Braxton Keith is one of country music’s most buzzed-about rising stars, and “I Own This Bar” makes it easy to understand why. The new single is out now via Warner Records Nashville, co-written by Keith alongside Liz Rose and Phil O’Donnell, and it channels the kind of playful, smooth-talking energy that made Jerry Reed impossible to resist. Two skilled fibbers meet their match in a bar, realize they’ve been working the same game, and the song rides that realization with a grin from start to finish.
“This song was really fun to write,” Keith says. “It just gives you that bar feel. You’re in a bar, everybody’s kinda fibbing. Nobody’s telling the truth.” That honesty about the song’s lighthearted premise is exactly right, and the track delivers on it with sharp writing and a performance that earns every wink.
“I Own This Bar” follows “I Ain’t Tryin’,” making it Keith’s 2nd release of 2026 as he builds toward his major label debut on Warner Records Nashville. Road-tested across Texas’s competitive bar circuit and already known as a must-see live act, Keith has the kind of natural stage presence that comes through just as clearly on record.
“I Own This Bar” is out now via Warner Records Nashville.
Amy Grant is back with new music, and ‘The Me That Remains’ is worth every year of the wait. The 6-time Grammy Award winner and 2022 Kennedy Center Honoree’s first collection of all-original songs in 13 years is out now via Thirty Tigers, produced by 10-time CMA Award winner and Nashville Songwriters Hall of Famer Mac McAnally across 10 tracks that reflect on healing, connection, endurance, and grace.
The album’s emotional centerpiece and title track was co-written with McAnally and addresses directly the profound health challenges Grant has faced in recent years, including open heart surgery and a life-altering bike accident that resulted in a traumatic brain injury. The lyrics don’t flinch from the weight of those experiences, and the song ultimately lands as an uplifting testament to survival and gratitude. The official music video, filmed on Grant’s Tennessee farm, is out now.
McAnally’s production throughout the album is deliberately understated, keeping Grant’s warm, resolute voice at the center of every track. The approach suits the material perfectly. This is a singer-songwriter record in the truest sense, stripped down and emotionally direct, built on more than 50 years of lived experience that Grant brings to every line.
The collaborator list reflects the personal relationships that have shaped her life as much as her career. “How Do We Get There From Here” features Ruby Amanfu and wrestles with collective healing. “The Saint” was co-written with longtime collaborator Michael W. Smith. “Friend Like You” features Vince Gill, and “The Other Side Of Goodbye” closes the album with Sarah Cannon and Corrina Gill. Each collaboration carries genuine weight rather than serving as a feature for its own sake.
The album was first previewed with “The 6th of January (Yasgur’s Farm),” a meditation on unity and perspective drawn from the idealism of the Woodstock era, a fitting entry point for a record that consistently reaches for something larger than the personal while staying rooted in it.
The album artwork, created by artist Wayne Brezinka as a mixed-media collage, assembles meaningful fragments of Grant’s life directly into the portrait: pieces of a treasured quilt, seashells from her collection, her childhood Bible, and an article about her grandfather. It’s a visual approach that mirrors the album’s themes of memory and reconstruction with real creative care.
‘The Me That Remains’ is out now via Thirty Tigers.
‘The Me That Remains’ Track Listing:
The 6th of January (Yasgur’s Farm)
“How Do We Get There From Here” featuring Ruby Amanfu
Please Don’t Make Me Beg
The Saint
Beautiful Lone Companion
The Me That Remains
‘Til We Get It Right
(Nothing Like A) Sunny Day
“Friend Like You” with Vince Gill
“The Other Side Of Goodbye” with Sarah Cannon & Corrina Gill
Ashley McBryde has a new track out and it arrives with the kind of blunt force that made her one of country music’s most compelling voices in the first place. “Arkansas Mud” is available now via Warner Records Nashville, a rock-heavy, fast-talking declaration written by McBryde alongside Grammy Award-winning hitmakers Jessie Jo Dillon and Chris Tompkins. It name-checks prescription amphetamines and Lynyrd Skynyrd songs in the same breath, and it means every word.
The song is about returning to your most authentic self after years of softening edges at someone else’s request. McBryde is direct about where it comes from. “We’ve all filed an edge down here or there at someone else’s request,” she says. “‘Arkansas Mud’ is about rediscovering and re-honing those edges.” She points specifically to growing up in the Ozark Mountains as the source of the gumption it takes to deliver a line like “Romans 3 and 23, don’t you point your book at me” with full conviction.
