Sara Bareilles releases her poignant new single “Salt Then Sour Then Sweet” today via Epic Records. The track features a collaboration with Brandi Carlile and uses lyrics adapted from an original poem by the late poet and activist Andrea Gibson. This recording serves as the emotional finale for the Apple Original Films documentary ‘Come See Me in the Good Light.’ Bareilles and Carlile also contribute to the film as executive producers. The song is an exceptionally moving piece of music that captures the full spectrum of human experience.
The project originated after Bareilles attended one of the final live performances given by Gibson. Following the show, Bareilles met with filmmakers Abby Wambach and Glennon Doyle, who invited her to contribute to the documentary. Bareilles composed the musical backbone of the track in a single day before connecting with Carlile to transform the piece into a duet. The two vocalists use their performance to bring the unique presence of Gibson to a wider audience. This collaboration focuses on the themes of resilience and love found within the poet’s writing.
The documentary, directed by Ryan White, follows Colorado Poet Laureate Andrea Gibson and their wife Megan Falley. The film details their journey facing an incurable cancer diagnosis with wit and vulnerability. After debuting at the 2025 Sundance Film Festival, the production received the Festival Favorite Award. The movie is currently available in select theaters and is streaming globally on Apple TV. The story provides a deeply affecting portrait of the life and battles of the acclaimed activist.
In a significant recognition of its impact, “Salt Then Sour Then Sweet” has earned a nomination for a Hollywood Music in Media Award. This honor highlights the song’s resonance during the current awards season and its effectiveness in visual storytelling. Bareilles was first introduced to the work of Gibson through social media posts that detailed their shared experiences with health challenges. The resulting song stands as a powerful tribute to the community building art that Gibson created throughout their life.
Global superstar Ciara returns to the music scene today with the release of her latest single, “Nice N’ Sweet.” This record features a collaboration with Ghanaian sensation Moliy and Nigerian hitmaker Oxlade. The track arrives through Beauty Marks Entertainment and showcases a blend of lush melodies and infectious percussion. This release highlights a genre-bending approach that incorporates authentic Afrobeats elements into a polished pop production.
The writing team includes Ciara, Moliy, Oxlade, Courtlin Jabrae, Christopher Chan, and Kwaku Etwi, with production handled by Shyne and Lucky Jones. Ciara notes that she wanted to make something that feels like sunshine and connects people through movement and energy. The artist mentions that working with Moliy and Oxlade brought a beautiful spirit to the record. This project follows the momentum of her previous album, ‘CiCi,’ and the successful single “Low.” The new music reflects her recent experiences at Lagos Fashion Week and her dedication to global creative collaborations.
Alternative rock outfit Violet Breed expands their sonic footprint today with the release of their fourth single, “Stay Away,” which features a high profile collaboration. The track introduces a heavy partnership with Brian Wheat of the legendary rock band Tesla, and the rising singer songwriter Alex. This new recording delivers a concentrated dose of nineties grunge aesthetics, mixed with a sharp modern edge. Listeners find a landscape of gritty guitar work and explosive percussion, that supports a persistent melodic hook.
The production marks a shift toward a darker and more substantial atmosphere for the group. This evolution is a direct result of the creative synergy found in the studio, during the recording sessions. Brian Wheat notes that the song is a perfect melding of classic and modern sound. Critics and early listeners are hailing the track as a relentless powerhouse of authentic emotional energy. The sheer scale of the instrumentation provides a heavy backdrop for the vocal performance.
Alex explains that the band captured a new darkness in their writing and overall sound, with this release. Brian Wheat pushed the boundaries with the production to make the track sonically heavier, and grittier than previous efforts. The artist describes the work as a personal exploration of saving someone from self destruction. It focuses on the moment a person chooses to remain isolated emotionally, to prevent others from falling alongside them. This narrative depth adds a layer of vulnerability to the aggressive musical arrangement.
The arrival of “Stay Away” adds to a successful streak of chart entries for the band. Previous singles “Awake” and “10 Years Sober” earned significant positions on both the SMR Charts, and Mediabase Activator. Their third release, “Endless Days,” also maintained this upward momentum in the rankings. With music video views now exceeding 650000 across their catalog, the group continues to establish a firm presence in the current rock scene.
Powerhouse global girl group Girlset have released their new single “Little Miss” via JYP Entertainment and Republic Records alongside an official music video. Directed by Hannah Lux Davis, who helmed Ariana Grande’s “Thank U, Next” and Tate McRae’s “It’s Ok I’m Ok,” the video follows members Lexi, Camila, Kendall, and Savanna through the city, showcasing their impressive choreography. The single follows their debut as Girlset, “Commas,” which arrived in August as a bold pop track showcasing the group’s multidimensional and genuine charm. The sonic evolution highlighted a more refined, self-assured group and captured the growth from youthful charm to bold expression. Both “Little Miss” and “Commas” display their transformation while preserving the core of what defines them: diversity, authenticity, and unapologetic energy.
