From the heart of Nashville, Grammy-nominated bluegrass band Sister Sadie returns with their fourth studio album, All Will Be Well. A sweeping, genre-blurring body of work that reaffirms their place not only as instrumental powerhouses but as storytellers rooted deeply in resilience, community, and emotional truth.
Out now via Mountain Home Music Company, All Will Be Well arrives on the heels of a triumphant award season for the group. With co-founder Deanie Richardson earning Fiddle Player of the Year and guitarist Jaelee Roberts taking home Female Vocalist of the Year at the 2024 International Bluegrass Music Association awards. The band itself, which formed in 2012 after a one-off performance at Nashville’s Station Inn, has long defied the limits of genre and gender in bluegrass, having been crowned IBMA’s Entertainer of the Year in 2020 and Vocal Group of the Year for three consecutive years prior.
What makes All Will Be Well especially poignant is its emotional and stylistic breadth. From the first notes of “Winnebago” to the soulful closer “Can’t Let Go of Your Love”, Sister Sadie pulls from a palette that fuses 90s country nostalgia with classic bluegrass instrumentation. Guitarist and vocalist Dani Flowers, who co-wrote over half the album, describes it best: “From the studio to the stage, the songs from this record have brought us back to life and connected us to each other in brand new ways.”
One of the most arresting tracks, “Let the Circle Be Broken”, tackles generational trauma and domestic abuse with raw honesty. It’s an exorcism wrapped in harmony, somber and unrelenting, yet ultimately redemptive. This willingness to marry vulnerability with musical precision is Sister Sadie’s signature, and it’s on full display throughout the album.
The band also invited a stellar lineup of collaborators to join the journey. Steve Earle lends harmony on “I Wish It Would Rain”, while legends like Russ Pahl (pedal steel), Catherine Marx (keys), and Dave Racine (drums) elevate the record’s sonic landscape. With these contributions and performances from musicians like Seth Taylor and Mary Meyer, each track is layered with texture, intention, and deep musical kinship.
Standouts like “Make Me Stay or Make Me Go” and “The Devil Don’t Care” offer blistering instrumentation and bold vocal performances. “Orphan Train” and “Prodigal Daughter” lean into narrative balladry, while “This Is Me (You’re Not Talking To)” feels like a line in the sand. Through it all, the band’s vocal chemistry remains unshakable, each harmony feeling earned and essential.
It is a damn good record. But more than that, it’s a generous one. The kind that opens its arms to long-time fans and newcomers alike. Whether you come for the bluegrass chops, the country soul, or the stories that settle in your bones, All Will Be Well is a celebration of Sister Sadie’s evolution. Because in their world, harmony isn’t just a sound. It’s a promise.
Nashville-based artist Sam Varga released his new single “Minute Man” on July 4th. Varga is an rock/alt-country artist and has one full-length album he released in 2024 titled Shadow Work. His music is a unique combination of the distinct sound of country with some clear alternative and emo influences. Some of his songs lean more acoustic and it’s just his voice and the guitar, and others have that more alt-pop sound.
“Minute Man” has a modern country sound, and is a relatively simple production. There are a few minutes where it’s just the guitar playing, which switches up the main beat of the song. But Varga’s style makes this song different from any other country song, as the alternative elements are just as present here. Sam Varga’s vocals feel much more in line with an alternative style than the traditional country singer. The vocals don’t have the high pitch that is often present in emo music, but the tone is much brighter than country usually is. The drums are also more reminiscent of the alternative genre, which manages to give this song a complex sound with the simple production.
The single is also political in a way that’s fitting for our current world, a distinction from Varga’s other work. Different cultural references are sprinkled throughout the song, which catches the listener’s attention. It’s less of a specific political message than it is an observation of just how broken our world and society is right now. The song also mostly references different ways that the world is ending or “broken,” like the threat of nuclear war and the polar ice caps melting.
But the main “story” of the song is about falling in love with this apocalyptic background. It’s an interesting contrast between this love and the very current threat of the world ending. The lyrics “two kids kissing under bleachers in the fallout” are immediately followed by “heard you say we’re gonna die young anyway.” It’s dark, but the takeaway isn’t totally depressing. The title comes into play here, as the lyrics “I just need a minute, man” end off the chorus. “Minute Man” is interested in how screwed up our current political world is, but it isn’t a totally nihilistic song.
Amy Jay‘s latest single, “Can’t Go Back” is a indie pop track that delves into displacement, detachment and loneliness in a place that you think of as your home. Amy Jay is a self described “alt folk indie singer songwriter” who is currently based in New York City. “Can’t Go Back” is the first single off of Jay’s upcoming album, Mnemonics, out November 7th.
