From the very first bar, Leah Tash’s “Sweet Song” brings the kind of charm that’s impossible to ignore. A bright, plinky piano sets the backdrop, but it’s the infectious, happy-go-lucky melody that immediately hooks you in. It takes a special talent to balance classic country influences without sounding dated. Tash drew inspiration for her new […]
Johnny Rawls & Dave Keller – Tribute to Soul
Johnny Rawls and Dave Keller want you to know how much fun soul blues can be. In their collaboration this summer, Tribute to Soul, the two put together a celebration of the music that hits the mark. Rawls has been a fixture on the blues festival circuit for decades. Once a sideman for the great […]
Now & Then: The Yawpers’ Teething and the reach of Fire of Love
The Yawpers have never hidden the influence of bands that pushed country and blues through a punk framework. Nate Cook has specifically cited the Gun Club, which makes Fire of Love, the band’s 1981 debut, a strong reference point for Teething. The connection is not simply aggression or guitar tone. Both records treat roots music as working material, preserving its rhythmic and melodic foundations while making it fit the concerns and energy of their own moment.
RJ Chesney – A Southern Man
Sweet tea. Kudzu wrapped around anything that doesn’t move. Wearing a short sleeve shirt with a tie to church. While you can experience those things many places (less so the kudzu), growing up with their ubiquity is part of a cultural perspective that lends definition to the idea of being a southerner. In a similar […]
Now & Then: The Jayhawks’ Sanctuary Park and the reach of Buffalo Springfield Again
The Jayhawks have spent much of their career balancing country songwriting with a rock-band approach, and Sanctuary Park continues that tradition. That makes Buffalo Springfield Again a useful predecessor. The 1967 album mixed country instrumentation, folk-rooted harmonies and electric rock without treating those elements as separate styles. The Jayhawks work from a similar foundation, but with the benefit of decades spent refining their own version of it.
“Don’t Fence Me In” – a Premiere from Sanford
Brooklyn by way of South Carolina, Jay Sanford follows January’s Big Tent Revival with an old-school two-sided (digital) single. The A-side, “Don’t Fence Me In,” takes a honky-tonk two-step and runs it through a rock engine — same dance-floor bones, more muscle. Sanford lays out the thesis in the chorus: “I do some honky-tonkin’ but […]
Now & Then: Ray Wylie Hubbard’s Reel 2 Reel 4 Real and the reach of Naturally
Ray Wylie Hubbard has long worked in the overlap between country, blues and rock, usually with more interest in feel than polish. Reel 2 Reel 4 Real continues that approach with a rawer, more garage-minded sound. J.J. Cale’s 1971 debut Naturally makes a useful comparison because it established an earlier model for roots music built around groove, restraint and an unmistakable guitar style.
Readers’ Pick: Ray Wylie Hubbard – Reel 2 Reel 4 Real
You picked Ray Wylie Hubbard – Reel 2 Reel 4 Real as your favorite new release for the week of August 21, 2026.
Dolly Parton – In Memoriam
As a kid growing up I didn’t like Dolly Parton. She and her musical partner, Porter Wagoner, represented everything I hated about country music at the time. They were well-coifed, fancily dressed, polished, with heavily produced records. Absolutely nothing of value to a teenage boy. Fast forward a few years and she’d shed Porter and, […]
Now & Then: Elizabeth Cook’s Great Television and the reach of Bramble Rose
Elizabeth Cook’s Great Television and Tift Merritt’s Bramble Rose come from different moments in country music, but they share a similar approach to songwriting. Both records are rooted in country without being limited by it, and both rely on strong vocal performances, clear arrangements, and songs that carry most of the weight. Merritt’s 2002 debut offers a useful earlier example of the kind of flexibility Cook brings to her 2026 record.