Maeri Ferguson

You haven’t heard a voice like Leah Blevins’. The Kentucky native’s debut, First Time Feeling, plants itself at the crossroads of gospel and country, a product of Blevins’ Appalachian, church-singing upbringing and her Nashville coming-of-age. With all the scars to prove it, Blevins sings her own personal history

We have all been thrown for a loop, left with far too much time to recollect and think about our mistakes and ruminate on what the future has in store. Charlie Parr is writing songs about it, and damn good ones. Last of the Better Days Ahead is a stripped-down

Andrew Bryant has been grappling with his spirituality and identity across his solo albums from the beginning, but this time feels different. Aside from coming out of a global pandemic, Bryant also recently hit one year of sobriety, a journey he began in earnest while in lockdown. At home in

There is beauty in cynicism. T. Hardy Morris knows this. His latest record, The Digital Age of Rome, takes a dark, gritty look at a society on the brink of collapse due to an overload of technology and performative living on social media. Morris captures all the worst parts of

When your first album doesn’t come out until you’re in your 60s, you’ve got a backlog of stories to tell. And if you’ve lived a life like Robert Finley’s, those stories could fill one hundred albums. Alas, Sharecropper’s Son is just Finley’s second

Calla Lily, the sophomore album from The Brother Brothers, opens with a song that expresses what is undoubtedly a shared sentiment amongst musicians at this point. “On the Road Again” captures that unmistakable itch to get back to touring life, to some kind of norm. Though it was written before