“Can’t Go Back” is the perfect song for soul searchers, introspectives, and who has ever felt out of place or invisible. Amy Jay’s inspiration—feeling lost in New York City—is a universal concept even if you don’t have millions of people on your doorstep. Community is a hard thing to find, and Jay delves into that struggle deeply on “Can’t Go Back.”
The track begins with immersive bass beats with deeply personal direct lyrics targeted to a former friend/lover. She reminsces on what once was, and their final dinner, mentioning the isolation that followed. Her soft vocals are intimate and reflective of the songs sensitive nature.
The tracks shining star is it’s lyrics. When Amy Jay writes, “I can’t tell if it’s New York, or if I’ve grown up, or if I’ve grown up in New York”, she speaks to the dismantling of identity and placement, and the way we become misaligned with our home and self.
As she writes that the city is “shaping her”, she is discussing all the change you go through during youth and how malleable your identity becomes. It’s so easy to lose yourself in new environments and experiences, and forget where you even began, which is exactly what Jay seeks to discover. Describes Jay of the inspiration here, “Remember that change is inevitable and sometimes permanent.” She goes on to explain:
Although I wrote this song before COVID, it’s eerily pertinent to how the pandemic drastically impacted our lives. Despite living in the same city long enough to call it home, I question if my sense of displacement comes from New York’s inherent transience or the broader challenges of adulthood. Even before COVID but especially since, many loved ones moved away and my community is constantly shifting, so it often feels impossible to establish lasting roots in such an ever-changing environment. Like experiencing a death, the only way to move forward is to grieve the change and accept the new reality.
The lyrics are enrobed in Jay’s echoey vocals, and the nostalgic reverb that makes the song feel simultaneously distant and extremely close to home, which is exactly the contrast that exists within the narrative of displacement and discovery.
The steady and relatively chill beat and instrumentals are at odds with the anxiety and mourning of loss time and identity within the song, and the tension works amazingly. Jay is up to quietly mourn who we once were alongside her, as the song allows the listener to reflect on their own irreversible moments and lost memories/experiences.
The repetition of the lyrics “We can’t go back” is both disarming and comforting, as it reflects both the uneasiness towards the passage of time, as well as the acceptance of it. “Can’t Go Back” is the soundtrack for travelers, hermits, college students, and pretty much anyone that has felt instability or loss of identity, and Amy Jay packages it skillfully and wonderfully through her velvety vocals and confessional lyrics. If you don’t already relate, unfortunately, someday you will!
Follow Amy Jay on tour here. Pre-save the single here.
On Independence Day 2025, Kesha detonated a firework of her own: . (PERIOD), her long-anticipated sixth studio album and the first released under her own label, Kesha Records. It’s more than an album. It’s a neon-lit middle finger to expectations and a joyride into the unruly, emotionally raw depths of her artistry.
With . (PERIOD), Kesha returns not just unfiltered, but unshackled. This 11-track collection explodes with irreverence, vulnerability, and a high-octane celebration of freedom. Featuring hit singles like “JOYRIDE.”, “YIPPEE-KI-YAY.” (featuring T-Pain), and “BOY CRAZY.” The album is stacked with unapologetically bold anthems that demand to be blasted at full volume, with glitter smeared across your cheeks and a scream in your throat.
Born in Los Angeles but spiritually stationed somewhere between a dancefloor and the desert, Kesha has long transcended pop stardom. She’s a cultural icon, a survivor, and a provocateur and with . (PERIOD), she’s steering the whole damn ship. Co-produced and co-written by Kesha herself, the album pulls from electro-pop, country, house, and punk, yet feels cohesive in its chaos. It’s as if each song is a new face of the same disco ball, fractured but blazing with light.
The opening track, “FREEDOM.” sets the tone with a thunderous, rallying cry for autonomy. From there, “JOYRIDE.” (released exactly a year prior) feels like a literal ignition. Its video, where Kesha races through the desert dodging helicopters and hitmen, has nearly 2 million views and encapsulates the album’s energy: rebellious, cinematic, and on the run.
Then there’s “BOY CRAZY.”, an infectious dance track paired with a chaotic, sex-positive video that sees Kesha surrounded by scantily clad men. It’s ridiculous. It’s hilarious. It’s art. Co-directed by Kesha herself alongside Brett Loudermilk and Zain Curtis, it’s clear she’s taken the wheel creatively as well as musically.
“YIPPEE-KI-YAY.” is perhaps the wildest track of the bunch. A yeehaw-worthy country-pop fusion featuring T-Pain and remixed by A.G. Cook. It’s absurd in all the right ways. Kesha even brought it to Coachella and Stagecoach in two wildly different live renditions that perfectly capture her range and reinvention.
