• The Edgewater Hotel

• Next: My weekly new music radio show. Week 1058 and 1059

• Musical Thoughts. Goodbye Dolly. (and a Stairway to Heaven!!! cover)

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One rule.

Say it with me.

No pooping in the RV.

Unless it was an emergency.

Oh and we should probably talk about music. It is a road trip after all…

I was excited. I was also a wee bit concerned. Our RV trip around the Olympic Peninsula was set for 10 full days. I thought 5 might be a decent start - you know just to see how we as a family held up to RV camping. Up until now, our family trips usually meant backpacking—where everyone gets their own tent and plenty of personal elbow room. This RV trip meant all four of us living, sleeping, and navigating in one small, confined space for more than a week.

Turns out - my worries were completely unfounded: it was absolute brilliance. Mostly. Nothing is perfect and...I want to go back. We had a brilliant time. Memories were made. I’m already thinking of our next RV trip. Thoughts?

NY - Seattle - Portland - Olympic Peninsula - Seattle - NYC.

We kicked things off by flying into Seattle. We went to the top of the Space Needle. Then early the next morning we drove south for a couple of fantastic days catching up with family in Portland, Oregon. Powells! I didn’t have room for more books and when in Powells - you get too many books. I bought 3. C’mon that’s not too bad. Looped back up to Seattle and we grabbed our rented rig and hit the open road.

Over those 10 days, we swept around the peninsula (7 days - I would say this is the minimum you’d need to explore the peninsula), took the ferries out to the San Juan Islands, and spent some incredible time exploring Orcas Island.

If you’ve never been, I cannot recommend this corner of the world highly enough. The landscapes, the coastal air, and the sheer pace of life out there are unmatched.

To top it all off, the Pacific Northwest handed us ideal weather—what I like to call classic “Chris Bro weather”. Almost the entire time: crisp enough for long sleeves, but sunny enough for shorts.

It was the perfect blend of family time, open road, and stunning scenery.

And history. Ask me about the Pig War of 1859 (the almost war). Zero casualties. Well - 1 pig died.

Hey the music Bro. As one knows - the general rule is the driver picks the music. Both kids are under 25 and can’t legally drive the rented RV. We needed a different plan. So we decided everyone gets 30 minutes. Then we switch the playlist.

Here are the 2 playlists I played. I would hit random and let the roadtrip gods have their way.

And here’s Kate’s.

And just when we thought the adventure was winding down, Kate pulled off the ultimate surprise ending...She booked us a stay at The Edgewater Hotel right on Pier 67—a major part of Pacific Northwest music history.

I stepped straight into musical mythology. You can practically hear the stories echoing through the halls. The place hums with the weight of every legend who ever stayed there. Or maybe that was just me. Probably just me.

The Legends & The Lore

The Beatles (1964): When Beatlemania hit Seattle, every other hotel panicked over security. The Edgewater stepped up. They had to put up cyclone fencing to hold back thousands of screaming fans. They sneaked the Fab Four in via an ambulance while a decoy limo distracted the crowd. That legendary photo of John, Paul, George, and Ringo fishing straight out of their suite window defined the hotel’s rock identity forever.

Led Zeppelin & Frank Zappa: Zeppelin famously made the hotel infamous in the 70s—catching (and allegedly misusing) mudsharks from their window and tossing furniture straight into the bay. Earning themselves a temporary ban. Zappa even memorialized the hotel’s wild fishing antics and front office stories in his track “The Mudshark Interview.”

Hometown: Eddie Vedder helped paint the hotel’s marine-life mural alongside conservationist Wyland. Today there’s a custom Pearl Jam Suite loaded with original band art, a turntable, and a guitar.

There’s a Beatle’s Suite too.

Everyone from classic icons like Elvis, The Stones, Stevie Wonder, and Ray Charles, to modern legends like R.E.M., Chris Cornell, and The Cure have called this place home. And I love that the local WSU Everett students have spent years archiving over 3,000 photos, ads, and interviews to ensure this history isn’t lost to time.

I wish the Crown Terrace Room was still putting on music shows. They were famous for hosting pioneering performances by Sarah Vaughan and Eartha Kitt in the 60s.

It was the most incredible capstone to an unforgettable trip. We were close to the new Crocodile (and former building). The Central Saloon. Black Dog Forge alley. Pike’s Place. The Gum Wall. The OK Hotel is now psychic readings. Bad Animals Studios now Studio x. And we drove to get a pic (yes we’re geeks) in front of Coryell Court Apartments (Singles).

Huge shoutout to Kate for knowing me so well and pulling off the best surprise of the summer. Now... back to reality (and back to the music).

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The two weeks I was gone. (And yes I’ll need 2 more next week to catch you up).

Welcome to week 1058 of NEXT, the weekly new music broadcast! We’re kicking off August with a fresh batch of hand-picked indie, alternative, and rock tracks ready to turn your speakers up. No filler, no algorithms—just straight-up great music. Let’s jump in!

Remember Sports – “Nevermind”

Kicking things off with an infectious burst of fuzzy power-pop and DIY indie-rock grit. It charges ahead with driving rhythm guitars, punchy drums, and vulnerable vocals that strike the perfect balance between raw nineties alt-rock energy and sharp, modern pop hooks. Sounds like: The Beths and Beach Bunny.

Yard Act – “New Beginnings”

A sleek, danceable post-punk track loaded with sharp wit and driving electronic grooves. It pairs a locked-in bassline with cutting, observational spoken-word vocals that build into an unexpectedly expansive, hypnotic chorus. Sounds like: LCD Soundsystem and Sports Team.

Johnny Blue Skies – “Situation”

This one serves up a loose, groove-heavy cosmic-country funk jam that completely locks in from the first bar. Sturgill Simpson’s alter-ego brings raspy, swaggering vocals over tight drum breaks, swirling organs, and scorching blues guitar licks. Sounds like: Little Feat and Sturgill Simpson.

Francis of Delirium – “It’s a Beautiful Life”

Unrolling an anthemic, slow-building piece of modern indie-rock that reaches massive dynamic heights. It begins with fragile, intimate guitar work before exploding into a wall of soaring, distorted guitars and cathartic vocal passion. Sounds like: Phoebe Bridgers and Samia.

Trashcan Sinatras – “Ever The Optimist”

Turning to lush Scottish indie-pop, this track delivers chiming guitar work, sophisticated arrangements, and elegant melodic craftsmanship. It carries a warm, bittersweet glow that effortlessly bridges classic pop sensitivity with rich lyricism. Sounds like: Prefab Sprout and The Sundays.

The Rolling Stones – “Mr. Charm”

Swaggering, blues-infused track dripping with classic attitude. Built around loose, swinging drums, dirty guitar riffs, and unmistakable vocal swagger, it feels like a lost gem straight off a late-night recording session. Sounds like: The Faces and Humble Pie.

Caroline Strickland – “Super Tender”

Here is a dreamy, atmospheric slice of indie-rock that wraps sharp songwriting in lush guitar textures. Her smooth, expressive vocals float over a steady, driving beat and shimmering guitar hooks that stay in your head long after it ends. Sounds like: Soccer Mommy and Alvvays.

Jack White – “There’s Nobody There”

Uncorking a frantic, fuzz-drenched garage-rock workout that sounds like an amp on the absolute brink of destruction. It hits hard with sharp, erratic guitar solos, heavy stomping drums, and a raw, blues-rock vocal delivery. Sounds like: The Raconteurs and The Black Keys.

Boy Golden – “Bad Habits”

Serving up a breeze-touched, easygoing piece of cosmic Americana. Driven by warm acoustic picking, subtle pedal steel, and a relaxed, conversational vocal delivery, it’s an instant feel-good track about the little quirks that make us human. Sounds like: Wilco and Mac DeMarco.

Fantastic Cat – “Turn Off The Lights”

A big, warm-hearted roots-rock collaboration packed with massive harmonies and seventies-inspired songwriting. It blends acoustic strumming, vintage keys, and a soaring singalong chorus built for loud stereo playback. Sounds like: The Traveling Wilburys and Dawes.

Twin Temple – “Haunt Me”

Stepping into a theatrical blend of classic sixties doo-wop, vintage rhythm-and-blues, and dark aesthetic swagger. Smooth, swinging horn arrangements and sultry vocals pull you into a retro soundscape that feels both nostalgic and totally unique. Sounds like: Shannon and The Clams and Amy Winehouse.

Kacey Musgraves – “Mexico Honey”

A smooth, breeze-touched acoustic track that glides along with easy elegance. It pairs warm acoustic strumming and subtle pedal steel with her signature sharp, vivid lyrical touch and sweet, breezy vocals. Sounds like: Jenny Lewis and Sheryl Crow.

Joy Oladokun – “Kind”

Delivering a deeply grounding, soul-stirring piece of folk-pop that centers entirely on empathy and resilience. Her warm, resonant vocals float over steady acoustic guitar and lush, gospel-tinged production that lands straight in the heart. Sounds like: Tracy Chapman and Brandi Carlile.

@ – “Autosmile”

Closing out this set with a quirky, intricate piece of experimental folk-pop. It weaves together hyper-complex acoustic fingerpicking, unexpected rhythm shifts, and interlocking vocal harmonies into a captivating, miniature masterpiece. Sounds like: Dirty Projectors and Water From Your Eyes.

That wraps up week 1058 of NEXT! Huge thank you for hanging out and listening today. If a track hit you just right, share it with a friend—because great music is meant to be passed along. I’m Chris Bro. Take care, support real artists, and I’ll catch you next week for 1059!

And now

Welcome to week 1059 of NEXT, the weekly new music broadcast! I’m Chris Bro. We’ve got an absolute powerhouse of a playlist for you today—ranging from brand-new indie heat to legendary live moments that will give you goosebumps. No fluff, no algorithms—just 100% hand-curated tracks meant to be played loud. Let’s drop the needle and get into it!

Hovvdy – “You Will Go Far”

Starting off with a warm, slow-burning slice of cozy indie-folk. Built around gentle acoustic strumming, soft ambient textures, and their signature pitch-shifted, introspective vocal harmonies, it feels like an encouraging late-night conversation. Sounds like: Pinegrove and Alex G.

Cloudbelly – “Bend”

A stunning piece of atmospheric art-folk that moves with fluid, emotional grace. Soaring, ethereal vocals float over intricate acoustic fingerpicking and delicate, swelling strings that build into an expansive wave. Sounds like: Big Thief and Laura Marling.

Tyler Ballgame – “Live It Down”

This one brings a loose, swaggering punch of vintage slacker-rock and power-pop grit. Anchored by infectious guitar riffs, a driving rhythm section, and punchy, singalong vocal hooks, it’s built for loud car stereo playback. Sounds like:Parquet Courts and Fleetwood Mac.

Winyah – “Spinning”

Unrolling a lush, coastal-tinted indie-rock groove that sweeps you right up into its orbit. Shimmering guitar lines and warm, driving drums weave around raw, raspy vocal melodies that radiate a sunny, open-road energy. Sounds like: The War on Drugs and Mt. Joy.

Slow Fiction – “Satellite”

A jagged, high-energy blast of NYC post-punk revival. It charges forward with relentless, driving basslines, razor-sharp guitar licks, and dynamic, emotionally charged vocals that demand your full attention. Sounds like: Yeah Yeah Yeahs and Wolf Alice.

Fontaines D.C. – “Marianne”

Diving into dark, hypnotic post-punk loaded with literary weight and heavy atmospheric tension. Swirling, abrasive guitar textures and a pulsing rhythm section crash against intense, poetic vocal delivery. Sounds like: IDLES and The Murder Capital.

Amy Winehouse – “Tears Dry (Alternative Demo)”

A raw, stunningly intimate look at an iconic track before it met its glossy sixties soul production. Stripped back to a slower, jazz-tinged arrangement, her singular, raspy vocals take total center stage with heartbreaking clarity. Sounds like: Nina Simone and Billie Holiday.

The Tragically Hip – “Bobcaygeon (Live final shows 2016)”

An absolutely legendary moment in Canadian rock history. Capturing the sheer emotional weight of their final tour, Gord Downie’s passionate, sweeping vocals convert this beloved ballad into a massive, tear-jerking stadium singalong. Sounds like: R.E.M. and Blue Rodeo.

Haircut 100 – “Come Back To Me (Live)”

Serving up a vibrant, high-octane dose of live 80s new wave and funk-pop joy. Packed with snappy horn stabs, chiming funk guitars, and relentless rhythm section energy, it is an absolute masterclass in feel-good live showmanship. Sounds like: Orange Juice and ABC.

The Tragically Hip – “New Orleans Is Sinking (Live final shows 2016)”

Turning the amp volume all the way up for a blues-drenched, high-voltage rock jam. Gord Downie commands the stage with improvisational vocal swagger, backed by roaring, overdrive-soaked guitars and a heavy, stomping beat. Sounds like: The Black Crowes and Pearl Jam.

Hollywood Vampires – “People Who Died (Live Cover At Montreux Jazz Festival)”

A ferocious, punk-fueled tribute to Jim Carroll’s classic underground anthem. Alice Cooper and company tear through frantic, razor-sharp guitar riffs and a relentless punk tempo that electrifies the festival stage. Sounds like: The Jim Carroll Band and The Stooges.

The Mary Wallopers – Kitkat Club

Delivering a raucous, beer-soaked burst of contemporary Irish folk-punk. Driven by galloping banjos, tin whistle stabs, and spirited group vocals, it brings raw, uninhibited pub-singalong energy straight to your speakers. Sounds like: The Pogues and Dropkick Murphys.

Witch Post – “Something To Give”

Diving into a hypnotic, buzzy piece of alternative rock. Driven by dual vocals from Dylan Fraser and Alaska Reid, fuzzy guitar lines, and a steady, pulsing rhythm, it creates a thick, immersive atmosphere. Sounds like: Wet Leg and Sonic Youth.

Lian St John – “Send For Me”

A sultry, mid-tempo soul-rock track that smolders from start to finish. Rich, smoky vocals float over vintage organ grooves, subtle blues guitar licks, and a deep rhythm section that pulls you right into the late-night vibe. Sounds like:Black Pumas and Lake Street Dive.

Royal Blood – “Ten Over Ten”

Closing out the week with furious, riff-heavy modern rock. Pushing their two-piece setup to the absolute limit, Mike Kerr’s booming, distorted bass riffs and Ben Thatcher’s thunderous drums hit with massive arena power. Sounds like: Death From Above 1979 and Queens of the Stone Age.

Thank you so much for turning us up, hanging out, and staying curious about great music. If a track hit you right today, pass it along to a friend—because real art thrives when we share it. I’m Chris Bro. Take care of yourselves, support live music, and I’ll see you back here next week for episode 1060!

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The substack note from Dolly.

Thank you, Dolly!

Where do you even begin? I could talk about the iconic tunes all day, but what really stays with me is her generosity. She leaves behind a legacy every bit as rich in heart as it is in music.

“If you want the rainbow, you gotta put up with the rain.” And she spent her whole life making sure the rest of us saw the sunshine.

Above all the iconic songs, sparkling rhinestones, and self-deprecating wit—she loved to say: “It costs a lot of money to look this cheap!”

Her single greatest gift was ensuring millions of children grew up surrounded by the magic of reading.

Through Dolly Parton’s Imagination Library, she turned a deeply personal tribute to her father into a global movement. 200+ Million Books Gifted: Mailing free, high-quality, age-appropriate books straight to children’s doorsteps every single month from birth until age five. Inspiring Lifelong Literacy: Ensuring that no matter a family’s income, every child gets to experience the joy of opening a new book with their own name on it. A Promise Kept: Transforming early childhood education across five countries and putting the seeds of big dreams into millions of small hands.

Rest in peace, Dolly. You showed us how to weather the rain, find the rainbow, and dream big.

Look at that stage. It’s amazing the artists celebrating Dolly - Rob Halford, Pink, Simon Lebon, Cheryl Crow, Annie Lennox, Pat Benatar, Zac Brown, and Brandi Carlisle.

Dolly was an icon, a humanitarian, a philanthropist and an amazing person.

Ending with this one…how had I never heard this one before. Holy balls.

Thank you for reading/listeing

And remember if you love someone hug them right now.

• Music Question: Art of the rock and roll pivot.

• Next: My weekly new music radio show. Week 1057

• Musical Thoughts. Not this week. Although there’s much to think about.

So... I’m about to pack up and head out west on a family RV trip. Knowing how this goes, you probably won’t hear much from me for a little while. Definitely no newsletters. Leaving my laptop at home. Yay!

It’s our very first time all together in an RV - so I’m hoping we all survive to tell the tale. Wish us luck out there on the open highway! At least I know we’ll have great music.

Music thrives on the dangerous thrill of the unknown. Let’s be honest: nobody wants the exact same record or the exact same song played back to them every bloody time. Music lovers certainly don’t want it, and artists sure as hell don’t either—even if, tucked away in the back of their heads, a little voice is whispering, why mess with a winning streak? (Which, hey, is usually why they end up trying to recreate their debut album twenty years later.)

Hey Bro - stay on topic. Yep, I strayed a bit from my thought for a second...

The great ones are the ones constantly pushing the envelope. Yet that very impulse is a double-edged sword. While some artists leap headfirst into uncharted territory and return with visionary triumphs that rewrite the entire cultural rulebook, others?

They crash and burn. Spectacularly.

They roll out trainwrecks so utterly baffling that devoted fans are left staring at the speakers in stunned silence.

Pop history is defined by those rare, seismic moments when a beloved icon risks everything just to tear up the script. Some of those wild gambles unlocked entirely new dimensions of art. Others became legendary cautionary tales of ambition gone totally unhinged.

Either way? None of them ever left the world the same.

Sometimes the biggest shockwave in music doesn’t come from some calculated climb toward high-art avant-garde. It hits when an artist takes a sudden, jarring left turn that shatters every single expectation a fanbase built their fandom around.

We’re talking about records that feel less like a natural step forward and more like musical identity theft. What the hell just happened? With zero warning, zero PR buildup, and zero regard for commercial safety, these artists yank the rug right out from under us. It just goes to show: the only predictable thing about true genius is its absolute refusal to stay pinned down in a box.

David Bowie put it best when talking about his own endless reinventions: If you feel safe in the area you’re working in, you’re not working in the right area. Always go a little further into the water than you feel you’re capable of being in.

Man, that terrifying plunge into the deep end is what leaves us standing in the living room staring at the speakers in total disbelief. Whether those abrupt pivots were met with immediate head-scratching or hard-won, decades-later reverence, they broke the mold for good.

It echoes what Miles Davis always said about finding your voice: You have to play long enough to be able to play like yourself.

At the end of the day, these wild stylistic left turns are what keep the dial spinning. They remind us why we fell in love with music in the first place: for the raw, unpredictable audacity of the unknown.

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The Divine Interruption: Pray Along With Little Richard (1960)

Imagine this: After Purple Rain drops in 1984, Prince—at just 26 years old—suddenly walks away from global stardom. He trades the global spotlight to study theology at a tiny college whose entire campus fits neatly inside a single section of his arena shows.

Wild, right?

Well, in 1957, Little Richard did exacty that level of crazy. At age 25. At the summit of rock and roll! He had monster hits like “Tutti Frutti,” “Long Tall Sally,” and “Lucille”. He just ghosted the music industry. He packed his bags, walked away from the money and the madness, and enrolled at Oakwood College, a Seventh-day Adventist school in Alabama, to study the Bible.

It’s the kind of mind-boggling pop-culture shocker that only has one equivalent: Michael Jordan walking away from three straight NBA titles just to go swing a bat in Double-A minor league baseball. (Though, funnily enough, just like MJ lacing his sneakers back up for the Bulls, Richard couldn’t stay away from rock and roll forever either.) (And yes I know there’s a lot more to that story.)

Before the sudden exit, Richard Wayne Penniman was rock and roll’s most electrifying, unapologetic wild man. He hit the stage with a towering pompadour. Heavy makeup. And a gender-fluid swagger that terrified conservative America. He banged on the piano like it owed him money and wailed with ferocity.

Then came the plane ride from hell over Australia in 1957. Spooked by an engine fire and watching Sputnik cross the night sky, Richard had a full-scale spiritual awakening. He declared rock and roll the Devil’s music, dumped his expensive jewelry into the ocean, and swapped secular fame for scripture.

By 1960, that pivot materialized into the gospel record Pray Along With Little Richard. Gone were the screaming saxophones and raucous party anthems. In their place were raw, soul-stirring spirituals.

Of course, the holy peace didn’t last forever. By 1964, Richard was back in sequins with Little Richard Is Back. Thus kicking off a decades-long tug-of-war between the pulpit and the party. He’d spend the rest of his life bouncing back and forth—stopping rock shows to preach fire-and-brimstone sermons, then diving right back into the rhythm and blues.

Pray Along With Little Richard remains a fascinating, jarring snapshot of a music icon locked in an internal civil war, desperately trying to save his soul without ever losing his groove.

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The Ultimate Comedown: The Beach Boys – Smiley Smile (1967)

Picture the ultimate Hollywood heartbreak. You spend months building what was supposed to be the “teenage symphony to God”—a grand, kaleidoscopic masterpiece called SMiLE. It was meant to blow the Beatles clean out of the water. Instead, the whole thing collapses under the weight of its own runaway ambition, legal red tape, and Brian Wilson’s crumbling mental health. The industry is ready to write you off as completely washed-up.

So, what’s the move for an encore?

If you’re Brian Wilson, you don’t just scale back. You completely implode the concept.

In September 1967, The Beach Boys dropped Smiley Smile, an album that felt less like a triumphant pop record and more like a bizarre, stoned-out ghost of the masterpiece that never was.

When I finally got to hear it…Woooah boy. It was one of the wildest music-listening experiences I’ve ever had. I feel like I got secondhand-high from the amount of drugs that album exudes.

Flashback to fans and radio heads expecting lush, multi-layered pop orchestration. Nope. They were instead greeted by a strange, minimalist haze. Recorded mostly in a makeshift domestic studio right inside Brian’s living room, the tracks stripped away the grand modular symphonies we were promised, replacing them with skeletal organs, muted bass, off-kilter laughter, and vocals that sounded like they were being beamed down from a distant, sleepy planet.

It’s honestly brilliant in its own weird way. You take those familiar, borderline cliché barbershop vocals from the early surf days and throw them into an avant-garde blender with bizarre tape effects and strange instrumentation. It’s an absolute trip. Songs like “Vegetables” and “Wind Chimes” stripped away all that massive, complex architecture, trading it in for raw, quirky, lo-fi sketches you’d expect around a campfire.

At the time? Man, critics and mainstream fans were utterly bewildered. It felt like a massive letdown—almost like a cruel joke of a follow-up to Pet Sounds and “Good Vibrations”.

Yet, time has a funny way of shifting the lens. History has aged this glorious trainwreck straight into a triumph. Today, Smiley Smile is celebrated as a proto-lo-fi must listen. An accidental blueprint for everything from modern indie pop to chillwave.

It’s a hazy, claustrophobic, and deeply human peek behind the curtain of a tortured genius. Proving that sometimes, when your grandest dreams completely fall apart, the wreckage makes for the strangest and most enduring art of all.

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The Ultimate Middle Finger: Lou Reed – Metal Machine Music (1975)

Let’s just start with Reed himself. He wasn’t pretending it was high art, famously cracking about the side-four endurance test: Anyone who gets to side four is dumber than I am.

If you were following Lou Reed by the mid-’70s—riding high on his Velvet Underground pedigree and killer solo pivots like 1972’s Transformer—you figured you were ready for anything. You weren’t. When Metal Machine Music dropped, even the most dedicated, open-minded rock heads threw their hands up and said absolutely not.

Let’s just say fans returned it in droves. Out of the initial 100,000 copies sold, a staggering percentage of them got rushed right back to local record stores for immediate refunds.

The problem? There wasn’t a single song to be found. In fact, it was worse than that: this double album (DOUBLE album) consisted entirely of modulated feedback and guitar effects played at varying speeds. No melodies, no lyrics, no beat—just pure, skull-rattling electronic noise.

Was it a career-suicide trainwreck or a brilliant, avant-garde middle finger straight to the music industry’s corporate machine? Knowing Lou Reed, it was probably a bit of both.

Decades ahead of its time, Metal Machine Music accidentally laid the groundwork for noise rock, industrial music, and ambient drone. It remains the ultimate rock and roll dare—an uncompromised wall of static that practically dared you to stay in the room.

And one you don’t need to listen to.

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The Breaking Point: David Bowie – Low (1977)

Looking back at David Bowie today, we call him the undisputed king of reinvention. But back in late 1976? His record label didn’t see a visionary. They saw a total commercial disaster.

When RCA executives first got a load of Bowie’s new music, they were so deeply unimpressed that they flat-out refused to put it out. They told him to catch a flight back to the States, ditch the weird experiments, and record something safe—something in the exact same smooth, soulful lane as Station to Station or Young Americans. In other words: a guaranteed, risk-free hit.

Yeah, well, Bowie wasn’t having any of it. He was sitting at a complete breaking point.

Running away from the toxic, fast-lane burnout of Los Angeles. Bowie packed his bags and headed for Europe alongside Iggy Pop - to dry out and piece his mind back together (while also lending a hand on Iggy’s dark classic The Idiot). After stopping in Paris, they eventually settled right in the shadow of the Berlin Wall. Here Bowie linked up with producer Tony Visconti and ambient pioneer Brian Eno to completely rip up his own rulebook.

What came out of it was Low. A record split right down the middle. Kinda like Berlin itself. Side one delivered a collection of jittery, half-built art-pop fragments. It had sparse, hollowed-out lyrics echoing his deep psychological fraying. Side two threw out standard song structures entirely. And dove deep into dark, brooding instrumentals inspired by Krautrock gods Kraftwerk and Neu!.

Eventually, a deeply hesitant RCA caved and dropped the record. And to the label’s utter shock? Low became an instant critical darling, hanging tough on the UK charts for thirty straight weeks and spinning off a top-three smash in “Sound and Vision.”

As for that nervous, unsupportive rejection letter from his corporate suits? He proudly framed the thing and hung it right on his wall.

Welcome to week 1057 of NEXT - the weekly new music broadcast. August is here, a new month is officially under way, and as always, we are diving headfirst into the best new tracks.

Forget the computer-generated playlists and the corporate static—this show is all about hand-curated indie, alternative, and rock songs with real heart, grit, and soul. We’ve got a killer mix of brand-new discoveries and seasoned heavy hitters lined up for you today, so turn it up and let’s get right into the music.

Teenage Fanclub – “Day In The Sun”

Kicking things off with a sun-drenched blast of timeless power-pop and ringing, jangle-guitar brilliance. It builds around warm, lush vocal harmonies and bright acoustic strumming that feels like stepping out into an unclouded afternoon. Sounds like: Big Star and The Byrds.

Son Volt – “Serenade Song”

Next up, a dusty, worn-in slice of classic Americana that carries a deep, highway-weary soul. Jay Farrar’s gravelly, resonant vocals float over weeping pedal steel and steady acoustic rhythms that pull you straight into the heartland. Sounds like: Uncle Tupelo and Jayhawks.

Stephen Wilson Jr. (feat. Miranda Lambert) – “Hardwired”

This one brings a heavy, acoustic-driven stomp packed with gritty storytelling and sheer vocal horsepower. The contrast between Wilson’s raw, southern-gothic delivery and Lambert’s sharp, soaring harmonies creates a fiery, inescapable dynamic. Sounds like: Chris Stapleton and Eric Church.

Trashcan Sinatras – “Melodramatic”

Turning to lush Scottish indie-pop, this track delivers intricate guitar work, sweeping melodies, and razor-sharp wit. It strikes that perfect balance of gentle melancholy and sophisticated, chiming hooks. First album in a decade. Sounds like: Prefab Sprout and The Smiths.

Rest In Peace: John Douglas, longtime guitarist for Scottish indie rock band Trashcan Sinatras, has passed away.

Yard Act – “Talky Talky People”

Here is a sharp, dance-punk groove loaded with biting social commentary and rapid-fire spoken-word delivery. It locks into a pulsing bassline and angular post-punk guitars that force you to move while you listen to every word. Sounds like:Franz Ferdinand and Parquet Courts.

Jack White – “Neighbors Blues”

Uncorking a raw, blues-drenched electric explosion that sounds like a vintage guitar amp pushed way past its limit. Driven by erratic, razor-sharp slide riffs and frantic, stomping drums, it hits with pure garage-rock fury. Sounds like: The White Stripes and Muddy Waters.

Starflyer 59 – “I Wanna Disappear”

Diving straight into a wall of rich, melancholic shoegaze and nineties alternative melody. Deep, crooning vocals drift over heavy, distorted guitars and slow-tempo drums to create a dark, stunning atmosphere. Sounds like: Hum and Failure.

Boy Golden – “Best Of Our Possible Lives”

A laid-back, sunshine-soaked piece of easygoing cosmic country. Driven by warm acoustic picking, banjo accents, and an effortless, conversational vocal style, it’s an instant feel-good listen. Sounds like: Wilco and Mac DeMarco.

Wolf Alice – “Hammond Song”

Taking on the iconic Roches classic, this cover builds from a fragile, quiet folk whisper into a soaring, atmospheric wall of sound. Ellie Rowsell’s breathtaking vocals float over cinematic guitars that swell and crash with emotional weight. Sounds like: Florence + The Machine and Warpaint.

Susanna Hoffs – “Casablanca”

Serving up a gorgeous, mid-century-inspired pop melody drenched in sixties-style grandeur. Her unmistakable, sweet-toned vocals shine over shimmering acoustic guitars and cinematic string accents. Sounds like: The Bangles and Dusty Springfield.

Kacey Musgraves – “Mexico Honey”

A smooth, breeze-touched acoustic track that glides along with easy elegance. It pairs warm acoustic strumming and subtle pedal steel with her signature sharp, vivid lyrical touch and sweet, breezy vocals. Sounds like: Jenny Lewis and Sheryl Crow.

Richard Thompson – “Cocaine Walking, Booze Talking”

Folk-rock guitar playing from a true legend. It pairs his fierce, biting electric lead work with sharp-tongued narrative lyrics and a driving, bluesy rhythm section. Sounds like: Fairport Convention and Mark Knopfler.

Bob Seger – “Wreck This Heart”

Delivering a mid-tempo heartland rock groove built around driving acoustic rhythm guitars, organ fills, and that signature rasp. It’s a classic, working-class anthem about wear and tear, resilience, and keeping moving. Sounds like:Tom Petty and Bruce Springsteen.

Lamont Landers – “Lonely Girl”

Closing out this set with a massive, soul-drenched vocal performance that stops you dead in your tracks. Built on a stomping, vintage rhythm-and-blues groove with tight horn stabs, it carries undeniable retro swagger. Sounds like: Leon Bridges and St. Paul & The Broken Bones.

And remember if you love someone hug them right now.

• Music Question: 1986 at 40. REM. Peter Gabriel. Depeche Mode. XTC. The Triffids. The Chameleons

• Next: My weekly new music radio show. Week 1056. Notable Songs of July 2026

• Musical Thoughts. Kate Snow on a Cornell podcast.

On a recent road trip, my music-loving brother hit me with one of those deceptively simple questions: “What are your Top 5 bands of all time?”

The first two were instant. Reflexive lock-ins. No brainers. Duh. Or maybe no Duh bands: The Beatles and The Rolling Stones. No debate required. Number three was easy: The Replacements. Number four came just as fast: Pearl Jam.

If you know me—or have spent any time with Shaped By Sound—you probably saw those four coming a mile away.