GRAMMY Award winners and Country Music Hall of Fame inductees The Oak Ridge Boys are celebrating 50 years of music and friendship by reissuing their album ‘It’s Only Natural’ via Lightning Rod Records/Thirty Tigers. Initially sold exclusively at Cracker Barrel Old Country Stores, the recording is now available everywhere and features a heartfelt mix of the group’s biggest hits and new fan favorites. Produced by Ron Chancey, Michael Sykes, and Duane Allen, the album captures the enduring harmony and spirit of the legendary quartet. “‘It’s Only Natural’ is a musical celebration of 50 years of singing together,” Allen shares. “The biggest hit we have ever recorded, ‘Elvira,’ just had to be on this collection. So, we asked Ron Chancey to produce a fresh/new track. Ron also brought two new songs for us to record. Michael Sykes and I co-produced the other songs on the project–all with the thought of celebrating 50 years of the four Oak Ridge Boys being together.”
The Oak Ridge Boys recently announced their ‘American Made Christmas Tour’ will kick off for a limited run of holiday performances in select cities starting December 4th in Sarasota, Florida, with many shows already sold out. This year’s musical celebration features breathtaking visuals, falling snow, and beautifully decorated Christmas trees, creating a picture-perfect setting for festive joy. The group delivers a heartwarming mix of traditional and contemporary holiday favorites alongside iconic hits, with cherished selections from their seven bestselling Christmas albums. The Oak Ridge Boys have sold over 41 million units worldwide and garnered five GRAMMY Awards, nine GMA DOVE Awards, and two American Music Awards. The group was inducted into the Country Music Hall of Fame in 2015 and the Grand Ole Opry in 2011, charting single after single and album after album with two double-platinum albums and more than 30 Top 10 hits, including number one chart-toppers “Elvira,” “Bobbie Sue,” “Thank God For Kids,” “American Made,” and “Y’All Come Back Saloon.” Ben James replaced Joe Bonsall, who died on July 9th, 2024.
Vince Gill has released ‘Secondhand Smoke’, the second EP in his year-long series ’50 Years From Home’, commemorating his departure from his native Oklahoma for a legendary music career. The six-track project features never-released songs alongside the Gill classic “Tryin’ To Get Over You,” tackling big issues with humanistic grace while remaining deeply personal. “I’m drawn to melancholy,” Gill explains. “I’m drawn to sad songs probably way more than the zippity do-dahs, as Townes Van Zandt would say. He said, ‘There’s only two kinds of music, the blues and the zippity do-dah. I don’t do zippity do-dah.’ I think I fall into that category, too.” The EP opens with soulful civil rights anthem “March On March On” featuring The War & Treaty, declaring that the world needs healing without playing sides but searching for greater truth. “I think with songs you can tackle any subject,” Gill says. “Even though some might be divisive, if you tell your story with a little bit of grace—not finger-wagging or finger-pointing, telling everybody else how they should feel, but in such a way that the song has a grace about it—then you can sing and write about any subject.”
Poignant tear-jerker “Some Times,” co-written with Mary Gauthier, stems from a conversation with Mavis Staples years ago. “We talked about equality. We talked about race, all the trying times of civil rights. After a long conversation she looked at me and said, ‘Brother, we have seen some times.’ I thought, ‘My God, if there was ever a good idea for a song, that’s it!’ I hung on to that idea for probably 15 years, maybe 20, and never wrote it. Then when I was writing with Mary and started telling her about that conversation with Mavis, and she said, ‘That’s what we’re writing,’ and away we went.” Equally topical rumination “The Whole World” finds Gill singing that he feels like the whole world has got a broken heart, asking how did we get so far apart. Gill co-wrote bluegrass-leaning “Hill People” with Ashley McBryde, who he considers “just the coolest singer, and she has a great wit about her lyrics. We both love bluegrass, and that song’s pretty bluegrass in its sentiment, killing two people in the first two lines; The rifle rang out in the still of the night/Two lovers lay dead on the floor. It doesn’t get more bluegrassy than that!” He acknowledges that “Leaving Home,” written with Abbey Cone, tackles abuse, a tough subject.
