After a decade being born, Josh Tillman is finally busy dying. Mahashmashana is the sixth album by Father John Misty. It was produced by Josh Tillman and Drew Erickson. It was engineered and additionally produced by Michael Harris. It was arranged by Drew Erickson. It was performed by Josh Tillman, Drew Erickson, Jonathan Wilson, Dan Bailey, Eli Thomson, David Vandervelde, Chris Dixie Darley, Jon Titterington, and Kyle Flynn. It was executive produced by Jonathan Wilson. It was recorded and mixed at Five Star and East/West, United Studios, and Drew’s House. Mahāśmaśāna (महामशान)— great cremation ground, all things going thither

On his new album USA, Chicago-bred singer/songwriter Petey bares his soul about all the endless things that keep him up at night. As he muses on everything from masculinity to anxiety to the very nature of human existence, the Los Angeles-based artist drifts between warmhearted sincerity and delightfully warped humor—a deeply affecting dynamic that also defines the absurdist alt-comedy that’s earned him a massive following on TikTok. Built on his idiosyncratic but viscerally charged breed of alt-pop/rock, Petey’s Capitol Records debut ultimately brings a gloriously strange convergence of comfort, catharsis, and unrelenting joy.    The follow-up to his 2022 debut Lean Into Life, USA finds Petey working with co-producers John DeBold (Wallows, Remi Wolf) and Aidan Spiro to piece together what he refers to as “an origin story of a typical American male in their 30s.” While the album includes decidedly autobiographical tracks like “Home alone house”—a real-life account of getting busted smoking weed on the beach in eighth grade—Petey’s songwriting often takes the form of impressionistic vignettes revealing the sheer depth and scope of his inner world. On “I’ll wait,” for instance, he delivers an explosive piece of pop-punk whose lyrics offer a candid perspective on mental health. “It’s a song from the mindset of an anxious man who’s acutely aware of the resources available to him, but for whatever reason decides to just wait it out,” Petey explains. “There’s some recognition that doing nothing will make the problem drag out longer, but there’s also an understanding that the uncomfortable moment will eventually end—just like everything else in life.”    Mainly recorded at Gold-Diggers Sound in L.A., USA came to life with equal parts intention and spontaneity. “For me making music has always been like throwing spaghetti at the wall, and working with John and Aidan allowed me to be reckless and experimental while giving each song the care it deserved,” says Petey, who plays guitar, bass, drums, and synth on USA. “It helped me fulfill the only real goal I had for the album, which was to make sure every single song would be super-fun to play live.” To that end, “Family of six” unfolds in dance-ready grooves as Petey shares a fantastically surreal meditation on gender expression. “We hear so much today about toxic masculinity, so the idea behind that song is trying to reclaim masculinity in a way that’s actually positive and helpful,” he says. “Each stanza is imagining a parallel universe where the laws of physics are different, and therefore I’m the best version of a man that I could be.” On “Did mention I’m sorry?,” USA takes on a combustible urgency as Petey captures the kind of all-consuming insecurity that tips into self-indulgence. “It’s about someone who’s so self-conscious that it becomes almost narcissistic, because they can’t stop obsessing about their own anxiety,” he says. And on “I tried to draw a straight line,” Petey cycles through a whirlwind of existential questions, offsetting the track’s uneasy bewilderment with sweetly lilting rhythms and majestic guitar work. “That song’s an overview of my mental state when I’m over-analyzing everything,” he says. “It ends with wondering if we’re living in a simulation, and all the paranoid but also calming thoughts that come with that.”    At turns philosophical, introspective, and wildly playful, the lyrics to USA mostly emerged as Petey hiked the trails surrounding an abandoned gold mine in the San Gabriel Mountains. “Hiking has become a really good creative vessel for me,” he says. “Once you get used to a trail it becomes second nature, which leaves space for your brain to think in different ways.” A longtime musician who previously played drums in Chicago-based indie-rock band Young Jesus, he first started writing songs at the age of 27 after making his way through a series of dead-end jobs. “I never earned more than minimum wage, and I never felt like I was capable of excelling at anything within the realm of American capitalism,” he says. “But then I wrote a song and put it on Spotify, and that somehow ended up being the thing that worked.” A bittersweet but exuberant breakup song, Petey’s debut single “Apple TV Remote” soon led to his signing to indie label Terrible Records, who later released Lean Into Life and helped pave the way for his signing to Capitol Records in 2022.    With the release of USA, Petey hopes that exposing his deepest neuroses might have a liberating impact on the listener. “So much of life is out of our control, which is really scary, but hopefully these songs will help people feel a little better and less alone in their struggle,” he says. “I hope everyone can find some kind of solace in recognizing that life is incredibly complicated for everyone—so instead of spending too much time ruminating on a mistake you’ve made or something that went wrong, maybe the best thing is to go easy on yourself and let it go.”