Then came a pause… Number five.

This one I felt like I needed to think through. I only had 1 left.

I spent the next couple of miles rambling through a shortlist—probably throwing out 20 or 30 brilliant contenders—before the dust finally settled on R.E.M.

Since that roadtrip he also asked for perfect 10 songs - that is way harder. I’m working on that one.

So (foreshadow?) - since that road trip I’ve been going back through all of R.E.M. when it hit me that one of their landmark releases is turning 40. Forty! Are you bloody kidding me?

I spent the rest of the week with my headphones glued on, listening to those timeless tracks on repeat—and it got me thinking. If R.E.M. was dropping magic four decades ago, what else was quietly breaking the mold back then? I decided to dive into the archives and pull together a list to remind us all of a few other phenomenal albums turning 40 this year that still sound like absolute gold.

Drop the needle, turn up the volume, and let’s go back 40 years.

And just to put you in the 1986 mood.

In January, the world watched in collective shock as the Space Shuttle Challenger tragically exploded just 73 seconds after liftoff. We watched that in school. Halley’s Comet completes its once-every-75-years pass through our solar system. In April, horror struck Soviet Ukraine when a catastrophic meltdown at the Chernobyl nuclear power plant sent a radioactive plume across Europe (The HBO show is brilliant). We also saw massive displays of global unity and athletic flair. Over 5 million people held hands across America for hunger relief. Diego Maradona led Argentina to World Cup glory in Mexico with his legendary “Hand of God” and “Goal of the Century” against England.

At the box office - Tom Cruise became a global megastar in Top Gun, a cultural juggernaut. John Hughes cemented his grip on youth culture with the double-header of Ferris Bueller’s Day Off and Pretty in Pink. Rob Reiner captured bittersweet nostalgia in Stand by Me. Audiences also flocked to Crocodile Dundee, Aliens, and Oliver Stone’s Oscar-winning Vietnam drama Platoon. Studio Ghibli released its debut official film, Castle in the Sky, in Japan.

On the small screen. The Oprah Winfrey Show entered national syndication. Groundbreaking shows like Pee-wee’s Playhouse brought avant-garde art and quirky humor to Saturday mornings. Primetime comedy was dominated by The Cosby Show, Family Ties, and ALF. Over in the UK, the BBC debuted its long-running medical drama Casualty, and EastEnders drew a staggering 30 million viewers for its legendary Christmas Day episode. It was also the year Dallas shocked soap opera fans worldwide by resolving an entire season’s cliffhanger as nothing more than a bad dream in a shower.

Fashion in 1986 was all about maximum volume. Power suits outfitted with massive shoulder pads, oversized blazers, and acid-wash denim dominated. Hip-hop culture made a mark when Run-D.M.C. dropped “My Adidas.” - Laceless sneakers, tracksuits, bucket hats, and thick gold chains. Mainstream essentials. Top off the look with stacked Swatch watches, stirrup pants, and a pair of Wayfarers or Aviators. That’s quite the uniform of 1986.

OK in the right head space? On to why I started writing this newsletter. The music.

Released on July 28, 1986. Lifes Rich Pageant is the pivotal inflection point for R.E.M.. Coming off the murky, melancholic, folk-gothic haze of 1985’s Fables of the Reconstruction—an album recorded in rainy London amid severe internal burnout—the band needed a reset. They relocated to Belmont Mall Studios in Indiana and teamed up with producer Don Gehman. He’s best known for his punchy, hit-making work with John Mellencamp.

Gehman did what no producer had managed before: he forced Michael Stipe to step right up to the microphone, enunciate his lyrics, and let his vocal power anchor the band’s sonic wall. The result was a muscular, optimistic, eco-conscious, and politically charged album that 40 years later still stands up.

About a third of the album came from older, unreleased live staples and rough ideas polished up during the intense studio sessions.

R.E.M. Life’s Rich Pageant.

A running inside joke after guitarist Peter Buck watched Inspector Clouseau tumble into a fountain in a Pink Panther film and shrug off the chaos as “life’s rich pageant”.

This album is one of many “Forever Albums” of mine.

“Begin the Begin”

If I had to pick one REM song - it would be this one. Or maybe Catapult. Or maybe…

The title nods to Cole Porter’s “Begin the Beguine.” The lyrics - a rallying cry for personal and political awakening (”Silence means approval / Most mistakes are mine”).

The song served as a direct statement. This murky, jangling indie-college band was stepping into arena-rock shoes.

Peter Buck on the song’s energy: We wanted to start the record with something that hit you right in the face. ‘Begin the Begin’ was us saying, ‘Okay, we’re done with the atmospheric, shadowy stuff for a minute—here’s a rock band.

Don Gehman on Stipe’s vocal power: I remember pushing Michael on that track. He had this incredible, booming voice that he’d been hiding behind guitars for three albums. When he hit those opening lines on ‘Begin the Begin,’ everyone in the control room just looked at each other like, ‘Holy crap.

“These Days”

A hyper-caffeinated gallop. Love Bill Berry’s relentless drumming and Buck’s ringing riffs. Lyrically it captures a sense of urgency about political activism and environmental awareness during the height of the Reagan administration.

Michael Stipe on the album’s thematic shift: With Fables, I was looking backward at mythology and history. By the time we got to ‘These Days’ and Pageant, I was looking right at the present moment. It was about taking responsibility for where we were.

Mike Mills on the rhythm: That song is pure propulsion. Bill and I were locked in, just pushing the tempo as hard as we could without letting it fall off the rails.

“Fall on Me”

Frequently cited by critics and Stipe himself as one of R.E.M.’s finest.

Michael Stipe on his affection for the track: If there’s one song from our entire catalog that I’m most proud of, it’s probably ‘Fall on Me.’ It’s a song about the environment, but it’s written in a way that feels human, not preachy.

Mike Mills on the vocal harmonies: Michael and I used to do those classic, folk-style vocal overlaps live, but on ‘Fall on Me,’ Don Gehman really helped us stack them in the studio so both lines hit with equal weight. It became this double-helix of vocals.

“Cuyahoga”

Named after the Ohio river that famously caught fire in 1969 due to extreme chemical pollution. “Cuyahoga” uses ecological disaster as a lens to explore Native American displacement and environmental destruction. Michael Stipe turns historical tragedy into a hopeful rally cry for renewal. He’s urging us to “put our heads together, start a new country up / Up underneath the riverbed, we’ll burn the river down.”

Peter Buck on the song’s creation: Mike came up with that bass line and the whole song just unfolded around it. It’s a very gentle song musically, but the lyric carries a lot of weight. It’s about lost promises.

Michael Stipe on the political themes: I was thinking a lot about the American landscape and what had been sacrificed in the name of progress. ‘Cuyahoga’ wasn’t just about a river that caught fire; it was about the idea that we can rewrite our relationship to the land.

“Hyena”

A punchy, driving rocker. The song was inspired by the comedian Lord Buckley. And of course it’s funny using the metaphor of a laughing hyena in the wild to comment on media absurdity, human paranoia, and political circus acts.

Peter Buck: We’d been playing ‘Hyena’ on the road for a year before recording it, so it was second nature. But Don [Gehman] tightened up the structure and made it sound much leaner than our live version.

“Underneath the Bunker”

A brief 1 minute and 25 seconds - it serves as a humorous yet eerie interlude reflecting Cold War nuclear paranoia.

Mike Mills on the studio atmosphere: That was us just messing around in the studio and having fun. We were making an album that was pretty serious in terms of themes, so ‘Underneath the Bunker’ was a moment of dark, weird comic relief.

“The Flowers of Guatemala”

Don’t let the beauty fool you—this is a haunting, deeply political gut-punch. Written about human rights atrocities and covert U.S. intervention in 1980s Central America. Peter Buck unleashes a short, soaring guitar solo that is pure brilliance.

Peter Buck on his guitar solo: I didn’t usually play long, soaring guitar solos—I preferred rhythmic lead-playing. But for ‘Flowers of Guatemala,’ the track was screaming out for something soaring and emotional at the end. I just turned up the amp and let it cry.

Michael Stipe: t was a political song, but disguised as a quiet, beautiful melody. I wanted the song to sound peaceful on the surface, but carry a heavy heart when you listened closer.

“I Believe”

This one explodes into bright folk-punk. A manifesto of self-determination.

Michael Stipe on writing the lyrics: wrote a lot of ‘I Believe’ on a train ride. It was a list of my own personal tenets—what I held onto when the world felt crazy. It was meant to be empowering.

Peter Buck on the banjo opening: I picked up a banjo in the studio and just started messing around with that riff. Don Gehman said, ‘Keep that, we’re putting it on the front of the track!’ It gave the song this great country-punk kickstart.

“What If We Give It Away?”

They tackle materialism, isolation, and generosity. Originally written around the time of Reckoning (where an earlier version was titled “Get On You”).

Mike Mills: That song had been sitting in our back pocket for a while. It took us going into a studio with Don [Gehman] to give it the right pop polish so it could really shine.

“Just a Touch”

The oldest song on the record. Goes back to R.E.M.’s earliest days. A raw, garage-punk tune. Originally titled “Baby I.” A homage to early 1970s proto-punk (Patti Smith, Velvet Underground, The Stooges), complete with chaotic energy and screeching guitar. Plus a bonus of Stipe shouting the famously tongue-in-cheek line: “I’m not inspired by the status quo!”

Peter Buck on reviving old songs: We used to play ‘Just a Touch’ in sweaty college basements when we first formed. We pulled it out for Pageant because we wanted one track that was pure, unadulterated garage rock-and-roll.

Michael Stipe on the Patti Smith influence: That song was definitely me channeling my inner Patti Smith or Lou Reed. It was loud, fast, and completely unpretentious.

“Swan Swan H”

A tragic, civil-war-themed acoustic folk ballad.

Michael Stipe: I wanted to write a song that sounded like it had been passed down orally from the 1860s. It felt timeless, like an old Appalachian folk song that someone found in an attic.

Peter Buck: We recorded that with simple acoustic instruments to let the room ambiance do the work. It’s one of Michael’s best storytelling moments.

“Superman”

A cover song originally recorded by the obscure 1960s Texas power-pop group The Clique. Sung entirely by bassist Mike Mills (with Stipe providing background harmonies).

Opens with a scratchy Japanese recording from a pull-string Godzilla toy announcing a monster sighting—edited out for the commercial single release (Boo!).

Depending on how you bought Lifes Rich Pageant, the song hit differently. It was the listed finale on tape and wax, but early CD listeners got it as an unlisted bonus tacked on after the acoustic weight of “Swan Swan H.”

Mike Mills on taking the lead vocal: I loved the original version by The Clique, so I pitched doing it as a fun cover. Michael didn’t want to sing it, so I said, ‘Fine, I’ll sing it.’ We put it at the very end as a fun hidden bonus, and then radios went crazy for it!

Peter Buck: We were famous for taking ourselves pretty seriously in the studio, so ending an intense album like Lifes Rich Pageant with a silly, joyous power-pop song about a comic book hero was the perfect palate cleanser.

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Peter Gabriel “So”

Released in May 1986. So was the exact moment Peter Gabriel transformed from a brooding, art-rock cult icon into a global megastar. Teaming up with producer Daniel Lanois, Gabriel stepped out of the avant-garde shadows and straight into the pop spotlight. By fusing cutting-edge synths, world-music rhythms, and massive hooks, he crafted an absolute masterpiece that defined the decade.

Why is the album titled So?

After releasing four consecutive solo albums with no official titled solo albums (informally referred to by fans as Car, Scratch, Melt (or Melting Face), and Security) - Gabriel’s label finally begged him to use a title for commercial clarity. Gabriel loved minimalist aesthetics and graphic design simplicity, compromised by choosing two-letter words for his albums moving forward (So, Us, Up).

Peter Gabriel on the title: I liked the brevity of it. It’s an anti-title. It doesn’t impose a concept on the music before you’ve even heard a note. Visually, it looks great on a record sleeve, and in English, it’s a word that bridges ideas: ‘So, what’s next?’

“Red Rain”

We open with a dark, atmospheric storm of sound. Driven by Stewart Copeland’s (The Police) propulsive hi-hat work, Jerry Marotta’s thunderous drums, and Tony Levin’s brooding bassline.

Peter Gabriel on the imagery: It came from a dream I had about a red sea dividing and these big red walls of water... ‘Red Rain’ was about unlocking trauma and letting the emotions pour out instead of keeping them bottled up inside.

Daniel Lanois on Stewart Copeland’s hi-hat: We needed something frantic to cut through the heavy synth textures. Stewart Copeland came in and played that incredible hi-hat track. It gave the song an unbelievable kinetic energy right out of the gate.

Sledgehammer”

I wonder what this one is about? Some day I’ll figure it out.

It’s built on a greasy, Otis Redding-inspired R&B groove. Remember that frame-by-frame claymation video? And that distinctive bamboo flute? (the Prophet-5 synth preset). And holy balls Wayne Jackson’s blistering horn arrangement.

Peter Gabriel on his soul roots: I was obsessed with Otis Redding as a teenager. ‘Sledgehammer’ was my attempt to recreate the spirit of those Stax records I grew up loving. It was a chance to drop the serious artist persona and just have fun.

Tony Levin on the bassline: I played an octaver pedal on my bass to give it that fat, greasy, synth-like low end. When we hit that groove in the studio, everyone started dancing.

“Don’t Give Up” (feat. Kate Bush)

A heartbreaking, deeply moving ballad inspired by the economic depression and soaring unemployment in Thatcher-era Britain (as well as the haunting photographs of Dorothea Lange during the American Dust Bowl). Originally asked - Dolly Parton. She turned it down. He turned to his longtime friend and collaborator Kate Bush. Her tender, ethereal vocal against Gabriel’s raspy, desperate lead created something special.

I often wonder about this following Sledehammer…but what do I know?

Peter Gabriel on Bush’s performance: There was a very specific quality to Kate’s voice when she sang that line—’Don’t give up / You have friends’—that felt like a warm embrace. It was pure empathy.

Daniel Lanois on the track’s emotional core: That song wasn’t just a pop duet; it felt like a public service announcement for broken spirits. Gabriel’s vocal was so vulnerable, and Kate brought this angelic comfort to it.

“That Voice Again”

We all have them. The internal critic inside everyone’s head—the judgmental voice that prevents us from expressing love or taking risks. Co-written with guitarist David Rhodes.

Peter Gabriel: We’re always fighting that inner judge, the voice in our head that tells us we’re not good enough or that we shouldn’t trust people. ‘That Voice Again’ is about trying to silence that critic.

“Mercy Street”

A quiet, hypnotic masterpiece dedicated to the troubled American poet Anne Sexton, who tragically died by suicide in 1974.

Peter Gabriel on the dual vocals: was reading Anne Sexton’s poetry and was deeply moved by her honesty. For the vocal on ‘Mercy Street,’ singing an octave below my normal voice gave it this shadowy, internal quality, like a ghost whispering over my shoulder.

“Big Time”

A biting, hilarious satire of 1980s yuppie materialism and corporate greed. “Big Time” is famous for its groundbreaking rhythm section trick: bassist Tony Levin wore drumsticks taped to his fingers—a technique dubbed “Supersticking”—and slapped the bass strings while drummer Jerry Marotta played the bass pedals.

Tony Levin on inventing “Funk Fingers”: Jerry [Marotta] held the drumsticks and hit the bass strings while I held the chord shapes on the neck! It sounded so cool that I eventually had little shortened drumsticks strapped to my fingers so I could do it myself.

Peter Gabriel on the satire: It was a parody of the ‘bigger is better’ mentality of the 1980s. I wanted to poke fun at the consumerism of the era, including my own potential success.

“We Do What We’re Told (Milgram’s 37)”

The darkest track on the record. It’s about Stanley Milgram’s famous 1961 Yale psychology experiment, which demonstrated how ordinary human beings could be coerced into inflicting severe pain on others simply because an authority figure ordered them to.

Peter Gabriel: The Milgram experiment showed how easily people submit to authority without questioning it. It’s a short, disturbing track, but I felt it was an important reminder on an album that was otherwise very warm.

“This Is the Picture (Excellent Birds)”

A collaborative track co-written with avant-garde performance artist Laurie Anderson. a jerky, futuristic art-pop groove. An earlier, slightly different version titled “Excellent Birds” had appeared on Anderson’s 1984 album Mister Heartbreak. Re-worked with producer Daniel Lanois and featuring Nile Rodgers on rhythm guitar.

Laurie Anderson on the collaboration: Peter and I had very different ways of working in the studio. I was very quick and sketchy, and Peter was meticulous—he could spend three days getting a bass drum sound! But combining those two approaches produced something really strange and fun.

“In Your Eyes”

Immortalized forever in Cameron Crowe’s 1989 film Say Anything...). A romantic epic that bridges personal love with spiritual devotion. Gabriel anchored the track with African polyrhythms, bringing in Senegalese vocal titan Youssou N’Dour to sing the breathtaking Wolof-language climax.

Peter Gabriel on working with Youssou N’Dour: When Youssou came in and sang those lines at the end, he completely elevated the track to another realm. It took the song from a personal love letter to a universal, spiritual chant.

Daniel Lanois on the arrangement: We worked endlessly on the build-up of ‘In Your Eyes.’ We wanted it to feel like a sunrise—starting soft and building into this massive, euphoric celebration.

Original vinyl releases often swapped the running order of “In Your Eyes” and “This Is the Picture”.

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XTC “Skylarking”

Driven indoors by Andy Partridge’s severe stage fright - XTC was strictly a studio unit by 1986. Facing an ultimatum from Virgin Records to break the American market, they were paired with legendary producer Todd Rundgren at his studio in Woodstock, New York. The resulting sessions were a legendary clash of egos—Partridge and Rundgren fought over every chord, mic placement, and mix. Yet, that volatile friction forced a loose collection of songs into a seamless, sun-drenched conceptual masterpiece tracing a single day, a year, and the cycle of life from youth to death.

Andy Partridge on the title: I came across the word ‘skylarking’ in a book on 18th-century nautical terms. It meant fooling around in the rigging, but to me, it conjured up images of sitting in a summer field, looking up at birds, and just daydreaming your life away. It felt like the perfect umbrella for these songs.

Skylarking is the ultimate orchestral-pop record! Sweeping string quartets. Lush vocal harmonies. and intricate acoustic arrangements that capture the heat, romance, and existential anxiety of summer.

The Concept: A journey from the buzzing insect heat of “Summer’s Cauldron” to the tragic, pagan finale of “Sacrificial Bonfire”. Of course we can’t forget the controversial, anti-religious masterpiece “Dear God” famously added to later pressings after American college radio forced the label’s hand.

Pastoral English folk meets American power-pop polish, trading standard rock riffs for chamber-pop elegance.

In Their Own Words

Andy Partridge on the battle with Rundgren: Todd Rundgren was a bastard to work with, and we fought every single day. But I have to admit, he forged all our mess into a total masterpiece.

Todd Rundgren on shaping the album’s concept: Andy hated the arrangements at first because it wasn’t what he heard in his head. But I told him, ‘You hired me to produce this record, let me do the work.’ It remains one of the pieces I’m proudest of.

Colin Moulding on the album’s lasting magic: It was about capturing nature, young love, and getting old... wrapping up the whole cycle of life in 45 minutes.

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Depeche Mode “Black Celebration”

Depeche Mode’s 1986 gothic-industrial landmark.

Before 1986, Depeche Mode were still fighting off their image as squeaky-clean ‘80s synth-pop poster boys. Black Celebration changed everything.

Setting up shop in West Berlin right next to the Cold War wall, the band threw all their chips into the dark side. Despite the ominous title it was about ordinary people grabbing a drink at the end of a soul-crushing day to celebrate just surviving. It’s heavy, hypnotic, and the exact moment they became alternative icons.

The title was taken directly from the album’s opening title track, written by chief songwriter Martin Gore. Despite its ominous, gothic ring, Gore intended “Black Celebration” to be an act of solidarity and comfort. It refers to the ritual of ordinary people coming together at the end of a soul-crushing day to drink, embrace, and celebrate another day surviving in a bleak world. It was about finding joy and connection in spite of the darkness. Not doom and gloom.

The sound: It is a dark, cinematic wall of sound built on innovative real-world sampling (slammed car doors, idling engines, metallic clangs), heavy bass drones, and pitch-black romanticism.

A dark sanctuary for the alienated. The album centers on finding intimacy, comfort, and human connection amid existential dread and the grind of daily life.

It’s a dark, gothic, and incredibly romantic album built on a simple premise: when life gets bleak, you gather your friends, raise a glass, and celebrate making it through another day.

Prost!

In Their Own Words

Martin Gore on the album’s core meaning: People always assume ‘Black Celebration’ has some sinister meaning, but it really doesn’t. It’s about celebrating the dark times—getting together with your friends when everything seems hopeless and having a drink to celebrate just getting through another day.

Dave Gahan on the Berlin influence: We were looking out at the Berlin Wall every day while recording. That city’s tension crept straight into the tapes. It felt darker, heavier, and much more adult than anything we’d done before.

Alan Wilder on designing their signature sound: We spent an enormous amount of time sampling real-world sounds. On ‘Stripped,’ the main rhythm was actually a sample of a Porsche engine recorded outside the studio, pitched down an octave to give it that heavy, mechanical crunch.

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Bonus - quickies. Well quick for Chris Bro.

A few others from 1986. One sweeping across the sun-baked Australian outback, and the other emerging from the rainy, brooding post-punk underground of Manchester.

The Triffids – Born Sandy Devotional

(Building on last week’s newsletter)

The ultimate Australian gothic-folk record. They built a sun-bleached, cinematic landscape. It’s a lonely, sweeping set of songs about heat and heartbreak that bridges post-punk with rootsy soul.

Born Sandy Devotional remains a must listen to for deep dives of 80s music.

A few key Deep-Dive Tracks

“The Seabirds”: Opens the record with quiet, ominous tides before exploding into a portrait of romantic obsession and madness along a desolate shoreline.

“Wide Open Road”: The band’s signature anthem. Built on a soaring, desperate hook, McComb sings of driving down an endless highway trying to lose the ghost of a past lover. It’s a tragedy disguised as a driving song.

“Stolen Property”: A brooding, slow-burn track driven by a weeping pedal-steel.

“Tender Is the Night (The Long Sleepless Night)”: A delicate, organ-laced ballad that showcases McComb at his most vulnerable and poetically devastated.

A record that directly influenced artists like Nick Cave, The Go-Betweens, and Wilco.

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The Chameleons – Strange Times

(Released September 29, 1986)

An underappreciated ‘80s post-punk band. Strange Times feels perpetually on the brink of a breakdown. Led by bassist/vocalist Mark Burgess and the shimmering dual-guitar team of Reg Smithies and Dave Fielding. They rarely played standard rhythm/lead roles. They wove interlocking, delay-drenched, chiming guitar patterns that created a massive wall of sound. This album - their third Strange Times was a towering monument of atmospheric, psychedelic guitar rock. Produced by Dave Allen (The Cure),

Setting the stage for 90s shoegaze, Britpop, and modern post-punk revivalists (Interpol, Editors, The Killers).

A few Deep-Dive Tracks

“Mad Jack”: Opens the LP with a ferocious, chaotic post-punk assault. Driven by driving drums and jagged guitar riffs, Burgess shouts about political absurdity and social madness.

“Caution”: Tension and release. Built on a hypnotic, winding guitar line, the song steadily builds into an overwhelming, cathartic wall of sound.

“Swamp Thing”: The album’s crown jewel.. Opening with an iconic, swirling, chorus-heavy guitar riff, it’s a brilliant, five-minute epic about creeping paranoia and emotional drowning.

“Tears”: A gorgeous, melancholic acoustic-driven ballad that shows the band’s softer, more introspective side without losing an ounce of emotional weight.

“In Answer”: A soaring, mid-tempo anthem that captures the band’s gift for pairing dark, existential questioning with irresistible, shimmering hooks.

Shortly after releasing Strange Times, the band tragically fractured following the sudden death of their manager. This would be their original lineup’s final studio statement. Though mainstream charts largely ignored them, Strange Times is revered by musicians as an untouchable classic of 1980s alternative guitar music.

Welcome to week 1056 of NEXT, the weekly new music broadcast. We are officially closing out another month, which means today is our July Rewind—a full review and reminder of the new tracks that hit our airwaves over the past few weeks. If you missed an episode, were busy at work, or just need a refresher on the artists pushing real music forward right now, consider this your catch up episode. No filler. No algorithms. Just the hand picked sounds of July lined up and ready to roll. Let’s hit rewind and get this show started.

Slow Fiction – “Turning Down Flowers”

A jagged, high-energy blast of post-punk revival straight out of Brooklyn. It charges forward with urgent, driving basslines, slashing guitar riffs, and a raw vocal performance loaded with downtown NYC attitude. Sounds like: Yeah Yeah Yeahs and Interpol.

Soft Loft – “Wednesdays”

A beautifully hazy, slow-burning indie-pop track that feels like watching a rainstorm through a dusty window. It pairs soft, vulnerable vocals with a swelling acoustic atmosphere that gradually builds into something deeply cathartic. Sounds like: Phoebe Bridgers and Big Thief.

Beabadoobee – “Sun Has Set”

Delivering a warm, breeze-touched blend of bedroom-rock and nineties alternative jangle. The light, bossa-nova-infused acoustic rhythm and feather-soft vocals make it feel like an effortless, late-summer afternoon reset. Sounds like: Clairo and Sundara Karma.

Twin Bloom – “Summer’s Gone”

A sun-faded, bittersweet wave of nostalgic alternative rock. It wraps tight, melodic hooks in a blanket of warm, fuzzy guitars and driving drums that capture that exact feeling of watching the season change. Sounds like: Real Estate and The Beths.

The Bankes Brothers – “Risk It All”

A high-octane, swaggering dose of modern garage rock that hits the gas pedal immediately. Anchored by soaring vocal harmonies and a relentless, driving rhythm section, this one is tailor-made for turning the car stereo all the way up. Sounds like: The Kooks and Sam Fender.

Cage The Elephant – “Beaches in Tennessee”

Unrolling a loose, heavily atmospheric groove that balances raw garage grit with a laid-back, psychedelic bounce. It drifts along on clean, jangly guitar hooks before building into that signature, uninhibited dynamic shift they do best. Sounds like: Young the Giant and Spoon.

Gin Wigmore – “I Like It”

Hits with an unmistakable, raspy vocal punch and a heavy, stomping rhythm section. It blends retro soul-rock swagger with an edgy, modern alternative production that completely grabs you by the collar. Sounds like: The Heavy and The Interrupters.

Tara Clerkin Trio – “Lazy Daisy”

A turn into the delightfully experimental side of art-pop. Coming out of Bristol, this trio weaves together jazz-infused drums, hypnotic dub basslines, and swirling, dreamlike textures into a mesmerizing, late-night groove. Sounds like: Stereolab and Portishead.

Jim James – “Come Again”

An expansive, soul-stirring piece of psychedelic roots-rock. Driven by his unmistakable, reverberating tenor, the track floats effortlessly over steady acoustic strumming and lush, cosmic production. Sounds like: My Morning Jacket and M. Ward.

Phoebe Bridgers – “Lost Boys”

A devastatingly delicate piece of indie-folk that commands total quiet in the room. Built around intimate acoustic fingerpicking and haunting, double-tracked harmonies, it carries that sharp, emotionally transparent lyricism that hits straight in the chest. Sounds like: Julien Baker and Elliott Smith.

Nicole Atkins – “When The Night Falls”

A sweeping, cinematic pop-noir ballad that sounds like it was ripped straight out of a classic mid-century soundtrack. Her massive, soulful vocals soar over dramatic string arrangements and a slow, sultry beat. Sounds like: Angel Olsen and Jenny Lewis.

Suki Waterhouse – “Almost”

Drenched in dreamy, mid-tempo nostalgia that bridges classic seventies singer-songwriter warmth with modern indie-pop gloss. Soft piano chords and lush acoustic guitars carry a smoky, reflective vocal about close calls and fading memories. Sounds like: Lana Del Rey and Weyes Blood.

Swapmeet – “My Heart Breaks II”

Love the tension and dynamic shifts. It starts at a slow, delicate creep, slowly building up atmospheric weight before dropping away to a sparse moment of just vocals and a plucked guitar—ending abruptly mid-sentence to leave you hanging in the quiet. Sounds like: Low and Wednesday.

Robyn Hitchcock – “Yesterday’s Rain”

Serving up a classic slice of surrealist psychedelic folk-rock. Driven by bright, chiming acoustic guitars and his sharp, whimsical lyricism, it captures that timeless British eccentric charm that feels both classic and totally singular. Sounds like: Syd Barrett and The Soft Boys.

Inspiral Carpets – “Drag The Bag”

Closing this set out with a surging, organ-driven blast of Madchester alternative rock. It locks straight into a heavy, swirling groove powered by organ hooks, driving basslines, and classic nineties garage-punk energy. Sounds like:The Charlatans and The Stone Roses.

That is going to wrap up week 1056 of NEXT and our look back at the standout music of July 2026. Thank you so much for tuning in, for digging through the music with me every single week, and for keeping your ears open to the real, hand-curated art being made in the present tense.

If any of these July highlights hit you today, make sure to add them to your rotation and share them with someone who appreciates great music—because music is life.

Take care of yourselves, keep supporting real artists, and I will see you next week as we kick off a brand new month for week 1057!

Proud husband brag incoming: My wife Kate was interviewed on the Cornell (Thank) U podcast! She did a fantastic job, and since we never turn down a chance to weave great music into the story (stick around for the back end of the episode), it fits right into the Shaped By Sound universe.

Here is how the podcast introduced her feature:

She’s here!! This interview has been at the top of our wish list for a long time.

Most people know Kate Snow as the journalist they’ve welcomed into their homes for decades. We walked away appreciating her even more—not just for the stories she’s covered, but for the humanity she brings to every one of them.

In this episode, Kate takes us from Cornell to local news, CNN, ABC, and NBC News, sharing the moments that shaped her career—and her. We talk about earning the trust of people during the hardest moments of their lives and why the toughest conversations don’t begin with the first question—they begin before the interview ever starts.

We also get a behind-the-scenes look at live television, hear why music has always been such an important part of Kate’s life, and laugh about a few moments that remind us there’s a really fun and relatable person behind the anchor desk. What stayed with us most is that this conversation isn’t just about Kate’s television career. It’s about curiosity, empathy, resilience, and the extraordinary impact one person can have simply by making others feel seen, heard, and respected.

A special thank you to our friend Dave Price for introducing us to Kate. Dave, you’ve made so many wonderful introductions over the years that we’re starting to think you deserve an honorary producer credit. Thank you for always thinking of us—and for bringing Kate into the Cornell (Thank) U family. Whether you’ve watched Kate for years or are just getting to know her, we hope you’ll finish this episode feeling exactly as we did: inspired by the journalist, grateful for the storyteller, and genuinely touched by the person.

Editor’s Note: Since recording this episode, I (Michelle) had the chance to see Kate and Snowdrift perform live, and they were phenomenal. The energy was incredible, they played so many songs we loved, and the night had an unexpected Cornell twist—I was reunited with one of Kate’s sorority sisters and our former housemate, Donna Pekala Kirsh, and finally got to meet friend of the podcast Joe Marraccino. It made an already special conversation feel even more personal.