On social media earlier this week, McBryde opened up further about the personal dimension behind the track. “Even as the chick that’s known for sticking to her guns, there are parts of me I still let slip away. I don’t mind telling you now, I tried to fill those spots with all the wrong things. And that time has passed.” It’s a level of candor that makes “Arkansas Mud” land differently than a standard country rock single.
The track follows January release “What If We Don’t,” and together the 2 songs preview McBryde’s highly anticipated fifth studio album, built around her journey to sobriety, her Arkansas upbringing, religious trauma, and family of origin. It’s shaping up as the most personal record of her career, and “Arkansas Mud” makes clear she’s approaching it with full creative aggression and zero apology.
McBryde’s Redemption Residency continues at Chief’s, where she’s been delivering one-of-a-kind sets that include the full “Postcards From Lindeville” performance alongside character songs from across her catalog and surprise guests. It’s the kind of intimate, high-stakes live environment that suits exactly what she’s building toward with this new album.
“Arkansas Mud” is out now via Warner Records Nashville. The fifth studio album follows.
The Red Clay Strays, Drew Nix, Matthew Coleman, Matt Rife, Mariah Morse, The Revivalists, Haley Reinhart, Travis Tritt, Brent Cobb, Lukas Nelson, St. Paul & the Broken Bones, Sierra Ferrell, Merriweather Post Pavilion, TD Garden, Madison Square Garden, Bridgestone Arena, State Farm Arena, Abayance Bay Marina, Two Step Inn, Stagecoach, Bourbon & Beyond, RiverBeat Music Festival, Buckeye Country Superfest, Country Thunder Alberta, Country Thunder Wisconsin, Cheyenne Frontier Days, Iowa State Fair, Jazz Aspen Snowmass,
The Red Clay Strays are having a year, and the full scope of it is now on the table. The Mobile, AL-based band has announced a new series of headline dates that includes Madison Square Garden in New York City, a 2-night stand at Nashville’s Bridgestone Arena, and a closing run at Atlanta’s State Farm Arena, alongside festival appearances at Stagecoach, Bourbon & Beyond, and more. Special guests across select dates include The Revivalists, Haley Reinhart, Travis Tritt, Brent Cobb, and Sierra Ferrell.
The headline run sits inside a calendar that already establishes 2026 as their biggest year to date. Top-billed festival slots at Two Step Inn, Stagecoach, and Bourbon & Beyond frame a summer and fall that moves from 10,000-seat rooms to full arenas, a trajectory that reflects how fast this band has grown.
The most distinctive addition to the schedule is The Red Clay Strays Fan Fest 2026, the first-ever RCS fan festival, running June 24-28 at Abayance Bay Marina in Rexford, MT. The 5-night event features a headline set from The Red Clay Strays, the Strays with Stories intimate performance series, shows from Lukas Nelson and St. Paul & the Broken Bones, and more. It’s the kind of destination event that signals a band with a fanbase deep enough to build something that personal around.
The band also has new music out. “If I Didn’t Know You” is available now via HBYCO Records/RCA Records, written by Drew Nix and accompanied by an official music video directed by Matthew Coleman. The romantic Valentine’s Day release co-stars comedian Matt Rife and fitness influencer Mariah Morse, and it’s a tender ballad that shows a different dimension of the band’s range alongside their road-tested country rock.
Tickets for the new headline dates are on sale now.
The Red Clay Strays 2026 Upcoming Tour Dates:
May 24 – Norfolk, VA @ Patriotic Festival
June 13 – Columbus, OH @ Buckeye Country Superfest
June 24-28 – Rexford, MT @ The Red Clay Strays Fan Fest 2026 at Abayance Bay Marina
June 26 – Calgary, AB @ Country Thunder Alberta
July 11 – St. Paul, MN @ Minnesota Country Club
July 17 – Twin Lakes, WI @ Country Thunder Wisconsin
July 19 – Cheyenne, WY @ Cheyenne Frontier Days
July 30 – Columbia, MD @ Merriweather Post Pavilion
Aug 1 – Boston, MA @ TD Garden
Aug 9 – New York, NY @ Madison Square Garden
Aug 15 – Des Moines, IA @ Iowa State Fair Grandstand
Sept 6 – Aspen, CO @ Jazz Aspen Snowmass Labor Day Experience
Kygo and Gryffin are back together, and they’ve brought Khalid with them. “Save My Love” is out now via Sony Sweden, the long-awaited follow-up to their 2022 collaboration “Woke Up in Love,” and it arrives as the opening move of a new creative era for all 3 artists.