The title track, co-written with Derrick Southerland, draws from Gill’s memories of his father Stan Gill, a judge and chain smoker who taught his son to play guitar and banjo. “Derrick had this title for a long time. I said, ‘Man, that’s my life. Can I write it with you?’ All I had to do is remember my dad. So that one is pretty autobiographical.” Produced by Gill and recorded at The House studio in Nashville with his regular corps of musical cohorts including Stuart Duncan, Paul Franklin, Tom Bukovac, Jedd Hughes, Fred Eltringham, Jimmie Lee Sloas, Gordon Mote, John Jarvis, Wendy Moten and John Meador, the EP showcases the 18-time CMA Award, 22-time GRAMMY Award winner’s soaring vocals and world-class musicianship. A special podcast-style series hosted by Charlie Worsham accompanies the project.
Rising singer and songwriter Annie Bosko has joined six-time GRAMMY and 26-time Dove Award winner Amy Grant for a powerful rendition of “God Winks” from Bosko’s debut album ‘California Cowgirl’, released via QHMG/Stone Country Records. The collaboration was born from a season of reflection after Bosko returned home to recover from vocal cord surgery as the pandemic began, questioning her next steps. She decided to return to Nashville only when she booked a gig, which led to a chance encounter with Grant and Vince Gill. “If you’ve ever been in the presence of Amy Grant, it truly feels like you’re experiencing an angel in human form,” Bosko shares. “I respect her art just as much as I respect her as a human being. Amy and Vince were both ‘God Winks’ in my life, as divine reminders to keep going at a time when I felt lost. In an industry that can be cold and ruthless, they embody faith and integrity. Amy’s voice carries such warmth — it feels like a ‘God Wink,’ reminding you that no matter what you’re going through, God’s got your back.”
“There’s an old phrase that says ‘expect the unexpected,'” Grant adds. “In the daily rhythm of life, we all experience moments that weren’t planned for or anticipated; and the same holds true when grace and mercy show up in unexpected places. Any situation can be turned around with even a small act of kindness and love.” Written by Bosko with Rachel Thibodeau, Jet Harvey and Michael Wilkes, and produced by Trent Willmon, the track serves as a tender reminder that even during our darkest or most uncertain moments, we’re never truly alone. Featuring 19 songs with over half penned by Bosko, ‘California Cowgirl’ “interlocks toughness, confidence, heartbreak and ambition, while interweaving moments from her own story of a West Coast farmer’s daughter who chased her dreams to Nashville,” Billboard notes, praising “Bosko’s creative vision is matched by her work ethic.”
The California native will perform the National Anthem at Levi’s Stadium for the San Francisco 49ers vs. Carolina Panthers game on November 24th, following her performance at Chief’s on Broadway in Nashville for the Quartz Hill Music Group Takeover on November 17th. The Central Valley farmer’s daughter blends traditional country instrumentation with collaborations from Darius Rucker, Dwight Yoakam and Joe Nichols on her debut. She first broke out with SiriusXM and CMT favorite “Crooked Halo” and was named a Rolling Stone Country Artist to Watch, later making her late-night debut on Jimmy Kimmel Live with “Neon Baby,” which marked her first charting single at Country radio. She will join Dolly Parton for Dolly: Live in Las Vegas at The Colosseum at Caesars Palace on September 23rd, 2026.
Country singer and songwriter Filmore has announced his new album ‘Atypical’, arriving February 20th via Pitbull’s Mr. 305 Records, alongside reflective new single “365.” The 21-track project marks a bold declaration from the Missouri native, featuring co-writes on every song and a fearless fusion of Country roots and crossover creativity. The album includes his first collaboration with Pitbull on “Yeehaw” and marks Filmore’s first release since 2023’s ‘Mean Something’. After stepping back to refocus his craft while welcoming the birth of his first child and signing to Mr. 305 Records, Filmore returns with a personal refresh that has opened new levels of musical courage and sincerity. “Working with Pitbull these last few years has truly made me a better artist,” Filmore shares. “I’ve learned so much from him and I now consider him family. I’m truly blessed to have the opportunity to work with him and be a part of the Mr. 305 Records family!”
‘Atypical’ presents a modern Country mix of personal writing and lived experience, blended with the fluid lyrical flow and rhythmic thump of hip-hop, the emotional release of hard rock, and the pulse-spiking euphoria of dancehall pop. Credited as co-producer on 16 genre-bending tracks, Filmore’s long-appreciated skill with a hook takes center stage on tunes dedicated to purpose, passion, and growth, all fused together by an emotionally charged gravel road vocal croon. Album tracks “If I Was You,” “South On Me,” “Betcha Gonna,” “Hola,” and “Love Lovin You” were initially dropped as solo releases in 2024. New single “365,” co-written by Filmore with Lydia Sutherland and Brandon Day and co-produced with John-Luke Carter and Brandon Day, pairs acoustic tenderness with edgy admission as Filmore looks back on a year of missed opportunity and resolves to make the next count. “The song started off with the title and once we realized we loved ‘365’ we built the concept around that,” he explains. “It was inspired by reflecting on real-life experiences from my past while thinking about how we all look to a midnight countdown for a fresh start. As we do with New Year’s resolutions, I wanted to share that feeling of letting go of who I was and striving to be better next year.”
