Jason Scott & The High Heat release the official music video for “Yardwork,” the rowdy, tongue-in-cheek anthem from their new album American Grin (Leo33). Directed by Chris Beyrooty, the video is a hilariously chaotic take on suburban survival, featuring the band as a misfit yard crew unraveling under the pressure of an overbearing homeowner-and an unexpected ending you won’t see coming.
Shot with cinematic flair by Gary Long and featuring standout performances from David Moskowitz and Basil Sarkr, the video plays like a fever dream of weed whackers, broken lawnmowers, and backlot rebellion. It mirrors the spirit of the track itself: gritty, loud, and unexpectedly deep beneath the layers of sweat and sarcasm.
“Yardwork” is more than just a backyard breakdown. With lyrics like “Got a mind that’s stoned and overgrown / The neighbors stop and stare,” the song taps into the feeling of being completely overwhelmed-by life, by expectations, and yes, by actual yardwork. Packed with roaring guitars, swampy grooves, and a chorus built for shouting along, it’s an anthem for anyone who’s ever looked around and said, “I ain’t doin’ anything.”
Jason Scott, a former preacher-turned-frontman with a flair for sharp storytelling, describes the track as a metaphor for “trying to clean up your act-and giving up whatever baggage is bringing you down.” It’s a theme that carries throughout American Grin, a record that has already earned acclaim for its genre-blending style, irreverent humor, and emotional depth.
Ashley Monroe shares her new single “Bitter Swisher Sweet” featuring Brittney Spencer, the latest offering from her upcoming album Tennessee Lightning, out now. Accompanied by a video with footage of the two artists collaborating in the studio, the intoxicating new song revels in the highs and lows of escaping through self-medication.
About the new song, Monroe says: “The day Logan Wall, Emily Landis, and I wrote this song, we were just chatting before we started and Logan said the phrase ‘Bitter Swisher Sweet.’ I don’t even really remember the context, but we all looked at each other and knew it was a title we should chase. I had a little groove and bass thing going (a sick beat, as I call them) that gave us our vibe. We wrote it in less than an hour, and I’ve dug it ever since.”
“This song makes me think of a specific season of my early teenage years, when my older brother and his friends sometimes allowed me to tag along while they cruised Gatlinburg or some random East Tennessee backroads. Whilst they smoked Swisher Sweets, I sipped Zimas in the back seat, and we would just get lost in whatever music we had blasting and forget we had a care in the world. We had lost our dad a couple years earlier, and when I look back on that time in my life, I think how those ‘young and dumb’ seasons are never really wasted. In a lot of ways, they keep us alive… so get high, get low, light up, come on, the night is young.”
On working with Brittney Spencer: “When Gena [Johnson] and I were recording it, we kept saying, ‘I wish Brittney Spencer would sing on this!’ She is a dear friend of both of ours, and we are just blown away by her voice and her spirit. We’re so lucky she said yes!”
Spencer added, “I only have one video of my busking days down on Broadway. It’s a video of me playing ‘Hell on Heels.’ Ashley, her golden voice and magnetic lyricism shine so beautifully on ‘Bitter Swisher Sweet,’ and the whole album really. Getting to sing with her is an actual dream come true every time it happens. She’s the pop twang queen of my heart.”
“Bitter Swisher Sweet” follows “The Touch” featuring Marty Stuart, a smoldering love song that was hailed by The New York Times as “pristine.” Recorded in the wake of Monroe’s transformative bout with cancer, Tennessee Lightning documents her remarkable journey as a celebration of life, love and the healing power of music. In addition to Spencer and Stuart, the 17-song collection also includes contributions from special guests T Bone Burnett, Waylon Payne, Brendan Benson, Butch Walker, Karen Fairchild and Armand Hutton.
Co-produced by Monroe with GRAMMY-winning producer/engineer Gena Johnson (John Prine, Jason Isbell), Tennessee Lightning is a rich, multifaceted meditation on identity, purpose, and meaning from an artist who’s learned to see herself – and the world around her – in a whole new light following a life-altering diagnosis. “When I got diagnosed with lymphoma and started my treatment, I stopped writing, I stopped hearing melodies, I stopped thinking about songs at all,” Monroe recalls. For six months, she focused almost exclusively on her recovery and her family as she underwent a grueling regimen of injections and transfusions.