The track blends Kygo’s polished melodic touch with Gryffin’s expansive production sensibilities, building a layered soundscape that gives Khalid’s unmistakable vocal performance genuine room to move. Luminous instrumentation, a steady rhythmic pulse, and a dynamic arrangement make “Save My Love” equally at home on headphones and festival main stages, anchored by themes of devotion and emotional clarity that Khalid delivers with his signature effortless control.
For Kygo, the single signals a deliberate new chapter following a 2024 defined by his self-titled album and an extensive world tour. That record paired him with the Jonas Brothers, Zak Abel, Sasha Alex Sloan, Ava Max, and others, reinforcing his standing as one of electronic music’s most consistent crossover operators. His Palm Tree Music Festival brand continues expanding rapidly, with upcoming headline sets at the Aspen and Hamptons editions and a returning residency at Palm Tree Beach Club in Las Vegas.
Khalid’s contribution to “Save My Love” is a reminder of why he remains one of the most sought-after vocal collaborators in pop and electronic music. His topline glides across the production with the kind of natural ease that makes complex arrangements feel immediate and personal.
Randall King is back with new music and a new chapter. “Thinkin’ ‘Bout Drinkin'” is out now, a slow-burning honky tonk track written by Don Sampson, Monty Holmes, and Troy Cassar-Daley, produced by Jared Conrad, and built squarely in the classic country lane King has always called home. It’s the first preview of his follow-up project to 2024’s ‘Into The Neon.’
The song puts the narrator face to face with heartbreak and a bottle, delivered with the kind of lived-in restraint that makes that scenario feel genuinely heavy rather than performative. King frames it simply: “Thinkin’ ‘Bout Drinkin’ is country music delivered right to your ears, courtesy of the Tonk machine. There’s more like it coming soon.”
The release also marks King’s first single since signing with progressive artist development company Neon Coast for management, signaling a deliberate new push behind one of Texas country’s hardest-working road warriors. King plays close to 150 shows a year, is currently running his 2026 Big Deal Tour, has his A Long Way From Amarillo Europe 2026 Tour underway, and will support Luke Bryan on select dates of his upcoming Word On The Street Tour.
“Thinkin’ ‘Bout Drinkin'” is out now everywhere.
Randall King is back with new music and a new chapter. “Thinkin’ ‘Bout Drinkin'” is out now, a slow-burning honky tonk track written by Don Sampson, Monty Holmes, and Troy Cassar-Daley, produced by Jared Conrad, and built squarely in the classic country lane King has always called home. It’s the first preview of his follow-up project to 2024’s ‘Into The Neon.’
The song puts the narrator face to face with heartbreak and a bottle, delivered with the kind of lived-in restraint that makes that scenario feel genuinely heavy rather than performative. King frames it simply: “Thinkin’ ‘Bout Drinkin’ is country music delivered right to your ears, courtesy of the Tonk machine. There’s more like it coming soon.”
The release also marks King’s first single since signing with progressive artist development company Neon Coast for management, signaling a deliberate new push behind one of Texas country’s hardest-working road warriors. King plays close to 150 shows a year, is currently running his 2026 Big Deal Tour, has his A Long Way From Amarillo Europe 2026 Tour underway, and will support Luke Bryan on select dates of his upcoming Word On The Street Tour.
Skip Ewing has released “Stronger Where You’re Broken,” the third preview of his forthcoming ‘Dragonfly’ album, out now via Write! Records. The upbeat, encouraging love song features rising country star Mae Estes and was written solely by Ewing, exploring how the hardest experiences in relationships build the strength needed to move forward and show up fully for others.
“This song is a way to explore how the journey that ends up breaking us often gives us the strength we need to go on,” Ewing says. “Going through what we have to go through in relationships to grow helps us to become the person we need to be for others, and often ourselves.” On the decision to bring Estes in, Ewing is direct: “Her voice is beautiful, and what a heart. That shines through when she sings.”