Here’s where you can find Kate: Instagram: @TVKateSnow Facebook: @TVKateSnow LinkedIn: Kate Snow https://www.linkedin.com/in/kate-snow-90527013b/

Music (you MUST listen!): https://hyperfollow.com/katesnow

Also on Apple Music and Spotify. Not sponsored by or affiliated with Cornell University.

Listen on Apple Podcasts:

and if you love someone hug them right now.

• Music Question: 15 Hidden ‘80s Albums That Shaped Alternative Music History

• Next: My weekly new music radio show. Week 1055.

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Beyond the Big Hair: 15 Overlooked ‘80s albums

The 1980s are usually remembered for high-gloss synth-pop, gated-reverb drums, and stadium-sized MTV spectacle. Or maybe your brain probably jumps straight to neon lights, giant synth hooks, and leather jackets. But beneath the commercial noise was an incredible underground scene churning out raw, sophisticated, and deeply personal music.

While mainstream radio was chasing pop hooks, a quiet revolution was happening in the margins. Underground innovators and relentless veterans were busy drafting the sonic blueprints for what would become indie rock, alt-country, and modern post-punk.

While pop culture marched on, these 15 albums quietly built fiercely loyal cult followings and subtly re-educated the industry on what songwriting could be. If you’re looking to dig deeper into the decade’s best-kept secrets, start right here - Beyond the neon glow of the MTV era lived a thriving network of rule-breakers—from Scottish ambient-pop visionaries to desert-rock pioneers—who traded radio friendliness for pure artistic freedom.

These 15 records never got their proper victory lap at the top of the charts, but they shaped the sound of everything that came after. It’s time to put them back on the turntable.

The Feelies – Crazy Rhythms (1980)

The Vibe: Frantic, Jangle-Punk

87,000 listeners.

The Feelies weaponized nervous energy on their seminal debut. Crazy Rhythms combines the ice-cold cool of Lou Reed with a manic, unrelenting tempo. Controlled tension. They pair nervous, stuttering percussion with relentless, interlocking guitar lines that buzz like live wire. They push every song to the absolute brink of explosion. It remains one of the most thrillingly unique records of the post-punk era—a caffeinated, rhythmic album that sounds just as fresh and jittery today as it did in 1980.

The Legacy: It essentially launched the entire ‘80s college-rock and indie-jangle explosion, directly paving the way for bands like R.E.M.

David + David – Boomtown (1986)

66,000 listeners

The Vibe: Dark-Edge Roots Rock / Storyteller Pop

Boomtown is the ultimate studio one-off. Welcome to the seedy underbelly! The duo of David Baerwald and David Ricketts took the glossy production tools of the era and told gritty, noir-infused tales of Los Angeles lowlifes and tragic figures. A dark, cinematic portrait of 1980s Los Angeles—stripping away the Hollywood glitz to reveal a world of desperate dreamers, broken promises, and late-night vice.

The Legacy: A pristine, one-and-done studio artifact. The two Davids never made another album as a duo. Baerwald went on to a solo career. Ricketts was practically never heard of afterwards.

Robbie Robertson – Robbie Robertson (1987)

200,000 listeners

The Vibe: Atmospheric, Cinematic Roots-Rock

How do you step out from the long, legendary shadow of The Band? For Robbie Robertson - the answer required 11 years of patience and a crucial collaboration with producer Daniel Lanois. They reunited in the studio over a decade after The Last Waltz. The pair crafted a shadowy, cinematic masterpiece that felt light-years removed from vintage Americana. Rather than rehashing the rustic, wood-and-wire roots-rock of his past - he push his music into bold new territory. Elevated by star-powered collaborations with Peter Gabriel and U2. The record stands as a stunning reinvention

The Legacy: A stunning reinvention that managed to honor his legendary roots while stepping boldly into modern, atmospheric production.

The Trash Can Sinatras – Cake (1980)*

44,000 listeners

The Vibe: Acoustic Emo / Intricate Jangle-Pop

Call it pre-emo. Call it literate jangle-pop. Or just call it flawless: Cake is one of the great lost debut albums of the era. The Trash Can Sinatras emerged from Scotland with a record built on delicate, interwoven guitars, gorgeous multi-part harmonies, and songwriting so clever it rewards a hundred re-listens. Cake remains a sacred artifact for indie-pop purists and record diggers alike. Cake launched the Scottish quintet into instant cult status as they served up an endlessly charming blend of jangle-pop precision. Built on shimmering guitar arrangements, lush vocal layering, and lyrics bursting with double-entendres and wordplay. This album slipped completely under the radar of the decade’s louder, brasher trends. Decades later, it stands as a timeless, pristine gem that sounds just as fresh today as the day it was pressed. Pop perfection that remains criminal in its obscurity.

The Legacy: Acoustic indie songwriting where larger mainstream audiences still haven’t caught up, even with recent reissues.

*Note on Cake: While written and recorded at the end of the 1980s, Cake was officially released in June 1990—making it a perfect bridge between ‘80s jangle-pop and ‘90s indie rock.

Young Marble Giants – Colossal Youth (1980)

The Vibe: Minimalist Post-Punk

44,000 listeners

Less-is-more. Before DIY bedroom recording was accessible to everyone, Young Marble Giants laid down 15 tracks of pure, unadorned perfection in a matter of days. Young Marble Giants stripped post-punk down to its bare skeleton. It’s an intimate, low-fi blueprint. Colossal Youth proved that silence and space could be just as heavy as a wall of amplifiers. Built on delicate guitar interplay, skeletal drum machine clicks, and Statton’s detached, mesmerizing vocal delivery, the album showed that the most radical thing a rock band could do in 1980 was whisper. It sounds like it was recorded in secret, late at night, just for you.

The Legacy: Everyone from Kurt Cobain to Courtney Barnett has cited this singular, quiet record as a massive influence.

Rip Rig + Panic – God (1981)

1,700 listeners

The Vibe: Avant-Garde Post-Punk Funk

Rip Rig + Panic took the jagged edge of post-punk, tossed it into a blender with free-jazz saxophone. It’s one hell of a wild ride. They were a force of nature. A hyperactive, caffeinated stew of post-punk grit, free-jazz sax blasts, and radical funk grooves. Fronted by a fearless, young Neneh Cherry. And she delivered vocal performances that swung effortlessly from soulful chants to primal shrieks. The album plays out like an unhinged late-night jam session where literally anything can happen. It’s chaotic, unpredictable, and packed with an undeniable, electric energy that modern art-punk bands are still trying to recreate.

The Legacy: One of the most adventurous art-experiments to come out of the early ‘80s post-punk scene.

The dB’s – Stands for Decibels (1981)

14,000 listeners

The Vibe: Quirky Power Pop

Pure power-pop with an art-school twitch. This album bridges the gap between classic ‘70s pop craftsmanship and the emerging 1980s post-punk underground. Packed with razor-sharp songwriting. Adding off-kilter arrangements. It’s an album where dizzying, sun-drenched melodic hooks are constantly colliding with unexpected rhythm shifts, angular guitar work, and a subtle sense of angst. They created a brilliant, jittery pop record that felt way too smart and ahead of its time for top-40 radio.

The Legacy: A sacred text for power-pop nerds and modern indie-rock purists alike.

Prefab Sprout – Steve McQueen (1985)

400,000 listener

The Vibe: Sophisticated Pop / Art-Rock

Released in the US under the title Two Wheels Good. Equal parts glittering pop spectacle and deep romantic poetry, Steve McQueen is a crown jewel of British art-pop. At its heart was the improbable union between frontman Paddy McAloon (a literary songwriter) and synth-pop wizard Thomas Dolby at the mixing desk. They took the pristine, synth-heavy studio tools of 1985 and used them to build something genuinely soulful. Pairing bruised emotional wisdom with razor-sharp wit. Backed by Thomas Dolby’s immaculate, airy production. A breathtaking, gorgeous record that remains an essential spin for anyone who loves world-class songwriting.

The Legacy: A gorgeous, glimmering pop record that sounds like nothing else from the mid-’80s.

The Triffids – Born Sandy Devotional (1986)

43,000 listeners

The Vibe: Dramatic Australian Gothic Rock

Massive in scope and drenched in atmospheric grandeur. Doomed narratives float over lush arrangements that build and crash like waves against a barren coast. Frontman David McComb sang with a deep, bruised baritone backed by delicate vibraphones, weeping pedal steel, and dramatic orchestral swells. Heartbreak. Obsession. And quiet desperation.

The Legacy: Critically immortalized, commercially underrated

Giant Sand – The Love Songs (1988)

30,000 listeners

The Vibe: Dusty, Loose-Limbed Desert Rock

The godfather of desert rock. Howe Gelb weaves dry-heat country, loose garage punk, and avant-garde lounge jazz into sprawling, intoxicating songs. When you listen you feel like stumbling into a dusty, neon-lit Arizona tavern at 2:00 AM. And while you order a beer the band of genius eccentrics plays just for the ghosts at the bar. It’s an album that celebrates the beauty of raw imperfection.

The Legacy: The Love Songs laid the foundation for the entire Southwest desert-rock movement. Paving the way for bands like Calexico, Friends of Dean Martinez, and generations of alt-country renegades.

The Blue Nile – Hats (1989)

281,000 listeners

The Vibe: Late-Night Ambient Art-Pop

Hats is a midnight record.. It’s music for after the after party. The Blue Nile spent five painstaking years crafting this seven-track suite. Vocals soar over shimmering keyboards and steady, understated rhythms. It turns everyday moments into epic poetry. Paul Buchanan’s weathered, soulful voice floats above these shimmering keyboards. Singing of love, heartbreak, and quiet streetlights. It is an album of mood. It sounds like walking through a sleeping city under a steady drizzle. Elegant. Melancholic. And so much to enjoy.

The Legacy: It stands as a timeless blueprint for how electronic textures can carry profound emotional weight.

Rickie Lee Jones – Pirates (1981)

394,000 listeners.

The Vibe: Beatnik Jazz-Pop / Art Rock

Riding high on the massive success of “Chuck E.’s in Love,” Rickie Lee Jones flatly refused to play the pop star game for her follow-up. Instead, she poured her life into Pirates. A sprawling, cinematic album built on sophisticated jazz arrangements and raw, beat-poetry lyrics. It stands as a harrowing and beautiful journey through heartbreak, addiction, and total artistic reinvention.

I haven’t listened to this album in a long time…and holy balls. It’s amazing. Stop what you’re doing to play the full album.

The Legacy: A brilliant way to refuse to be pigeonholed by early success.

The Bonuses

Hidden in Plain Sight: Why streaming numbers don’t tell the whole story.

Let’s be clear: these bands aren’t complete ghosts. If you check their stats today, a lot of them easily clear 500,000 monthly listeners. Their records are actively spinning in headphones, living rooms, and private playlists all over the world.

So why call them forgotten? Because they’ve vanished from the public square. Commercial radio won’t touch them, music documentaries gloss right over them, and mainstream rock history acts like they never existed. They are the definition of “hidden in plain sight”—massively streaming, deeply loved, but somehow completely left out of the everyday music conversation.

Aztec Camera – High Land, Hard Rain (1983)

The Vibe: Sophisticated Jangle-Pop / New Wave.

571,000 listeners

It is almost absurd to remember that Roddy Frame was only 19 years old when he wrote and recorded High Land, Hard Rain. Most teenage debuts are built on raw, noisy angst. Aztec Camera delivered a lush, incredibly catchy debut. Driven by acoustic guitars, Motown-inspired basslines, and pristine pop melodies. Sophisticated acoustic jangle-pop. Driven by Frame’s breathtakingly fast nylon-string guitar work. The album struck an incredible balance: the infectious energy of youth paired with the harmonic maturity of a seasoned veteran.

The Legacy: A high-water mark for the UK’s ‘80s pop-soul and indie movement.

John Hiatt – Bring the Family (1987)

837,000 listeners

The Vibe: Raw, Acoustic-Driven Heartbreak & Soul

Bring the Family is the sound of a brilliant songwriter hitting absolute rock bottom and singing his way out. Facing an uncertain future after being dropped by his label, John Hiatt walked into an LA studio with a shoestring budget. They booked four days. And he brought in an absolute powerhouse backing band: Ry Cooder on slide guitar, Nick Lowe on bass, and Jim Keltner on drums. Together, this makeshift supergroup completely stripped away the gated drums and slick synth gloss of the late ‘80s, cutting the tracks virtually live. The result was Bring the Family—a raw, soul-baring triumph anchored by unflinching songwriting.

The Legacy: A towering masterpiece of Americana that proved passion and world-class musicianship beat polished studio trickery every time.

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Forget the neon leg warmers, giant synth hooks, and stadium-sized MTV bluster—the real magic of the 1980s was quietly exploding in the underground. While top-40 radio was obsessed with gloss and gated drums, a lawless network of Scottish ambient-pop dreamers, desert-noir poets, and twitchy post-punk minimalists was busy inventing the future of indie music. These 15 overlooked albums traded chart-topping ambitions for pure, unadorned soul, building secret cult followings and quietly rewriting the rules for everything that came after. Dust off the needle, drop it in the groove, and let’s go crate-digging!

Welcome to week 1055 of NEXT, the weekly new music broadcast. If you’ve ever found yourself thinking that no good music is being made today, this show is your weekly reminder that the well is nowhere near dry—it’s just buried under corporate static and computer algorithms. Every single week, I dig through the noise to bring you hand-curated indie, rock, and alternative tracks with real heart, grit, and attitude. We have a packed line-up today of fresh finds and classic remasters, so turn it up and let’s get right into the music.

Soft Loft – “Wednesdays”

Kicking things off with a beautifully hazy, slow-burning indie-pop track that feels like watching a rainstorm through a dusty window. It pairs soft, vulnerable vocals with a swelling acoustic atmosphere that gradually builds into something deeply cathartic. Sounds like: Phoebe Bridgers and Big Thief.

Slow Fiction – “Turning Down Flowers”

A jagged, high-energy blast of post-punk revival straight out of Brooklyn. It charges forward with urgent, driving basslines, slashing guitar riffs, and a raw vocal performance loaded with downtown NYC attitude. Sounds like:Yeah Yeah Yeahs and Interpol.

Twin Bloom – “Summer’s Gone”

A sun-faded, bittersweet wave of nostalgic alternative rock. It wraps tight, melodic hooks in a blanket of warm, fuzzy guitars and driving drums that capture that exact feeling of watching the season change. Sounds like: Real Estate and The Beths.

The Bankes Brothers – “Risk It All”

Here is a high-octane, swaggering dose of modern garage rock that hits the gas pedal immediately. Anchored by soaring vocal harmonies and a relentless, driving rhythm section, this one is tailor-made for turning the car stereo all the way up. Sounds like: The Kooks and Sam Fender.

The Menzingers – “Parade Day”

Delivering a big, heart-on-your-sleeve punk rock anthem built around huge, soaring hooks and grit-honed storytelling. It captures that signature, bittersweet nostalgia they do better than almost anyone, blending driving guitars with a massive singalong chorus. Sounds like: The Gaslight Anthem and Jimmy Eat World.

Gin Wigmore – “I Like It”

This next track hits with an unmistakable, raspy vocal punch and a heavy, stomping rhythm section. It blends retro soul-rock swagger with an edgy, modern alternative production that completely grabs you by the collar. Sounds like: The Heavy and Grace Potter.

Siena Spiro – “Great Expectation”

A stunning, smoky track that stills the entire room with a voice that sounds far beyond its years. Built over a stripped-back, cinematic foundation, it lets a raw, soul-stirring vocal performance take center stage and cut straight through the static. Written about meeting someone that lets you down. Sounds like: Amy Winehouse and Celeste.

Tara Clerkin Trio – “Lazy Daisy”

Time to take a turn into the delightfully experimental side of art-pop. Coming out of Bristol, this trio weaves together jazz-infused drums, hypnotic dub basslines, and swirling, dreamlike textures into a mesmerizing, late-night groove. Sounds like: Stereolab and Portishead.

Echo And The Sunny Men – “Brussels Is Haunted”

A dark, moody post-punk atmosphere that feels like wandering damp cobblestone streets at 2 AM. It pairs a cold, pulsing bassline with sharp, angular guitar lines and a deep, cavernous vocal delivery. Sounds like: Joy Division and Editors.

Swapmeet – “My Heart Breaks 2”

If you love tracks that play with dynamics and keep you on the edge of your seat, turn this up. Swapmeet’s ‘My Heart Breaks 2’ moves from a delicate, slow burn to a sparse, stripped-back whisper of vocals and plucked guitar—before pulling the rug out with an abrupt, mid-sentence finish that leaves an incredible mark. Sounds like: Low and Wednesday.

The Rolling Stones – “You Know I’m No Good” (Amy Winehouse Cover)

The Stones take Amy Winehouse’s iconic modern soul classic and run it through their own legendary filter, drenching it in swaggering blues guitars and a loose, dirty groove. Sounds like: The Faces and Mick Jagger.

Al Olender – “The Cyclone”

A soaring, emotionally transparent piece of modern indie-folk. It starts with a delicate, intimate acoustic arrangement before building into an explosive, drum-driven chorus that feels like a total emotional release. Sounds like: Sharon Van Etten and Maggie Rogers.

Pixies – “Debaser” (Live 2026 Remaster)

Live music is good for your soul. Turn the volume all the way up for a brand-new 2026 live remaster of an absolute alternative rock cornerstone. The bassline is punchier, the distorted guitars are rawer, and Black Francis’s unhinged vocal delivery sounds as fresh and wild as the day it was written. Sounds like: Frank Black and The Breeders.

Twisted Teens – “Circus Clown”

Get ready for a frantic, high-voltage burst of garage-punk energy that wastes zero time. It rolls out with snotty vocal attitude, rapid-fire drums, and razor-sharp guitar riffs that hit hard and get out fast. Sounds like: The Hives and Violent Femmes.

Thundercat featuring A$AP Rocky – “Funny Friends”

Closing out this week’s set of discoveries with a genre-bending tune. It pairs Thundercat’s lightning-fast, virtuoso bass grooves and smooth falsetto with A$AP Rocky’s effortless, laid-back flow for a track that is equal parts psychedelic, humorous, and deeply infectious. Sounds like: Flying Lotus and Anderson .Paak.

That’s it. The end of week 1055 of NEXT. Thank you so much for tuning in, hanging out, and supporting real, hand-curated music made right here in the present tense. If something you heard today made you hit repeat, pass it along to a friend—because music is life, and great art deserves to be shared.

Take care of yourselves, keep your ears open, and I will see you next week for week 1056!

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• Music Question: Records That Refused to Slump.

• Next: My weekly new music radio show. Week 1054.

• Musical Thoughts. White Stripes one note concert.

The Sophomore Slump: Cracking the Second-Album Code

They say you have your whole life to write your first album, but only about eighteen months to write your second.

Think about it: that debut record is a curation of a lifetime’s worth of first heartbreaks, basement rehearsals, late-night epiphanies, and raw, unfiltered grit. It’s twenty-some years of lived experience, distilled into twelve tracks, fueled by the beautiful luxury of having absolutely nothing to lose. You are writing in a vacuum, completely anonymous, creating purely because the songs demand to exist. It’s lightning captured in a bottle.

But once that bottle shatters in the public eye, everything changes. The clock starts ticking, loud and relentless.

Suddenly, you aren’t writing in a quiet basement anymore. You’re writing in the back of a cramped tour bus. Or in sterile hotel rooms. Or under the blinding glare of festival stage lights. The machinery of the music industry moves in. Managers are checking calendars. Booking agents are eyeing routing schedules. And label executives are looking at quarterly projections.

The artistic question shifts from a pure, idealistic “Can we make something great?” to “Can you recreate that exact magic—right now, under a microscope, on a budget, and on a strict deadline?”

Most of the time? The sophomore slump wins. The pressure cooks the raw, spontaneous creativity right out of the room. Sometimes it’s because of over-thinking. Other times they play it safe. And sometimes things get over-produced. Or worse, the frantic rush to capitalize on a fleeting cultural trend leaves the songs feeling rushed, hollow, and completely half-baked.

There’s drugs. Women. Men. Family. Kids. And so much more that can get in the way.

But a rare few kick the curse entirely. These artists don’t look back—they push violently forward by changing up their tones, stripping away the safety nets, and locking the suits out of the studio.

I had way too much fun digging back into these records to stop at just one post. The history of the second album is far too deep and chaotic to unpack all at once. Let’s consider this the launchpad for an ongoing series. Part 2 is coming soon.

Pearl Jam. Vs.

“Go”

The album’s opening salvo was a massive statement of intent. Written by bassist Jeff Ament on an acoustic guitar before being electrified into a frantic, scratching monster of a riff, “Go” was chosen specifically to shock listeners who expected the melodic grandeur of Ten. The rhythm is urgent and unstable.

When I first few “jazzy” moments kick off album number 2 teasing me just enough that when I get the pause just before the drums kick in around the 28 second mark…game fucking over. This is how you open an album. And Mike’s guitar screams. Chris Bro happy boy. I could not wait to hear this one live!

Dave Abbruzzese’s drumming here is legendary—he played with such sheer force during these tracking sessions that he literally carpal-tunneled his way into the hospital shortly after. The song captures a band bursting at the seams, refusing to ease the listener into the experience.

The final build. Brilliant.

“Animal”

Driven by a fierce, syncopated 5/4 funk-metal groove from Stone Gossard, “Animal” features some of the most visceral vocal takes of Eddie Vedder’s career. The lyrics track the feeling of being hunted by the media and the sudden onslaught of industry sycophants.

As guitarists Mike McCready and Stone Gossard traded jagged, biting leads, the band recorded the core track live. Vedder’s delivery of the line “I’d rather be with an animal” was so intensely physical that producer Brendan O’Brien recalled feeling the air change in the control room. It was the sound of a frontman clawing for his autonomy.

Dare I say the perfect one two punch. What a way to start an album.

And I agree. My dog rocks…and is definitely better than a lot of human.

“Daughter”

The album’s massive radio hit was actually a Trojan Horse.

Sonically, it’s a beautiful, shimmering acoustic piece utilizing an open-G tuning provided by Gossard. Lyrically, however, it’s a devastatingly dark exploration of a child with a learning disability facing abuse from parents who don’t understand her.

“The shades go down”: This refers to the act of a parent closing the curtains so neighbors cannot witness the abuse happening inside the home.

“She holds the hand that holds her down”: A powerful metaphor for the child’s complex emotional dependence on her abusers.

“Don’t call me daughter, not fit to”: The girl eventually disowns her family as a way to survive and find her own identity away from her traumatic past

Pearl Jam actually debuted the song a year before Vs. dropped. It premiered as an unfinished track called “Brother” at Neil Young’s 1992 Bridge School Benefit. Stone Gossard had the open-tuned acoustic riff down, but Eddie Vedder was still using placeholder lyrics.

In the studio, producer Brendan O’Brien pushed the band to strip the arrangement down to mirror its fragile theme. He had drummer Dave Abbruzzese ditch his complex tom-tom fills for a simple, raw kick-and-snare groove captured by room mics. Jeff Ament swapped his electric bass for an upright bass, giving the track a dry, exposed texture completely different from the arena-rock echo of Ten.

Vedder found the song’s emotional core by focusing on a child suffering from an undiagnosed learning disability. In 1995, he explained that before these conditions were understood, kids were punished for “rebelliousness” and would “end up getting the shit beaten outta them.” The chilling final image of the shades going down was meant to show the abuse hidden from the neighbors—trauma that Vedder noted “ends up defining people’s lives.”

The Anti-Fame Release: Recognizing the song’s massive pop potential, Pearl Jam intentionally refused to release “Daughter” as a commercial single in America to push back against mainstream stardom. It didn’t matter. It still went to number one on the Billboard Alternative and Mainstream Rock charts anyway, cementing itself as an permanent staple of their live sets for the next three decades.

“Glorified G”

An incredibly bouncy, almost country-fried rock riff masks a sharp, sarcastic attack on American gun culture. The song was inspired by Abbruzzese proudly telling the band he had just bought a pair of guns, which sparked a massive, tense debate in the rehearsal room.

Vedder took mock lines from that actual band argument and turned them into the lyrics: “Got a gun, in fact I got two...” McCready used a B-Bender guitar to give the track a twangy, unstable energy that highlighted the dark irony of the song.

I didn’t think I was going to do every song…and here we are…

“Dissident”

“Dissident” might be the closest cousin to the Ten feel. Built on a soaring, classic-rock inflected riff from Gossard. Beneath lies a complex narrative about a woman who harbors a political fugitive, only to succumb to fear and turn him in to the authorities.

Vedder used the song to wrestle with the crushing weight of responsibility and betrayal. The band intentionally kept the bridge rhythmically jarring, shifting time signatures to ensure the song never felt too comfortable or slick for radio consumption.

“W.M.A.”

Standing for “White Male American,” this track is a hypnotic, rhythm-driven protest song inspired by a real-life incident - where Vedder witnessed white police officers harassing a Black friend of his while ignoring Vedder.

Built on a tribal, looping drum groove from Abbruzzese and a driving bassline from Ament, the track showcases the band’s experimental side. McCready and Gossard layered the background with eerie, ambient guitar noise and feedback to create a suffocating sonic atmosphere.

“Blood”

This is pure, unadulterated funk-punk. It is the heaviest, most abrasive track the band had ever put to tape at that point. Aimed squarely at the critics and the corporate machine.

If anyone doubted how the band felt about the media and the music industry stripping them of their privacy - this track laid it bare. It is pure, jagged funk-punk fury. Vedder screams, “Spin me round, roll me over, fucking circus” turning his own voice into an abrasive instrument of resistance.

The music intentionally spirals out of control, ending in a wall of screeching, unresolved guitar static. It matches the lyrics completely.

“Rearviewmirror”

The emotional heart and sonic pinnacle of the record. Built on a relentless, driving down-stroke guitar riff that Vedder wrote. The song is a propulsive journey of escaping an abusive relationship—and metaphorically, escaping the suffocating trap of fame.

The perfect sonic metaphor for the album’s entire philosophy. It starts with a frantic, propulsive guitar riff that steadily builds into a panicked, screaming crescendo. It’s the sound of someone desperately trying to leave the past—and the sudden explosion of fame—behind them. Vedder actually threw his guitar against the studio wall in a burst of frustration at the end of the take, a sound O’Brien left on the final mix.

The track is famous for its massive, organic crescendo. The band plays faster and harder with every passing bar. In a burst of genuine rage and catharsis at the end of the final take, Vedder ripped his guitar off and hurled it directly against the concrete studio wall. If you listen closely to the album track, you can hear the clatter of the guitar hitting the floor right as the final notes ring out.

“Rats”

Featuring a heavy, funk-forward bassline from Ament that nods back to their pre-grunge days. “Rats” contrasts human depravity with the simple survival instincts of rodents. Concluding that rats are vastly preferable.

The song acts as a brilliant sonic palate cleanser after the intensity of “Rearviewmirror.” It gave the band a chance to stretch out and play with space in the mix, using a sparse, biting arrangement where every single snare hit and bass pop lands right in your chest.

“Elderly Woman Behind the Counter in a Small Town”

Despite having the longest title in their catalog, it’s one of their simplest songs—a gorgeous, four-chord acoustic ballad. It’s about aging, missed connections, and the paralysis of staying in one place for too long.

Vedder wrote the song in about twenty minutes in his room. Recognizing its fragile beauty, O’Brien refused to let the band over-complicate it. They tracked it incredibly fast, capturing the wistful, melancholic spirit that would make it an all-time live staple for the next three decades.

“Leash”

A blistering, old-school Seattle grunge anthem that served as a rallying cry for Generation X. It resurrects the line “Drop the leash, we are young,” a phrase the band used to print on their early t-shirts.

A spiritual sequel to Ten’s “Why Go”? “Leash” is pure Seattle grunge fury. A chaotic rallying cry for youth autonomy and a middle finger to overbearing control.

The track was triggered by an acquaintance of Vedder’s who was institutionalized by her hyper-strict parents for smoking pot. Upon her release, they locked her down with a 7 PM curfew. The throat-shredding chorus—“Drop the leash... get outta’ my fuckin’ face!”—was Vedder’s cathartic scream on her behalf.

The song also served as Vedder’s defense mechanism against a media machine desperate to crown him the “voice of a generation.” The line “I am lost, I’m no guide, but I’m by your side.” He violently rejected the savior label to stand in the trenches with his audience.

“Leash” was a song born from the live stage, packed with the raw, chaotic energy of their early club shows. It features some of McCready’s wildest, most unhinged guitar solos on the album, acting as a massive release of kinetic energy before the album’s somber closing act.

“Indifference”

The album closes not with a bang, but with a haunting, slow-burning ambient prayer. Backed by Ament playing a stand-up dousn’gouni (an African stringed instrument) and Gossard playing a subtle, repetitive organ line, Vedder delivers a quietly defiant vocal performance about enduring whatever the world throws at you.

To get the vulnerability he wanted, Vedder turned off all the lights in the studio, tracking the vocals in total darkness. As he softly sings. The music drifts away like smoke. It was the perfect, bruised ending to an incredibly turbulent record. Proving that sometimes, the ultimate act of defiance is simply refusing to break.

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Ten was a sweeping, cinematic introduction built on stadium-ready echoes and grand classic-rock structures. Vs. is a band violently pulling the emergency brake on their own commercial momentum.

Producer Brendan O’Brien stripped away the glossy, cavernous reverb of the debut. The Vs. album prioritized raw friction over radio friendliness. Instead of the polished, anthemic grandeur that made them household names, Vs. is lean, dry, and jagged. They traded comfortable arena hooks for a claustrophobic, punk-infused assault that reflected a band fiercely protecting their own artistic survival.

I was a huge fan after Ten. Vs. made me a forever fan. There was no turning back. This was my band.

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Beastie Boys. Paul Boutique.

Following up a massive debut is hard. Now imagine following up the first hip-hop album to ever hit number one on the Billboard charts. THAT is an entirely different level of hell. In 1986, the Beastie Boys dropped Licensed to Ill. It was a multi-platinum juggernaut. It also trapped them in a caricature of their own making: the beer-swilling, frat-boy party animals.

The industry wanted Licensed to Ill Part 2. The public wanted more obnoxious, high-volume party anthems.

Instead, the Beastie Boys broke away from Def Jam, packed their bags for Los Angeles, and completely reinvented themselves. They delivered something completely different. And this wouldn’t be their only reinvention.

The Escape from the Caricature

By 1988, Mike D, MCA, and Ad-Rock were utterly exhausted by the cartoonish personas that had consumed them on tour. They knew that if they repeated the formula, they would be dead in the water artistically.

As Mike D later recounted in the Beastie Boys Book: We had become the things we were making fun of. We were completely burnt out on being those guys... We needed to get away from New York, away from the pressure, and figure out who we actually were as musicians.

They found their sanctuary in Los Angeles, renting a house in the hills and linking up with a production duo called the Dust Brothers (John King and Mike Simpson). The Dust Brothers had been working on a collection of dense, wildly intricate instrumental sample tracks intended for clubs. When the Beastie Boys heard them, their minds were completely blown. This is what they wanted.

Shifting the Sonic Paradigm

The transition from their debut to Paul’s Boutique was night and day. Where Licensed to Ill relied on heavy, stripped-down rock riffs and booming 808 drum machines, Paul’s Boutique was an incredibly layer-dense, multi-textured ecosystem of sound.

They locked themselves in the studio, digging through crates of vinyl to sample everything from Led Zeppelin and The Beatles to Johnny Cash, funk breaks, and obscure spoken-word records. They were layering samples on top of samples, a technique that would become financially impossible just a few years later due to copyright laws.