“When I finally went into remission, I could feel the life and the music start flowing in my veins again,” she explains. “It was like a flood, just this rush of inspiration.” Along with that inspiration came a newfound clarity and gratitude, as well as a vision for this new album.
“I feel like I’ve emerged from these last few years with a pretty profound perspective shift. I’ve learned to be more in the moment, to appreciate what’s right in front of me and enjoy every second I get to spend doing what I love with the people I care about.”
The album also features previously released tracks “There You Are,” “Hot Rod Pipe Dream” and “Risen Road.” The 3x GRAMMY nominee’s recent work has been lauded by American Songwriter, CMT, Stereogum and People Magazine, who interviewed her about this musical “fresh start.” Tennessee Lightning follows Monroe’s 2021 album Rosegold, which received widespread acclaim from the Nashville Scene, No Depression, Vulture, Paste Magazine, Garden & Gun, Stereogum and many more.
On July 25, Monroe will celebrate the 10-year anniversary of her GRAMMY-nominated 2015 album The Blade with a one-night-only show at Nashville’s The Basement East, where she will perform the record in its entirety. In August, she’ll be co-headlining a run of shows with Fancy Hagood across Europe and the United Kingdom.
Tennessee Lightning: 1. I’m Gonna Run (feat. T Bone Burnett) (Ashley Monroe, Sally Barris) 2. Risen Road (Ashley Monroe, Brendan Benson, Waylon Payne) 3. Closer (Ashley Monroe, Ashley Ray, Ben West) 4. The Touch (feat. Marty Stuart) (Ashley Monroe, Marty Stuart) 5. Magnolia (Ashley Monroe, Waylon Payne, Brendan Benson) 6. My Favorite Movie (Ashley Monroe, Vince Gill) 7. Hot Rod Pipe Dream (Ashley Monroe, Brendan Benson) 8. Amen Love (Ashley Monroe, Ashley Ray, Summer Overstreet) 9. Moth (Ashley Monroe, Carter Faith, Connie Harrington, Jessi Alexander) 10. Bitter Swisher Sweet (feat. Brittney Spencer) (Ashley Monroe, Emily Landis, Logan Wall) 11. You and Me (Jay Robinson) 12. Recover (feat. Karen Fairchild) (Ashley Monroe, Karen Fairchild, Ashley Ray, Andrew Petroff) 13. There You Are (Jessi Alexander, Margaret Findley, Sally Barris) 14. Blown Away (feat. Brendan Benson) (Jeff Lynne, Tom Petty) 15. That’s No Way To Say Goodbye (Leonard Cohen) 16. Moon Child (Ashley Monroe, Andrew Petroff, Meg McRee, Tenille Townes) 17. Jesus Hold My Hand (feat. Armand Hutton) (Albert Brumley)
Heart of Texas Records, in partnership with StarVista Music, announces the release of Tayla Lynn’s new album Singin’ Loretta, a tribute to her grandmother, country music legend Loretta Lynn, is available!
The record blends some of Loretta’s most iconic hits with lesser-known gems, showcasing the stories and spirit that defined her groundbreaking career. Tracks include “Don’t Come Home A Drinkin’ (With Lovin’ on Your Mind),” “Out of My Head and Back in My Bed,” “Rated ‘X,'” “Blue Kentucky Girl,” “One’s on the Way,” “You’re Lookin’ at Country,” and “She’s Got You,” alongside deeper cuts such as “When a Tingle Becomes a Chill,” “There He Goes,” “I Wanna Be Free,” and “The Titanic.”
Each song was thoughtfully selected and launched with special premiere partners, reflecting not only Loretta Lynn’s enduring global influence but also the deep personal connection her music continues to inspire within her family.
“Memaw has been the constant fixture in my life and the lives of millions,” shares Tayla Lynn. “Thank you to Tracy Pitcox and Heart of Texas Records, along with StarVista, for believing in this album and me. I am so excited for everyone to hear this tribute.”
“When Will The Love Rain Down” marks a powerful new chapter in Robert Randolph’s Sun Records debut. With a thundering groove and a towering vocal performance from Grammy-winning vocalist Judith Hill, the song is the third single from Randolph’s album Preacher Kids, out now, and the first track recorded for the project-a deeply emotional standout that shaped the tone of the entire record.