Estes connects to the material personally. “This song speaks to me directly. I’ve had to work hard for everything I have. I’ve had a lot of obstacles in the way and reasons to give up. So when I first heard this song, I was like, wow, this is my story.” She also frames the collaboration in terms of Ewing’s standing in the songwriting community: “Skip has a reputation way bigger than Nashville for his lyricism. He is so much of the fabric of the songwriting community.”
The release arrives on the back of renewed attention for Ewing’s catalog. “Would If I Could,” co-written with Dean Dillon in the 90s, was recently recorded by Ernest and Lainey Wilson and introduced his writing to a new generation of country fans. ‘Dragonfly’ singles “I Want It All” and “Say Yes” are already out, with “I Want It All” climbing country radio charts. “Stronger Where You’re Broken” adds another strong piece to what’s shaping up as one of the more anticipated veteran returns in country music.
“Stronger Where You’re Broken” is out now via Write! Records.
The Neighbourhood have released ‘(((((ultraSOUND)))))+,’ the deluxe edition of their recent album ‘(((((ultraSOUND))))),’ out now via Warner Records. The expanded version adds 5 new tracks, “Start,” “Good Grief,” “Lulu,” “Red Flag,” and “Bed,” deepening a record that has already accumulated over 150 million global streams since its original November release. The deluxe edition is available digitally and on CD and vinyl, with track order varying by format.
The band has simultaneously announced more than 20 additional dates for The World Tour, added after nearly every show from the initial November on-sale sold out within minutes. The expansion brings the tour into Scandinavia, Malaysia, and additional U.S. markets, with marquee stops at Barclays Center in Brooklyn, OVO Arena Wembley in London, and an additional hometown date at the Kia Forum in Inglewood. The full run spans North America, Europe, Asia, and Australia across the rest of 2026.
‘(((((ultraSOUND)))))’ has been building steadily since its release, charting across North America, Europe, and Asia with breakout single “Hula Girl” currently sitting in the Top 20 at U.S. alternative radio. Produced by Justyn Pilbrow and Jono Dorr, the record marks a confident return to The Neighbourhood’s signature West Coast alt-rock sound, and the commercial and streaming response has validated that direction clearly.
The scale of the tour reflects where the band stands right now. Arenas across 4 continents, sold-out initial dates, and demand strong enough to add 20 more shows. The Neighbourhood are operating at a level that makes this one of the bigger alt-rock touring stories of 2026.
The Neighbourhood 2026 World Tour Upcoming Dates:
May 15 – London, UK @ The O2
May 17 – Dublin, Ireland @ 3Arena
June 13 – Manchester, TN @ Bonnaroo
June 30 – Honolulu, HI @ Blaisdell Arena
July 4 – Auckland, NZ @ Spark Arena
July 7 – Sydney, Australia @ The Hordern Pavilion
July 10 – Melbourne, Australia @ Margaret Court Arena
July 14 – Singapore @ The Star Theatre
July 16 – Kuala Lumpur, Malaysia @ Mega Star Arena
July 18 – Jakarta, Indonesia @ Istora Senayan
July 20 – Seoul, South Korea @ YES24 Live Hall
Aug 24 – Stockholm, Sweden @ Avicii Arena
Aug 25 – Oslo, Norway @ Unity Arena
Aug 27 – Copenhagen, Denmark @ Royal Arena
Aug 29 – Hamburg, Germany @ Barclays Arena
Aug 30 – Cologne, Germany @ Lanxess Arena
Sep 1 – Manchester, UK @ Co-op Live
Sep 2 – Glasgow, UK @ OVO Hydro
Sep 4 – London, UK @ OVO Arena Wembley
Sep 8 – Paris, France @ Accor Arena
Sep 10 – Madrid, Spain @ Palacio Vistalegre
Sep 12 – Lisbon, Portugal @ MEO Arena
Sep 21 – Guadalajara, Mexico @ Auditorio Telmex
Sep 23 – Monterrey, Mexico @ Auditorio Banamex
Sep 25 – Mexico City, Mexico @ Palacio de los Deportes
Oct 2 – Vancouver, BC @ Rogers Arena
Oct 3 – Seattle, WA @ WAMU Theater
Oct 5 – Portland, OR @ Moda Center
Oct 7 – San Francisco, CA @ Bill Graham Civic Auditorium
Oct 9 – Inglewood, CA @ Kia Forum
Nov 10 – Atlanta, GA @ State Farm Arena
Nov 11 – Orlando, FL @ Kia Center
Nov 12 – Miami, FL @ Kaseya Center
Nov 16 – Kansas City, MO @ T-Mobile Center
Nov 19 – Detroit, MI @ Little Caesars Arena
Nov 21 – Brooklyn, NY @ Barclays Center
Nov 30 – Phoenix, AZ @ Mortgage Matchup Center
Dec 2 – San Francisco, CA @ Bill Graham Civic Auditorium
Gregg Allman: The Music of My Soul has secured North American distribution through Subtext, the independent film production and distribution company launched in January 2026 by Danielle DiGiacomo, Brian Levy, and Teddy Liouliakis. The documentary marks Subtext’s inaugural release, and the company plans to bring it to theaters this summer.