Ad-Rock reflected on the sheer creative freedom of those L.A. sessions: When we were making Paul’s Boutique, we weren’t thinking about radio hits at all. We were just trying to impress each other and the Dust Brothers. We were like, ‘Can we drop a Johnny Cash sample into a funk groove and make it work?’ There were no rules.

The album was a complete re-education of what hip-hop could achieve, trading adolescent screaming for intricate, rapid-fire lyrical trade-offs and dense pop-culture references.

“To All the Girls”

The album opens not with a roaring party anthem.

Yup this is gonna be something different. We get a smooth, smoky, late-night instrumental track. It acts as a lush, atmospheric palate cleanser designed to let the listener know they aren’t in Licensed to Ill territory anymore.

It was a deliberate subversion of expectations—a sultry, instrumental intro that immediately signaled a massive leap in maturity.

“Shake Your Rump”

Driven by an infectious, bubbling bassline and a dizzying array of funk samples, this track served as the blueprint for the album. The three MCs pass the mic like a hot potato, their rhymes tightly synchronized over a rhythmic tapestry that felt lightyears ahead of the standard boom-bap of 1989.

A dense, interlocking groove. Ad-Rock, Mike D, and MCA tracked their vocals simultaneously in the room, capturing a breathless, lightning-fast chemistry that proved they were a true vocal unit, not just three guys taking turns.

“Johnny Ryall”

A narrative track that tells the story of a fictionalized, unhoused former rockabilly star living on the streets of New York. The music contrasts a gritty lyrical subject with an amazingly buoyant, acoustic-driven rhythm.

The track beautifully blends Paul McCartney’s “Momma Miss America” with David Bowie’s “Changes” and a classic line from Pink Floyd. By sampling acoustic folk and rockabilly elements, the Beasties completely exploded the traditional boundaries of what a rap beat could be built upon.

“Egg Man”

A surreal, darkly comedic track built entirely around the concept of throwing eggs at people from roofs and out of moving cars. Despite the juvenile premise, the musical backing is sophisticated, cinematic, and deeply funky.

The group used the high-art production to elevate an old-school, neighborhood prank into an epic, cinematic narrative.

“High Plains Drifter”

Named after the classic Clint Eastwood Western. This track leans into a paranoid, psychedelic road-trip narrative. The lyrics track a lawless, weed-fueled psychological spiral across the country.

“The Sounds of Science”

A massive creative highlight where the band pays direct homage to their lyrical and musical inspirations. The track is notable for its abrupt tempo shifts and complex lyrical patterns that mirror the rapid-fire evolution of science itself.

This track features no less than five separate samples from The Beatles (including “The End,” “Sgt. Pepper’s,” and “When I’m Sixty-Four”). To make it work, the Dust Brothers had to manually pitch-shift and match the beats to accommodate the Beasties’ changing flows. It stands as an absolute monument to pre-lawsuit sampling freedom.

“3-Minute Rule”

A mid-tempo, incredibly smooth groove where the Beasties lean into a more relaxed, confident vocal delivery. The title is a direct reference to the golden rule of keeping a pop or radio song under three minutes—which, in typical defiant fashion, they completely ignored by letting the track run longer.

Built on a heavy, looping bassline from Sly & the Family Stone’s “Brave & Strong” and a tight drum beat from Funkadelic.

“Hey Ladies”

The album’s lead single and an absolute funk juggernaut. It acts as a brilliant, heavily satirical takedown of the over-the-top, cheesy 1970s pickup culture, pairing ridiculous lyrics with one of the most danceable beats on the entire record.

So ahead of its time that it managed to sound nostalgic and futuristic all at once.

“5-Piece Chicken Dinner”

A brief, hilarious 23-second audio detour that completely blindsides the listener.

Over the blistering bluegrass banjo picking, the Beasties shout out old-school square-dance calls. It was a perfect piece of studio absurdity that proved the trio was entirely willing to break the flow of the record just to make each other laugh.

“Looking Down the Barrel of a Gun”

The heaviest, most aggressive song on the album. It serves as the spiritual bridge back to their hardcore punk-rock roots, featuring a dark, menacing lyrical focus on street violence and survival.

The band chose to lay down their own live bass and guitar tracks over the top to make the sound even thicker.

“Car Thief”

A slow-burning, incredibly funky track that explores the sleazy underbelly of urban life and criminal escapades, delivered with a laid-back, almost hypnotic vocal delivery.

“What Comes Around”

A groove-heavy track targeting phonies, backstabbers, and industry fakes. It matches a biting, defensive lyrical stance with an incredibly loose, jazzy arrangement.

Powered by a massive horn sample from Gene Knight and a heavy drum loop from Led Zeppelin’s “When the Levee Breaks.”

“Shadrach”

A brilliant lyrical tour-de-force based on the biblical story of Shadrach, Meshach, and Abednego surviving the fiery furnace—a metaphor for the band surviving the destructive, soul-crushing pressure of their early fame.

The vocal arrangement is incredibly dense, with all three members shouting lines together. Finishing each other’s thoughts. Creating a frantic wall of sound.

“Ask for Janice”

A brief, surreal audio collage that consists of a fake commercial advertisement over a disorienting electronic soundscape.

The track explicitly tells listeners to contact “Paul’s Boutique” in Brooklyn. Providing a real phone number that fans could call. It acted as an interactive, inside joke.

“B-Boy Bouillabaisse”

A sprawling, nine-part conceptual suite that closed out the album. It was essentially the hip-hop equivalent of Abbey Road’s famous side-two medley.

Clocking in at over twelve minutes.

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When Paul’s Boutique dropped in July 1989, Capitol Records had no idea how to market it. Not at all surprising it initially flopped. History vindicated them.

The band’s late, great MCA (Adam Yauch) perfectly captured the album’s legacy years later: When it first came out, people didn’t get it. They wanted ‘Fight For Your Right’ part two. But we knew we had made something special. It took a few years for everybody else to catch up to what we were doing in that room.”

By refusing to coast on frat-boy anthems, the Beastie Boys lost the casual fans but won a career. They proved that true artistic growth requires burning down your own pedestal.

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Licensed to Ill was a raucous, 808-driven frat party that threatened to turn the Beastie Boys into one-hit caricatures. Paul's Boutique was the moment they burned down the frat house and built an avant-garde art gallery in its place. By trading juvenile screaming for intricate, rapid-fire lyrical trade-offs and layered, pre-lawsuit sonic collages, they completely re-educated the industry on what hip-hop production could achieve.

What is NEXT?

I get it. If you only listen to the radio or whatever the streaming algorithms push to the top page, it feels like music is dead. But the truth is, there is an absolute avalanche of incredible music being made right now—it’s just being buried by the corporate noise.

That’s exactly why NEXT exists. It’s a weekly new music show hosted and hand-curated by a guy named Chris Bro. His entire mission statement is to act as a filter.

Hi. I’m Chris Bro. That’s me. This is week 1,054 of me trying to find you a NEXT, new favorite song.

Welcome to week 1054 of NEXT, the weekly new music broadcast. Look, I hear it all the time from music lovers who say: No one makes good music anymore.

But the truth is, the well hasn’t run dry—the good stuff is just buried under a mountain of corporate noise and algorithms. My job every week is to act as your filter. I do the digging so you don’t have to, cutting right through the static to hand-curate a playlist of incredible new indie, alternative, and rock tracks that actually have soul, grit, and attitude. Let’s get right into it.

Slow Pulp – “Better Man”

Kicking things off with a hazy, dream-pop atmosphere with a beautifully raw, emotional edge. It builds this gorgeous, slow-burning tension before letting those fuzzy, nineties-tinted alternative guitars completely take over the room. Sounds like: Alvvays and Mazzy Star.

Cage The Elephant – “Beaches In Tennessee”

A fantastic, hook-heavy groove that brings a massive, sun-drenched alternative rock energy. It pairs a driving, infectious rhythm with that signature, gritty vocal delivery that instantly demands you turn the speakers up. Sounds like: Beck and Spoon.

They Might Be Giants – “Get Down”

The undisputed kings of clever, hyper-melodic indie rock are back with a brilliant, fast-paced blast of sharp hooks and brassy accents. It rolls out with a tight, bouncing rhythm and a conversational wit that completely cuts right through the noise of the day. Sounds like: Weezer and Barenaked Ladies.

Robyn Hitchcock – “Yesterday’s Rain”

A beautifully surreal, psychedelic folk-rock landscape that feels incredibly timeless. It wraps a warm, acoustic foundation in intricate, swirling guitar layers and a poetic lyrical depth that completely fills the room. Sounds like: REM and Syd Barrett.

Inspiral Carpets – “Drag The Bag”

We are tapping straight into the legendary Madchester sound with this driving, organ-heavy alternative groove. It hits the ground running with a fantastic, swirling rhythmic energy and a cool, retro-garage swagger that makes it almost impossible to sit still. Sounds like: The Charlatans and Stone Roses.

Headwired – “Walk On By”

Get ready for a massive, high-voltage pop of distorted guitar glory. A relentless, wall-of-fuzz alternative rock energy with a heavy, driving baseline that completely punches through the static. Sounds like: Swervedriver and Hum.

Rodrigo y Gabriela – “OurHome”

Rhythmic acoustic wizardry. It builds an incredibly immersive, fast-moving landscape of sound, blending fiery classical guitar techniques with a heavy rock sensibility that will leave your jaw on the floor. Sounds like: Carlos Santana and John Butler Trio.

Queens Of The Stone Age – “Easy Street”

A gritty, desert-rock swagger within a mellow acoustic tune. It feels like a long look down a dusty highway. The female voice playfully adds so much. It’s anchored a dark, confident vocal delivery that keeps you completely locked in. Sounds like: Them Crooked Vultures and Foo Fighters.

The Rolling Stones – “Ringing Hollow”

This next one is a fascinating, bittersweet look at the American Dream through the eyes of rock royalty. The Rolling Stones are delivering a track that Keith Richards calls a nostalgic love affair with the America they grew up idolizing—paired with a healthy dose of modern disappointment. Musically, they go right back to their roots, leaning heavily into a gritty, limited blues form to say “we love you” while staring down the headlines.Turn the volume up for ‘Ringing Hollow.’ Sounds like: The Faces and Aerosmith.

A nostalgic love letter—and a bit of a kiss-off—to an American Dream

Suki Waterhouse – “Almost”

Coulda. Shoulda. I wonder how many of these moments live in my past.

A beautifully lush, cinematic indie-pop atmosphere that feels like a late-night drive under neon lights. It glides out of the speakers with a warm, nostalgic texture and a gorgeous, sweeping vocal performance that will send a chill right down your spine. Sounds like: Lana Del Rey and Angel Olsen.

Phoebe Bridgers – “Lost Boys”

A deeply intimate, beautifully melancholic masterpiece that completely stills the room. It layers a quiet, finger-picked acoustic guitar under a haunting, crystal-clear vocal performance that captures a raw, emotional vulnerability. Sounds like: Julien Baker and Elliott Smith.

U2 – “Street of Dreams”

The stadium-rock titans are back with an expansive, anthemic journey that builds a massive wall of sound. It pairs a driving, panoramic rhythm with those signature, soaring guitar echoes and a passionate vocal delivery that demands the biggest stage possible. Sounds like: Simple Minds and Coldplay.

Michelle Branch And The New Racials – “The Game Of Love”

A fantastic, high-energy blast of soulful pop-rock that instantly hooks you with its driving rhythm. It’s a brilliant collaboration that pairs a sharp, melodic guitar groove with a powerful, soaring vocal performance that you’ll be humming all day. Sounds like: Sheryl Crow and Grace Potter & The Nocturnals

Little Barrie – “Luggin’ Hurt”

Closing out this week’s set of discoveries with a sharp, gritty blast of blues-infused garage rock. It rolls out with a tight, bouncing bass groove, a massive drum pocket, and a rapid-fire, razor-sharp guitar attack that perfectly cuts right through the noise. Sounds like: The Black Keys and The Jon Spencer Blues Explosion.

And that is going to do it for week 1054 of NEXT. Thank you so much for listening, for hanging out, and for keeping your ears open to the music being made right here in the present tense. If you heard something today that hit you just right, pass it along—because music is life, and the best stuff deserves to be shared.

I’ll be back next week to do it all over again. Until then, take care of yourselves, keep supporting real artists, and we’ll catch you on the next one. Turn it up.

Walk on stage.

Play one note.

Thank the crowd.

Walk off stage.

And remember if you love someone hug them right now.

• Music Question: 8 Underrated Bands to Rediscovered.

• Next: My weekly new music radio show. Week 1053.

• Musical Thoughts.

I was digging through a box in my office space the other day and hit a goldmine - A massive holder case of old, sharpie-labeled mix CDs. Reading the playlist was a trip. A time capsule of exactly where my head was at back then. But going through them, I noticed something fascinating about how music ages. Some tracks come on and you realize they’ve completely woven themselves into the cultural fabric. Other bands have kinda been lost to the cracks of time. And some don’t even stay in my cultural fabric. It was quite a trip.

What a trip down memory lane. Another interesting reminder that jumped out at me while spinning this disc was the forgotten art of the CD hidden track. Remember those? Back in the day, finding a secret song buried after minutes of dead silence was the ultimate musical treat. I loved the concept so much that I started building my own hidden tracks into these mixes - purposefully leaving the last song entirely off the tracklist. A surprise.

Usually, my secret closer of choice was something from The Muppets. “Rainbow Connection” made the cut a lot. “Movin’ Right Along” definitely found its way onto quite a few playlists. But on this specific mix? The secret prize at the end of the line was Dr. Teeth and The Electric Mayhem blasting through “Can You Picture That?”. It’s the perfect, joyful exclamation point to leave you grinning after the music fades.

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Ok back to the topic on hand.

On this particular disc, I found R.E.M., The Police, Def Leppard, Living Colour, U2, Judas Priest, Ozzy, Van Halen, Lucinda Williams, and Tom Waits. Those artists don’t need my help—most people know exactly who they are and where to find them. Instead, my eyes locked onto the names squeezed between the heavy hitters. I think it’s time to go through these old mixes and shine a light on the music that the mainstream (or myself) left behind. I sense a part 2. Or 3.

There are a few bands on here that I still spin regularly and others that gave me a sudden, urgent jolt to go back and listen to them again very soon. Then, there are a few bands where I’m honestly not sure I’ve listened to them a single time since I first burned this disc. It is a beautifully crazy mix.

Here are 8 bands that might deserve a permanent spot back in your rotation:

Teenage Fanclub

The Vibe: The ultimate sonic warm blanket—sun-drenched harmonies wrapped in crunchy, distorted guitars.

Spotify Monthly Listeners: ~185,000

Scottish alternative icons Teenage Fanclub delivered absolute pop-rock perfection with their melodic 1991 masterpiece Bandwagonesque. Their gorgeous vocal harmonies and infectious hooks earned critical adoration but missed mainstream chart domination. They chose a different path, becoming one of indie music’s most treasured underground acts.

Bandwagonesque is famously the album that was named Spin magazine’s best record of 1991—beating out both Nirvana’s Nevermind and R.E.M.’s Out of Time. More so than any of that, though, it’s a record that feels like an old friend from the very first listen. The chiming guitars and simple yet perfectly descriptive lyrics create the ultimate comfort music. Yet, this tag shouldn’t undermine its raw energy. Borrowing heavily from 60s and 70s jangle-pop pioneers like The Byrds and Big Star, there’s a wonderful grit to it that sounds fresh today.

“When I hear them, I hear a band that completely understands the joy of a perfect pop hook. They are magnificent.” — Liam Gallagher (Oasis)

Junkyard

The Vibe: Raw, whiskey-soaked punk-meets-Southern-rock swagger.

Spotify Monthly Listeners: ~23,000

Sleazy rock group Junkyard brought a unique, rootsy twang to the late-eighties Southern California music scene. They earned steady television rotation on MTV, but their gritty authenticity never fully crossed over into mainstream arena status. Their incredibly loyal following keeps the legacy of this authentic, hard-rocking outfit alive today. They didn’t wear the hairspray or play the games—they just brought pure, unfiltered rock ‘n’ roll.

“Junkyard was the real deal. No gimmicks, just great, dirty rock songs with a bit of country dirt under the fingernails.” — Slash (Guns N’ Roses)

Hey Mercedes

The Vibe: Brainy, incredibly catchy emo/alternative rock driven by soaring melodies.

Spotify Monthly Listeners: ~23,000

Alternative outfit Hey Mercedes delivered incredibly smart, melodic songwriting on their polished 2001 debut album, Everynight Firefighter. Rising from the ashes of the seminal indie band Braid, they seemed destined for the early-2000s alt-rock boom. Unfortunately, significant legal delays involving their record label completely stalled their momentum. The beautifully crafted project missed its crucial window of opportunity, leaving indie fans wondering what could have been.

“Hey Mercedes wrote the kind of hooks that stay stuck in your head for weeks. They perfectly balanced urgency with pop sensibility.” — Chris Carrabba (Dashboard Confessional)

Dramarama

• The Vibe: High-emotion punk-pop storytelling with biting wit and unforgettable choruses.

• Spotify Monthly Listeners: ~125,000

Alternative rock group Dramarama showcased incredible emotional depth through clever storytelling and unique vocal performances. While many know them for the iconic alt-rock anthem “Anything, Anything (I’ll Give You)”, their finest full-length material debuted just before a major label transition disrupted their career momentum. They didn’t stop, though; their 2020 release Up To Here proved they haven’t lost a step, packing the same classic punk energy and cinematic lyrics. Their incredibly devoted following continues to celebrate a brilliant discography that deserved a much larger global platform.

“John Easdale is one of the most underrated lyricists in American rock. ‘Anything, Anything’ is a masterpiece, but the whole catalog is brilliant.” — Rodney Bingenheimer (Legendary KROQ DJ)

Clem Snide

• The Vibe: Quirky, bittersweet, deeply moving indie-folk with a dark sense of humor.

• Spotify Monthly Listeners: ~53,000

Led by the brilliant Eef Barzelay. Indie rock ensemble Clem Snide crafted quietly beautiful music that eventually landed them a major television theme song (for NBC’s Ed). Their 2006 album Hungry Bird was packed with understated alternative gems, showcasing an unmatched ability to find beauty in life’s weirdest corners. Despite their immense artistic achievements, wide commercial recognition eluded this profoundly clever and deeply moving musical project.

“Eef Barzelay writes songs that make you want to laugh and cry at the exact same time. There’s a beautiful, fragile honesty to Clem Snide.” — Ben Folds

Michael Penn

• The Vibe: Intellectual, intricately arranged pop-rock for the discerning listener.

• Spotify Monthly Listeners: ~73,000

Singer-songwriter Michael Penn earned massive critical acclaim early in his career—even winning an MTV VMA for Best New Artist in 1990 for his hit “No Myth.” However, industry indifference and changing mainstream tastes slowed his commercial momentum. He left behind a brilliant catalog of intellectual, melodic pop songs. Penn’s incredible gift for intricate lyricism and lush, Beatles-esque arrangements remains highly praised by music lovers worldwide, and he has since transitioned into an acclaimed film score composer.

“Michael is a songwriter’s songwriter. His chord progressions and lyrical twists are a brilliant study in pop architecture.” — Aimee Mann

Bang Tango

• The Vibe: Funk-infused, dark-edged sleaze rock that makes you want to move.

• Spotify Monthly Listeners: ~37,000

Their gritty, groove-oriented hard rock debut Psycho Cafe (1989) should have had mass appeal. Unfortunately, their label didn’t quite know how to market their unique, bass-heavy style, ultimately dropping the ball entirely. By the time their gothic-leaning sophomore album arrived, the musical landscape had shifted drastically to grunge, and their fanbase scattered. Tracks like “Someone Like You” and “Breaking Up A Heart of Stone” featured slap-bass grooves and a gothic funk energy that deserved far more ears.

“Bang Tango had a groove that most hair metal bands could only dream of. They were funky, heavy, and totally ahead of their time.” — Metal Sludge Archives

Salty Dog

• The Vibe: Thunderous, blues-soaked traditional hard rock with zero compromise.

• Spotify Monthly Listeners: ~7,000

Hard rock band Salty Dog possessed incredible musicianship and a punishing rhythm section, put on full display on their 1990 debut Every Dog Has Its Day. They mixed aggressive, Zeppelin-esque blues riffs with pristine vocal arrangements. Unfortunately, a distinct lack of promotional support buried the album in bargain bins before audiences could discover it. Their immense talent remains a closely guarded secret among traditional rock aficionados who appreciate raw, unfiltered power.

“If you want to hear a band that completely laid it all out on a single record, find Salty Dog. That rhythm section was an absolute freight train.” — Eddie Trunk (Radio Host / Music Historian)

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One of the best parts of being a music fan is digging past the surface to find the records that speak directly to you. Untouched by the hype machine. Do your ears a favor this week: pick one of these bands, put on your good headphones, and dive into a discography that has been waiting to be rediscovered.

This is week 1053 of NEXT. We are back on the hunt for the tracks that shake things up and cut right through the noise.

The goal remains exactly the same: finding you a new favorite song every single week. Huge thanks to all of you out there for supporting and listening to new music. Music is life, plain and simple. Crank the speakers - Let’s start the discovery.

Beabadoobee – “Sun Has Set”

A track that clocks in at just two minutes and twenty-one seconds—and it wastes zero time. Within the first ten seconds, you get this massive blast of thrashing guitars and pure angst. It is so refreshing to hear her sway back to her heavy roots here. It’s sharper, snappier, and carries this brilliant, loud resentment that channels some serious Jagged Little Pill energy. Sounds like: Paramore and Alanis Morissette

Chris Cornell – “Billie Jean (Expanded Intro)”

We are diving into a jaw-dropping piece of rock history with this special version. By stretching out the opening, it builds a massive, haunting tension that lets his legendary vocal performance hit your chest with even more raw, emotional power. Sounds like: Temple of the Dog and Jeff Buckley.

Pixies – “Wave of Mutilation (UK Surf 2026 Mix)”

The undisputed masters of alternative rock are back, breathing fresh, cinematic life into one of their absolute finest moments. This updated mix slows the pace down, letting those surf-rock guitars wash over the room in a heavy, hypnotic wave. Sounds like: The Breeders and Sonic Youth.

Josh Joplin Group – “Camera One (Silver Anniversary Edition)”

Hard to believe it’s been twenty-five years since this brilliant slice of intelligent indie-pop first hit our speakers. This anniversary edition sharpens every hook and reminds you exactly why this track’s brilliant lyrical wit stands the test of time. Sounds like: Counting Crows and Toad the Wet Sprocket.

Tom Petty And The Heartbreakers – “Breakdown (2026 Mix Extended Version)”

We are opening up the vault for a stunning, elongated look at a pure rhythmic cool. This brand-new extended mix lets that iconic, sultry bassline stretch its legs, giving the whole band room to breathe in a smoky, late-night groove. Sounds like: Bruce Springsteen and Fleetwood Mac.

Bryan Adams – “51st State”

Next up, Canadian rock icon Bryan Adams is back, and he is pushing straight back against the political noise with a brand-new track. a tight, high-energy blast of straight-ahead guitar rock that hits the ground running. Written specifically to celebrate Canadian identity and completely reject the bizarre political rhetoric about America annexing our neighbors to the north. Sounds like: Tom Petty and John Mellencamp.

Dinosaur Jr. – “Several Got Away”

Get ready for a fantastic, high-voltage distorted guitar glory. It pairs a relentless, wall-of-fuzz alternative energy with that signature, melodic slacker-rock vocal that feels completely timeless. Sounds like:Hüsker Dü and Pavement.

Nicole Atkins – “When The Night Falls”

Cinematic, late-night alternative soul. It glides out of the speakers with lush, vintage orchestration and a soaring, sweeping vocal performance that will send a chill straight down your spine. Sounds like: Roy Orbison and Lana Del Rey.

Jim James – “Come Again”

The My Morning Jacket frontman delivers a beautifully adventurous, psychedelic indie-rock journey. It builds an immersive landscape of sound, blending a warm, acoustic center with expansive, cosmic echoes that completely fill the room. Sounds like: Pink Floyd and Fleet Foxes.

Mary in the Junkyard – “Crash Landing”

Next up, we are diving into that beautiful, uneasy corner of the underground known as ‘art rock’—which basically translates to oddball indie with a brilliantly experimental bent. Out of London, the trio mary in the junkyard fits perfectly into this space. They create these melancholy, chaotic compositions that are completely unclassifiable in the absolute best way possible. It’s magnetic, it’s kind of weird, and it completely clears out the static. Sounds like:Wolf Alice and Dry Cleaning.

Pet That Yeti – “Sadie”

If you need a track to help you hit the brakes and ease into the evening, this next one is your perfect landing spot. It’s a beautifully relaxed, slow-rolling indie tune. It’s just got that effortless, front-porch rock feel that makes you want to turn it up and lean back. Let’s get into it. Sounds like: Kurt Vile and Mac DeMarco.

The Jayhawks – “Keeping Our Heads Above Water”

If your ears need a dose of pure comfort, this track delivers a gorgeous, sun-drenched blend of Americana and power-pop. The crystal-clear vocal harmonies and warm, ringing acoustic guitars are an instant antidote to a heavy day. Let’s celebrate 40 years of them being together. First since 2020. Sounds like: Wilco and REM.

Westside Cowboy – “Pin Up Boys”

A gritty, desert-rock swagger that feels like a long look at a dusty highway. It’s anchored by a driving bassline, raw alternative guitar tones, and a dark, conversational vocal delivery that keeps you locked in. Sounds like: Queens of the Stone Age and The Black Keys.

Queen Anne – “Watch ‘Em Win It”

Get ready for a brilliant explosion of hook-heavy indie pop that hits you with a sharp, rhythmic confidence. It layers bright, infectious melodies over a driving alternative beat, making it almost impossible to sit still. Sounds like: Wet Leg and Metric.

Butthole Surfers – “Intelligent Guy (Astronaut Version)”

For the lovers of the beautifully strange. This is off a “lost album”. Intelligent Guy aping the shambling stoned beats and literally phoned-in semi-rapped vocals of MTV breakthrough single Pepper. It takes their signature chaotic alternative-punk grit and warps it in a bizarre, hypnotic cosmic fog. Sounds like: Ween and Primus.

Yard Act – “New Beginnings”

We are closing out this week’s set of discoveries with a songl about moving forward because you can’t go back. It locks you right in with a massive, rhythmic groove and a great nod to nineties Britpop. It has a swagger with a brilliant lyrical reminder to embrace the fresh start. Turn the volume up for this one. Sounds like: Pulp and Blur.

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Have a brilliant day and remember if you love someone hug them right now.

• Music Question: Songs Written About the Exact Same Woman

• Next: My weekly new music radio show. Week 1052. Our Notable Songs of June 2026.

• Musical Thoughts. Kate Snow Live (and The Drink with Eric Andre)

When different songwriters run in the same circles, a single “muse” can end up inspiring entirely different corners of music history. It is fascinating to see how one person can be viewed through completely different musical lenses—ranging from sweet acoustic adoration to full-blown, stadium-rocking guitar meltdowns. Depending on who is holding the pen, the exact same relationship can look like a sweet, sun-drenched pop anthem or a dark, passive-aggressive art-rock warning track. Same muse, completely different therapy sessions. Proof that inspiration is entirely in the eye—and the broken heart—of the beholder.

Instead of just inspiring a single diary entry, they sparked entirely different classic tracks that stood the test of time long after the relationships hit the rocks. Here are some examples of completely different songs written about the exact same woman.

Pattie Boyd (The Ultimate Muse)

Perhaps no one has inspired more legendary, distinct rock anthems than British model Pattie Boyd. She was caught in one of music’s most famous love triangles. Serving as the direct inspiration for massive hits by both George Harrison and Eric Clapton (proving that the best way to get over a friend’s wife is to write a multi-platinum album about her).

“Something” by The Beatles (Written by George Harrison): Written while they were married. This is a tender, sweeping declaration of love. Frank Sinatra famously called it the “greatest love song ever written”.

“Layla” by Derek and the Dominos (Eric Clapton): While Pattie was still married to George, Clapton fell desperately in love with her. “Layla” is the result—an intense, roaring, anguished plea born out of unrequited obsession..

“Wonderful Tonight” by Eric Clapton: Fast forward a few years—Pattie and George divorced, and she married Clapton. This quiet ballad was written while waiting for her to get ready for a Buddy Holly tribute party.

Judy Collins

The legendary folk singer-songwriter was at the center of the late-’60s counterculture scene. She captured the hearts of several prominent musicians who turned their heartbreak into incredible literature.

“Suite: Judy Blue Eyes” by Crosby, Stills & Nash: Stephen Stills wrote this sprawling, multi-part song as a desperate, harmony-drenched attempt to keep Collins from leaving him. (Spoiler: It didn’t work, though she loved the song—nothing says “we are breaking up” quite like a seven-minute folk-rock masterpiece).

“So Begins the Task” by CSNY: Another Stills track, but a completely different vibe. Where “Suite” is frantic and longing - this one is a quiet, acoustic acceptance of romantic defeat (basically the 1970s acoustic version of “it is what it is”).

“Chelsea Morning” by Joni Mitchell: While not a romantic song about her, Joni Mitchell wrote this vivid track about her apartment. But it so perfectly captured Collins’ bright, early-career energy that Collins famously covered it and made it a staple of her own setlists (because if someone writes a song that matches your vibe that perfectly, you might as well steal it).

Edie Sedgwick

The 1960s underground icon, Andy Warhol superstar, and socialite left a massive wake in the NYC music scene. Deeply impacting both the folk-rock and art-rock worlds.

“Just Like a Woman” & “Leopard-Skin Pill-Box Hat” by Bob Dylan: Dylan had a brief, intense relationship with Sedgwick in the mid-60s. “Just Like a Woman” captures her fragile, high-society vulnerability. “Pill-Box Hat” takes a sharp, satirical aim at her high-fashion sensibilities (because Bob just couldn’t resist a good passive-aggressive fashion critique). (and he’s a dick). (not sure I needed he’s a dick in ()’s but here we are).

“Femme Fatale” by The Velvet Underground: Written by Lou Reed at the explicit request of Andy Warhol. Mr Warhol wanted a song about Edie. It is a cynical, stark portrait warning the listener about a woman who will “build you up just to put you down” (leave it to Lou Reed to turn a friend’s personality traits into a cautionary tale).

Suze Rotolo

Before the mid-60s explosion, Suze Rotolo was Bob Dylan’s girlfriend—the woman walking arm-in-arm with him on the iconic cover of The Freewheelin’ Bob Dylan. Her move to Italy to study left Dylan devastated. She sparks two entirely different classic tracks (and proving that study abroad programs are great for music history).

“Don’t Think Twice, It’s All Right” by Bob Dylan: The bitter, bittersweet side of the coin. It’s a harsh but beautiful goodbye track. He’s masking the pain of her absence with a shrug of the shoulders. (the original “I don’t even care anyway” text message).

“Boots of Spanish Leather” by Bob Dylan: A pure, hauntingly melancholic dialogue in song form. It tracks the letters sent across the Atlantic, charting the slow, agonizing realization that love is fading across the ocean (which is a very poetic way of getting dumped via international mail).

Jane Birkin

The British actress and singer became the ultimate embodiment of French chic and the defining muse of legendary provocateur Serge Gainsbourg. Their creative and romantic partnership resulted in some of the most beautiful—and scandalous—pop music ever recorded.

