows since reuniting in 2007, finally had the chops to do them justice.

Tilbrook lit up talking about the return. “The songs that we wrote then astound me. I’m proud of them now, and I’m particularly proud that it was young us that did that. These are very much the same songs that we wrote then. The only difference is that now I can teach the songs to the rest of the band. Back then, I didn’t even know what the names of the chords were,” he says.

Produced by Squeeze bassist Owen Biddle (The Roots, John Legend, Al Green), ‘Trixies’ has sparked a fresh creative surge. An album of brand-new Squeeze songs, recorded right alongside ‘Trixies,’ is already finished and waiting in the wings. “The act of revisiting the Trixies songs had me in tears, partly because they’re so good, but also because I’m aware of all the stuff that I’ve still yet to hear and write,” Tilbrook says. Difford echoes the joy: “It really fills me with joy that at my age we can discover that we wrote such great songs when we were teenagers. I’m very proud of that,” he says. The whole project glows with the rare thrill of a band rediscovering its own beginnings.

Squeeze hit the road this fall behind the record, including a stop at the legendary Hollywood Bowl and their most ambitious UK tour to date, the 16-date Tried, Tested and Trixies Tour, with Billy Bragg joining as Very Special Guest.

2026 Tour Dates:
September 19 – Los Angeles, CA – Hollywood Bowl (with Adam Ant and The English Beat)
September 26 – Louisville, KY – Bourbon & Beyond Festival

The Red Jumpsuit Apparatus Super-Size ‘X’s For Eyes’ With A Surprise Guest And Four New Tracks

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The Red Jumpsuit Apparatus just dropped the deluxe expanded edition of ‘X’s For Eyes,’ and it’s out now. The Florida rockers loaded the new version with four additional tracks: the previously released “Angels Cry,” “Perfection” featuring Mayday Parade’s Derek Sanders, “Not Today,” and a Screams Version of “Slipping Through (No Kings).” They’ve also shared a lyric video for “Not Today” to mark the occasion.

Frontman Ronnie Winter is fired up about what the expansion brings. “The surprise guest vocalist and alternate versions really make this the most exciting deluxe edition in the history of our career,” he says.

The 11 original songs on ‘X’s For Eyes’ found the band cranking up their caffeinated pop sensibilities, throwing down punishing riffs, and folding in more electronic and ambient textures, all topped off with Winter’s high-pitched emoting. A-list cameos from Sleeping With Sirens’ Kellin Quinn on “Always The King” and Escape The Fate frontman Craig Mabbitt on “Worth It” pushed the record into one of the strongest entries of the band’s catalog. Winter used the album to work through deep, post-pandemic thoughts, and the band keeps the energy charged whenever the lyrics turn melancholy, ready to launch these songs into mosh pits and dance floors. The four new additions super-size a record that already connected, and they’re built to please the RJA faithful.

Formed in 2004 in Jacksonville, Florida, the band has racked up Gold and multi-Platinum singles, including their 5x Platinum smash “Face Down” (over 176 million YouTube views) and 2x Platinum “Your Guardian Angel” (over 37 million views), plus a 2x Platinum debut album, ‘Don’t You Fake It.’ They’ve logged over 1.5 billion career streams across two decades. “The core fanbase has always been there. It’s a family band. Why? Because we stick up for people,” Winter says. Their 2006 single “Face Down” carried anthemic choruses alongside a pointed message about domestic abuse, earning both sales accolades and devotion from crowds around the world.

Kip Moore Floors It On Guitar-Slinging New Anthem “Levee” And Maps A World Tour

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Kip Moore just made his return with “Levee,” an anthemic, guitar-slinging banger built for the fast lane, out everywhere now through Virgin Music Group. The multi-platinum singer/songwriter co-produced the track with Andrew DeRoberts (Stephen Wilson Jr., Tate McRae, Zac Brown Band), and it features guest vocals from Hillary Lindsey. An official video, directed by PJ Brown, follows a wayward Moore across a barren southwestern landscape.

Moore dug into where the song came from. “‘Levee’ is an expression of frustration with the loudness of the world. Everybody being self-righteous, the constant bickering. We’re simply in a graceless age. People are obsessed with their own voice and being the beacon of truth. We’re all flawed humans from a million different backgrounds. I can feel the ground hemorrhaging. That opening verse came out of me in seconds as a scream,” he says.

The track storms out of the gate with the kind of full-throttle energy that’s defined Moore’s biggest moments. It’s a loud, cathartic release of frustration, and it lands hard with electric guitars roaring underneath.

“Levee” arrives alongside news of Moore’s Reason To Believe World Tour, where he’ll headline stadiums and arenas across Australia, New Zealand, South Africa, Europe, the US, and the UK. South Africa stands out as a highlight, with a run of shows at SuperSport Park Stadium in Pretoria and Cape Town’s GrandWest Arena marking his first trip back since 2024. He’s built a massive following there, with his 2023 arena show becoming the fastest sell-out in Cape Town history, topping Sting and drawing crowds of more than 40,000 fans.

The world tour follows a co-headlining run with Billy Currington and select arena dates supporting Cody Johnson. Before the global trek kicks off, Moore heads overseas for a performance at the Holland International Blues Festival in the Netherlands and a set at State Fayre in Chelmsford, UK.