And if there’s one ballad on this record that cuts deepest, it’s “CATHEDRAL.” A lush, gospel-tinged closer that aches with hope and grief. Kesha’s vocals, often buried under glitter and grit, shine in their full, earnest power here.
But beyond the music, . (PERIOD) is a reclamation. After years of public legal battles and creative restrictions, Kesha’s independence is no longer symbolic; it’s literal. Released through her own imprint, on her own terms, this album reaffirms her role not just as a pop star but as an artist. It’s messy, it’s loud, it’s half-joke, half-confession, and it’s the most Kesha she’s ever been.
Currently on her largest headline run to date, The Tits Out Tour. Kesha is lighting up arenas across the U.S., with sold-out shows at iconic venues like the Kia Forum in LA and Madison Square Garden. Proving once again that Kesha has always had her glittered finger on the pulse of pop culture.
. (PERIOD) is the sound of an artist who’s lived through hell and come out ready to dance on its ashes.
I lay comforted by the sounds of a meandering country ditty, imbibing the questions being posed lyrically. How did you become the stranger you sought to escape? How will you escape the ghosts coming for you? The upbeat twang of Will Rainier’s guitar contrasts his dark lyrics which resemble a poem by Poe, in new single “Dance With the Dead”.
Expands Rainier: “I like the sadness in country music—it’s just raw emotional music to me—but I don’t want to recreate anything to the letter. I want the music to be my style, and I like unexpected instruments, like the trumpet, and I like blending styles. I don’t think about any of this when I write—I just let the music come out.”
While the video is, admittedly, reminiscent of a middle school iMovie project, it would be the best one in the class. Filmed across beautiful landscapes in Olympia, Bow, and Lopez Island, Washington, and Bend, Oregon by Jen Garrett, Will Rainier, and Chad Yenney, the video itself was created by Will. The beauty chosen and recorded by Rainier ropes you in to an almost fantastical existence. You can sense the intended darkness behind the song without acquiring it, a true feat.
“Dance with the Dead” is a mixed bag, and Will Rainier is extremely talented. On his new album Smoke ‘em If You Got ‘em, which is available in full soon, he plays most of the instruments, creating his own band from raw talent. He will undoubtedly fuel you with more of his funky bar goer stories and genre breaking combinations.
While many summertime tracks are leaning into vulnerability and tend to be offering a softer sound, genre-bending artist Kee Nola may have just released the “amp up” anthem of the summer. In fact, the high-energy track “Can’t Get Enough” helps to solidify his rising star in the alt-rap/rock scene. With eye-popping style – both musically and clothing-wise – it is clear that this talented artist is out to make an impact.
The song itself is an edgy, no-holds-barred call to ignore the haters in your life, something most artists have to work with throughout their careers. To see that he has such a solid disposition so early in his career is incredibly affirming, and drives the song even further into your psyche. Utilizing a few quick quips and references, Kee Nola has no problem defending his music, his art, or his personality to the people who may be throwing shade at him.
While a personal favorite reference can be found in the line “Run, run, Forrest but you cannot hide,” there is so much confidence to be gained from playing this track. Throw it on in the car on your way to an event, add it to your pre-game hype up playlist, or simply let it drive your energy in the morning. Either way, you can’t go wrong with this song.
Keep up with Kee Nola’s budding star on tour here.
On its surface, KRAMON’s latest single “Morning Vapors” is a trance-like ode to early, easy smokes. It opens with an invitation to take a ride, offered via a sweet serenade from Meredith Adelaide over a gentle yet addicting guitar riff. From there, it takes the listener’s on a journey through an atmospheric headspace. The tune feels like a long, slow drive on Highway 70, with very few bumps in the road.
The second single of Josh Kramon’s newest project, simply titled KRAMON, follows in the footsteps of its predecessor “Crush.” It’s a dreamy, joyful rock tune, reminiscent of the psychedelic hippie hymns of the ‘70s.
Like “Crush”, “Morning Vapors” is spurred forward by Meredith Adelaide’s laid-back vocals. The multi-medium artist sounds like an old friend on the track. She overextends herself, rather choosing to float over the crisp instrumental.
It’s the instrumental that holds this piece together. It holds hands with both the lyrics and the vocals, guiding them along the journey the song promises.
The song gains its weight in its final minute and half. A slower, heavier harmonized bridge cues the audience to this shift in musical character. The ending chorus, a steady repetition of the song’s title, fulfills the promise of a new mood with the introduction of a tambourine and an increase in tempo. These last few minutes take the track where it’s been longing to go.
The direction of “Morning Vapors” paints a promising picture for Kramon’s newest project. And that direction is one full of potential for the composer, singer-songwriter, and multi-instrumentalist.
In what might be his better known work, Kramon has composed for various Television series, such as Veronica Mars. However, in his personal work, Kramon has explored his struggles with addiction and his complex relationship with his Jewish heritage.
Kramon is holding onto his vow to make music that speaks to him, rather than “chasing the latest musical trend.” So far, this latest project seems to break away from the themes of his previous work. Instead, “Morning Vapors” promises a future with less tears and more relaxation. Kramon is taking a ride, away from the heaviness of the past, in a vehicle that feels most authentic to himself – and he wants us to come along for the journey.
Lyn Lapid, Filipino American singer & songwriter, released a cover of Pixies “Where is my mind” on Friday. You may have heard her hits such as “Producer man” and “In my mind”, as well as her 2023 EP to love in the 21st century. She recently released her debut album Buzzkill. Lapid performs a variety of genres, including pop and R&B, and is known both for her original songs and her viral covers on Tiktok.
The Pixies’ original version of the song was released in 1998, alternative rock with bass and guitar. Lyn Lapid provides a distinctly different version. Her version has a more dreamy production, with echoed vocals and strings. Lapid’s version definitely updates the song in a way that fits with the indie pop style of many artists now.
I think this production style still fits the original song, and seems to touch on a fun, dreamy element that’s present in the Pixies version. While the original song is produced in an alt-rock style, “Where is my mind” is about Black Francis’s trip to the Caribbean and his experience with the small fish he saw while snorkeling. Lapid’s production fits this “story” of the song well in my opinion–the slower, more echoey sound is fitting for swimming underwater.
The release of this cover comes while Lyn Lapid is on the North American leg of her Buzzkill tour. She still has shows in various North American cities until June 28th.
UPCOMING BUZZKILL WORLD TOUR DATES: June 13 // Charlotte, NC // Amos’ Southend June 14 // Atlanta, GA // Center Stage – The Loft June 16 // Orlando, FL // The Social June 19 // Houston, TX // Warehouse Live – The Ballroom June 21 // Austin, TX // Antone’s Nightclub June 22 // Dallas, TX // Trees June 25 // Phoenix, AZ // Crescent Ballroom June 26 // San Diego, CA // The Observatory – North Park June 28 // Los Angeles, CA // El Rey Theatre
Brooklyn’s hardcore trailblazers Cash Bribe are back, delivering a knockout punch with their latest EP, Demonomics, out today via Futureless. This third offering, their first under the label, solidifies their position as one of the fiercest voices in modern punk and hardcore. If their 2023 release, Escape From New York, was a warning shot, Demonomics is an all-out assault on the systems that keep us subdued.
Recorded and mixed by Zach Miller at the iconic Landmine Studios, where hardcore luminaries like Year of the Knife have made their mark, Demonomics takes Cash Bribe’s chaotic energy to new heights. Guitarist Kirk McGirk aptly describes the EP’s incendiary spirit: “It’s like they’re pissing on your head and telling you it’s raining.” That unflinching rage fuels every riff and lyric, creating a visceral, unrelenting listening experience.
The EP opens with its title track, an ominous and heavy anthem that sets the tone for the journey ahead. “Bay of Pigs,” the lead single, bursts through the speakers with low-tuned swagger, sharp edges, and an unmistakable punk attitude. Rooted in powerviolence and hardcore, the track also nods to the noisy hardcore of Cursed and the raw aggression of mid-era Black Flag.
Tracks like “Faith Aversion” push the boundaries further, diving into metallic riffs that lend an apocalyptic depth to the record’s core. Fans of classic NYHC and those who crave a dose of rock ‘n’ roll spirit will find a balance of chaos and cohesion that speaks directly to the heart of the genre.
Lyrically, Demonomics is a razor-sharp critique of wealth inequality and societal gaslighting. Vocalist Joey Dahlstrom’s delivery pulls no punches, channeling fury and frustration into every line. These themes resonate deeply in today’s climate, adding an intellectual edge to the EP’s unfiltered aggression.
Formed in 2019, Cash Bribe’s lineup—Joey Dahlstrom (vocals), Kirk McGirk (guitar), Brian Jackson (bass), and Larry Koch (drums)—has evolved to match their increasing ambition. From their raw debut, Facemask City (2022), to the polished chaos of Escape From New York, the band has consistently upped the ante, drawing acclaim from major punk and hardcore outlets.
Demonomics isn’t just another EP; it’s a statement. With its heavier riffs, darker tones, and unrelenting fury, it’s Cash Bribe’s most refined and furious release to date. Whether you’re a hardcore aficionado or a punk purist, this EP is bound to leave a mark.
Stream Demonomics on Spotify and other platforms starting today. For those lucky enough to be in Brooklyn, catch the album release show at Lucky 13 Saloon and witness Cash Bribe’s chaos in real time.
