Maeri Ferguson

Emily Scott Robinson begins her latest record, Appalachia, with a hymn, a promise for the year ahead to be better than the last. With a melancholic echo of “Auld Lang Syne,” Robinson offers some hope for new beginnings even when it seems unthinkable. And though “Hymn for the Unholy”  wasn’

“I’m nobody’s pocket change,” sings Sophie Gault on “Pocket Change,” a kiss-off befitting the rough-around-the-edges sound Gault has been perfecting for years, this time on her latest record, Unhinged. Gault’s voice is a pretty snarl, its soft and abrasive sides in beguiling harmony, ideal for telling an

Editor’s Note: Here at No Depression there’s too much great roots music in a year for us to cover it all. So in December, when new releases slow down, we ask writers to review some of the best albums we missed throughout the year in an on-going series

That old adage “it takes a village” is, quite literally, what made it possible for Courtney Hartman to make her latest album With You, a soft study of motherhood and all the beautiful and harrowing ways it upends a life. Hartman did what might be the hardest thing a new

Despite decades of making music together, Winterpills still feel like a well-kept secret. But if ever a song could capture the attention they so deserve, it’s “Wild,” the opening track off the band’s latest album This is How We Dance. The powerful anthem builds with heavy guitars and

Despite its cheeky self-deprecating title, Tristen’s fifth studio album Unpopular Music is a testament to the career she’s built out of making criminally underrated, perfect pop music. If the goal of great pop music is to bring people together in collective earworm joy under a big top, Tristen