
Tenille Townes Says “we could use a little more” (premiere)
Tenille Townes’ “we could use a little more” works as a necessary anodyne to the troubled times in which we live. Extreme times call for radical responses.

Tenille Townes’ “we could use a little more” works as a necessary anodyne to the troubled times in which we live. Extreme times call for radical responses.

Cat Clyde is immensely talented, but Mud Blood Bone is a frustrating listen due to occasional missteps and a questionable cowboy-pop aesthetic.

Boy Golden has given us a soundtrack for good times, which is an achievement that, in our current world, feels nothing short of miraculous.

Lindsay Ell was chosen as one of the “Next Women in Country” in 2014, but she has other ambitions and questions to explore after making her new EP.

Molly Tuttle, hot off a significant Grammy nomination, pivots her sound into a lovely country pop new direction and tells PopMatters all about it.

Country pop’s CMAT offers a profound statement choreographed to a contagious mixture of alt-country, soul-pop, and indie pop sensibilities.

Molly Tuttle’s So Long Little Miss Sunshine finds her stretching out her sound, though her songwriting and guitar skills continue to be on full display.

Alison Krauss and Union Station show a meeting of minds, wildly creative professionals reunited to log yet another sterling work in their estimable discography.

The Grey Album showcases Grey DeLisle’s ability to write and sing catchy ditties that flicker for attention. Her tales tickle the funny bone or make one sob.
On Sol Y Sombra, Rose City Band offer an honest emotional reflection for our times with music that propels forward with their same carefree style.
Stephen Deusner’s entry in the 33 1/3 series about the wreckage of Garth Brooks’ ‘The Life of Chris Gains project makes for a mightily entertaining read.
Even if the world only knew Alison Krauss from ‘Now That I’ve Found You: A Collection’, her place in country music history would be assured.