BK is back and he’s not the same. Who could be after the heartbreak he’s endured since the sudden passing of his 16-year old son. Instead of hiding away, the beloved indie-rocker is walking through the fire of grief with intention and purpose. This unimaginable journey has led him to his seventh album, Cover The Mirrors, and the accompanying tour which begins on April 15th.   “Music has been my savior throughout my life but never before has it saved me as much as it has this past year. My upcoming album, Cover The Mirrors, is a deep dive into my new reality. It’s a collage of my good days and my bad days, my highest highs and my lowest of lows. It's the most personal, emotionally raw project I've ever worked on.”   Kweller has been an open book throughout his illustrious career. His songs hold a nostalgic quality that takes you to a time and a place, happy or sad. He’s also one of the rare few who can translate his recordings into captivating concerts that keep his fans coming back again and again. If you’ve never seen BK live before, the Cover The Mirrors Tour is sure to be his most heartfelt and joyous live show yet. This is a chance for old and new fans to come together and witness one of the great songwriters at his creative peak.

The music is a patchwork amalgam of influences, including: twangy Southern rock (they've opened for the Drive-By Truckers), reverb-soaked psychedelia reminiscent of early My Morning Jacket or fellow Athens residents Phosphorescent, soaring guitar solos à la Neil Young and Crazy Horse, rhythmic jangle from that other Athens band, REM, multi-part vocal harmonies (which every band ought to have, dammit), and, weaving through it all, lyrical slide guitar. - Vox.com

Magoo is a progressive bluegrass quartet from Denver, Colorado, redefining the boundaries of modern bluegrass with fearless creativity and world-class musicianship. Known for their dynamic live performances, the band delivers a powerful blend of intricate arrangements, tight three-part harmonies, and extended improvisations that bring new life to the genre.   Their debut album What a Life arrives in February 2026, capturing the group’s adventurous spirit and balance between heartfelt songwriting and soaring instrumental work. The record honors the roots of bluegrass while boldly exploring its modern evolution, featuring a guest appearance from bluegrass legend Sam Bush on fiddle and harmony vocals and mastering by two-time GRAMMY Award winner David Glasser at Airshow Mastering.   Each member of Magoo brings a distinctive voice and musical strength to the project. Dobroist Dylan Flynn, winner of the 2024 RockyGrass Dobro Competition, adds soulful depth and melodic warmth. Guitarist Erik Hill, runner-up in the RockyGrass Flatpicking Contest, drives the band’s rhythmic pulse with power and precision. Mandolinist Courtlyn Bills injects fiery solos and inventive arrangements, while bassist Denton Turner grounds the sound with groove, timing, and subtle dynamics. Together, they form a sound that is rich, cohesive, and unmistakably their own.   Magoo’s recent achievements include first place at UllrGrass Band Competition and Clash of the Strings, second at the Telluride Bluegrass Festival Band Competition, and a sold-out headlining show at Globe Hall in Denver. Their festival appearances at Winter WonderGrass, Grand Lake Folk Festival, RapidGrass, and Huck Finn Jubilee have solidified their reputation as one of the most exciting new acts in the progressive bluegrass scene.   With What a Life on the horizon, Magoo stands poised for a breakout year, bridging the heart of traditional bluegrass with the fearless innovation of a new generation.