Built on a bedrock of blues and gospel, “When Will The Love Rain Down” began as an instrumental jam, its haunting pedal steel lines and moody percussion creating a space for something bigger to take root. Randolph sent the track to Hill, and what she returned was so moving, so immediate, it couldn’t be touched.
“I was in tears listening to it,” says Randolph. “I told her, ‘I can’t sing this – it has to be you.’ We thought of having her come into the studio to record it, but you can’t recreate that kind of pain and beauty twice. The vocal you hear on the record? That’s her demo. That’s the real thing.” A powerful video accompanies the track, visually echoing Hill’s once-in-a-lifetime vocal and driving home the song’s raw, unfiltered emotion.
Iola, Kansas-bred Americana singer-songwriter Kiefer Luttrell has put out his latest single, “Off Somewhere Else.” With his signature soothing vocals and mellow down-tempo Americana groove, Luttrell reflects on the trials and tribulations of days gone by, delivering a final offering in song to a past he can’t change. He offers a poignant and personal reflection, yet the message still has the power to resonate with listeners far and wide.
“Got a few of them cracks in the rear view / Got some paint stains on my boots / But there ain’t no point in blaming you / And there ain’t no point in looking back,” he sings with finality. The bridge shows Luttrell’s versatility with a semi-psychedelic synth and electric guitar breakdown, with the latter coming back towards the end to drive out the rest of the song.
Luttrell has independently released two albums, These Great Plains (2022) and Sidewalk of the Universe (2023), both of which showcase his unique blend of country, soul, rock, and folk. His latest multi-song release, 2024’s Tall Tales and Dead End Roads, is an acoustic-driven EP that leans more into a country-western sound, tackling themes of love, purpose, and identity. “Spanish Streets” was his first single of 2025, which came out in February.
The new singles were recorded at Welcome to 1979 studios in Nashville, and produced by Jeremy Bernstein, to whom the two had worked together on his previous EP. He’s currently writing his third album, and plans to go back to the studio later this year.
Southern California rockers Robert Jon & The Wreck unveil “Dark Angel,” the latest single from their highly anticipated studio album Heartbreaks & Last Goodbyes, out now via Joe Bonamassa’s Journeyman Records. Produced by Dave Cobb (Chris Stapleton, Jason Isbell, Rival Sons).
“Dark Angel” tells the story of a mysterious woman in Savannah, Georgia-equal parts memory, mirage, and muse. With evocative storytelling, moody guitar licks, and a groove steeped in country-soul swagger, the track captures a shadowy slice of Southern mythos, blurring the line between love and longing.
“‘Dark Angel’ was another song that came out of our writing sessions at Nashville’s historic RCA Studio A,” says guitarist Henry James. “We had the privilege of working with singer-songwriter Leslie Satcher (George Strait, Martina McBride, Gretchen Wilson, Patty Loveless, and Vince Gill), with lyrics inspired by one of her personal experiences as a touring musician. It tells the tale of an encounter with a mysterious woman in a bar in Savannah, GA-leaving plenty of room for poetic embellishment. Her knack for storytelling and wordplay was evident, and we had great chemistry as line after line poured out of her. The song was a natural fit for Cobb’s production, with punchy riffs and a classic southern/country rock groove. By coincidence, we recorded the song in the very city that inspired it-Savannah. We’re excited and proud to share ‘Dark Angel’ with the world.”
“Dark Angel” follows a string of singles that showcase the wide emotional and sonic spectrum of Heartbreaks & Last Goodbyes, including the swaggering “Better Of Me,” the electrifying “Highway,” the reflective “Ashes in the Snow,” the smouldering “Long Gone” (co-written with John Oates), and the high-octane “Sittin’ Pretty.” Each track further solidifies the band’s identity as a modern rock powerhouse rooted in timeless American traditions.
Heartbreaks & Last Goodbyes was recorded in Savannah with the band living communally throughout the process-eating, writing, and recording together under Cobb’s watchful eye. The album captures the raw chemistry that has made their live shows legendary, pairing hard-driving rockers with heartfelt ballads, all anchored by the band’s sharp musicianship and soul-baring lyrics.
