Bee Delores

Sad Daddy captures the full breadth and scope of their 16-year career with their fourth studio record. Ozark Shine pushes the boundaries of their work, yet it remains fully perched in their signature styles and craftsmanship. These 13 songs from the four-piece Arkansas-born string band (Melissa Carper, Rebecca Patek, Brian Martin, and Joe Sundell), all recorded at the Bomb Shelter in Nashville, TN, feel earnest and truly lived-in. With songs such as “Let’s Go Fishin’,” written by Patek, the grou

MC Taylor, frontman of Hiss Golden Messenger, writes with the kind of fervent simplicity of Joni Mitchell, as evidenced on "Mercy Avenue," the album benchmark from Messenger's latest, I'm People. There’s an honesty to the story about everyday people living, barely getting by, and learning hard truths about life. “Lucy's living in her Cadillac,” sings Taylor. “It smells like ‘Slow Hand’ / Doc says she ain't coming back / Oh, Mercy Avenue's savage. Taylor’s honeyed vocals drip with the wisdom tha

Flatland Calvary continues anchoring their work in roots music with their new album, Work of Heart. Even when production goes big, bold, and shiny, the sextet ground themselves with simple, yet evocative, arrangements that tell the whole history of their musical lives. 12 songs live and breathe with the throbbing heartbeat of human existence. Weather-worn moments (“Gone”) sit comfortably alongside commercially angled tracks (“Never Comin’ Back,” “Unglued”) for a stylistic sample of what they do

Friendship and kinship lie at the heart of Pert Near Sandstone’s ninth studio album, Side by Side. “I know there’s strength in numbers, and so much joy that will be felt,” sings J. Lenz in “Quiet Hours,” gathering the listener closer for the whispered promise. Community is invaluable, particularly in 2026, and the group–rounded out with Kevin Kniebel (clawhammer banjo), Nate Sipe (mandolin, lap steel guitar, fiddle, tenor banjo), and Justin Bruhn (upright bass)–reminds us that without it, we’d s

Boy Golden (the stage name of singer/songwriter Liam Duncan) centers his fifth studio record, Best of Our Possible Lives, around the lead single and opening track, “Suffer.” Dirty, cosmic guitars swirl around similarly muddy drums that emit a transcendent throb. Razor-sharp lyrics (e.g., “I want to know where my money went / I want a new fucking president”) cut to this cultural moment with brazen honesty, setting the stage that “we all suffer under the cover of the night.” That refrain is the ba

2025 has been a year of great reflection. As storms rage outside, seeking refuge – in our favorite movies and TV shows, in great books, and in favorite records – becomes increasingly important. With their new album, Dog Ear, The Bros. Landreth