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It’s the 6th album from this singer/songwriter, originally from a small town in New England where he began his career singing on the streets, but now has his songs published in film and television. This new one was recorded in Austin, with the Band of Heathens backing him up!

This is the long-awaited 8th album from Taylor Goldsmith and band, and it was produced by acclaimed producer Jonathan Wilson (who’s worked with Billy Strings, Father John Misty, and Angel Olsen among others.) Dawes kicks off their tour for this new one in Knoxville, at the Bijou Theatre September 7th.

As their bio describes, Dead Horses “isn’t a band in the conventional sense. Rather, it’s an intimate, folk-inspired conversation between two close friends.” Those friends are singer/guitarist Sarah Vos and bassist Dan Wolff, who hail from Milwaukee, Wisconsin. “Smoky vocals, cinematic lyrics…a beautifully uncluttered collection of songs” –Rolling Stone

Join us as Julian Booker spotlights this great new album Thursday between 8 and 9pm! Their Studio B session in July, in which they debuted some of these songs, remains one of our favorites of the year. "The Deslondes seem more in sync than ever, even as they stretch across rootsy Americana, ’70s psych, lo-fi garage rock, and some good old country-western...The deftness with which they morph and touch each sonic corner of their universe makes the album go down easy." - No Depression

Leftover Salmon co-founder Vince Herman has his first solo release! He recorded it at the late Cowboy Jack Clement’s famous studio in Nashville, and anyone familiar with both of those unique fellows knows this was a fitting match. The studio band included Darrell Scott, guitarist Pat McLaughlin, bassist Dave Roe, drummer Pete Abbott, keyboardist Mike Rojas, fiddlers Jason Carter and Bronwyn Keith-Hynes, …plus a few harmony vocals from Tim O’Brien who stopped by during the sessions. By the way, Vince and Leftover Salmon will be in Asheville for a couple New Year’s Eve shows at the Salvage Station.

This Dublin, Ireland band has endeared us over the past few years with their terrific, original adaptation of Appalachian music. Louise Holden (vocals), her brother Dave Holden (guitar), Konrad Liddy (upright bass), Colin Derham (banjo), and Adrian Hart (fiddle) are perhaps charting a bit of a new direction with this new self-titled release, with the addition of a wider range of influences, including sixties pop, cinematic soundscapes and New Orleans jazz.

This is the 8th solo album from the cofounder and lead singer of The Old 97’s, out on ATO Records. You’ll hear those influences too, but also such diverse ones as Lou Reed, Belle & Sebastian, William Bell, and, to quote a favorite Todd Snider song of ours, “piles and piles and piles of Tom Petty”.

Asheville singer/songwriter Julia Sanders has been exploring numerous corners of America these past few years, but we are oh so lucky that she calls Asheville home. Check out this intriguing collection of songs, largely inspired by the her new experience of motherhood. John James Tourville (The Deslondes), another Asheville music figure, features prominently here with production, recording, and nearly a dozen or so instruments. Other locals include Megan Drollinger (Life Like Water), Lyndsay Pruett (Jon Stickley Trio), Erika Lewis (Tuba Skinny), and Melissa Hyman (The Moon & You). Julia has an album release show at The Grey Eagle on December 5th.

Color Red Records has sent us this new release featuring the Colorado band’s signature “modern funk with vintage soul” grooves, including a heavy influence from a big trip recently to the Democratic Republic of the Congo (home of pop star/hero Papa Wemba.)

This is the 2nd album from this group featuring Atlanta frontman William Fussell, keyboardist Alana Pagnutti, bassist Mick Mayer, pianist John Carroll Kirby (Solange, Steve Lacy), Spoon keyboardist Alex Fischel, guitarist Jackson MacIntosh (Drugdealer, Jessica Pratt), pedal-steel player Connor Gallaher (Black Lips, Calexico), and TOPS drummer Riley Fleck. Influences range from George Jones to the Bee Gees, Greek mythology to sci-fi futurism, so they refer to this as “country music for everyone”, or “This ain’t your daddy’s country, it’s yours.”