
Rhett Miller Goes It Alone for the Tenth Time
How responsible we are for our own happiness depends on our individual circumstances. In the final reckoning, Rhett Miller vacillates.

How responsible we are for our own happiness depends on our individual circumstances. In the final reckoning, Rhett Miller vacillates.

Jesse Welles is being hailed as the new voice of a generation and his milestone tour stop at San Francisco’s legendary Fillmore Auditorium shows why.

Brandi Carlile has returned to herself, but it doesn’t mean isolation; she is her own awareness, embracing community, knowing what to treasure, and making sure to speak it.

One of Emmylou Harris’s most unusual releases, Spyboy expands her catalog, offering many revelatory glimpses into a unique facet of her artistry.

Bill Callahan’s “The Man I’m Supposed to Be” is a call to action, a carpe diem for the advanced middle-age malaise that will eventually come to us all.

Alt-country’s Boy Golden duets with newcomer Cat Clyde in the search for the meaning of love.

Is this folk or is this country music? Terry Klein doesn’t choose as much as he shows the connections between the two. Suffice it to say, this is Texas music.

While nothing on the Ruen Brothers’ Awooo sounds explicitly like bluegrass, it’s infused with a dark mood that could clearly have been influenced by Appalachia.

Rhett Miller’s A Lifetime of Riding by Night isn’t an instant attention-grabber; it likely suits its titular setting. It is a deep and rewarding meditation.

Dylan Earl needs a friend or more friends or even a lover, but he seems like the character one’s parents warned about. He may waste your time, but he would be a good pal.

Jeff Tweedy’s courageous triple LP, played with a consistent set of musicians, serves as a meditation on his current mood and the state of the world.

With the lyrically direct and musically bisected Nobody’s Girl, Amanda Shires tells her side of the story of her divorce from Jason Isbell.