“This record really represents who we are right now, both musically and personally,” says frontman Robert Jon Burrison. “We stepped away from our day-to-day and just focused on the songs, and you can feel that in every track.”
Mixed by Greg Gordon (Chris Stapleton, Sturgill Simpson), the album will be available on CD, digital platforms, and limited-edition coloured vinyl, with special merch bundles including an exclusive shirt and bandana.
Genre-blending artist Winston Surfshirt has officially announced his fourth studio album WINSTON, out now via Sweat It Out. The announcement arrives alongside a smooth, soulful new single titled ‘One Sugar’, offering fans another taste of the sonic evolution that defines this new chapter in Winston’s career.
Following a string of singles including ‘Spend My Nights’, ‘Ice Cream’, and ‘BOOTS’, ‘One Sugar’ keeps things sweet with playful lyrics and sultry R&B grooves. Co-written with long-time collaborator OSWRLD, the track shows off Winston’s signature fusion of hip hop, soul, and nostalgic 2000s R&B — a sound he calls his “most personal yet.”
The upcoming WINSTON album promises 11 tracks of heartfelt storytelling, gliding between buttery vocals, funk-infused beats, and modern production touches. Winston describes the project as a return to his roots while pushing his sound into bold new territory.
“You’ve always got a go to sound / genre or era that you listen to and sort of defines you. For me it sits between 1998-2002 ish through my older sisters music taste, noughties RnB, Aaliyah, Usher, Craig David etc.. when I started working with Oscar we just created music with no clear guide to what we wanted & as we made more and more a theme started to show up that sat right in that world.
Part memoir, part oral history, Poets and Dreamers: My Life in Americana Music traces Tamara Saviano’s remarkable journey through the rise of the Americana music genre. Spanning more than three decades, Saviano unfolds the story of Americana–country music’s bohemian cousin–from her unique perspectives as a journalist, historian, Grammy-winning music producer, filmmaker, and artist emissary.
The first woman president of the Americana Music Association and producer of the early Americana Honors and Awards shows at Nashville’s storied Ryman Auditorium, Saviano takes readers behind the scenes for some of the most significant moments in Americana history. Poets and Dreamers illuminates the exceptional Americana community: an ever-expanding yet close-knit circle of friends and unsung heroes devoted to the success of roots music and its artists.
Highlights include interviews with artists and colleagues and memories of special events, concerts, and day-to-day life with singers, songwriters, and musicians. Tender stories recalling Saviano’s close relationships with two of her most enduring clients, iconic songwriters Kris Kristofferson and Guy Clark, round out this singular historical work. Including photographs of significant people and moments in Americana music, Poets and Dreamers: My Life in Americana Music will entertain and inform a worldwide readership of fans, students, and scholars of Americana and roots music.
Saturday Night Live isn’t just a comedy institution—it’s a rite of passage. For nearly 50 years, hosting the show has marked a career milestone for actors, comedians, and even athletes. But reach that rare fifth hosting gig, and you’re welcomed into an exclusive fraternity: the SNL Five-Timers Club, complete with velvet robes, tongue-in-cheek sketches, and cameos from fellow inductees.
While the club is often associated with comedy greats like Steve Martin or Tom Hanks, music has played a central role in the show’s DNA since 1975. A select few musicians have crossed over into that hallowed territory of five or more host gigs, while others have become so synonymous with SNL that their frequent guest spots feel just as iconic.
Let’s break down the musicians who’ve earned their Five-Timers status—and the artists who may not have hosted as often, but whose fingerprints are all over Studio 8H.
Official Musical Five-Timers
Paul Simon: The Original Member
Paul Simon didn’t just perform on SNL—he helped define its earliest years. Hosting four times in the show’s first decade (1975, 1976, 1986, and 1987) and again in 1990, Simon became the first musician to cement Five-Timer status. He wasn’t just a musical guest either; his comedic chops turned him into a recurring figure in sketches, most famously the 1976 monologue where he appeared in a turkey costume.
Simon’s close friendship with Lorne Michaels only solidified his place as SNL’s unofficial musical patron saint. He’s performed on the show countless times outside of hosting, from “Still Crazy After All These Years” in the premiere season to a moving “The Boxer” with Ladysmith Black Mambazo in 1986. Simon’s presence is so intertwined with SNL that it’s hard to separate the two.
