Charley surprised everyone with this new release, recorded in Clovis, NM, back at the end of April, less than a month after he’d released his *other* new 2026 album Age of the Ram, on Island Records. Age of the Ram had wrapped up his trilogy of albums about the American West. Label contract disputes forced it to be pulled from circulation, but it's now available digitally again thanks to a new deal with Atlantic Outpost, which Charley considers a win: “Sometimes you need to fight. Goliath vs Goliath. On this 250th birthday for America, I’m reminded that freedom is something you continue to fight for. A war that never ends. Today, we win one battle. Clovis is out on the 4th of July weekend on Atlantic Outpost. Let’s ride.” Co-produced by Shooter Jennings. Charley performs in Charlotte on September 24th.

Ruthie Foster and Sun Records have teamed up to release this powerful collection of songs blending soul, blues, gospel, folk, and roots music. Known for her commanding voice and deeply personal songwriting, Foster delivers ten uplifting and heartfelt tracks that explore resilience, gratitude, connection, and personal growth.

This band, based out of Portland, Oregon (but with Asheville ties too!) has this new album on Bloodshot Records, with themes of kicking old habits, letting go of control, interrogating motives, and fearless open hearts. And we’re sad to report they have announced it will be their last! They’ve stated that “after nearly 20 years of touring, we’ve had to be honest with ourselves about what it takes to sustain this band. Nearly every cost of being on the road—from fuel and flights to food and lodging—has gone up, while artists’ guarantees have remained largely static. At some point, you have to ask whether the way you’ve always done it still makes sense.” They play the Grey Eagle in Asheville on October 8th.

The man who warned us about how nasty that Snake Farm sounds (and pretty much is) is close to turning 80! And he says this new album of his, -- his 20th – might be the best one of his that he’s heard. He’s got his road band of drummer Kyle Schneider, bassist John Michael Schoepf, and his guitar-slinging son Lucas as the studio band, with assists from Cody Braun of Reckless Kelly on fiddle and mandolin, Bukka Allen on organ, and guitarist Tobin Dale.

Strong positive reviews for this new one! “After 40 years, Gary Louris keeps taking that leap himself — chief songwriter, lead vocalist, the guy anchoring those three-part harmonies since day one, still finding new hope to land on.” (Charlies Trail, Americana Highways) “As a devout Jayhawks fan, one who has spent countless hours with the band’s discography, it wouldn’t be fair to call this album a return to form. The band has spent 40 years weaving in and out of myriad popular music moments, from alt-country to baroque pop, Gram Parsons to Brian Wilson, never losing their form. But there is a “bringing it all back home” feeling on the band’s 12th long-player, Sanctuary Park. (Ryan Traster, New Noise Magazine)

Ask most any of WNCW’s programming hosts to name an especially dynamic, exciting bluegrass band on the scene these days, and AJ Lee & Blue Summit is likely to rank near, if not at, the top of the list. The latest album from this California band is a collection of covers from the likes of the Nitty Gritty Dirt Band, Gillian Welch, Bob Dylan, and Emmylou Harris. This one also includes guest appearances from Jerry Douglas, Lindsay Lou, and Trey Hensley, among others. They play the Grey Eagle in Asheville on October 23rd and the Neighborhood Theatre in Charlotte on the 24th!

The good folks at Record Store Day (https://recordstoreday.com/Home) got to release a limited number of vinyl versions of this back in April; now it’s available for wider release. Here’s what they had to say about it: “Featuring twelve originals, Son Volt's return to the elemental strengths that have long defined their sound—restless guitars, melodic clarity, and songs rooted in the lived experience of American landscapes. Anchored by Jay Farrar’s steady, unvarnished voice, the record balances reflection and resolve, drawing lines between personal memory and the wider currents of history, change, and endurance. The songs move fluidly between stripped-down intimacy and full-band drive, blending folk-rock, country, and electric grit with the confidence of a band that knows exactly who they are. There’s a sense of forward motion throughout the album—never nostalgic for its own sake, but deeply aware of where it’s been. Lyrically, Farrar explores themes of connection, resilience, and place, finding meaning in both the ordinary and the unsettled. This album stands as another chapter in Son Volt’s enduring catalog: honest, grounded, and quietly powerful, reaffirming their role as one of America’s most consistent and thoughtful rock bands.”

One of the bands that really helps to define Asheville’s great music scene is this collective of Charles Humphrey III on bass, Mark Schimick on mandolin (and most lead vocals), Sam Wharton on guitar, Gabe Epstein on banjo, and James Schlender on fiddle. They’re back with their 7th album, recorded at Asheville’s Echo Mountain Studios. Charles has mostly co-written these new tunes with the likes of Darren Nicholson, Thomm Jutz, Tommy Maher, and Nick Dauphinais among others, plus there’s a nearly ten-minute Allman Brothers jam to wrap it up. They live up to their band name absolutely, with some area gigs over the next few weeks in addition to cross-country treks. If they live up their their album’s name, you can’t really tell from listening.

Billy Strings -- So Much For Goodbyes

The Womack Sisters -- Kucha, Zeimani, and BG Womack -- were singing before they could walk. They grew up on the road. Their schools were stages and studios all over the world, where they sang behind their parents, Zekkariyas & Zeriiya (formerly known as Womack & Womack), alongside their four siblings. Nowhere was home for long. No matter where they lived, they were always surrounded by music and family. Their 2026 self-titled debut album, The Womack Sisters, is the musical culmination of the Sisters’ long and winding journey to find themselves. If you know the Daptone Record label (Sharon Jones & the Dap-Kings, for instance), then you’ll agree they’ve found the right home for them, musically. On an album that is deeply autobiographical, perhaps no lyric is as fitting as the final refrain: “People come and go, But, darling this I know, It will always be my sisters and me.”