After an acclaimed album debut and a year-plus on the road with stars like Morgan Wallen, Riley Green, and Lainey Wilson – plus Billboard accolades and a monumental first appearance on the Grand Ole Opry – Big Loud Records / Songs & Daughters artist Lauren Watkins has emerged as a proudly defiant projection of pure country-music moxy. But with her second full album, In A Perfect World, Watkins learns that the highway life is only part of her path. A Nashville native inspired by crowd-pleasing outlaws like Willie Nelson, Sheryl Crow, Lee Ann Womack and Miranda Lambert, Watkins’ 17-track 2024 debut, The Heartbroken Record, introduced a mainstream maverick with a thirst for lyrical truth – and an old-school country rebel whose modern instincts never succumb to trends. Coming to know the fast lane by heart, the modern-classic singer-songwriter has racked up millions of streams and rocked full-on stadiums, while learning from the legendary songwriters like Nicolle Galyon, Luke Laird and The Warren Brothers. Yet In A Perfect World finds Watkins in a fresh phase, with her dreamy vocal awake to new charms and challenges. Featuring an earthy mix of sunset country and hazy heartland grit, she’s no longer expecting to get her heart broken, and not pushing the idea of home away. Produced by husband and CMA/ACM Award winner Will Bundy (Ella Langley and Riley Green’s “you look like you love me”), with additional co-production from hit maker Joey Moi on select tracks, Watkins builds on her of-the-moment and always-organic sound; 10 co-written songs capturing the passion and promise of a new outlook. Steel guitars and ethereal atmosphere create a sense of wide-open space, while bold twang and rootsy rhythms keep the Tennessee songbird’s vocal grounded. Steeped in a coming-of-age shift many experience, her modern country packs a timeless punch.

Even when you try to outrun it, the past has a way of slithering out of the shadows and coiling up over your shoulders. Gatlin Thornton had long since left behind the conservative, religious upbringing in the American south and was living her life on her own terms as a young queer woman—but then there it was, inescapable. In combing through old memories, Gatlin unlocked something in her creative process. She had been writing and releasing music since high school, but actually wading through time and re-experiencing all those strong feelings helped catalyze what would become her debut album as Gatlin, The Eldest Daughter (due October TK). The result is a set of songs about rejecting the path laid at your feet and needing to build your own way forward, a record that both embraces nostalgia and knows its inherent pain.    Gatlin spent her early years in Florida, fully entrenched in her conservative Christian private schooling—but her parents encouraged music as an outlet, where she excelled in guitar, piano, and singing. When it came time to start college, Gatlin had already begun bristling at the strictures of her upbringing and questioning how her burgeoning queer feelings would impact that life. She struck out to study songwriting, but after two years instead decided to drop out and work full-time in the heart of the music industry—first for a stint in Nashville, and then relocating to her current home in Los Angeles, while adding in frequent trips to London to collaborate with songwriters and producers.    The Eldest Daughter brims with contributions from other talented women, including Jennifer Decilveo (writer and producer for the likes of Miley Cyrus, Lucius, and Hozier),  singer-songwriter Liza Owen, and indie rocker Tessa Mouzourakis of English duo Tommy Lefroy. But at its core the album is truly a statement of Gatlin carving her own path and taking control of her narrative, both musically and philosophically. Not only did she produce or  co-produce most of the tracks on the album, but The Eldest Daughter also makes bold, vulnerable choices that outpace Gatlin’s already powerful songwriting.    That duality is what makes The Eldest Daughter shine brightest. This is, to be sure, a record of refusal, of joy in creating a chosen life, of rejecting the expectations of others and defining your own world; but it’s also a record firmly rooted in the loss that naturally comes in that experience, the pained look back at what good there was in the midst of the repression. On album closer  “Kissimmee”, flashes of imagery conjure up a childhood in Florida as a “barefoot little wild child,” as Gatlin puts it. The “fields of innocence” are littered with pink camo pellet guns and red pickup trucks, the back roads a complex reality neither serene nor nefarious—but they are always calling back home. “This record is me exploring distance and perspective from my past, of owning the good and the bad and how they both informed the way I’ve made my own life,” she says. “I know now who I am, where I’m from, and where I’m going.”