“Je t’aime... moi non plus” by Serge Gainsbourg & Jane Birkin: Originally written for Brigitte Bardot (awkward). Gainsbourg re-recorded this breathtaking, famously explicit track with Birkin. It became a global sensation, topping charts while simultaneously being banned by radio stations and condemned by the Vatican (which, let’s be honest, is the ultimate marketing strategy).

“Ballade de Melody Nelson” by Serge Gainsbourg: The title track of their landmark 1971 concept album. Where Je t’aime was a direct explosion of passion, this track is dark, cinematic, and atmospheric. A sprawling, bass-heavy orchestration of Gainsbourg’s obsession with a character completely modeled after Birkin (just in case the first song didn’t make his obsession obvious enough).

Rosanna Arquette

In the 1980s, actress Rosanna Arquette was the ultimate Hollywood muse, running in elite musical circles and leaving a trail of massive pop and rock hits in her wake.

“Rosanna” by Toto: Written by David Paich, the song wasn’t technically directly about her. It was named after her because she was dating Toto keyboardist Steve Porcaro at the time. The band used her name as a placeholder, and it stuck. Creating an upbeat, horn-driven arena anthem (imagine having a massive ‘80s hit named after you just because you were standing in the room when they needed a lyric).

“In Your Eyes” by Peter Gabriel: After her relationship with Porcaro, Arquette lived with Peter Gabriel for several years. This soaring, aching masterpiece—immortalized in the movie Say Anything—was directly inspired by her. It captures a deep, spiritual level of romantic devotion (a slight upgrade from being a lyrical placeholder for Toto).

“She Makes Me Laugh” by The Monkees: Written decades later by Rivers Cuomo of Weezer for The Monkees’ 2016 album Good Times!. This charming, power-pop track was inspired by Cuomo’s own public, long-standing appreciation for Arquette’s classic ‘80s energy and charm.

“Men have three choices when it comes to women: love them, suffer for them, or turn them into literature.”

— Stephen Stills (And let’s be real, most rockstars choose all three in the span of one weekend).

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Hold up, we aren’t quite done yet—we’ve got room for exactly one more headliner. We could have just made this whole post about her and called it a day. She’s a double album all by herself. Let’s close it out with the ultimate queen of the liner notes.

Few artists have commanded a room, a stage, or a writer’s room quite like Stevie Nicks. With her flowing shawls, platform boots, and a vocal rasp that could cut through concrete. She basically hijacked their instruments and rewrote their chord progressions (and made them money).

Nicks wrote her fair share of legendary tracks about them AND she was also the direct target for an incredible array of songs written by the men (and women) caught in her orbit.

Lindsey Buckingham

To call their relationship “turbulent” is like calling a category 5 hurricane a gentle spring breeze. They didn’t just have standard relationship drama. Oh no. They essentially turned emotional warfare into a highly profitable business model.

They joined Fleetwood Mac as a package deal, broke up almost immediately, and then spent the next forty years forcing each other to sing harmonies on the brutal tracks they wrote about one another.

“Stephanie” (1973) by Buckingham Nicks: Before the fame, the cheating, and the stadium tours, there was just an acoustic instrumental. Written by Lindsey as a pure, finger-picked love song to Nicks, he used her real birth name—Stephanie Lynn Nicks—for the title. (A rare moment of instrumental peace before the lyrical warfare began).

“Go Your Own Way” (1977) by Fleetwood Mac: The ultimate passive-aggressive rock anthem. Written by Lindsey shortly after their breakup, Nicks famously expressed distress over the line “shacking up’s all you wanna do”. She begged him to take it out, but he kept it in (proving that petty behavior can be incredibly lucrative if you put a good drum beat behind it).

Joe Walsh

Stevie has gone on record calling Eagles guitarist Joe Walsh the “greatest love of her life.” It was a relationship fueled by standard ‘80s rock-star overindulgence, and it ended because they both realized they wouldn’t survive the decade if they stayed together.

“The Confessor” by Joe Walsh: This heavy, slow-burning art-rock track was written during the height of their chaotic, fast-lane romance. It reflects the deep, internal searching and personal demons they were both wrestling with at the time—a stark, gritty look behind the velvet curtains of rock stardom.

Don Henley

During a brief, high-flying late-’70s window, the Fleetwood Mac and Eagles universes collided when Stevie dated Don Henley. The relationship was brief, intense, and resulted in some heavy emotional baggage—and, of course, hit records.

“Hotel California” by The Eagles: While the song is broadly a dark metaphor for the excess of the Los Angeles music industry, Nicks has subtly hinted over the years that some of the specific, surreal imagery of the “witchy” woman with the “Mercedes bends” was a direct nod to her specific brand of dark-bohemian glamour.

“The Boys of Summer” by Don Henley: Written in the ‘80s well after they parted ways, this track is drenched in the nostalgia of looking back at past youth and lost love. Henley explicitly admitted that the famous line “I saw a Deadhead sticker on a Cadillac” was inspired by seeing Stevie driving around LA in her luxury car with a Grateful Dead decal slapped on the back. (Because nothing says “counter-culture rock star” quite like a bumper sticker on a car that costs more than a house).

Tom Petty

Stevie famously wanted to be in Tom Petty and the Heartbreakers—so much so that she practically forced her way into Petty’s life until he gave up and became her lifelong best friend and platonic soulmate.

“Insider” (1981) by Tom Petty and the Heartbreakers: Written by Petty specifically for Nicks after they became close friends. The irony? Petty fell so deeply in love with his own creation that he ultimately couldn’t part with it and kept it for his own album, Hard Promises. Stevie had to settle for singing breathtaking backup vocals on it instead.

The Next Generation & The Peers

Stevie’s influence didn’t stop with her direct ‘70s romantic partners. It rippled out to fellow touring buddies and the ‘90s alternative rock royalty who grew up worshipping her vibe.

“Stevie Baby” (1990) by Dave Stewart: Written by the Eurythmics after spending some intense, late-night creative time with Nicks in the recording studio. It captures that hypnotic, slightly exhausting spell she tended to cast on fellow producers and musicians.

“Malibu” (1998) by Hole: Written by Courtney Love (with heavy assistance from Billy Corgan), this sun-drenched, melancholic alternative track was heavily inspired by Nicks’ high-profile lifestyle during her time living in Malibu. It serves as a modern grunge-pop homage to the darker side of California glamour that Stevie pioneered.

“We were couple-y for a hot minute. But mostly, we were just a bunch of musicians trying to survive each other.” — Don Henley (Translation: It was a miracle anyone walked away from the ‘70s with their songwriting credits intact).

Turn it up!

Welcome into week 1052 of NEXT. This week is our Notable Songs of June 2026. At the end of every single month, we like to look back, review, and remind ourselves of the great new music we’ve played over the last few weeks on this show. If you’ve missed an episode, this is your quick way to catch completely up. These are the standouts that made the final list for the month. Turn it up, let’s start the discovery.

Fantastic Cat – “Don’t Let Go”

This track rolls out of the speakers with a brilliant, collaborative energy and a driving rhythm that makes you feel like you’re sitting in the back of a smoky club watching a supergroup just catch fire. Sounds like: The Traveling Wilburys and Dawes.

Johnny Marr – “Spin”

One of the most iconic guitar architects in rock history delivers a track that hits the ground running. It’s packed with his signature fluid, shimmering fretwork and a relentless driving energy that commands your full attention. Sounds like: The Smiths and Electronic.

The Legal Matters – “It Doesn’t Matter”

If you are a sucker for gorgeous, crystal-clear vocal harmonies and timeless power-pop songwriting, this is your sweet spot today. It’s a crisp, beautifully crafted tune that gives your ears an instant reason to smile. Sounds like: Teenage Fanclub and The Posies.

Francis of Delirium – “Little Black Dress”

Get ready for a brilliant explosion of nineties-tinted alternative rock that is both completely cathartic and deeply melodic. It hits with a shimmering, driving guitar line and an urgent energy that demands you turn the volume up a couple of notches. Sounds like: Soccer Mommy and Wolf Alice.

Weird Nightmare – “Where I Belong”

This project brings a fantastic mix of raw, distorted noise and undeniable pop hooks. It’s fuzzy, slightly chaotic, and carries a beautifully melodic core that proves you can mix grit with an absolute earworm of a chorus. Sounds like: Dinosaur Jr. and Guided By Voices.

Dea Matrona – “Magic Spell”

Get ready to be completely mesmerized by some incredible guitar-driven rock and roll coming straight out of Ireland. This duo brings a fierce, vintage swagger and infectious hooks that will have you under their spell before the first chorus hits. Sounds like: Fleetwood Mac and Royal Blood.

seeTrees – “Easy Times”

If you need a track that feels like the perfect soundtrack for a long, late-night drive with the windows down, this is it. It’s got a beautiful, rolling indie groove that completely wraps around you and refuses to rush. Sounds like: Real Estate and The War on Drugs.

Feeble Little Horse – “Rewind”

For the lovers of the beautifully weird and the brilliantly fuzzy, this track is your perfect playground. It’s a glitchy, unpredictable indie-rock journey that balances sweet, low-key melodies with chaotic bursts of guitar noise. Sounds like: Momma and MJ Lenderman.

Blanket Approval – “Falling Away”

This is a brilliant slice of modern alternative rock that relies on a driving bassline and a tight, nervous energy. It slowly builds its way up into a massive sonic landscape that demands you turn the volume up a notch. Sounds like: Interpol and Editors.

Spit! – “Dreams”

This track is an absolute dreamscape of sound. It layers shimmering guitars and ethereal vocals over a driving beat, creating a beautiful wall of alternative noise that completely pulls you in. Sounds like: Bully and Beabadoobee.

Eddie Vedder and Guitars Over Guns – “Better Believe”

When one of the most iconic voices in rock history teams up with a powerful youth-music mentorship program, magic happens. This track hits with a massive, soul-lifting rock energy and a soaring chorus that acts as a total reminder of why we fall in love with music in the first place. Sounds like: Pearl Jam and U2.

Metric – “Time Is A Bomb”

Emily Haines and company are back with a tight, pulsating electronic rocker that feels like a countdown timer ticking away in a room full of dynamite. It’s sleek, danceable, and carries that signature dangerous edge they perfect. Sounds like: Yeah Yeah Yeahs and Phantogram.

Stephen Wilson Jr. – “Preacher’s Kid”

Raw, heavy, and unapologetically honest storytelling. It hits you with a gritty, deep-south alternative edge that feels like a heavy rain on dusty ground, tackling heritage and heart with massive emotional weight. Sounds like: Chris Stapleton and Nirvana.

Goose – “Good Times/End Times”

This track builds an absolute kaleidoscope of sound, delivering a tight, infectious indie-groove. Rhythmic tension and release. It’s warm, adventurous, and packed with the kind of musical craftsmanship that completely fills the room. Sounds like: The War on Drugs and Phish.

Mod Lang – “In Advance”

We are closing out this month’s review with a brilliant, driving slice of underground guitar pop that hits the ground running and never looks back. It’s packed with crisp hooks, jangly guitars, and a frantic energy that will completely clear out the static in your day. Sounds like: R.E.M. and Guided By Voices.

And that wraps up our look back at the notable sounds of June 2026. Thank you so much for navigating the noise with me, showing up every week, and giving your valuable time to new music. Remember the rule of NEXT: these artists only survive if we show up for them, so find your favorites from today, buy a record, and share the noise. I’m Chris Bro, stay curious, and I’ll see you back here next week. Turn it up.

I can’t say it better so I’ll just let Kate explain. This is from Kate’s email.

I’ll be singing soon! If you’re local, come out to Constitution Park in Larchmont on Thursday July 16 to hear the newly-named Snowdrift! Tunes start at 7:30.

This is their playlist. Not too bad. PS: please listen to her version of “Because The Night”.

Bonus because I’m proud. Listen or watch some or all of The Drink with Kate Snow (she’s done over 50 - there are some amazing people and interviews). Links below.

Kate’s newsletter: Ok I knew about the Eric Andre Show going in to the latest taping for my show The Drink. For about a decade, Eric pretended to be an inept talk show host but really it was just an insane spoof where he pranked his guests & did things you couldn’t believe you were seeing on TV (think bear attacks, chainsaw to the desk, stripping naked).

So I was fully prepared for Eric Andre to prank me. He said he wanted to drink mojitos, but would they REALLY be mojitos? They were. Though he joked that he put psychadelics in mine. Turns out, he just wanted to have a meandering conversation filled with hilarious moments and a lot of introspection about what it takes to do comedy on his level.

The part where he grills me on where I met Chris and then proceeds to find tape of me from the 1990s on a local station in New Mexico is mortifying but also brilliant. It took me hours to put together this podcast because he was so all over the place!

It’s actually hard to describe this so you’ll just have to listen to “The Drink” podcast wherever you get your podcasts. And please follow to get The Drink every month.

Or… you can watch the video episode here or on Youtube here.

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Work-related end note— we just moved into a new studio for NBC News Daily and it is awesome! You can find me there every single weekday from 2-4pm ET. Stream it wherever you get content- so like Hulu, Roku, Peacock… Some of you see me on your local NBC affiliate too. And please follow me on Instagram, Facebook, X, Threads: @tvkatesnow is me.

Happy Summer!

Kate

And if you love someone hug them right now.

• Music Question: Bands You’d Least Expect to Use a Harmonica

• Next: My weekly new music radio show. Week 1051.

• Musical Thoughts. None this week.

When you think of the harmonica, your brain instantly maps out a very specific musical terrain. Right? The dusty folk-rock of Bob Dylan and Neil Young, or the gritty, smoke-filled clubs of Chicago blues legends like Little Walter. It’s an instrument built for roots, raw emotion, and front-porch simplicity.

But every now and then, a band rooted in heavy distortion, pristine pop architecture, or jagged alternative angst reaches into their gear bag and pulls out a mouth organ. When these artists subvert expectations - it becomes a secret weapon. Distorted through amplifiers, woven into wall-of-sound production, or used to inject a sudden burst of vulnerable, organic grit into an otherwise synthetic or heavy landscape.

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Here is a look at the tracks where the harp makes an appearance in a musical world you’d least expect to find it.

Alice in Chains — “Don’t Follow”

Coming from one of the sludgiest, darkest bands of the Seattle grunge era, this track from the Jar of Flies EP is a breathtaking curveball. It starts as a fragile, acoustic folk ballad sung by Jerry Cantrell. Right in the middle, a soulful, mournful harmonica solo glides in, bridging the gap before Layne Staley bursts in with his powerhouse, agonizing vocals. It adds a heartbreaking, campfire-isolated vibe you’d never expect from the masters of “Man in the Box.”

Supertramp — “Take the Long Way Home”

Supertramp is famous for pristine progressive pop, roaring saxophone solos, and the bright bark of the Wurlitzer electric piano. But “Take the Long Way Home” kicks off with a lonely, haunting, echoing harmonica melody played by Rick Davies. It sounds like someone whistling on a deserted street corner, perfectly setting up the song’s themes of isolation before the lush, upbeat piano groove takes over.

Black Sabbath — “The Wizard”

You don’t exactly expect the godfathers of heavy metal to kick off a track with a bouncy, folklore-sounding mouth organ. But before Tony Iommi’s massive, sludgy guitar riff drops in, Ozzy Osbourne himself blows a haunting, rhythmic harmonica intro. It gives the track an eerie, proto-metal-meets-delta-blues texture that they never really repeated.

Weezer — “My Name Is Jonas”

The opening track of Weezer’s Blue Album starts with a delicate, acoustic fingerpicking pattern that suddenly explodes into their signature wall of crunchy geek-rock power chords. Right at that transition, Rivers Cuomo bursts in with a bright, frantic harmonica blast that perfectly introduces the chaotic nostalgia of the album.

The Clash — “(White Man) In Hammersmith Palais”

The Clash were famous for smashing punk rock boundaries, but dropping a reggae-style harmonica line into an early punk single was an incredibly bold move. Mick Jones blows a soulful melody that weaves between Joe Strummer’s biting lyrics, grounding the song beautifully in its roots-reggae influences.

INXS — “Suicide Blonde”

INXS was the epitome of sleek, danceable Australian new wave and alternative rock. So when they needed a gritty, screeching hook for “Suicide Blonde,” they didn’t use a synth—they hired blues legend Charlie Musselwhite. Turned up high in the mix and heavily processed, the harmonica mimics a frantic horn section, fitting perfectly into their late-’80s club rock vibe.

Pearl Jam — “Smile”

Another brilliant moment where the Seattle scene embraced the harp. On No Code, Eddie Vedder dons a harmonica holder (a direct nod to his love for Neil Young) to anchor “Smile.” Played over Stone Gossard’s droning, distorted guitar chord progression, the raw, unpolished wail of the harmonica adds an incredibly vulnerable, rustic layer to the track.

XTC — “The Ballad of Peter Pumpkinhead” & “In Another Life”

As architects of brilliant, complex indie-pop, XTC isn’t a band you associate with the blues harp. Yet on “The Ballad of Peter Pumpkinhead” (Nonsuch, 1992), Andy Partridge uses a blaring, driving harmonica to push the track’s propulsive folk-rock energy. To avoid a pristine pop sound, Partridge notably plugged the harmonica (and his vocals) directly into a small, overdriven amplifier to achieve a dirty, aggressive, and distorted blues tone. They leaned into the instrument again on “In Another Life” (Wasp Star, 2000), this time featuring bassist Colin Moulding on harmonica for a jaunty, down-to-earth track that was specifically inspired by the band’s deep jug band and early rock and roll roots.

Ministry — “Filth Pig”

If Black Sabbath using a harmonica is surprising, industrial metal pioneers Ministry using one is downright shocking. On the title track of Filth Pig, Al Jourgensen takes an instrument typically known for warmth and bends it into a screeching, metallic nightmare. It is layered deep within a wall of agonizing guitar noise, sounding more like a factory siren than a blues harp.

U2 — “Trip Through Your Wires” & “Desire”

During The Joshua Tree and Rattle and Hum eras, U2 deeply immersed themselves in American blues, gospel, and rock traditions. On “Trip Through Your Wires,” Bono steps up on the mouth harp to drive a loose, whiskey-soaked blues groove that feels miles away from their polished post-punk roots. They doubled down on this raw energy with “Desire,”where the entire driving, Bo Diddley-inspired rhythm is propelled by a famous, wailing harmonica part that gives the track its gritty, hyper-charged engine.

The “Cheat” Sheet: Tom Petty’s Harmonica Staples

You can never have too much Tom Petty. Everyone needs a little more TP in their life. There is something magical about the way he and the Heartbreakers could take a dead-simple harmonica part and turn it into the emotional anchor of an entire track.

While Tom Petty fits much closer to the classic rock/folk-rock lineage where you might expect a harmonica, people often overlook just how central the instrument is to the DNA of some of his finest, most atmospheric tracks.

“You Don’t Know How It Feels” — The ultimate laid-back, late-night groove. The entire track is anchored by a heavy, looping drumbeat and a prominent, instantly recognizable main E harmonica riff that acts as the song’s secondary vocal. Just when you think the groove has settled completely, Petty caps it all off with a brilliant, airy A harmonica solo that feels like rolling the windows down on an empty highway.

“Mary Jane’s Last Dance” — Frequently cited for its iconic A-minor harp breaks that give the track its haunting, mysterious, road-weary edge. The harmonica sounds lonely, cinematic, and slightly dangerous. Live - it instantly electrifies the room and pulls everyone right into that dark, swampy Indiana groove. (And I love that Kate’s band covers this song with Kate playing the harmonica too)

“Wildflowers” — The title track from his 1994 masterpiece is an exercise in beautiful restraint. Instead of driving the rhythm, Petty uses subtle, sweet harmonica layers to color the margins of a gorgeous, acoustic goodbye letter. The harp lines drift in and out like a gentle breeze, perfectly matching the song’s themes of freedom, peace, and letting go of someone you love.

“Fault Lines” — A brilliant deeper cut from 2014’s Hypnotic Eye that showcases his incredible later-career groove. On this track, the harmonica abandons the sunny folk-rock warmth of his ‘90s work and gets down in the dirt. Petty uses the harp to accent a tense, trembling, and anxious blues-rock rhythm, proving that even four decades into his career, he could still make the instrument sound sharp, gritty, and vital.

What makes these tracks work so beautifully is the element of friction. By dropping a centuries-old folk instrument into the middle of alternative rock anthems, progressive pop suites, or industrial metal noise walls, these artists managed to disrupt their own sonic formulas.

The harmonica isn’t just a relic of traditional blues or campfire singalongs. No. It’s for everyone! It’s an incredibly versatile, deeply expressive tool capable of cutting through any genre when a song calls for an extra dose of raw human energy. A reminder that in music - the best moments usually happen when you throw out the rulebook, pivot away from the expected, and just turn it up.

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Swim Deep – “You, Me, And Mary”

This track delivers a beautiful, sun-drenched swirl of indie-pop that feels like catching a second wind on a warm afternoon. It’s got a hazy, rolling rhythm and a massive melodic hook that completely wraps around you. Sounds like:The Stone Roses and Jagwar Ma.

Johnny Marr – “Spin”

One of the most iconic guitar architects in rock history returns with a track that hits the ground running. It’s packed with his signature fluid, shimmering fretwork and a relentless driving energy that commands your full attention. Sounds like:The Smiths and Electronic.

The Legal Matters – “It Doesn’t Matter”

If you are a sucker for gorgeous, crystal-clear vocal harmonies and timeless power-pop songwriting, this is your sweet spot today. It’s a crisp, beautifully crafted tune that gives your ears an instant reason to smile. Sounds like: Teenage Fanclub and The Posies.

Cola – “Hedgesetting”

This is a sharp, fiercely intelligent piece of angular post-punk that relies on a tight, minimalist groove. It builds a fascinating, nervous tension with its rhythmic guitar work and clever, spoken-style delivery. Sounds like: Parquet Courts and Television.

The Dahlmanns – “What’s Inside A Mind”

Get ready for a blast of pure, high-octane garage-pop adrenaline coming straight out of Norway. It’s fast, it’s incredibly catchy, and it carries a brilliant, vintage fuzz-rock energy that will have you tapping the wheel immediately. Sounds like:The Ramones and The Primitives.

Weird Nightmare – “Where I Belong”

This project brings a fantastic mix of raw, distorted noise and undeniable pop hooks. It’s fuzzy, slightly chaotic, and carries a beautifully melodic core that proves you can mix grit with an absolute earworm of a chorus. Sounds like: Matthew Sweet and Guided By Voices.

Ultra Lights – “Good Enough”

This track glides out of the speakers with a smooth, atmospheric indie-rock confidence. It layers lush, shimmering guitars over a steady, confident beat, making it the perfect soundtrack for a long, open highway drive. Sounds like: The Strokes and DIIV.

Case/Lang/Veirs – “Accidental Tattoo”

We are celebrating a decade of musical brilliance with this anniversary spin from a legendary indie-folk supergroup. The vocal blend between these three distinct powerhouses is absolutely breathtaking and deeply moving. Sounds like: Neko Case and boygenius.

Midred – “Fenceline”

This is a gorgeous, slow-burning piece of alternative indie that feels incredibly intimate. It slowly unfolds with a raw, acoustic foundation before building into a rich, emotional landscape that stays with you long after the song ends. Sounds like: Phoebe Bridgers and Big Thief.

SOAK – “Death Valley Fridge Magnet”

An absolutely stunning return that balances intricate, poetic storytelling with a lush, expanding indie-pop production. It captures a beautiful, vulnerable melancholy that pulls you right into its unique sonic world. Sounds like: Julien Baker and Holly Humberstone.

Eels – “Cap In Hand”

Mark Oliver Everett is back with his signature blend of quirky instrumentation, bittersweet grit, and brilliant songwriting. It’s a beautifully understated, soulful track that reminds you why his catalog is so deeply cherished. Sounds like: Beck and Tom Waits.

Elizabeth Moen – “Renaissance Man”

Prepare to be completely stopped in your tracks by an absolute powerhouse of a vocal performance. This track drips with soulful, bluesy alternative grit and a fierce lyrical honesty that demands you crank the volume right up. Spencer Tweedy drums and produces. Sounds like: Brittany Howard and Sharon Van Etten.

Olivia Rodrigo – “Purple”

Stepping away from the stadium-sized pop anthems, this track highlights a beautifully raw, stripped-back alternative vulnerability. It relies on a haunting melody and a deeply personal lyric that completely fills the room. Sounds like: Lorde and Fiona Apple.

The Snuts – “Summer Rain”

This Scottish outfit delivers an absolute firecracker of an indie-rock anthem. It’s packed with infectious, bouncing rhythms, a massive sing-along chorus, and a high-energy swagger that is completely contagious. Sounds like: Arctic Monkeys and Kasabian.

Hard-Fi – “Always and Forever (Remastered)”

We are closing out this week’s set of discoveries with a beautifully polished, high-energy blast of 2000s indie-dance history. The remaster makes those sharp guitars, pulsing basslines, and soul-stomp choruses sound bigger and bolder than ever. Sounds like: The Clash and Franz Ferdinand.

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and remember if you love someone hug them right now!

• Music Question: Blue Water, Big Chords.

• Next: My weekly new music radio show. Week 1050.

May the breeze be favorable, the waves push you right along, and the cockpit speakers stay loud.

A friend recently asked me to write a piece on sailing songs for his monthly magazine. We trimmed the sheets and got it published, and while I’m a little late dropping anchor with it here, there is still plenty of blue water ahead. Don’t worry, we’re not ready to heave-to just yet. The sailing season is still going strong.

There is a unique magic when the engine cuts out, the sails fill, and the hull starts to hum. These are the tracks that match that exact frequency. Drop the centerboard, find your line, and turn this up.

Whether you’re hard on the wind or running dead downwind with the spinnaker flying, these songs belong on your cockpit speakers. Here is the wreckage of that musical voyage, pulled straight from the pages of the mag:

Great Songs About Sailing

At the Sailors’ Dinner last fall, a comment was made that the Mainsheet focuses too much on racing. “There’s more to sailing than racing,” one participant noted. He was right. That’s why the last issue discussed celestial navigation and...sailing movies. Building on the entertainment theme, this issue’s editorial plan called for a review of the best sailing songs. The Mainsheet edit team began working on this when a light went off. “Hey, LYC Member Chris Bro does a music blog (Shaped By Sound on Substack). Why not ask him for his sailing playlist?” A quick request went out to Chris and the following is his submission making for a wonderful read (and listen):

The definitive anthem for a peaceful day on the water is Christopher Cross’s “Sailing” (1979). This track is the gold standard of “Yacht Rock,” utilizing lush production and smooth vocals to mirror the tranquility of the open sea. Rather than focusing on the mechanics of a voyage, it treats sailing as a therapeutic escape, describing the physical act of “reaching” and letting the wind take over as a way to find inner peace and leave the chaos of land behind.

For a more literal take on navigation and the mariner’s journey, Crosby, Stills & Nash’s “Southern Cross” (1982) offers harmony and storytelling. The song follows a sailor heading south through the Pacific to heal from a broken heart, specifically referencing the Southern Cross constellation used for navigation in the Southern Hemisphere. With mentions of Papeete and the “Seven Seas,” the driving rhythm mimics a ship cutting through a steady swell, emphasizing the physical and spiritual journey of the long-haul sailor.

In contrast to the polished ease of leisure boating, Billy Joel’s “The Downeaster ‘Alexa’” (1989) provides a gritty, haunting tribute to the working-class fishermen of Long Island. The music utilizes a violin to mimic a traditional sea shanty, grounding the listener in the reality of the commercial mariner. It is deeply rooted in the geography of the Northeast, name-checking Block Island Sound and Martha’s Vineyard while highlighting the struggle of independent boat owners fighting the elements and a changing economy to maintain their livelihood.

The idea of sailing as a grand metaphor for starting over is perfectly captured in Styx’s “Come Sail Away” (1977). While the track eventually takes a theatrical turn toward the stars, the opening verses use the ocean as a symbol of ultimate freedom and hope. It begins as a delicate piano ballad before exploding into a progressive rock odyssey, capturing the aspirational feeling of untethering from the shore to seek a better life on the horizon.

The bittersweet reality of the seafaring life is explored in Looking Glass’s “Brandy (You’re a Fine Girl)” (1972). Through the story of a harbor-town barmaid and the sailor she loves, the song illustrates the “sailor’s itch”—the psychological inability to remain on land. The sailor’s declaration that “the sea is my lady” highlights the romanticized but lonely existence of those who move from port to port, where the only true constant is the ocean itself.

Bringing a modern soulful energy to the nautical theme, Leon Bridges’ “Smooth Sailing” (2015) uses the terminology of the sea to describe the effortless chemistry of a new relationship. Unlike the literal navigation of Crosby, Stills & Nash, Bridges uses “smooth sailing” as an idiom for a life without friction. The track’s 1960s-inspired rhythm and horn sections create an upbeat, swaying motion that feels like a boat gliding over calm, sun-drenched water, celebrating the joy of a journey where everything finally feels right.

The transformation of Bobby Darin’s “Beyond the Sea” (1959) from its origins in Charles Trenet’s 1946 French classic “La Mer” is one of the most fascinating journeys a melody has ever taken across the Atlantic. While Trenet’s original was a soft, poetic tribute to the Mediterranean, Darin’s version injects a driving, big-band swing arrangement where the crashing brass mimics rolling surf. The track transforms into a high-energy tale of a sailor traversing the ocean for love. For a completely different flavor of this exact maritime melody, legendary guitarist Django Reinhardt’s instrumental rendition of “La Mer” strips away the booming horns in favor of his signature acoustic virtuosity proving how a single melody could beautifully evolve into both a swinging American vocal standard and a timeless piece of acoustic jazz history.

Finally, Jimmy Buffett’s “Son of a Son of a Sailor” (1978) offers a more contemplative look at nautical heritage. Moving away from his more famous party hits, this song focuses on how the lure of the ocean is passed down through generations. It’s a tribute to the simplicity of life on a boat, the fascination with the “green flash” at sunset, and the belief that the sea “gets in your blood,” making the water the only place a person truly feels at home.

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Print space is a harsh captain. He had to leave a few brilliant tracks stranded on the dock because he ran out of room in the magazine pages. But out here on Substack, we’ve got clear horizons and plenty of sea room to stretch out. So, for your sailing and listening pleasure, I’m shaking out the reef and expanding the playlist (Wow I really leaned into the sailing terms). Here are the quick hits on a few more absolute classics that deserve a spot in your ship’s log. Consider this the Deluxe Version with bonus tracks for your summer sailing playlist.

So if there was room:

The search for freedom and the pull of the water remain powerful themes in modern music, ranging from gentle folk-pop to aggressive electronic rock. These tracks continue the tradition of using the sea as a backdrop for deep emotional transitions, whether through quiet acoustic melodies or high-energy anthems.

The sense of longing for a fresh start is beautifully captured in David Gray’s “Sail Away” (1998). Unlike the high-seas adventures of classic rock, Gray uses sailing as an intimate, romantic invitation to escape the “crazy world” and the “hustle and the bustle.” The song’s rhythmic acoustic guitar and atmospheric production create a feeling of drifting into the horizon with a loved one, emphasizing the ocean as a sanctuary where two people can find clarity and “lose the path” together.

Taking a more whimsical and metaphorical approach, Rainbow Kitten Surprise’s “All That and More (Sailboat)” (2015) treats a sailboat as a symbol of loyalty and support within a relationship. The lyrics use the vessel as a promise to be whatever the other person needs—whether it’s a “sailboat” to carry them or a “mast” to keep them upright. It’s a folk-infused track that captures the steady, swaying motion of being on the water, framing the sea not as a danger, but as a space where one can safely carry the weight of another’s heart.