Justin Timberlake: From Boy Band to Comedy Gold
If Paul Simon is the serious elder statesman of the Five-Timers, Justin Timberlake is the class clown who somehow aced every exam. Timberlake’s five official hosting stints (2003, 2006, 2009, 2011, 2013) cemented him as not only a pop star but also one of SNL’s most reliable comedy ringers.
From the “Barry Gibb Talk Show” with Jimmy Fallon to “Bring It On Down to Omeletteville,” Timberlake blurred the line between host and cast member. His 2006 digital short “Dick in a Box” with Andy Samberg won an Emmy and became one of the most replayed sketches of the YouTube era. For many, Timberlake’s repeated returns proved that musicians could be more than stiff monologue readers—they could become comedy icons.
Justin Bieber: The Pop Prince of Studio 8H
While not as universally beloved as Timberlake, Justin Bieber has hit the Five-Timers mark by a mix of hosting and guest appearances. Bieber’s hosting debut came in 2013, but his presence on SNL stretches back further: he was a musical guest in 2010 and popped up in sketches before his official hosting gig.
Bieber’s charm is in his willingness to poke fun at himself. In one sketch, he played a high school student overdoing Valentine’s Day gestures, while in another he joined in a Miley Cyrus parody of his own persona. Love him or roll your eyes, Bieber’s repeated SNL stints capture his arc from teen idol to pop mainstay—and yes, he’s got the jacket to prove it.
Honorary Status: Jack White’s Special Induction
Jack White hasn’t hosted SNL five times—but he still holds a unique spot in the Five-Timers Club lore. After filling in on short notice for canceled acts (including Morgan Wallen in 2020) and consistently delivering standout performances, White was awarded an honorary induction in a sketch during the pandemic era.
Why the exception? Because few modern artists embody SNL’s spirit of unpredictability and reinvention like Jack White. His blistering 2002 performance of “Dead Leaves and the Dirty Ground” with The White Stripes remains a fan favorite, and his 2012 solo set showcased his knack for pushing boundaries. White may not have hosted, but his status as one of SNL’s most dependable—and electrifying—musicians earned him a robe nonetheless.
Frequent Musical Guests
Not every artist wants—or needs—to host. Some musicians let their instruments do the talking, returning again and again to Studio 8H just to perform. A few names stand above the rest:
Dave Grohl (16 appearances): If there’s an unofficial king of SNL musical guests, it’s Grohl. Between Nirvana, Foo Fighters, Them Crooked Vultures, and guest spots with Mick Jagger and Tom Petty, Grohl has practically worn out the stage. His 2011 Foo Fighters performance of “Walk” brought down the house, and his sheer range of appearances shows his enduring connection to the show.
Gwen Stefani (5 appearances): Twice with No Doubt and three times solo, Stefani has been a reliable draw for SNL since the ’90s. Her 1996 performance of “Don’t Speak” with No Doubt introduced her voice to millions, while her solo stints leaned into her colorful, eccentric persona.
Chris Martin (8 appearances): Whether solo or with Coldplay, Martin is nearly an SNL regular. Coldplay’s 2001 debut brought “Yellow” to an American audience, while their 2019 appearance added gravitas to the show’s musical legacy. Martin even popped up in sketches, most memorably kissing Will Ferrell in a parody of The Bachelor.
These artists may not have the robes of the Five-Timers, but their repeated presence shows just how much SNL values them as cultural mainstays.
For many emerging artists, landing a meeting with a major record label is the dream—and a nerve-wracking milestone. It can feel like the make-or-break moment in your career. While it’s true that these meetings are important, it’s equally true that preparation, professionalism, and authenticity will set you apart more than trying to “play the part.”
The best label meetings are not auditions. They’re conversations about opportunity, partnership, and potential. Below is a roadmap to help you prepare for your first big meeting, so you walk in confident, informed, and ready to present the best version of yourself and your music.
Pre-Meeting Preparation
Do your homework. Labels want to know that you’re serious about your career and understand their ecosystem. Research the label’s roster—who’s signed, who’s been recently dropped, and who’s having success. For instance, if you’re a pop singer and the label has just had a breakout with another female solo act, you’ll want to be ready to position yourself as complementary rather than competitive.