Directed by James Keach, whose credits include the Academy Award-winning Walk The Line, Glen Campbell: I’ll Be Me, David Crosby: Remember My Name, and the Grammy Award-winning Linda Ronstadt: The Sound of My Voice, the film was produced alongside longtime Gregg Allman manager Michael Lehman and Alex Komisaruk of PCH Films. Executive producers include Emmy, Golden Globe, and Grammy Award-winning Justin Falvey and Darryl Frank of Amblin Documentaries, whose recent credits include Music by John Williams, Faye, and Laurel Canyon. The film was made in association with Rolling Stone Films, with Rolling Stone’s Head of Film and Premium Content Alexandra Dale serving as executive producer.
The documentary traces Allman’s journey through profound personal tragedy and hard-won redemption, built around never-before-seen interviews and rare performance archives. Allman speaks candidly about the death of his brother and bandmate Duane, his battles with addiction, and the personal demons that shaped both his life and his music. Rarely seen concert footage captures the Allman Brothers at their creative peak, delivering what the film promises as an immersive, front-row view of one of rock and roll’s most powerful live bands.
The scope extends well beyond musical biography. Gregg Allman: The Music of My Soul examines what the Allman Brothers Band came to represent in American culture, specifically their rejection of the racial divisions that defined much of the American South at the time. Rooted in deep respect for Black musical traditions and built on collaboration with Black musicians when integrated rock groups were genuinely rare, the band’s cultural significance goes far beyond their catalog. The film positions that legacy clearly and directly.
The documentary also examines Allman’s complicated relationship with fame, including his highly publicized marriage to Cher, and how life in the public eye collided with his restless pursuit of authenticity. These threads combine to present Allman not simply as one of rock’s greatest voices but as a lasting cultural force whose influence reached well beyond the stage.
Gregg Allman co-founded the Allman Brothers Band and, as its frontman, helped architect Southern rock as a genre. His blues-soaked voice and raw emotional honesty set a standard that shaped American music for decades and continues to resonate. For a figure of that magnitude, this documentary arrives with the right team and the right creative pedigree behind it.
Gregg Allman: The Music of My Soul opens theatrically this summer. Distribution is handled by Subtext.
Tiësto has a new single out and a landmark summer ahead. “Beautiful Places” is available now via Atlantic Records, arriving alongside the announcement of his return to Ibiza for the first time in 3 years. Beginning August 31st, he headlines a weekly residency at UNVRS, the world’s first hyperclub, for 5 performances. It’s his third residency on the island since 2013 and his biggest Ibiza run to date.
The single follows “Bring Me To Life,” which launched a new creative era for Tiësto after a deliberately mysterious social media blackout sparked a viral countdown and global speculation across the dance music community. That new direction was on full display at his headlining concert at the Great Pyramids of Giza in December 2025, a 3-hour Prismatic DJ set in front of one of the world’s most iconic backdrops that drew 1.7 million live viewers in just 3 hours.
“Beautiful Places” continues building that momentum, adding another piece to what is shaping up as one of the most active and creatively focused periods of Tiësto’s career. With the Ibiza residency on the horizon and new music arriving ahead of it, the summer picture is coming into focus quickly.
“Beautiful Places” is out now via Atlantic Records. The UNVRS residency begins August 31st.