Bringing a raw, contemporary perspective to nautical imagery, Gigi Perez’s “Sailor Song” (2024) uses the archetype of the sailor to explore identity and unrequited longing. The song is stripped back and emotionally charged, focusing on the idea of a “sailor” as someone who is constantly searching and perhaps a bit adrift. It moves away from the literal mechanics of boating to focus on the spirit of the mariner—the inherent restlessness and the vulnerability of being exposed to the elements while looking for a place to belong.

For those who view the ocean as the ultimate party destination or a sun-drenched escape, lovelytheband’s “sail away” (2022) provides a bright, indie-pop perspective. This track leans into the “vacation” aspect of sailing, using a breezy, upbeat melody to describe the desire to leave behind the stress of everyday life. It’s about the mental relief that comes with the “tide coming in” and the physical act of “sailing away” to a place where the only thing that matters is the person next to you and the rhythm of the waves.

Finally, for a complete departure from the peaceful tranquility of the water, AWOLNATION’s “Sail” (2011) offers an aggressive, dark, and electronic-heavy take on the theme. There is no gentle swaying here; instead, the song uses a heavy, distorted synth bass that feels like a storm surge. The repeated command to “Sail” feels less like a leisure activity and more like a desperate, internal struggle to navigate through mental turbulence. It’s the sonic equivalent of a solo sailor fighting a gale in the middle of the night—intense, gritty, and raw.

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Let’s be honest: life on land gets crazy and messy, but everything feels a bit more aligned once you’re out on the water. So, if you’ve got a hull clearing the marina this weekend, consider this my formal request: invite me on your boat. I’ll bring the playlist. (and a few beers or bourbon - captain’s choice).

As we bring this particular playlist back into the slip, I want to thank you all for reading, listening, and coming along for the ride. I’ll leave you with a bit of classic maritime wisdom: A ship in harbor is safe, but that is not what ships are built for.

So get out there, drop the canvas, and turn up the volume. Wishing you all fair winds and following seas on whatever waters you’re crossing this week. May your journey be calm and your return be swift.

This is week 1050 of NEXT with Chris Bro. We are right back at it today, hunting down the tracks that shake things up and cut through the noise to find you your next favorite song. Every week, no exceptions. Thank you for listening to new music—music is life, and we don’t take your ears for granted. Today’s lineup is absolutely brilliant. It’s one hell of a week. Enjoy!

Turn it up, let’s start the discovery right now.

Fantastic Cat – “Don’t Let Go”

Modern-vintage rock and roll. It rolls out of the speakers with a brilliant, collaborative energy and a driving rhythm that makes you feel like you’re sitting in the back of a smoky club watching a supergroup just catch fire. Sounds like: The Traveling Wilburys and Dawes.

Eddie Vedder and Guitars Over Guns – “Better Believe”

When one of the most iconic voices in rock history teams up with a powerful youth-music mentorship program, magic happens. This track hits with a massive, soul-lifting rock energy and a soaring chorus that acts as a total reminder of why we fall in love with music in the first place. Some of these kids are barely in their teens!!! Rock on. Sounds like: Pearl Jam and U2.

Julia Jacklin – “Get Away From Me (I Think I’ll Love You Soon)”

This is a beautifully sharp and vulnerable slice of indie rock that captures that exact moment when cynicism starts to lose its grip. It balances an understated, conversational vocal with a slow-burning melody that completely sneaks up on you. Sounds like: Sharon Van Etten and Courtney Barnett and maybe a bit of Liz Phair’s quieter moments.

Francis Of Delirium – “Little Black Dress”

Get ready for a brilliant explosion of nineties-tinted alternative rock that is both completely cathartic and deeply melodic. Chris Bro happy boy. It hits with a shimmering, driving guitar line and an urgent energy that demands you turn the volume up a couple of notches. Sounds like: Smashing Pumpkins and Wolf Alice.

Goose – “Good Times/End Times”

This track builds an absolute kaleidoscope of sound, delivering a tight, infectious indie-groove. Love the rhythmic tension and release. It’s warm, adventurous, and packed with the kind of musical craftsmanship that completely fills the room. Sounds like: The War on Drugs and Phish.

Remember Sports – “Selfish”

If your day needs an immediate jumpstart, here is a blast of brilliant indie-punk adrenaline. Jangle Pop! It’s fuzzy. It carries a raw, hook-heavy honesty that will have you tapping your steering wheel or shaking the floorboards instantly. Sounds like: Charly Bliss and Sleater-Kinney.

Brown Horse – “Twisters”

This is a gorgeously dusty, slow-burning piece of alternative-country that feels like a long look at a fading horizon. It’s rich with storytelling grit, aching melodies, and the kind of authentic soul that stays with you long after the song fades. Sounds like: Uncle Tupelo and Jason Isbell.

Jack White – “Dollar Bill”

The modern king of the garage-rock riff is back, and he is bringing that jagged, high-voltage energy that sounds like a raw wire sparking on concrete. It’s gritty, unpredictable, and absolute proof that nobody manipulates six strings quite like him. Sounds like: The White Stripes and The Black Keys.

Sloan – “Believe In Me (Reprise)”

We are diving into the deep cuts today with a rare, beautiful glimpse from a legendary B-side collection. It takes a familiar melodic concept and strips it down to something beautifully intimate and completely essential for any real pop purist. Sounds like: Cheap Trick and The Beatles.

The Linda Lindas – “Burning Out”

The future of alternative rock is right here, and they are bringing a massive, hook-filled anthem that balances teenage angst with absolute musical precision. It’s tight, powerful, and carries an infectious punk-pop energy that makes the future look incredibly bright. Sounds like: Bikini Kill and Green Day.

KELS – “Call Me”

This track is a smooth, sun-drenched piece of indie-soul/country that effortlessly glides out of the speakers. It’s anchored by a mesmerizing vocal performance and a laid-back, late-night groove that completely settles your mind the second it starts. Sounds like: Amy Winehouse and Joy Oladokun.

The Lemon Twigs – “My Heart Is In Your Hands Tonight”

Leave it to the D’Addario brothers to deliver another stunning, shimmering piece of pure power-pop perfection. It’s packed with lush vocal harmonies and a sweeping, romantic retro melody that will give your ears an instant smile. Sounds like: The Beach Boys and Big Star.

Banda AL9 – “She Can Do It All”

How about another band of brothers? This is a brilliant, high-energy burst of international guitar pop that carries a wonderfully vintage, sixties-inspired heartbeat. It hits the ground running with frantic hooks and an absolute celebratory vibe that is completely contagious. Sounds like: The Kinks and The Fab Four.

US3 – “Cool Cat”

If you need to cool the room down for just a few minutes, this is your perfect escape hatch. It blends a sophisticated, jazzy groove with a smooth alternative cadence that feels like a midnight walk through the city—utterly hypnotic. Sounds like: A Tribe Called Quest and Digable Planets.

Iceage – “Ember”

We are closing out this week’s set of discoveries with a dark, brooding, and intensely theatrical post-punk masterpiece. It builds with a nervous, angular guitar energy and a fierce intensity that leaves you wanting to hit the repeat button immediately. Sounds like: Nick Cave & The Bad Seeds and Fontaines D.C.

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Thanks for listening. And/Or reading.

And if you love someone hug them right now.

First off, the campus itself is brilliant—when you picture a classic, majestic “university” in your mind, this is the exact place you’re imagining. Quite different from my small (tiny) Mid-West College in Wisconsin.

I also happened to be the only non-Big Red spouse in our immediate circle. And this is totally fine. I’ve met most of Kate’s friends over the years, and we get along just great. Though, to be fair, they probably get the perfect amount of Chris Bro. Which is to say: a little. A weekend with Chris Bro is more than enough.

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Every night of the reunion, they set up three massive tents in a row. One had a DJ, one had karaoke, and one had a live band. You can probably guess where I wanted to spend—and did spend—most of my time. Live music is just good for your soul.

But on the final night, the group migrated over to the DJ tent. Now, these were objectively very good DJs. It’s not my scene. The whole setup just isn’t for me. For starters, I can’t stand when a DJ wants to “show off” by playing maybe 30 seconds of a track before abruptly mixing into 30 seconds of the next one. Let the song breathe! On top of that, I didn’t know about 90% of what they were spinning.

Whenever I say something like that, people inevitably look at me a wee bit shocked (understandably) and say: Surely, Chris, you know more music than that.

Nope. I listen to more music than most - and it still shocks Kate when a massive hit comes on and I say: I’ve never heard this song in my life.

She’ll look at me like I’ve been living under a rock and say: But Chris, it’s just in the world.

Well, it’s not in my world.

Case in point: the DJ finally dropped Run-D.M.C.’s “It’s Tricky.” My ears perked up. I actually started to move toward the dancing circle. But just as the chorus ended (That was all he played too. Just the chorus.) — right as I was literally about to unlock my hips and commit to the groove—bam. The DJ blended it right into some modern pop song I’d never heard before. Moment ruined.

Or when he combined the guitar intro to GnR’s “Sweat Child O Mine” with the lyrics to The Killer’s “Mr Brightside.” Yes, a fun trick. Sure. But I’d rather have them both played separately please. I definitely would have been jumping around! And yet I couldn’t get past the combo - and my own feeling of wanting both on their own. Yes - it’s all on me. I can guarantee no one else in that tent even though in that way…in that moment. My musical curse.

So, I did what any self-respecting rock guy would do. I grabbed a beer, stood on the perimeter, and watched. And I was completely fine with that.

The next morning at our final breakfast, everyone was sitting around reminiscing about the weekend. The topic of the previous night’s dancing came up. I ended up having this absolutely brilliant chat over my morning coffee with an equally brilliant lady whom I had really just met that weekend. Hear me out. If Cornell is the ideal picture of a university, this woman is the definition of lovely on every level. When I grow up and become a true person, she is exactly who I hope to become.

We got into this fascinating conversation about the act of dancing and how it helps a person on so many different levels—mentally, physically, and socially. As we were talking, a lightbulb went off. I looked at her and said: You just gave me the exact topic for my next music newsletter.

I think she thought me crazy. Definitely thinking: aren’t you the guy that literally didn’t dance all night? How (or why?) would you write about dancing?

Which brings us to today.What happens to us when we move to music. And yes, I’m writing this from the perspective of a self-proclaimed non-dancer. Okay, maybe not a total non-dancer... just someone who doesn’t dance to modern pop, and whose hips strictly require more than 30 seconds of Run-D.M.C. to actually unlock.

Here is why “dancing it out” is actually the ultimate workout for your body and your brain…

Why Dancing is the Ultimate Workout

If the thought of a treadmill makes you want to cry, it’s time to trade the gym for the “groove.”

Let’s be clear: You do not need to be a “dancer” to do this. In fact, this is for those of us who feel a bit like a startled giraffe when the beat drops. Whether you are attempting a sleek studio routine or just violently flailing your limbs in the kitchen, you are engaging in a “successive series of purposeful rhythmic movements”—and your brain is loving every second of it.

Here is why “dancing it out” is one of the best things you can do for your body and mind:

The Physical Payoff (Stealth Cardio)

Heart & Muscle: Dancing is a full-body aerobic workout that lowers the risk of heart disease while building functional strength and core stability.

Accessibility for Any Body: Unlike high-tech gym equipment, dance has zero barriers. No matter your age or mobility level, you can scale the intensity. As long as there’s music, you can move.

The Mental Health “High”

Stomping Out Depression & Anxiety: Dancing releases a chemical cocktail of endorphins, dopamine, and serotonin while actively lowering cortisol (the stress hormone). It’s an effective way to alleviate symptoms of depression and anxiety in both youth and older adults.

The “Groove” Factor: “High groove” music—rhythms that induce a pleasurable desire to move—triggers instant joy. This isn’t just exercise; it’s a “cathartic release” that lets you move without boundaries or expectations.

Confidence & Self-Trust: For kids and adults alike, dance increases self-esteem and self-expression. It’s a safe space to find your rhythm and trust your own body.

The Science of Social Bonding (my brilliant new friend had a lot to say about this aspect)

Group Therapy: Much of the mood-boosting benefit of dance comes from the interaction. Whether it’s partner dancing or a group class, the shared experience reduces feelings of isolation and increases interpersonal skills.

Cultural Connection: Beyond fitness, dance is a powerful cultural touchstone. It tells stories, expresses joy, and connects us to our heritage and community.

Synchronized Empathy: When you match your movements to others or the music, you are practicing a form of empathy. This synchronization encourages social bonding and feelings of interconnectedness.

A Total Brain Overhaul

Dancing is neurologically demanding. Crazy as that seems it is. It forces the sensory, motor, cognitive, social, and emotional areas of your brain to “talk” to one another.

Neural Plasticity: Because it’s so mentally taxing, dance helps create new neural pathways. Long-term training can actually change your brain structure, particularly in areas associated with motor and auditory functions.

Fighting Neurodegenerative Disorders: Dance therapy has massive potential to counteract age-related cognitive decline. For those with Parkinson’s, music acts as an “external metronome” to help with gait and speech. For example, the firm steps of the Tango can help prevent “freezing” episodes and strengthen brain networks for movement.

Dementia Prevention: Studies show that dance can protect the brain’s “white matter,” which usually breaks down as we age. It’s essentially a shield against neurodegeneration.

The Bottom Line:

You don’t need a specific body type or a professional background. You just need a song with a good “groove.” Dancing develops relationships, builds a stronger brain, and increases feelings of togetherness.

So, Call up your friends - the club or lock your bedroom door, find a playlist that makes you want to move, and go bust a move—it’s officially doctor-recommended.

The Final Track

So, will you catch me tearing up a crowded dance floor to a 30-second snippet of a Top 40 remix anytime soon? Absolutely not. My hips remain firmly locked until a full rock groove or a classic bassline gives them permission to move.

But sitting at that breakfast table at Cornell, listening to a brilliant new friend break down why those sweaty, chaotic hours under the tent mattered so much, it clicked for me. Dance isn’t about perfection, and it certainly isn’t about genetics. It’s an evolutionary cheat code for a healthier, happier life. It forces our brains to rewrite their own pathways, protects our minds as we age, and glues us together socially in a way that regular exercise just can’t replicate.

You don’t need to be a professional dancer to get the benefits of dance. You just have to be willing to look a little ridiculous for the sake of your longevity, your brain, and your happiness.

The next time a song with a high groove comes on, don’t overthink it. Just move.

Find a track that lets the music actually breathe, and just move. Your brain, your heart, and your soul will thank you for it.

What’s the one song that guarantees you’ll unlock your hips and hit the floor? Leave a comment and let me know—I might even add it to my world.

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Welcome in. It’s week 1049 of NEXT and we are back chasing that song becomes your NEXT, new favorite song. No predictable playlists - just an absolute beast of a lineup today. We are pulling together historic live tracks, sleek electronic currents, and raw alternative debuts. Crank the speakers, the search party starts right now.

Stephen Wilson Jr – “Preacher’s Kid”

Raw, heavy, and unapologetically honest storytelling. It hits you with a gritty, deep-south alternative edge that feels like a heavy rain on dusty ground, tackling heritage and heart with massive emotional weight. And damn he does not hold back. Sounds like: Chris Stapleton and Nirvana.

seeTrees – “Easy Times”

If you need a track that feels like the perfect soundtrack for a long, late-night drive with the windows down, this is it. It’s got a beautiful, rolling indie groove that completely wraps around you and refuses to rush. Sounds like: Real Estate and The War on Drugs.

Dea Matrona – “Magic Spell”

Get ready to be completely mesmerized by some incredible guitar-driven rock and roll coming straight out of Ireland. This duo brings a fierce, vintage swagger and infectious hooks that will have you under their spell before the first chorus hits. Sounds like: Fleetwood Mac and Royal Blood.

Dea Matrona is Latin for “Divine Mother Goddess”. In ancient Celtic mythology and religion, she was a revered mother goddess associated with fertility, rivers, and life-giving forces.

Blanket Approval – “Falling Away”

This is a brilliant slice of modern alternative rock that relies on a driving bassline and a tight, nervous energy. It slowly builds its way up into a massive sonic landscape that demands you turn the volume up a notch. Sounds like: Interpol and Editors.

Girl Tones – “Stubborn Mouth”

An absolute jolt of pure, unadulterated garage-rock adrenaline. It’s raw, it’s fuzzy, and it carries the kind of fierce, independent attitude that reminds you exactly why rock and roll will never die. Sounds like: The Kills and Deap Vally.

Family Stereo – “Fault Lies”

A gorgeous, sun-drenched indie-pop anthem that instantly gives your ears a reason to smile. It balances crisp harmonies with a bouncing rhythm section, making it the perfect track to shake off the weight of the week. Sounds like: Vampire Weekend and Phoenix.

Improvement Movement – “Still Cold”

For the lovers of the beautifully eccentric and the delightfully retro, this track is your playground. It blends a laid-back, late-sixties psychedelic groove with sharp, modern indie-pop sensibilities for a totally unique vibe. Sounds like: The Flaming Lips and Mac DeMarco.

Mod Lang – “In The Morning”

A sharp, soft, jangly piece of indie guitar rock that hits the ground running - slowly. It might get stuck in your head for days. Sounds like: Guided By Voices and The Kinks.

Spit! – “Dreams”

Don’t let the name fool you—this track is an absolute dreamscape of sound. It layers shimmering guitars and ethereal vocals over a driving beat, creating a beautiful wall of alternative noise that completely pulls you in. Sounds like: Wolf Alice and Smashing Pumpkins.

PS: Found this band during our reunion trip (see above). Kate was on the air at WVBR and the radio station had an open house. We stopped by to say hi. Shockingly music came up - and how I host a new music show. One of the DJs said well we just released a local band’s EP. Would you listen? I always do - with the caveat that I might not play it.

The Who – “Behind Blue Eyes (Live)”

We are diving back into rock history with a soaring, emotional live rendition of one of the greatest anthems ever written. Hearing Roger and Pete channel this kind of legendary passion on stage is absolute proof that live music is good for your soul. Sounds like: Led Zeppelin and The Rolling Stones.”

My New Band Believe – “In The Blink of an Eye”

A massive, anthemic burst of modern rock energy that hits you like a freight train. It’s sharp, it’s powerful, and it serves as a driving reminder of just how fast things can change when the right melody takes over. Sounds like: Black Midi (which makes sense) and Geese (No Goose).

Hurry – “Moving After You”

Power-pop right here. From Philly. It’s got the big, fuzzy guitars, the vocal harmonies, and a bittersweet melodic hooks that feel like an instant classic from the very first second it leaves the speakers. Sounds like: The Posies and Yo La Tengo.

Kiwi Jr – “Blowin’ Up”

Get ready for a fast-paced, brilliant burst of angular indie rock. This track is packed to the brim with clever lyrics, a driving post-punk rhythm, and a sarcastic wit that makes it an absolute blast to listen to. Sounds like: Pavement and Parquet Courts.

Ace Monroe – “Half Past Youth”

We are closing out this week’s set with a massive, swaggering dose of dirty, blues-soaked arena rock. This track hits with a classic stomp and a dual-guitar attack that proves the old-school rock spirit is alive, well, and kicking. Sounds like: Aerosmith and Greta Van Fleet.

That’s the final note of this week’s show. Did we make your ears smile today? I’ll leave you with a bit of wisdom from Tom Petty: Music is the only magic I still believe in. It doesn’t trick you, it’s true.

Thank you for navigating the noise and championing new music. Remember, the underground only works if we back the artists, so share the noise and support the bands. I’m Chris Bro, stay curious, and I’ll see you next time. Turn it up!

and remember if you love someone hug them right now

• Music Question: Skip the Singles. Infinite Legacy

• Next: My weekly new music radio show. Week 1048.

• Musical Thoughts. REM Live in Toronto 2001

No No. 1? No Problem: Legendary Albums That Never Had a Chart-Topping Single

The ultimate holy grail? The definitive metric of what “rules” the world? We are told that to build an empire, you need that singular, radioactive three-minute track to punch its way to the absolute top.

Not always true.

If we pull back the curtain on rock history (which we love to do) - we find a beautiful, loud, and defiant paradox.

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Some of the most towering, culture-shifting masterpieces ever pressed to vinyl never actually scored a No. 1 single. Kinda crazy cool, no? The songs that defined generations, rewrote the rules of production, and turned arena floors into communal churches never once sat on the throne of the singles chart.

They didn’t need to. These records bypassed the cheap, disposable “bubblegum hook” entirely to build permanent empires of sound. From Seattle flannels to British studio labyrinths, here is a look at eight definitive, immortal records that proved a staggering truth: sometimes, the biggest tracks on earth are the ones that never wore the crown.

Pink Floyd – The Dark Side of the Moon

The cash never ruled this empire—time did, and it’s still collecting interest.

Mortality! Existential dread! Psychological fractures! No wonder there wasn’t a No 1.

This album is meticulously engineered. The soundscape is brilliant. Time to put the headphones on.

Instead of chasing radio trends, the band forged a continuous audio trip. We hear heartbeat thuds, cash-register clinks, and soaring saxophone lines.

“Money” made a dent on the airwaves. It stalled out long before reaching the peak of the charts. Instead this record became an essential nocturnal ritual for the deep thinkers. They completely bypassed the short shelf-life of pop radio to mount a permanent, decades-long occupation of modern culture. And yes that sync with The Wizard of Oz - while odd - wasn’t on purpose and has been debunked.

Led Zeppelin – Led Zeppelin IV

Charts glance, legends linger. This one’s on Mount Olympus.

Ancient mysticism meets pure sonic power. Blues-rock riffs morph into enduring folklore.

“Black Dog” bit its way onto the charts (sorry had too forgive me?). The true gravity of the record had nothing to do with commercial metrics. “Stairway to Heaven” was never even released as a commercial single.

Zeppelin famously treated the seven-inch single with absolute disdain. Good for them. Maybe better for us. Sure - radio programmers pleaded for radio edits - the band simply looked the other way. Again good for us.

AC/DC – Back in Black

That opening iron bell tolled…

Back in Black showed us that volume is sometimes the sincerest form of poetry. Turn it up!

Refusing to let crushing tragedy bury them, the band forged a comeback built on concrete-heavy rhythm sections and choruses designed to live in our music loving brains forever.

One strange part of its legacy? They’ve dominated rock radio for decades without ever securing a Number 1 spot on the singles charts. Only proving how irrelevant standard metrics are to true royalty.

Welcome to the ultimate exercise in raw minimalism. No wasted notes. Every guitar strike hitting like a sledgehammer. Let’s not forget those relentless grooves.

The Rolling Stones – Exile on Main St.

No No. 1? Fine. It crowned itself king of beautiful disarray.

This is the sound of rock and roll bleeding out on a dirt floor and loving every second of it. Exile spills out of the speakers like an unruly late-night crowd rushing the stage.

The Stones took gospel, Delta blues, and country, threw them into a humid basement in the south of France.

“Tumbling Dice” made a run for the peak but rolled craps just short of the top spot.

It didn’t matter. This record wasn’t built for sterile, radio-friendly perfection. No, they wanted more. We wanted more. This album was built for neon lights, cheap whiskey, and ringing ears. Every track unspools like a frayed, dust-covered dispatch from the edge of the world, corners torn but the heart still beating loud. Paradise lost. Rock found.

The horns! Keith Richards’ ragged chords! They slice right through Mick Jagger’s vocals.

It’s a glorious monument to the art of being beautifully broken.

The Beatles – Sgt. Pepper’s Lonely Hearts Club Band

If pop is a fleeting summer festival, Sgt. Pepper is the monument built on the empty fairgrounds when the lights go dark.

The Beatles completely abandoned the factory line of the three-minute single. This record is like an avant-garde manifesto. Donning the neon uniforms of a make-believe band, they turned Abbey Road into a laboratory of cosmic accidents. Orchestral chaos. Psychedelia. And backward tape loops until headphones feel like a theater of the mind.

They didn’t need to slice up the tracklist for a Hot 100 trophy. Oh no. they had something else on their minds. the album simply became the culture whole. From its legendary, puzzle-box cover to its final, echoing chord, it forced the world to stop buying pop as disposable entertainment and start analyzing track sequences like literature, where even the tape hiss had something important to say.

Nirvana – Nevermind

Forget the throne. This was a flannel-clad coup d’état that handed a megaphone to the outcasts.

It was a raw, four-chord gut-punch that shattered the music industry establishment with a single feedback screech. Nevermind captured the feral, snapping teeth of underground punk, dressed it in flawless pop melodies, and baptized global radio in a heavy bath of Pacific Northwest sludge. You’re welcome.

“Smells Like Teen Spirit” ignited a global cultural revolution. It famously plateaued at Number 6. A perfect irony for a band that loathed commercial polish. Fueled by Dave Grohl’s sledgehammer percussion and Kurt Cobain’s beautifully fractured lyrical riddles, the quiet-loud dynamic became a generational heartbeat.

It fundamentally rewrote the cultural script, stage-dived straight into the status quo, and broke its neck.

Pearl Jam – Ten

Charts track the weather. Ten was the actual storm.

An absolute, unfiltered lightning bolt of emotion remains permanently trapped inside these grooves. MTV turned “Jeremy” into a haunting, inescapable visual juggernaut…the Hot 100 looked the other way. It didn’t matter. Ten was built for a different kind of currency. Its true value was hammered out in the heat and crowd-surfing chaos of a packed arena, where thousands of strangers became a single, roaring choir.

Eddie Vedder’s visceral baritone cuts through the heavy sonic wall like a lighthouse beam in a gale, backed by interlocking guitars that value raw emotional empathy over flashy stadium showmanship. It’s the sound of five guys digging a trench and building a fortress out of feedback and forgiveness.

Alanis Morissette – Jagged Little Pill

Sometimes the ultimate power move is turning your scars into a battle cry.

This is a full-blown emotional exorcism disguised as a pop juggernaut. It hijacked the global airwaves by completely refusing to play nice. Alanis Morissette took the jagged shrapnel of a toxic breakup and forged it into a visceral, stadium-shaking anthem. “Ironic” sparked fierce, worldwide debates over grammar definitions while stalling out a mere inch from the Number 1 spot,

The record’s true superpower was its complete lack of a filter. She delivered a sonic truth-bomb like a fiercely loyal best friend who refuses to let you lie to yourself anymore. It’s angry, funny, petty, and therapeutic all at once—capturing the beautiful chaos of real life.

It proved that raw vulnerability could be weaponized, selling millions of copies via word-of-mouth therapy sessions and white-knuckle steering-wheel singalongs.

Forget the sterile metrics of the singles chart—which of these iconic, boundary-breaking albums stands alone as the definitive champion of your vinyl stacks?

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No No. 1? No Problem: Part 2 — The Empire Strikes Back

If Part 1 proved anything, it’s that the history of modern music isn’t written by the weekly singles chart (Thankfully). It’s written by the artists who dared to look past the immediate gratification of a three-minute pop hook to build something meant for the long haul. A number-one single is a flash of lightning. If we stick with that metaphor: these albums are the entire storm.

These albums hijacked the culture, altered the industry’s DNA, and reshaped the soundtrack of our lives.

All without ever landing a single solitary track at the number-one spot on the singles chart. They traded temporary radio dominance for permanent residency in our record collections.

More legendary, multi-platinum albums that shook the world without ever landing a single song at No. 1.

R.E.M. – Automatic for the People

A soft-focus Southern Gothic.

They offer listeners a velvet-wrapped lifeline in the dark. It actively ducks the spotlight, letting mandolins shimmer like distant stars while orchestral strings sigh beneath a vocals-forward midnight confession. “Everybody Hurts” proved you don’t need a Hot 100 trophy to heal a generation.

The patient, unhurried tempos give ordinary sorrow room to breathe. Thus making this album into a definitive roadmap for quiet resilience. Stipe’s vocals hit like a porch-front confession at 2 AM.

Just close your eyes, take a deep breath, and feel the room grow bigger.

The Cure – Disintegration

Disintegration gave heartbreak a velvet gown and invited it to slow-dance under a dying chandelier.

The addictive, swirling romance of “Lovesong” clawed its way up to Number 2 on the singles chart. The record’s true soul belongs to the deep end. You find yourself submerged in massive, glacial synthesizers and guitars that echo like a midnight ocean. Smith’s vocals float through the mix like ghostly radio signals lost at sea. The drums beat with the slow, heavy rhythm of a dying heart.

The guitars echo. They warp time. They drag the listener into a dazed, hypnotic drift while the bassline stalks through the mix like a heavy ghost in an abandoned ballroom.

Radiohead – OK Computer

Radiohead basically took a sledgehammer to the glossy, upbeat ‘90s Britpop scene.

They said what if we replaced it with a paranoid cocktail of malfunctioning androids, airport terminal static, and guitars that sound like satellites colliding in orbit? And we loved it.

It generated zero Hot 100 blockbusters. Not one top 10.

They decided to hack the alternative rock blueprint with glitchy, prophetic defiance. Yorke’s fragile, haunting falsetto rides top-shelf over cold circuitry. They were soundtracking our digital anxiety before smartphones even existed.

The tracks breathe like an AI learning how to dream while dissecting the modern feed in real time.

Decades later, OK Computer is still the ultimate code for headphone purists.

The rare album that grows smarter every single year. And The Bends is still my favorite.

Green Day – American Idiot

Weaponized rage with a catchy hook can completely hijack the room

Staging a three-chord punk-rock opera sounds like a reckless, career-ending dare—until you completely stick the landing.

“Boulevard of Broken Dreams” plateaued at Number 2 on the charts. Yes, but the album’s real triumph was its pure Broadway-meets-moshpit bravado.

This explosive concept piece wrapped post-9/11 cultural paranoia, media brainwash, and teenage angst in massive, stadium-sized hooks. They never had a Number 1 hit—and it didn’t matter at all to the crowds screaming every single word, night after night

Coldplay – A Rush of Blood to the Head

Skip the Number 1 trophy—this record achieved a stealth, soft-spoken ubiquity that just couldn’t be stopped.

“Clocks” hit the Top 40, but the album’s real victory was running a permanent marathon inside the headphones of millions.

Bypassing cheap pop bombast, Coldplay built stadium-sized anthems out of quiet patience and night-sky guitar textures. This is the album where simple, cascading piano lines became a direct pipeline to human longing.

It’s not a desperate shout for attention. It’s a steady, grounding hand on your shoulder. It became the ultimate code for midnight drives, wildcard fresh starts, and heavy apologies.

Kendrick Lamar – good kid, m.A.A.d city

Kendrick Lamar basically took a single, explosive day in Compton and flipped it into a high-definition cinematic hero’s journey packed with claustrophobic peer pressure and razor-edged street poetry. A cinematic epic out of urgent voicemail confessionals, heavy peer pressure, and exquisite street poetry.

No Number 1 single? No problem. The project went straight from the streets to university syllabi, fueled by insane replay value, deep subtext, and circular callbacks that loop back to blow your mind.

Beastie Boys – Licensed to Ill

Forget peak chart positions—true cultural earthquakes outlast the numbers every single time.

Licensed to Ill basically dropped like a bomb. It was fueled by pure bratty swagger and stadium-sized rock riffs. Add Rick Rubin’s mad-scientist hip-hop-meets-hard-rock alchemy as well.