Steph Strings is an Australian singer-songwriter and guitarist whose music bridges the gap between the intimate and the expansive. Known for her unique ability to tell stories through her instrument, Steph’s signature sound fuses intricate fingerstyle guitar, percussive rhythms, and earthy, organic textures with lyrics that balance vulnerability with strength.   Emerging from the Australian music scene as a distinct force in contemporary folk and roots, Steph has built a reputation as a captivating live performer. Whether playing to a festival crowd or an intimate room, she possesses the rare ability to hold an audience spellbound with just her guitar and voice. Her dynamic performances have led to a string of sold-out headline shows and a rapidly growing fanbase across the UK, Europe, and beyond.   More than just a musician, Steph Strings is a storyteller who reminds audiences of music’s power to heal and connect. As she continues to tour globally and share her craft, she remains grounded in authenticity, emotion, and a passion for making people feel alive.

Supertaste is an indie dance band from Brooklyn, NY. The trio specializes in their live ensemble performance, instrumentation, and nods to intergenerational funk, disco, and dance music influences. Through yearly retreats to a cabin in Tennessee to hone in their sound, Supertaste has developed a colossal atmosphere of sparkling synths, Chic-inspired guitar riffs, and unforgettable hooks.   The music is an exploration of life’s little moments: a carefree late night at a club, the relaxed energy of spending time with close friends, and finding the sound that hits just right at the perfect moment.    Whether you run into them late night at a bodega ordering sandwiches or on-stage performing, you’ll always be met with a smile. The Supertaste Cinematic Universe only continues to expand. Expect some big moments and bigger jams.    The riffs are righteous. The shred is rambunctious. The energy? Honestly, pretty sweaty and hot. Let’s have a time. See you on the dance floor.

Since his 2016 debut album Primitives, Bayonne has channeled his vast imagination into an elegant yet wildly experimental form of electronic pop, equal parts meditative and mesmerizing. In the making of his latest body of work, the Austin-based artist/producer/multi-instrumentalist otherwise known as Roger Sellers found himself in even greater need of an outlet for his kinetic creative impulses, thanks to an intense convergence of events in his personal life: his father’s diagnosis with and eventual death from cancer, the end of a significant relationship, and an overwhelming struggle with depression and anxiety. Deeply informed by a deliberate transformation of his musical process, Bayonne’s third full-length Temporary Time ultimately makes for his most expansive work to date—an album of both painfully raw introspection and otherworldly beauty.   The follow-up to 2019’s Drastic Measures, Temporary Time intimately documents a period of psychic inertia experienced by Sellers in recent years. Although Sellers began working on Temporary Time in idyllic seclusion during a solo trip to West Texas, he soon immersed himself in close collaboration with a number of musicians and co-producers, including Danny Reisch (HAIM, Local Natives), Jon Joseph (BØRNS, Gothic Tropic), and longtime Bayonne drummer Matt Toman. Along with adding new depth and texture to Bayonne’s signature sound—an immaculately layered and looping-heavy collision of lush guitar tones, frenetic synth lines, organic percussion, and more—that shift in approach led to significant growth in his strengths as a songwriter and lyricist.    While Bayonne mostly made his first two albums in solitude, the highly collaborative experience of creating Temporary Time ended up producing an unexpected but undeniably welcome effect: a return to the unbridled freedom of his earliest output. “I’d always been a little anxious about handing off my music to other people, but with this record it felt so amazing to get other people involved—it completely opened me up,” says Sellers. “There were moments when it was difficult to write about what I was going through, but the whole process made me fall back in love with music again. I put everything I was feeling into it, and I hope it brings people some kind of comfort.”