Understand the label’s divisions. Major labels are often structured by genre or region. Familiarize yourself with the department or imprint most relevant to your music. A hip-hop artist meeting with Def Jam should know its legacy and current artists, while a jazz artist should understand Blue Note’s positioning.
Know the decision-makers. You may be meeting with an A&R rep, but who else will be in the room? Google the executives. Check their LinkedIn or past interviews. For example, if you know an A&R executive recently signed a rising alt-pop artist, you can draw a parallel about how your sound or fan base fills another niche.
Essential Materials
Bring a press kit—both physical and digital. At minimum, this should include:
Professional photos: High-resolution images that reflect your brand. Avoid casual snapshots; think of how you want to be presented in media.
Streaming and sales stats: Be transparent. Labels want to see data, even if it’s modest. If your last single streamed 50,000 times on Spotify, that’s worth highlighting.
Social media analytics: Show engagement, not just followers. Executives pay attention to fan loyalty, not inflated numbers. A TikTok video with 15,000 organic shares can matter more than 200,000 passive followers.
Press clippings and testimonials: Local coverage, playlist placements, or quotes from industry professionals add credibility.
Think of your press kit as your résumé. It should present you as a serious, market-ready artist.
Presentation Skills
This is your chance to showcase not just your music, but your brand and vision. Labels sign people, not just songs.
Play your strongest tracks. Quality matters more than quantity. Two or three polished songs are better than a dozen rough demos. For example, when Billie Eilish’s early demos caught attention, it was because “Ocean Eyes” stood on its own.
Tell your story. Executives want to know who you are. Share your journey and your vision in a way that’s memorable. Maybe you grew your audience busking in Toronto, or maybe you wrote your debut EP in your parents’ garage—stories make music relatable.
Be concise. Avoid rambling. Have a clear “elevator pitch” for your artistry: “I make soulful pop rooted in gospel influences, with a message of resilience.”
A major pitfall: overpromising. Don’t say “I’ll be bigger than Drake in two years.” Instead, talk about your commitment to growth and your fan community.
Common Questions You’ll Face
Executives often ask variations of the following:
Who are your influences? Be thoughtful. Mention artists who reflect your sound but also your aspirations.
What’s your fan base like? Be specific. “18–24 college students on TikTok” is better than “everyone likes my music.”
What’s your vision for the next 12 months? Show you have a plan: touring, releasing singles, building content.
Why should we sign you now? This is where you highlight momentum—growing streams, viral content, recent tour success.
Prepare honest answers. Labels can tell when you’re bluffing.
Professional Etiquette
Dress the part, but stay you. If your brand is streetwear, don’t show up in a three-piece suit. If you’re a folk singer, ripped jeans and a flannel may be just right. The goal is professional authenticity.
Be punctual. Arrive 10–15 minutes early. It signals respect for their time.
Communicate clearly. Don’t interrupt, but don’t shrink back either. Make eye contact, listen attentively, and keep your phone silenced and out of sight.
I’ve seen artists lose credibility by arriving late and frazzled, or by treating the meeting too casually. Remember: how you act in that room is how they’ll expect you to act on tour or in the studio.
Follow-Up Strategy
What you do after the meeting is just as important as the meeting itself.
Send a thank-you email within 24 hours. Express gratitude and reiterate one or two key points from the meeting. For example: “I appreciate your thoughts on audience growth strategies. I’m excited to share new music soon.”
Provide additional materials if requested. Don’t send everything at once—be targeted. If they asked for live performance clips, send a Dropbox link.
Be patient. Labels rarely make decisions overnight. Expect a few weeks to a few months for a follow-up. Don’t pester, but a polite check-in after four weeks is appropriate.
Lead with Authenticity
A first major label meeting is both exhilarating and intimidating. Remember: they already see potential in you—that’s why you’re there. Your job is to show that you’re prepared, professional, and clear about who you are as an artist.
Yes, the polished press kit, the stats, and the presentation skills matter. But the most successful meetings happen when artists bring authenticity to the table. Adele once sang for XL Recordings with just a guitar and her voice; Ed Sheeran handed out homemade CDs and freestyled in label offices. In both cases, their honesty and unique artistry shone through.
Be ready, be professional, but most of all, be yourself. Labels can sign a voice, a look, or a brand—but what lasts is when they sign you.