Generation-defining party anthems like “(You Gotta) Fight for Your Right (To Party!)” and “No Sleep till Brooklyn” shook youth culture to its absolute foundation. Neither managed to seize the ultimate Number 1 spot on the Hot 100 singles chart. Instead, the album became the first rap LP to top the Billboard 200, weaponizing hip-hop for suburban bedrooms.

Fusing sample-heavy beats with pure mosh-pit energy, it forced the punk and hip-hop worlds into a glorious head-on collision. Decades later, history has totally validated their noise, tracing a direct line from this loud-as-hell 1986 blueprint straight to the future of crossover rap.

Beneath the trio’s cartoonish, larger-than-life masquerade lay a breathtaking musical brilliance

The singles chart? Nah. You can keep’em — which of these iconic, culture-shifting albums is the undisputed champion of your record collection?

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Welcome to week 1048 of NEXT. We are back as we try to find you a NEXT, new favorite song. This week, the engine of discovery is firing on all cylinders. We’ve got an absolute powerhouse of a lineup, pulling together incredible live history, sleek electronic rhythms, and stunning alternative debuts.

Top 40 radio tells you what you want to hear, but this show is about what you need to hear. Turn your speakers up, because the discovery starts right now.

Brigitte Calls Me Baby – “I Can Take The Sun Out Of The Sky”

If you miss the days when a sweeping, velvet-voiced croon met a sharp modern indie edge, this track is going to hypnotize you instantly. It sounds like a timeless matinee idol fronting a guitar band in the best way possible. Sounds like: The Smiths and Roy Orbison.

Friko – “Still Around”

This track is a beautiful, raw explosion of emotional energy that builds from a quiet whisper into an absolute towering wall of sound. It’s the kind of song that grabs you by the collar and completely stops you in your tracks. Sounds like: Bright Eyes and The Antlers.

Metric – “Time Is A Bomb”

Emily Haines and company are back with a tight, pulsating electronic rocker that feels like a countdown timer ticking away in a room full of dynamite. It’s sleek, danceable, and carries that signature dangerous edge they perfect. Sounds like: Yeah Yeah Yeahs and Phantogram.

Paris Jackson – “Teenage Drama”

This is a sharp, gritty slice of alternative rock that channels a beautifully dark, nineties-inspired vulnerability. It proves she is forging her own distinct musical path with a voice that is both haunting and incredibly resilient. And yes this is Micheal Jackson’s daughter. Sounds like: Foo Fighters and Hole.

Violet Grohl – “Last Day I Loved You”

The rock pedigree continues, but this track completely shines on its own merits with a stunning, soulful alternative vibe. It’s a powerful, atmospheric debut that signals the arrival of a massive new vocal talent on the scene. Sounds like: Lana Del Rey and Fiona Apple.

The Who – “Anyway, Anyhow, Anywhere (Live Eden Project 2023)”

Get ready for a jolt of pure rock history, captured live just last year in a stunningly intimate outdoor setting. Roger and Pete are still delivering this 1965 mod anthem with a ferocious, chaotic energy that puts bands a third of their age to shame. Sounds like: The Kinks and The Rolling Stones.

The Who – “Eminence Front (Live Eden Project 2023)”

We are doubling down on the legends because this live rendition of their synthesizer-driven ‘82 classic is an absolute “in the groove” tune. Turn it up. Pete Townshend’s guitar work is sharp, hypnotic, and still commands the entire airwave. Sounds like: Pink Floyd and Dire Straits.

Mod Lang – “In Advance”

This is a brilliant, driving slice of underground guitar pop that hits the ground running and never looks back. It’s packed with crisp hooks, jangly guitars, and a frantic energy that will completely clear out the static in your day. Sounds like: R.E.M. and Guided By Voices.

The Band Feel – “Twice Alive”

This track hits you with a warm, soulful rock and roll swagger that feels instantly familiar yet entirely fresh. It’s got a massive rhythm section and the kind of classic, open-road groove that demands you roll the windows down. Sounds like: The Black Crowes and Kings of Leon.

Feeble Little Horse – “Rewind”

For the lovers of the beautifully weird and the brilliantly fuzzy, this track is your perfect playground. It’s a glitchy, unpredictable indie-rock journey that balances sweet, low-key melodies with chaotic bursts of guitar noise. Sounds like: My Bloody Valentine and Wet Leg.

Snail Mail – “Tractor Beam”

Lindsey Jordan returns with a track that is bedroom-pop intimacy turned up to a stadium scale. It’s vulnerable, intensely clever, and features a melody that slowly pulls you in until you’re completely hooked. Sounds like: Soccer Mommy and Clairo.

Lost Leaders ft. Samantha Fish – “Maybe It’s Just Me”

When you pair incredible, rootsy songwriting with the fiery, blues-soaked guitar prowess of Samantha Fish, sparks are absolutely going to fly. Tension and groove - dripping with pure musical soul. Sounds like: Tedeschi Trucks Band and Bonnie Raitt.

Belle And Sebastian – “It Only Takes One Lion”

These beloved indie-pop veterans are back with a track that feels like a sun-drenched, whimsical stroll through a storybook. It’s packed with their signature clever lyricism, lush instrumentation, and an effortless charm that will give you an instant ear smile. Sounds like: The Shins and Camera Obscura.

Winyah – “Spinning”

This is a gorgeous, atmospheric piece of indie-folk that feels like watching the fog roll in over a coastal highway. It builds a quiet, hypnotic momentum that wraps around you entirely, proving that music doesn’t have to scream to get your attention. Sounds like: Fleet Foxes and Bon Iver.

Atta Boy – “Full Cloud”

We are closing out this set of discoveries with a beautifully breezy, light-on-its-feet indie track that feels like the first true day of summer. It’s melodic, whimsical, and carries a gentle optimism that will leave you wanting to hit the repeat button immediately. Sounds like: Alvvays and Real Estate.

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And that’s a wrap on week 1048 of NEXT. I truly hope we managed to give you that perfect ear smile today. From timeless, velvet croons to beautiful, fuzzy chaos, Remember the golden rule of the underground: new music only survives when we show up for it, so go support these bands and share the noise. I’m Chris Bro, stay curious, and I’ll see you back here next week. Turn it up.

Live music is good for your soul.

On May 17, 2001, just two days after dropping their twelfth studio album Reveal, R.E.M. completely shut down downtown Toronto for a legendary, free midday street-corner hootenanny.

An estimated 20,000 fans packed into the intersection of Yonge and Dundas Streets—some even skipping morning college exams—to witness the iconic Athens alternative rockers turn a MuchMusic broadcast into an unforgettable open-air party. Even when the skies opened up during “The Great Beyond,” prompting an impromptu, a cappella snippet of Creedence Clearwater Revival’s “Have You Ever Seen the Rain?”, the crowd’s energy never wavered.

Michael Stipe was a hyper-kinetic ball of energy, playfully tossing a bowl of fruit into the audience, dodging floating balloons, and leading massive, city-shaking singalongs to “Losing My Religion” and “Man on the Moon” that proved, once again, why live music is absolutely good for the soul.

Thank you.

And remember if you love someone hug them right now.

I love music. I love books. Let’s combine them—and for this round, I’m putting the ladies first.

Some people like their summers filled with quick, breezy beach reads—the kind of rom-coms or light fiction you can dip in and out of between naps (or margaritas) without thinking too much. I get the appeal. That’s not really my speed.

When the weather warms up, my favorite thing to do is dive deep into heavy-rotation music books. Right now, I’m immersed in the pages of Mike Campbell’s and Peter Wolf’s memoirs, and I’ve got an incredible queue lined up right behind them. I absolutely can’t wait to dig in. See below!

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Every single pick on this list is written by a woman who knows exactly how to capture the lightning-in-a-bottle magic of a three-minute pop song or a gritty underground scene.

Are you looking for deep-dive album critiques, immersive fiction, or raw, backstage memoirs that make you feel like you were actually there? It’s on this list.

🎸 “I was a rock ‘n’ roll kid. I had a rock ‘n’ roll heart. I had a rock ‘n’ roll body, and I wanted a rock ‘n’ roll life.”

— Sylvia Patterson, I’m Not with the Band

💿 The 33 1/3 Series: Diving Deep into Classic Albums

If you aren’t familiar with the brilliant 33 1/3 series, it’s a collection of short books each dedicated to a single, iconic album. Author Jovana Babovic noticed when she submitted her proposal: “a major absence of both female authors and female musicians” in the series. While things are slowly improving—most recently with Emily Rose Mackay’s fantastic book on Björk’s Homogenic—we can only hope more women get the recognition they deserve in future editions.

Here are a few brilliant entries where incredible women write about incredible women:

• Anwen Crawford on Hole’s Live Through This

• Kate Schatz on PJ Harvey’s Rid of Me

• Gina Arnold on Liz Phair’s Exit in Guyville

• Jovana Babovic on Sleater-Kinney’s Dig Me Out

If you prefer a broader, essay-style format over a single-album deep dive, check out Here She Comes Now: Women in Music Who Have Changed Our Lives. It’s a wonderfully diverse collection of personal essays covering artists like Dolly Parton, Mary J. Blige, X-Ray Spex, and Sinead O’Connor. One of my favorites is Jennifer Nix’s piece on June Carter Cash, which you can actually find and read online.

Music Journalism & Social Critique

I’m Not with the Band by Sylvia Patterson
A fascinating glimpse into the history of music journalism. Patterson tracks her career from her time at Smash Hits right through to the decline and fall of print magazines. It’s written in that zany, energetic 90s style.

Out of the Vinyl Deeps by Ellen Willis
A brilliant collection of pioneering rock criticism. The “Feminist” section is particularly essential, featuring sharp, timeless writing on the women’s movement, Joni Mitchell, Patti Smith, and the inherent misogyny of the early punk rock scene.

📖 “The world is moving, changing, and we want to keep up. We want to be part of the velocity.”

— Patti Smith, M Train

🎸 Backstage Pass: Unforgettable Musician Memoirs

Just Kids & M Train
While I will admit that her music can be a bit of an acquired taste for some, Patti Smith is undoubtedly one of the finest writers alive. Just Kids is just brilliant. A must read. Reading about the deep connections between her music, poetry, and art is an absolute gift. Her follow-up memoir M Train is equally essential.

Rat Girl by Kristin Hersh (Published as “Paradoxical Undressing” in the UK)
The Throwing Muses frontwoman writes gorgeously about her band, the creative process, songwriting, and her deeply personal struggles with mental illness.

I’ll Never Write My Memoirs by Grace Jones
I have this one in my queue. An account of her rise to stardom and her fierce, lifelong battles to assert and protect her creative identity.

Violent Girl by Alice Bag
I cannot recommend this one enough. Alice Bag offers a highly introspective, critical look at her punk years, reflecting deeply on how her childhood shaped the singer and musician she would ultimately become.

Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys. by Viv Albertine
I have this in my queue. A memoir from the guitarist of the seminal punk band The Slits.

Hit So Hard by Patty Schemel
The drummer for Hole chronicles her coming-of-age in the 90s. It’s a gripping look at her life as a musician during the height of the grunge movement, tracking her extraordinary highs alongside her harrowing battles with addiction.

🥁 “I didn’t want to just be a fan anymore. I wanted to be the one making the noise.”

— Patty Schemel, Hit So Hard

📖 Turning Up the Volume: Music in Fiction

Swing Time by Zadie Smith
I have this in my queue.

How to Build a Girl by Caitlin Moran
A laugh-out-loud funny, unfiltered coming-of-age story about a teenage music journalist navigating the industry and falling in love with entirely unsuitable boys in bands.

Greatest Hits by Laura Barton.

I have this in my queue.

My Growing “To-Read” List

My endless “must-read” pile continues to expand, and it includes a few fascinating graphic histories and scene deep-dives:

She Can Really Lay It Down by Rachel Frankel
Portland artist Rachel Frankel creates gorgeous graphite and digitally colored portraits of 50 rebel female musical revolutionaries—both famous and unsung—complete with short, well-researched biographies. I can’t wait to get into this one!

The Girl in the Back: A Female Drummer’s Life with Bowie, Blondie, and the ‘70s Rock Scene by Laura Davis-Chanin
A gritty, photo-filled look at New York’s rollicking 1970s rock scene through the eyes of a female drummer who inspired the likes of Yo La Tengo’s Georgia Hubley before being diagnosed with multiple sclerosis. I need to read this one ASAP! Moving this to the front of the queue.

Girl to City by Amy Rigby
A fantastic memoir about finding your musical voice in the NYC indie scene.

Women Walk the Line (A collection of essays celebrating the powerhouse women of country music)

Women of Motown (An illuminating oral history of the legendary women on the iconic label)

Good Booty by Ann Powers (A brilliant, deep dive into sex and race in American music)

Why Vinyl Matters: A Manifesto from Musicians and Fans by Jennifer Otter Bickerdike

This book is an absolute love letter to the needle and the groove, celebrating the massive resurgence of vinyl records in a hyper-digital world. Bickerdike brilliantly contrasts the deliberate, soul-satisfying ritual of spinning a record with the disposable nature of streaming music. Packed with stunning photography and album art, it features raw, exclusive conversations with icons like Henry Rollins, Lars Ulrich, and Fab 5 Freddy. Part music history and part future forecasting, it’s a beautiful exploration of how the physical music we collect ultimately defines who we are.

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So, yes—all I want for my summer is an endless pile of books and a few extra hours in the day to actually read them all. I don’t ask for much. So join me for a quiet beach read and I’ll buy the first round. Salt or no salt? Or maybe you like tajin?

Over to you: Have you read any of these? What are your favorite books about music? Yes, I’m missing some. Let me know your top recommendations in the comments below!

The May 2026 Rewind

We’ve got everything from the legendary, grit-infused rock of The Rolling Stones and The Black Crowes to the modern, high-octane alternative force of The Beaches and Blondshell.

Welcome into week 1047 of NEXT. It is time for our collection of Notable Songs. Today, we are hitting the review, the rewind, and the ultimate reminder of the incredible new music that demanded our attention over the last four weeks.

These are the tracks that made us lean in, turn it up, and completely cleared out the static this month. Our retrospective of May’s finest starts right now.

The May Notable Songs Curation

Hovvdy – “Try Try Try”

This track is like a warm afternoon breeze captured in a bottle. It’s a gentle, rhythmic reminder that sometimes the best things in life come from just showing up and giving it another go. Sounds like: Pinegrove and Death Cab for Cutie.

King Tuff – “Unglued”

Prepare to get a little messy with this one. King Tuff brings a burst of cosmic garage-rock energy that makes you want to shake off the weight of the week and just let loose. Sounds like: Ty Segall and Beck.

The Beaches – “Should’ve Known Better”

This track is pure, high-octane attitude from start to finish. It’s packed with a massive hook and a gritty, confident punch that makes you want to crank the volume until the speakers rattle. Sounds like: Wet Leg and Elastica.

Blondshell – “Heart Has To Work So Hard”

A brilliant slice of modern guitar rock that manages to feel incredibly intimate yet absolutely massive at the exact same time. It’s sharp, vulnerable, and features a chorus that will live rent-free in your head. Sounds like: Courtney Barnett and Phoebe Bridgers.

The Lemon Twigs – “Nothin’ But You”

If you want to travel back to the golden age of power-pop without leaving your room, the D’Addario brothers have your ticket. This is shimmering, melodic perfection that feels completely timeless. Sounds like: The Beach Boys and Big Star.

Michigander – “Freaking Out”

This brilliant song turns internal anxiety into a massive, cathartic singalong that feels like a collective exhale. Sounds like: Modest Mouse and Sam Fender.

Blankslate – “Mountain Charley”

If you like your indie rock with incredible storytelling and a massive heart, this group needs to be on your radar. The track builds with a steady, driving energy that feels like a climb to a summit you won’t want to leave. Sounds like: Mumford & Sons and The Lumineers.

Arkells – “Two Hearts”

Nobody writes a get-on-your-feet anthem quite like this crew. This track is a soulful, rhythmic celebration of connection that’s guaranteed to turn your car or your kitchen into a front-row festival seat. Sounds like: Bruce Springsteen and Bleachers.

Mike Campbell & The Dirty Knobs – “No Regrets”

The man who spent decades helping craft the Tom Petty sound is still out here showing everyone exactly how it’s done. This is straightforward, honest rock and roll that wears its callouses with pride. Sounds like: Tom Petty & The Heartbreakers and John Mellencamp.

Clothesline From Hell – “Whoever You Are”

Quirky, mysterious, and entirely captivating from the first note. This track pulls you into a unique sonic world that feels like a secret being shared just with you—the perfect discovery for a curious ear. Sounds like: Gorillaz and Jamie T.

The Critics – “Hit The Floor”

If your day needs a serious jumpstart, here are your jumper cables. This is a high-energy blast of indie rock that practically demands you turn it up until the floor actually starts shaking. Sounds like: Franz Ferdinand and The Hives.

Father John Misty – “The Payoff”

Josh Tillman returns with his signature blend of cynical wit and gorgeous, sweeping arrangements. It’s a lush, theatrical piece of indie-pop that manages to be deeply sarcastic and genuinely moving all at once. Sounds like: Harry Nilsson and Randy Newman.

Broken Social Scene – “Only The Good I Keep”

An absolute indie-rock symphony that feels like a collective celebration. It builds with a lush, layered texture of guitars and soaring melodies that completely surrounds you and lifts the mood instantly. Sounds like: Arcade Fire and The Shins.

The Black Crowes – “It’s Like That”

The Robinson brothers are back, and they haven’t lost a single ounce of their dirty, soulful rock and roll swagger. This hits with a classic stomp and bluesy grit that reminds us why they’re legends. Sounds like: Led Zeppelin and Faces.

The Rolling Stones – “Rough And Twisted”

Even after all these years, the Stones can still sound more dangerous than bands half their age. This is a jagged, bluesy slow-burner proving that Mick and Keith still have plenty of secrets up their sleeves. Sounds like: Muddy Waters and Aerosmith.

Trainwreck Boyfriend – “Don’t Go There”

We are closing out the review with a track that perfectly captures that edge-of-your-seat indie energy. It’s catchy, slightly chaotic, and a beautiful reminder that the best music often lives right on the fringe. Sounds like: Momma and The Strokes.

And that closes out our look back at the standout, notable sounds of May 2026. I hope hearing these tracks a second time around gave you that perfect ear smile. The beauty of a show like NEXT is that a truly great song never gets old—it just gets better the more you live with it. As we head into a brand-new month, keep these songs in your heavy rotation, support the artists who make them, and never lose that hunger for discovery.

Thanks for navigating the noise with me. Turn it up.

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Crank the volume for a living legend!

Paul McCartney sits down for his very first TikTok Live session to celebrate and unbox his album, The Boys of Dungeon Lane. 45 minutes.

It’s a goldmine for music lovers. McCartney shared the heartfelt family memories behind the album artwork. He talks about teenage hitchhiking trips with George Harrison and discussing his collaborative songwriting process with producer Andrew Watt.

He even treats fans to a few acoustic guitar demonstrations and exclusive audio snippets of his new tracks.

I don’t TikTok so luckily someone uploaded it to YouTube:

Thank you for reading/listening. And remember if you love someone hug them right now.

• Music Question: Truth is stranger than fiction.

• Next: My weekly new music radio show. Week 1046

• Musical Thoughts.

History isn't written by the sober, and it definitely isn't curated by the logical. Welcome to the side of music history where reality takes a back seat to pure, unadulterated cosmic chaos.

Welcome to…wait…what?…did that just happen?

Some of these are well-traveled rock-and-roll mythology. Others read like absolute fever dreams. If you tried to pitch these stories to a Hollywood studio, you’d get laughed out of the room for being unrealistic.

Music history isn’t a straight line. It’s a web of bizarre coincidences, shared rooms, and cosmic timing.

You don’t need to be a music nerd to appreciate how beautifully unhinged history can get when the right people cross paths. Here are a few (of many) mind-bending moments that prove truth is stranger than any fiction.

The “I Got You Babe” / Mick Jagger Curse

The math on this statistical anomaly is wild.

In August 1965, Sonny and Cher hit Number 1 on the UK charts with their signature anthem, “I Got You Babe.” Exactly 20 years later, in August 1985, UB40 and Chrissie Hynde took a reggae-infused cover of the exact same song straight to the top of the UK charts.

The bizarre part? Both times, the song was knocked off the Number 1 spot by Mick Jagger.

In ‘65, it was The Rolling Stones with “(I Can’t Get No) Satisfaction.”

In ‘85, it was Jagger teaming up with David Bowie for their charity cover of “Dancing in the Street.”

Two decades apart, same song, same assassin.

The Hardest Working Piano in Rock History

If instruments could talk, the C. Bechstein grand piano at Trident Studios in Soho, London, would have a lifetime of legendary stories to tell.

The legendary Trident Studios Bechstein piano

Trident’s house piano had an incredibly bright, percussive tone that cut beautifully through rock mixes because it was slightly modified and meticulously maintained. The tracklist recorded on this single set of keys includes:

The Beatles – “Hey Jude”

David Bowie – “Life on Mars?” and “Changes” (the entire Hunky Dory and Ziggy Stardust eras)

Harry Nilsson – “Without You”

Queen – “Bohemian Rhapsody” (Freddie Mercury played this exact Bechstein)

Elton John – “Your Song”

Johnny Cash, Cold War Intercept Specialist

Before he was the Man in Black, Johnny Cash was a staff sergeant in the U.S. Air Force. Enlisting during the Korean War in 1950, he was stationed in Landsberg, West Germany, with the 12th Radio Squadron Mobile.

Cash was a brilliant cryptologic technician, specifically trained to intercept Soviet Army morse code transmissions. Because his hearing was so sharp, he was the primary operator on duty on March 5, 1953, when a highly classified Soviet broadcast came through. Cash copied and decoded the message, making him the first American to learn that Soviet dictator Joseph Stalin had died.

Dolly Parton’s Unbelievable 24-Hour Writing Session

Sometime in 1973, Dolly Parton sat down and casually pulled off one of the greatest songwriting feats in human history. In a single day, she wrote both “Jolene” and “I Will Always Love You.”

At the time, she was trying to transition away from The Porter Wagoner Show to launch her massive solo career. “I Will Always Love You” was written as a goodbye letter to Wagoner. Her brilliant way of expressing her gratitude for their time together. Later that evening, inspired by a red-headed bank teller who had been flirting with her husband, Carl Dean, she penned “Jolene.” The master tapes from those sessions confirm both songs were recorded within the exact same release window.

Nile Rodgers and the Secret Ingredients of INXS

When Aussie rockers INXS wanted to break into the international market, they hired Chic mastermind Nile Rodgers to produce their 1983 track “Original Sin.”

Rodgers completely stripped back their initial rock arrangement and rebuilt it around a massive, synchronized dance groove. He also suggested a slight lyric change. See video below.

To pull off the specific funk flavor he envisioned, Rodgers brought in Daryl Hall (of Hall & Oates), who happened to be recording in the same New York studio, to sing the soaring backing vocals on the chorus (”Dream on white boy, dream on white girl...“).

From Tammy Faye Bakker to R.E.M.

This is one of those deeply strange Southern Gothic handoffs. In the late 1970s and early ‘80s, televangelists Jim and Tammy Faye Bakker ran their PTL (Praise the Lord) Club empire, which included producing a steady stream of gospel and religious albums.

Tammy Faye recorded at Reflection Sound Studios in Charlotte, North Carolina (often misattributed to rural Georgia, though R.E.M. hailed from Athens). Deeply dissatisfied with the standard studio vocal microphones, she insisted on purchasing a state-of-the-art, incredibly expensive Neumann U47 tube microphone for her personal use.

A few years later, a young, broke indie rock band named R.E.M. booked time at Reflection to record their landmark debut album Murmur (1983) and its follow-up Reckoning (1984). Producer Don Dixon set up Tammy Faye’s high-end microphone for Michael Stipe. That pristine, legendary mic is exactly what captured Stipe’s famously cryptic, mumbled vocals on tracks like “Radio Free Europe.”

Flat 12, 99 Curzon Street: The Cursed London Oasis

The flat at 99 Curzon Street in Mayfair, London, was a beautiful home owned by songwriter Harry Nilsson. Because he was frequently back in the States, he regularly lent it out to his musician friends.

99 Curzon Street, London

In July 1974, Cass Elliot (Mama Cass) stayed there while playing a successful solo run at the London Palladium. Tragically, on July 29, she passed away in her sleep in the flat’s bedroom from a heart attack at age 32.

Devastated, Nilsson didn’t want to live there anymore. He eventually rented/sublet the apartment to The Who’s Pete Townshend, who later passed the keys along to his chaotic bandmate, drummer Keith Moon. On September 7, 1978, Moon passed away in the exact same bedroom, from an overdose of Clomethiazole (a medication prescribed for alcohol withdrawal). He was also 32 years old. Nilsson promptly sold the flat to Townshend to completely wash his hands of the space. I’m guessing he didn’t want anyone else to own the place…

Stevie Ray Vaughan, Christopher Cross, and Deep Purple

Before Christopher Cross became the king of soft rock with “Sailing,” he was a heavy-gigging Texas guitar player.

In the late 1970s, Cross owned a classic 1963 Sunburst Fender Stratocaster. He ended up selling that specific guitar to a young, up-and-coming blues player named Stevie Ray Vaughan. SRV stripped it, rebuilt it, and it became one of his secondary live guitars.

Cross’s pre-pop rock resume gets weirder: In 1970, Deep Purple was scheduled to play a massive show at the Jam Factory in San Antonio, Texas. Guitarist Ritchie Blackmore fell violently ill due to an adverse reaction to a flu shot. The promoters, desperate not to cancel, tapped 19-year-old local guitar prodigy Christopher Cross to fill in. Cross strapped on a guitar and played the entire set with Deep Purple for one night only.

The Bizarre Origin of Matt Cameron

Long before he was driving the engine of the Seattle grunge movement behind the kit for Soundgarden and Pearl Jam, Matt Cameron was a 15-year-old kid living in San Diego trying to break into the entertainment industry.

In 1978, he was hired to sing the intentionally dreadful, screeching, off-key track “Puberty Love” for the low-budget B-movie spoof Attack of the Killer Tomatoes.

A young Matt Cameron long before his grunge days

In the movie, the song is so agonizingly bad that it actually causes the killer tomatoes to shrink and lose their power, ultimately saving humanity. From saving the world with terrible singing to tracking “Black Hole Sun,” Cameron’s career path is completely unmatched.

Rick Rubin’s 1986 Culture Clash

In 1986, Def Jam co-founder Rick Rubin was operating out of a headspace where genre boundaries simply didn’t exist. He was simultaneously producing two albums that would completely redefine their respective genres: the Beastie Boys’ Licensed to Ill and Slayer’s Reign in Blood.

While tracking “No Sleep till Brooklyn,” Rubin realized the song’s heavy metal parody riff needed an actual, blistering metal solo to drive the point home.

He walked down the hall and grabbed Slayer guitarist Kerry King. King laid down the iconic, chaotic whammy-bar solo on the track and even appeared in the music video, wearing his trademark leather and spikes while getting pushed off the stage by Gorilla acts.

Larry Mullen Jr.’s Sun Studio Donation

During the 1987 recording sessions for Rattle and Hum, U2 set up camp at the legendary Sun Studio in Memphis, Tennessee—the birthplace of rock and roll where Elvis, Johnny Cash, and Jerry Lee Lewis got their start.

After tracking five songs (including “Angel of Harlem” and “Love Rescue Me”), drummer Larry Mullen Jr. decided his heavy-duty, modern Yamaha studio drum kit belonged to the room. Instead of packing it up for the tour, he left it behind as a permanent gift to the studio.

That act kicked off a beautiful, organic tradition. Ever since, touring musicians and legendary players who stop by Sun Studio to record will frequently leave an instrument, a cymbal, or a piece of gear behind, ensuring the house setup is entirely built from the DNA of the artists who have worked there.

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Which one of these stories do you think had the biggest butterfly effect on how music history turned out?

When you step back and look at the big picture, these aren’t just isolated pieces of trivia—they are proof that the history of sound is held together by some seriously strange cosmic glue. It’s a reminder that every iconic track, legendary album, and tragic ending is connected by a thread of pure randomness.

A microphone doesn’t care who sings into it.

A piano doesn’t care whose fingers hit the keys.

And history definitely doesn’t care about logic. The next time you drop the needle on your favorite record, just remember: behind every three-minute masterpiece is a sprawling web of beautiful chaos, accidental encounters, and stories that have no business being true—yet somehow are.

We’ve got an absolute powerhouse of a lineup today. A blistering live moment from The Tragically Hip’s historic final tour, a rare, intimate four-track acoustic sketch from Jack Johnson, and a brand-new slice of kaleidoscopic ear candy from Portugal. The Man. Turn it up, clear out the static, and let the music do the talking. The discovery starts right now.

Welcome into NEXT. We are back for another hour dedicated to the single greatest pursuit in the world: finding your next favorite song.

Brian Fallon And The Painkillers – “Better Before”

If you’ve ever found yourself looking at an old photograph wishing you could climb right back inside of it, this track is going to hit you right in the chest. It’s got that raw, poetic grit that makes you want to raise a glass and sing along at the top of your lungs. Sounds like: Bruce Springsteen and The Gaslight Anthem.

Edgehill – “Numb”

This track builds an absolute wall of sound that feels like a physical wave crashing over you in the best way possible. It’s the perfect blend of modern indie attitude and stadium-sized energy that grabs you by the collar and doesn’t let go. Sounds like: Kings of Leon and The Black Keys.

Jenifer Tefft And The Strange – “Silver”

There is a fierce, simmering power running through this song that feels like a thunderstorm rolling in over the horizon. The vocals are absolutely electric, delivering the kind of rock and roll confidence that demands you turn the volume up a couple of notches. Sounds like: Garbage and Alanis Morissette.

Blondshell – “Heart Has To Work So Hard”

This is a brilliant slice of modern guitar rock that manages to feel incredibly intimate and absolutely massive at the exact same time. It’s sharp, it’s vulnerable, and it features a chorus that will be living rent-free in your head for the rest of the week. Sounds like: Wet Leg and Courtney Barnett.

Sloan – “Tell Me Something I Don’t Know”

Leave it to these legendary Canadian power-pop masters to deliver a track that feels like an instant classic from the very first chord. It’s packed with crisp harmonies, clever hooks, and that effortless, infectious energy that makes life feel like a movie soundtrack. Off just released B Sides collection. Sounds like: Cheap Trick and The Beatles.

The Tragically Hip – “Locked In The Trunk Of A Car (Live)”

Staying in Canada. Get ready for absolute goosebumps, because this is a blistering live snapshot captured during the Hip’s historic final tour. The sheer intensity bleeding through the airwaves is proof of why this band means the world to so many. And I told you I’ll probably play every track off this live album. Sounds like: Pearl Jam and REM.”

Jack Johnson – “Drink The Water (4-Track Sketch)”

We’re getting a rare, behind-the-curtain look at a song stripped down to its bare bones on a vintage 4-track recorder. It’s earthy, intimate, and possesses an understated groove that makes you feel like you’re sitting right on the studio floor while the magic happens. Sounds like: Ben Harper and G. Love.

Jesse Roper – “I Love You Man”

This track is an absolute explosion of soulful, blues-soaked energy that will have your feet moving before the first verse is even over. It’s warm, it’s incredibly fun, and it features a gravel-coated vocal performance that is pure swagger. Sounds like: Nathaniel Rateliff & The Night Sweats and The Black Crowes. The Mellower parts.