The new era arrives after Filmore racked up 251 million US career streams and became the first independent artist featured on Spotify’s Hot Country cover. With a reputation for electric live shows, he’s opened for Dan + Shay, Blake Shelton, Carrie Underwood, and Pitbull, while headlining his own dates and thrilling crowds at CMA Fest, Country Thunder, Stagecoach, and Watershed. Filmore most recently supported Pitbull this past summer on the European leg of his Party After Dark Tour.
Joe Jackson has announced his new album ‘Hope and Fury’, arriving April 10th on CD and 180g vinyl with a gatefold sleeve. The GRAMMY-winning artist will embark on a major world tour supporting the release, performing more than 80 shows across 14 countries from May to December. Jackson laid the groundwork for the album at Michael Tibes’ Fuzz Songs Full of Contrast, Humour and Heart Factory studio in Berlin before returning to New York’s Reservoir Studios with co-producer Patrick Dillett and his on-and-off band since 2016: “bassist for life” Graham Maby, guitarist Teddy Kumpel, and drummer Doug Yowell, augmented by Peruvian percussionist Paulo Stagnaro.
The nine-track album overflows with clever and original lyrics and funky grooves, led by Jackson’s vocals and keyboard playing. In keeping with the title, an ironic twist on ‘Land of Hope and Glory’, this is a more English Joe Jackson than we’ve seen for quite a while, with some songs suggesting a love/hate relationship with his homeland. Opening track “Welcome to Burning-By-Sea” describes a fictional seaside town inspired by Brighton and Jackson’s hometown of Portsmouth, contrasting a slice of British working-class life in 1922 with a post-pandemic version in 2022. The album offers biting sarcasm in “I’m Not Sorry,” playful mockery in “Fabulous People,” and pure silliness in “Do Do Do.” In “The Face,” an Everyman character finds himself lost in an angry and polarized political climate: “Not one of the Great Unwashed” but “One of the Great Overwhelmed.”
Two songs arrive in Jackson’s oft-cited bittersweet melodic mode: “Made God Laugh” expresses a kind of happy, grown-up fatalism about life in general, while “After All This Time” takes a similar approach to a long-term relationship. The album follows Jackson tradition by ending with slow ballad “See You In September.” Though often depicted as a chameleonic artist who constantly changes his style, Jackson insists that most of his albums are in “his own mainstream,” collections of sophisticated pop songs using different kinds of rhythms and combinations of instruments. As he said in a recent interview for the U.K.’s Chap magazine, “I always knew I was in this music thing for life. So every now and again I’m going to do something different, to keep it interesting.”
North American Tour Dates: May 11 – Poughkeepsie, NY – Bardavon 1869 Opera House May 13 – Montreal, QC – Place Des Arts – Théâtre Maisonneuve May 14 – Toronto, ON – Danforth Music Hall May 16 – Rochester, NY – Kodak Theatre May 17 – Detroit, MI – Masonic Cathedral May 19-20 – Chicago, IL – Park West May 22 – Madison, WI – Orpheum Theatre May 23 – Minneapolis, MN – Pantages Theatre May 27 – Vancouver, BC – Vogue May 28 – Seattle, WA – Moore Theatre May 30 – San Francisco, CA – Curran Theatre May 31 – San Diego, CA – Balboa Theatre June 2 – Los Angeles, CA – Orpheum Theatre June 3 – Tucson, AZ – Fox Theatre June 5 – Albuquerque, NM – Kimo Theatre June 6 – Boulder, CO – Chautauqua Auditorium June 9 – Kansas City, MO – Uptown Theater June 10 – St. Louis, MO – The Pageant June 12 – Omaha, NE – Admiral June 14 – Austin, TX – The Paramount Theatre June 16 – Houston, TX – Heights Theatre June 17 – Dallas, TX – Majestic Theatre June 19 – San Antonio, TX – Empire Theatre June 21 – New Orleans, LA – The Joy Theatre June 24 – Nashville, TN – Ryman Auditorium June 26 – Atlanta, GA – Center Stage June 27 – Charlotte, NC – Knight Theatre June 29 – Orlando, FL – Steinmetz Hall @ Dr. Phillips Center July 1 – Ft. Lauderdale, FL – The Parker July 2 – Clearwater, FL – Capitol Theatre July 7 – Washington, DC – Lincoln Theatre July 8 – New Brunswick, NJ – State Theatre July 10 – Providence, RI – Uptown Theater July 11 – Portland, ME – State Theatre July 14 – Medford, MA – Chevalier Theatre July 15 – Stamford, CT – Palace Theatre July 17 – Philadelphia, PA – The Lansdowne Theater July 18 – New York, NY – Beacon Theatre European Tour Dates: September 24 – Cork, Ireland – Cork City Hall September 27 – Dublin, Ireland – 3Olympia Theatre September 29 – Bristol, UK – Beacon October 1 – Cambridge, UK – Corn Exchange October 2 – Bournemouth, UK – Pavilion Theatre October 4 – London, UK – Palladium October 5 – Liverpool, UK – Philharmonic Hall October 7 – York, UK – Barbican October 9 – Glasgow, UK – Saint Luke’s October 12 – Paris, France – L’Olympia October 13 – Lyon, France – Le Radiant-Bellevue October 14 – Toulouse, France – Théâtre du Casino Barrière October 17 – Porto, Portugal – Casa da Musica October 18 – Lisbon, Portugal – Aula Magna October 20 – Madrid, Spain – Teatro La Latina October 21 – Valencia, Spain – Teatro La Rambleta October 23 – Barcelona, Spain – Paral·lel 62 October 25 – Bordeaux, France – Théâtre Femina October 27 – Lille, France – Théâtre Sebastopol October 28 – Stuttgart, Germany – Liederhalle/Hegelsaal October 31 – Bremen, Germany – Metropol Theater November 1 – Munich, Germany – Circus Krone November 2 – Berlin, Germany – Admiralspalast November 4 – Essen, Germany – Lichtburg November 5 – Hamburg, Germany – Fabrik November 7 – Darmstadt, Germany – Staatstheater November 9 – Zürich, Switzerland – Kaufleuten November 11 – Bologna, Italy – Teatro Duse November 12 – Rome, Italy – Auditorium Parco Della Musica (Sala Sinopoli) November 14 – Milan, Italy – Teatro Lirico November 16 – Vienna, Austria – Globe November 17 – Cologne, Germany – Gloria November 18 – Luxembourg – den Atelier November 20 – Antwerp, Belgium – De Roma November 21 – Brussels, Belgium – Ancienne Belgique November 24 – Ghent, Belgium – Vooruit November 26 – Rotterdam, Netherlands – Nieuwe Luxor November 28 – Eindhoven, Netherlands – Muziekgebouw November 29 – Groningen, Netherlands – De Oosterport December 1 – Amsterdam, Netherlands – Royal Theatre Carré
Since its original release in 1988, Talk Talk’s critically acclaimed fourth album ‘Spirit Of Eden’ has grown to become one of the most influential albums of the 80’s. A step away from its hugely commercially successful predecessor ‘The Colour Of Spring’, ‘Spirit Of Eden’ is steeped in legend for its long and improvisational recording sessions that created a body of work that would go on to be vital in the creation of post-rock as a genre and has subsequently been credited by NME in 2013 as one of the top 100 of their ‘500 Greatest Album Of All Time”, Q Magazine’s ‘40 Best Albums of the ’80s’ and was 419 in Colin Larkins acclaimed book ‘All Time Top 1000 Albums’.
This new reissue is a single-vinyl cut at half-speed by Matt Colton at Metropolis and overseen by drummer Lee Harris and Mark Hollis’ son Charlie. It will be released on 23 January 2026 and is available to pre-order here.
Upon its original release it was met with huge critical acclaim despite it being a hugely challenging album to market – the nature of the music meant that it did not offer up any obvious singles for radio promotion or the ability for the band to play it live due to its improvisational nature.
Reviews however were incredible Mojo 5/5, Uncut 10/10, Pitchfork 10/10, Record Collector 5/5, Sounds 5/5, Q 4/5, NME 7/10, Record Mirror 4/5. Record Mirror called them “a law unto themselves, unconstrained by narrow ideas of ‘what will sell'”, while Q Magazine likened the album to “the pastoral epics of the early 70s” and noted “a range, ambition and self-sufficiency that enables Hollis and co to step out of time and into their own”. Sounds said they had “evolved into contemplative muso-techs”, and “uncommonly beautiful”.
As time rolls on, the album’s importance has become more realised and it holds greater significance in the annals of time and is credited as a vital album for inspiring artists such as Sigur Rós, Mogwai, Godspeed You! Black Emperor, Low, Elbow, Doves, Graham Coxon and latter-period Radiohead.