Laura Veirs – “Flying Into Darkness”

This song builds a mesmerizing, atmospheric world that feels like a midnight drive down an empty highway. It’s beautiful, slightly haunting, and carries a gentle, rhythmic pulse that completely draws you in. Sounds like:Sufjan Stevens and Feist.

Arlo Parks – “Beams”

Arlo Parks has a gift for creating music that feels like a warm hug on a difficult day. This track is a lush, sun-drenched piece of indie-soul that effortlessly glides out of the speakers and immediately settles your mind. Sounds like: Joy Oladokun and Norah Jones.

Shakey Graves – “When The Love Is New”

This is a beautifully unpredictable journey that blends dusty Americana storytelling with a sharp, modern indie-rock edge. It’s dynamic, full of character, and showcases exactly why he is one of the most compelling storytellers in music today. Sounds like: Lumineers and Dr. Dog.

Grace Potter – “Love Me Not”

Grace Potter is unleashing a masterclass in vocal power and rock and roll defiance right here. This track hits with a heavy, bluesy stomp and a fierce attitude that proves she is one of the most unstoppable forces on the airwaves. Sounds like: Janis Joplin and The Kills.

Cigarettes After Sex – “Twizzler”

If you need to slow the world down for just a few minutes, this is your escape hatch. It’s a hazy, ambient dream-pop masterpiece that feels like watching smoke curl in a dimly lit room—utterly hypnotic and impossibly smooth. Sounds like: Beach House and Mazzy Star.

Portugal. The Man – “Angoon”

The masters of psychedelic pop are back with a track that is a kaleidoscopic feast for your ears. It’s adventurous, rhythmically infectious, and packed with the kind of sonic ear candy that makes you notice something new every single time you hear it. Sounds like: MGMT and Foster The People.

Broken Social Scene – “Only The Good I Keep”

This is a beautiful, indie-rock symphony that feels like a collective celebration. It builds with a lush, layered texture of guitars and melodies that completely surrounds you, lifting your mood instantly. Sounds like:Arcade Fire and The Shins.

Plash – “Market Research”

We are closing out this set with a brilliantly quirky, fast-paced dive into the underground indie scene. It’s sharp, rhythmic, and carries a nervous, angular energy that is perfect for anyone looking to discover something truly fresh and outside the box. Sounds like: Talking Heads and Parquet Courts.

And that’s a wrap on this week’s session of NEXT. I hope we managed to give you that perfect ear smile today. Whether it was the raw, poetic grit of Brian Fallon or the hazy, hypnotic dream-world of Cigarettes After Sex.

If a song hit you right today, don’t keep it to yourself—go support that artist, buy a record, and share the noise with someone who needs it. Stay curious. I’ll catch you right back here next week. Turn it up.

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I’ve always been a sucker for a musical deep dive. There’s a certain thrill in pulling on a historical thread and seeing which legendary artist or forgotten scene unravels. It’s quite fun to see where my music loving mind goes…

This week? Well. I did get a request. Which is kinda cool. Stating: I follow you because of NEXT and NEXT is new music. I want to know what’s happening right now.

I hear you. After more than 1,040 weeks on the air—nearly 20 years of living and breathing the “new music” grind—I’ve learned that while the past provides the foundation, the future is where the energy is. I’m stepping away from the history books to give you a few of the current “NEXT” essentials.

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I am leaning entirely into the curation engine that drives NEXT. I’ve put together a list of 10 bands from the last decade that I absolutely love, the artists who are keeping the spirit of discovery alive.

These are 10 artists that remind me why I started this show in the first place. And because a true music fan can never stop at a round number, I’ve added an 11th “must-hear” bonus.

Most of these might be on your radar or already on your playlists and if not - these are the bands you need to go search out immediately.

1. Brigette Calls Me Baby

There is a striking, cinematic romance to this Chicago five-piece. Frontman Wes Leavins possesses a sweeping, velvety baritone that feels entirely unstuck in time, channeling mid-century crooners and dramatic post-punk poetry. They pair that vocal gravitas with pristine, shimmering indie-pop instrumentation that feels massive and heartbreaking all at once. It’s music meant for late-night drives and grand emotions.

• RIYL: The Smiths, Roy Orbison, The Killers, Morrissey

• Monthly Listeners: ~210,000

2. Stephen Wilson Jr.

Hailing from rural southern Indiana, Stephen Wilson Jr. calls his music “Indie Country,” but that label barely scratches the surface. This is heavy, percussive, deeply narrative songwriting that owes as much to 90s grunge and indie rock as it does to traditional country storytelling. His music is visceral, haunting, and masterfully constructed, utilizing brilliant metaphors to unpack grief, heritage, and the complexities of the American heartland.

• RIYL: Chris Stapleton, Nirvana, Jason Isbell, Johnny Cash

• Monthly Listeners: ~1.2 million

3. Florence Road

A phenomenal hidden gem that deserves a massive spotlight. Florence Road excels at building lush, atmospheric indie rock that balances raw emotional honesty with hypnotic melodies. They capture that specific, bittersweet magic of late youth—gorgeous guitar tones, driving rhythms, and vocals that feel like a late-night confession shared between close friends.

• RIYL: Pinegrove, The Backseat Lovers, Flipturn

• Monthly Listeners: ~1.1 million

4. Rainbow Kitten Surprise

A massive shoutout to Pam for making sure this one stays front and center. RKS is genre-fluid brilliance. They seamlessly weave together indie rock, hip-hop phrasing, folk storytelling, and psych-pop textures into something wholly unique. Led by Ela Melo’s deeply expressive, urgent vocals, their songs are packed with intricate rhythm changes and harmonies that get under your skin and refuse to leave.

• RIYL: Mt. Joy, Alt-J, Glass Animals, Houndmouth

• Monthly Listeners: ~4.9 million

5. The Beths

Hailing from Auckland, New Zealand, The Beths are arguably one of the best guitar-pop bands on the planet right now. Elizabeth Stokes writes some of the smartest, most fiercely relatable lyrics about anxiety and relationships, wrapping them in razor-sharp power-pop hooks. Their secret weapon is their live vocal harmony stack—impeccable four-part harmonies delivered over explosive, energetic, and perfectly distorted guitars.

• RIYL: Alvvays, Weezer, Charly Bliss, That Dog.

• Monthly Listeners: ~365,000

6. Momma

Led by the dual-guitar and vocal attack of Etta Friedman and Allegra Weingarten, Momma is a dream come true for anyone who misses the golden era of 90s alternative rock. Chris Bro happy boy. They craft slacker-rock anthems filled with heavy, crunchy guitar riffs, deadpan vocal delivery, and massive, melodic choruses. It feels nostalgic but completely vital, capturing the precise energy of garage rock greatness.

• RIYL: Wet Leg, Liz Phair, Veruca Salt, Smashing Pumpkins

• Monthly Listeners: ~430,000

7. Ratboys

Led by Julia Steiner and Dave Sagan, this Chicago outfit has spent the last decade evolving into a formidable indie-rock powerhouse. Their sound—affectionately dubbed “post-country”—blends the driving energy of Midwestern indie rock with the warm, storytelling sensibilities of folk and Americana. Steiner’s vocals carry an open-hearted sincerity, soaring effortlessly over intricate guitar solos that can jam out for minutes without ever losing the plot.

• RIYL: Wednesday, Hop Along, Wilco, Big Thief

• Monthly Listeners: ~180,000

8. The Lemon Twigs

Brothers Brian and Michael D’Addario are pure musical prodigies. Listening to them is like taking a masterclass in late-60s and 70s baroque pop and power pop. They craft dizzying, complex arrangements filled with lush vocal harmonies, jangling guitars, and unexpected chord progressions that recall the absolute peak of songwriting craftsmanship. It’s sunny, theatrical, and jaw-droppingly talented.

• RIYL: The Beach Boys, Big Star, Todd Rundgren, The Beatles

• Monthly Listeners: ~230,000

9. GUV

If you want something raw, punchy, and utterly infectious, GUV is where you look. They trade in a brand of scrappy, high-energy garage rock that feels incredibly immediate. It’s all about the propulsive rhythm section, biting guitar hooks, and a confident, charismatic vocal delivery that makes you want to find the nearest basement show and dive right into the middle of it.

• RIYL: Parquet Courts, Car Seat Headrest, The Strokes

• Monthly Listeners: ~12,000

10. Teen Jesus and the Jean Teasers

Don’t let the fun name fool you—this Australian four-piece packs an absolute wallop. They deliver fierce, unapologetic, riot-grrrl-infused punk rock with a brilliant sense of humor and modern perspective. Their tracks are tight, explosive, and loaded with massive hooks that tackle everything from industry sexism to bad relationships with biting wit and relentless energy.

• RIYL: Amyl and the Sniffers, Sleater-Kinney, Hole, The Chats

• Monthly Listeners: ~160,000

And of course... I can’t keep it at 10:

11. The Thing

Rounding things out is Brooklyn’s own The Thing. This is blistering, blues-soaked garage rock revival at its absolute finest. They bring an erratic, high-octane energy to their records and live shows, defined by howling vocals, feedback-drenched guitar duels, and a relentless driving beat. They sound dangerous, loud, and exactly like what rock and roll is supposed to feel like.

• RIYL: The White Stripes, The Jim Jones Revue, Black Pistol Fire, early Kings of Leon

• Monthly Listeners: ~46,000

Which of these has made it into your heavy rotation? Let me know what you’re spinning, and as always, keep your ears open for what’s NEXT.

OK. A gentle nudge. Last one. I will always remind you to listen to Sturgill Simpson. Now recording as Johnny Blue Skies. He’s a must see live as he bridges his outlaw country roots with psychedelic rock. His catalog is packed with cool ass covers that he completely reinvents. From a haunting take on When In Rome’s “The Promise” to an electrifying, soulful rendition of Prince’s “Purple Rain”.

OK I’m stopping. Hey look at that more new music. It’s this week’s NEXT.

Oh and of course The Beaches. I hope you listen to them too.

Welcome into week 1044 of NEXT. We have a simple goal: Find you a NEXT, new favorite songl. Today, we’re digging deep with everything from a legendary live moment from The Tragically Hip to a high-voltage collaboration between De’Wayne and Lenny Kravitz.

We’re stripping away the filler to uncover those rare, essential melodies that leave a lasting mark on your soul. Let’s start the discovery.

Hovvdy – “Try Try Try”

This track is like a warm afternoon breeze captured in a bottle. Hovvdy delivers a gentle, rhythmic reminder that sometimes the best things in life come from just showing up and giving it another go.

The Lemon Twigs – “Nothin’ But You”

If you’ve ever wanted to travel back to the golden age of power-pop without leaving your living room, the D’Addario brothers have the ticket. This is shimmering, melodic perfection that feels both timeless and brand new.

King Tuff – “Unglued”

Prepare to get a little messy. King Tuff is bringing that cosmic garage-rock energy that makes you want to shake off the week and just let loose—it’s fuzzy, frantic, and a whole lot of fun. And he’s back in Vermont.

Sloan – “The Best Part Of Your Life”

Canada’s finest are back to remind us why they are the kings of the three-minute masterpiece. It’s got the harmonies, the hooks, and that classic Sloan swagger that makes life feel just a little bit more cinematic. Off their 3rd collection of B Sides. I’ll be playing more. Any excuse.

Low Cut Connie – “Can’t Be Wrong”

Adam Weiner and the crew are here to save your soul with some high-octane rock and roll. This track hits with a piano-pounding grit that proves doing what feels right is never a mistake.

De’Wayne and Lenny Kravitz – “Highway Robbery”

This is a cross-generational explosion of cool. When you pair De’Wayne’s raw energy with Lenny’s legendary guitar soul, you get a track that’s so sleek it should probably be illegal.

The Tragically Hip – “50 Mission Cap (Live 2016)”

Prepare for goosebumps. This is a powerful, live snapshot from the Hip’s final, historic tour. A piece of a legacy that still burns bright across the airwaves. Or at least in my car. The full album isn’t out yet. I’ll probably end up playing all 29 tracks. Live Music Is Good For Your Soul.

Mike Campbell & The Dirty Knobs – “No Regrets”

The man who helped craft the Tom Petty sound is still out here showing us how it’s done. This is straightforward, honest rock and roll that wears its heart and its callouses with pride.

Don’t Believe in Ghosts – “Paper Tiger”

Don’t let the title fool you—this track has some serious teeth. It’s a modern rock anthem built on massive production and a hook that’s designed to stay in your head for the rest of the day.

Evan Honer and Winyah – “Lose A Friend”

This is a beautiful, stripped-back reflection on the complexities of growing up and growing apart. It’s raw, honest, and features the kind of vocal chemistry that stops you in your tracks.

The Critics – “Hit The Floor”

If your day needs a jumpstart, this is the jumper cables. The Critics deliver a high-energy blast of indie rock that practically demands you turn it up until the floor actually starts shaking.

Clothesline From Hell – “Whoever You Are”

Quirky, mysterious, and entirely captivating. This track pulls you into a unique sonic world that feels like a secret being shared just with you—it’s the perfect discovery for the curious ear.

Linda Perry – “Feathers In A Storm”

The legendary songwriter and producer steps back behind the mic to show us exactly where that power comes from. This is a soulful, soaring anthem about finding your footing when the world gets loud.

The Last Dinner Party – “Big Dog”

The breakout stars of the year are back with another theatrical, baroque-pop rocker. It’s grand, it’s bold. Following the pack? Why - when you can lead it.

Trainwreck Boyfriend – “Don’t Go There”

We’re closing out the set with a track that perfectly captures that “edge-of-your-seat” indie energy. It’s catchy, slightly chaotic, and a reminder that the best music often lives right on the fringe.

And that’s a wrap on week 1044. Did we manage to make your ears smile today? Whether it was the timeless pop of The Lemon Twigs or the raw power of Linda Perry, I hope you found something that shifted your perspective just a little bit. Remember: music expresses that which cannot be said and on which it is impossible to be silent. If a song hit you right today, don’t be silent—go support those artists.

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Ever have a song completely lie to you? OK lie is a strong word. Completely might be a bit too harsh too. (and since I think in music I immediately thought of - He met a girl out there with a tattoo too. No? Just me?). Focus bro. Back to the topic at hand.

You’re vibing to a soft melody when, out of nowhere, the guitar player decides to burn the house down. I live for that “Damn, where did that come from?” feeling.

Music is a living thing, capable of surprising us even when we think we’ve heard it all. For me, the best surprises are the ones hidden in plain sight. The “radio-friendly” hits that house secret absolute technical happenings. We all have these personal solo moments. You’re drifting through a gentle folk tune or a mellow groove until—them. Suddenly, the grit and the gear take over, and you’re left wondering “Wow I was not expecting that.”

That “Jekyll and Hyde” shift is why I say Music is Life. It’s personal, it’s visceral, and it’s a total gear-shift for the soul. I’m diving into the stories and the grit behind a few solos that hit that “unexpected” sweet spot perfectly. My list is just the beginning, though.

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There are 100s. Thousands. 100s of thousands. A companion playlist seems like a good idea (Sugar anyone?) What’s the one solo that caught you completely off guard? Let me know in the comments.

The Carpenters – “Goodbye to Love” (1972)

The Soloist: Tony Peluso. The “Vibe Shift”: At the time, The Carpenters were the epitome of “clean” adult contemporary. When Richard Carpenter suggested a distorted guitar solo, it was a radical move. The Reaction: It was actually controversial. The Carpenters received hate mail from fans claiming they had “gone hard rock” and “sold out” because of the fuzz-tone. The Legacy: Tony Peluso’s solo is widely credited with inventing the power ballad guitar hero trope. Without this, we might not have the epic, melodic shredding found in Journey or Boston tracks.

Steely Dan – “Peg” (1977)

The Soloist: Jay Graydon. The Perfectionism: Donald Fagen and Walter Becker were notoriously difficult. They reportedly rejected solos from at least seven world-class guitarists (including Robben Ford and Rick Derringer) before Graydon walked in. The “Bent” Notes: What makes this solo incredible is the “double-stop” bends and the slightly “skewed” blues phrasing. It’s incredibly difficult to play because it requires precise finger strength to hit those microtonal bends while keeping the “slick” jazz-pop rhythm. The “Earworm”: Graydon managed to make a highly technical piece of music sound like a catchy melody you can hum.

The Knack – “My Sharona” (1979)

The Soloist: Berton Averre. The “Unexpected Marathon”: Most New Wave hits of the era featured short, punchy solos. Averre’s solo, however, is a nearly two-minutes. The Composition: Mindless shredding? Oh no. It’s a “composed” solo that builds in tension. It starts with melodic motifs that echo the vocal line and eventually explodes into high-speed triplets. The Technical Feat: It is a rare example of a “Power Pop” song that features a solo as complex as something you’d hear from Deep Purple or Led Zeppelin.

Christopher Cross – “Ride Like the Wind” (1979)

The Soloist: Christopher Cross. The Underestimated Virtuoso: Because he became the face of “Yacht Rock,” people forgot that Cross was a monster guitar player. He actually opened for Led Zeppelin in the late 60s when his band’s guitarist got sick. The Tone: The solo is surprisingly “gainy” and aggressive for a track that features Michael McDonald on backing vocals. It’s played with a blistering speed that contrasts perfectly with the smooth, driving rhythm of the song. The Gear: Cross often used a customized Fender Stratocaster, and you can hear that classic “quack” and bite in the bridge pickup during the outro.

And have to revisit this too.

Wilco – “Impossible Germany” (2007)

The Soloist: Nels Cline. The “Guitar Orchestra”: This solo is famous for its “interlocking” parts. While Nels Cline takes the lead, Jeff Tweedy and Pat Sansone provide a counterpoint that creates a “Triple-Axe” harmony reminiscent of Thin Lizzy or Television. The Jazz Influence: Nels Cline is a noted experimental jazz guitarist. You can hear it in his note choices. He avoids standard rock cliches in favor of cascading, fluid lines that feel like they are constantly “unfolding.” The Dynamic: It starts incredibly soft and polite, almost mimicking a conversation, before building into a triumphant, soaring climax.

Elliott Smith – “Coming Up Roses” (1995)

The Soloist: Elliott Smith. The “Anti-Solo”: Elliott’s electric work was often about texture over technique. In “Coming Up Roses,” the solo is scratchy, dissonant, and feels “unhinged”. A perfect representation of the emotional turbulence in his lyrics. The Seattle Influence: While Elliott is often grouped with folkies, this track shows his love for the loud-quiet-loud dynamics and the raw, unpolished electric energy of the Pacific Northwest scene. The Genius: He played almost every instrument on the Elliott Smith album himself. His ability to switch from delicate fingerpicking on one track to this biting, fuzzy electric lead on another is what made him a “musician’s musician.”

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You think you’re hearing a “soft rock” hit, and then a world-class solo hits like a lightning bolt. It’s that shock to the system that makes music so addictive. Are you ready for the hidden brilliance? Let’s get into the grit.

Lionel Richie – “Running With The Night” (Steve Lukather): This is the ultimate “first take” legend. Steve Lukather (of Toto and EVERYWHERE) showed up to the studio, heard the song once, and started jamming to get a feel for it. When he finished, he asked, “Okay, let’s do one for real,” and Lionel Richie replied, “No, that’s it. We’re done.” Lukather was actually worried he had “stepped all over” the vocals because he was just warming up, but that raw, spontaneous energy is exactly what makes it a amazing.

Paul McCartney – “No More Lonely Nights” (David Gilmour): It’s a sweeping, sentimental McCartney ballad, but the solo is pure Pink Floyd. David Gilmour’s signature tone—ethereal, sustain-heavy, and soaring—elevates the ending into something cinematic. Gilmour famously asked McCartney to donate his session fee to charity because he just wanted to play on a Macca track.

Jackson Browne – “Doctor My Eyes” (Jesse Ed Davis): For a mellow, piano-driven debut single, the guitar work is incredibly nimble. Jesse Ed Davis (who also played with Taj Mahal and John Lennon) delivered a solo that is a perfect in it’s economy. It’s bouncy, bluesy, and perfectly mirrors the “stepping out into the light” feel of the lyrics.

Andrew Gold – “Lonely Boy”: Andrew Gold was a multi-instrumentalist genius (he actually played most of the instruments on Linda Ronstadt’s “You’re No Good,” too - see below). The solo in “Lonely Boy” is a high-voltage surprise. It has a biting, aggressive tone that cuts right through the breezy 70s production. It’s concise, melodic, and very “rock star” for a song about sibling rivalry.

Squeeze – “Another Nail In My Heart” (Glenn Tilbrook): This is often cited by guitarists as one of the most perfect “short” solos ever recorded. Glenn Tilbrook’s solo is incredibly melodic—almost like a second chorus—but technically tricky, featuring fast, fluid runs that link the verses together with surgical precision.

Rick Springfield – “Jessie’s Girl” (Neil Giraldo): Rick Springfield is a solid player, but for the “big” solo, producer Keith Olsen brought in Neil Giraldo (Pat Benatar’s husband/guitarist). Springfield had tried to record an “AC/DC-style” solo himself but felt it was too much “noodling.” Giraldo stepped in and composed that iconic, staccato, rhythmic solo that feels like an inseparable part of the song’s DNA.

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The “Damn, Where Did That Come From?” Moments continue.

Chicago – “25 or 6 to 4” (Terry Kath): Yes I could have picked dozens. I went with this “unexpectedly great” solo because it’s one of the greatest solos in rock history. If you pick a different one. You’re right. Terry Kath was a favorite of Jimi Hendrix, and you can hear why. In the middle of a horn-heavy jazz-rock track, he launches into a wah-drenched, proto-metal shred-fest that lasts for minutes. It’s raw, ferocious, and light-years ahead of what most “pop” bands were doing in 1970.

Supertramp – “Goodbye Stranger” (Roger Hodgson): This song is pure “slow build.” It starts as a bouncy, Wurlitzer-led pop tune, but the outro solo—played by Roger Hodgson—is a sustained, bluesy burn that gets increasingly aggressive as the song fades out. It’s a perfect example of a solo that provides the “emotional release” for the whole track.

Linda Ronstadt – “You’re No Good” (Andrew Gold): This solo is all about the “build-up.” It starts with those dark, ominous minor-key chords and then explodes into a layered, distorted climax. Andrew Gold’s arrangement took a 60s R&B cover and turned it into a dark, moody rock anthem.

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Hidden in Plain Sight: The Solos That Go Too Hard.

Gerry Rafferty – “Baker Street” (Hugh Burns): Everyone remembers the saxophone, but the guitar solo at the end is equally vital. Played by Hugh Burns, it shows you how you can “sing” through the guitar. It has a beautiful, crying quality that resolves the tension built up by the lyrics and that massive sax riff.

The Police – “Driven to Tears” (1980)

The Soloist: Andy Summers. Needed a Summers solo. The “Anti-Guitar Hero” Approach: While most solos on this list are about melody or speed, Andy Summers used this track to showcase pure, jagged tension. It is the antithesis of a “classic rock” solo. It’s nervous, dissonant, and avant-garde. The Sound of Chaos: The solo feels like it’s teetering on the edge of falling apart. Summers uses a sharp, biting tone and angular note choices that perfectly mirror the song’s political frustration and the “protest” energy of the lyrics. The Technical Twist: Instead of a smooth blues scale, he uses frantic, stuttering phrases and heavy synchronization with Stewart Copeland’s erratic drumming. It’s cold, precise, and reminds you that behind the “Pop” success of The Police, there was a band of experimentalists who weren’t afraid to make things uncomfortable.

Tears for Fears – “Head Over Heels” (Roland Orzabal): Amidst the lush 80s synths and production, there’s a brief, soaring guitar break that is incredibly tasteful. It’s not about speed; it’s about that perfect, overdriven “stadium” tone that makes the transition back into the “broken” ending of the song so impactful.

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These are the definition of “surprise” tracks. One minute you’re vibing, the next, a solo comes out of nowhere and levels the place. There’s nothing like the “gear-shift” these two tracks provide.

You’re floating on a melody, totally comfortable, until the guitar suddenly demands every ounce of your attention. It’s that rare, explosive energy that makes a music lover’s day. If you’re into the ‘how’ and ‘why’ behind the music like I am, these two are the gold standard for that pure - “Chris Bro happy boy.”

Billy Idol – “Eyes Without a Face” (1984)

The Soloist: Steve Stevens. The “Jekyll and Hyde” Dynamic: This is the definitive “unexpected” solo. The song is a haunting, synth-heavy New Wave ballad for the first two minutes. Then, Billy shouts “Rock it!” and Steve Stevens tears the song in half with a heavy, palm-muted, distorted riff that leads into a blistering shred. The Ray Gun & The Mojo: Steve Stevens is famous for his toy ray gun effects, but here it’s pure finger-on-string aggression. He reportedly used a late-60s Marshall Plexi amp that had been used by punk legends like Tom Verlaine and Johnny Thunders. He said the amp had “good mojo” in it, and you can hear that raw, punk-infused energy in the solo. The “Radio Edit” Tragedy: If you ever hear the “radio edit” of this song, they often cut the guitar bridge out. Hearing the full version is like seeing the song in 4K for the first time. That solo provides the grit that makes the return to the “soft” chorus feel so much more earned. How could ANY music lover cut that guitar? How do they sleep at night? What the actual fuck!

Mt. Joy – “Silver Lining” (2018)

The Soloist: Sam Cooper. The Lawyer Who Could Shred: There is a great backstory here. Sam Cooper and Matt Quinn were high school friends who both went off to become lawyers before the success of “Astrovan” pulled them back into music. This solo sounds like years of pent-up “office job” energy being released all at once. The Folk-Rock Fake-out: The track starts as a very pretty, acoustic-driven Folk/Americana song about drug-related loss. It feels gentle and reflective. But when the bridge hits, it shifts into a massive, soaring electric guitar solo that feels like it belongs in a stadium. The Tone: The solo has this incredible, fuzzy, “singing” sustain. It screams. It’s that rare modern indie solo that isn’t afraid to be a “guitar hero” moment, turning a melancholy song into a triumphant anthem by the time the outro hits.

This song. I hear the opening and I get chills. I tear up. I’m getting chills right now just writing about how this happens. Ask Kate. This solo moves me. My world stops and I HAVE to air guitar it. Nothing else matters in this moment. Nothing!

PS: Meet them backstage once. I fan boyed the fuck out of Sam. All he wanted was a drink. And here’s Chris Bro just fawning over this solo. He extended it live (as one should) I just about lost it.

Chris Bro rambles on. Not done yet. Would you expect less?

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This is one of the all-time great rock ‘n’ roll stories, and it perfectly captures Eddie’s humble (and slightly mischievous) nature. And I think this one definitely fits this topic. No?

While people often misremember it as a video store, the story actually took place at the legendary Tower Records in Sherman Oaks.

The Tower Records Encounter: After Thriller had become a global phenomenon, Eddie was standing in line to buy something when “Beat It” started playing over the store’s sound system. He was stuck behind a group of teenagers who were listening intently to the guitar solo. According to Eddie, one of the kids turned to his friends and said:

“Listen to this guy trying to sound like Eddie Van Halen!”

Eddie, who hadn’t been credited on the album liner notes (at his own request to avoid drama with his Van Halen bandmates), found it too funny to stay quiet. He leaned forward, tapped the kid on the shoulder, and simply said:

“That is me!”

How brilliant is that? A world-class musician just hanging out in a record store, watching the world react to his work without even realizing it was him.

Why Nobody Knew

The reason the kids—and even his own band—didn’t know at first was because of how casual the session was. The “Favor” Factor: Eddie did the solo as a favor to Quincy Jones for free (well- two cases of beer). Eddie famously told his bandmates not to worry about him doing outside work because “nobody is going to know I played on this black kid’s record.” He had no idea he was contributing to what would become the best-selling album of all time. The Stealth Session: He recorded it in about 20 minutes while David Lee Roth was out of town, literally rearranging the song’s structure on the fly because he didn’t like the original breakdown.

And speaking of moving around the song…How EVH almost ruined Beat It. It’s all worth listening to but if you only want the Van Halen part 3.54.

And this is one of the best surprise solos ever. And for an already world famous solo.

Perfect place to make Chris Bro stop.

Keep those ears open and the volume up. Whether it’s a fuzzed-out freakout in the middle of a ballad or a session pro showing off on a pop hit, these are the moments that keep us coming back. They remind us that there’s always something new to discover, even in the songs we thought we knew by heart.

Thanks for hanging out and sharing your favorites. Until next time—keep discovering, keep listening, and remember: Music is Life.

Welcome into week 1044 of NEXT. We’re back. Let’s find you a NEXT, new favorite song. We’ve got a massive hour ahead, featuring a “reimagined” classic from the Freddy Jones Band, some high-octane attitude from The Beaches, and even a jagged new slow-burner from the legendary Rolling Stones. My goal is simple: I want to find the tracks that clear out the static and actually move the needle. Let’s start the discovery.

Pete Yorn – “All The Beauty”

Pete Yorn has always been a master of that bittersweet, open-road feeling, and this track is no exception. It’s a shimmering, melodic reminder to look for the light in the cracks, delivered with that signature voice that feels like an old friend coming home.

Freddy Jones Band – “In A Daydream (Artemis 2 Reimagined)”

You might know the original, but you’ve never heard it breathe like this. This reimagined version takes a classic ‘90s groove and gives it a lush, cinematic depth that makes the whole song feel like a brand-new discovery.

The Beaches – “Should’ve Known Better”

Fresh off their incredible “Silver Springs” cover, the girls are back with a track that is pure, high-octane attitude. It’s got a massive hook and that signature Beaches grit that makes you want to turn the volume up until the speakers rattle. Full album sometime in the near distant future.

Blankslate – “Mountain Charley”

If you like your indie rock with a side of storytelling and a lot of heart, Blankslate is about to become your new favorite. This track builds with a steady, driving energy that feels like a climb to a summit you won’t want to leave.

Michigander – “Freaking Out”

Don’t let the title fool you—this is one of the most cohesive, anthemic tracks you’ll hear all year. Michigander has a way of turning internal anxiety into a massive singalong that feels like a collective exhale for everyone listening. It’s got a bit of that Modest Mouse feeling.

The Black Crowes – “It’s Like That”

The Robinson brothers are back, and they haven’t lost a single ounce of that dirty, soulful rock and roll swagger. This track hits with a classic stomp and a bluesy grit that reminds us exactly why they’ve been kings of the genre for decades.

Social Distortion – “Wicked Game” (Cover)

Chris Isaak’s haunting classic gets a punk-rock soul transplant here. Mike Ness takes that longing and turns it into a gravel-voiced, greaser-rock anthem that feels like a midnight ride on a vintage motorcycle.

The Rolling Stones – “Rough and Twisted”

Even after sixty years, the Stones can still sound more dangerous than bands half their age. This is a jagged, bluesy slow-burner that proves Mick and Keith still have plenty of secrets hidden up their sleeves.

American Football – “Wake Her Up” (feat. Wisp)

The pioneers of midwest emo meet a new-school shoegaze icon, and the result is absolute magic. It’s a swirling, beautiful soundscape that feels like waking up from a dream you’re trying desperately to remember.

Father John Misty – “The Payoff”

Josh Tillman is back with his usual mix of cynical wit and gorgeous, sweeping arrangements. It’s a lush, theatrical piece of pop that manages to be both deeply sarcastic and genuinely moving at the exact same time.

Arkells – “Two Hearts”

Nobody writes a “get-on-your-feet” anthem quite like the Arkells. This track is a soulful, rhythmic celebration of connection that’s guaranteed to make your car or kitchen feel like a front-row seat at a summer festival.

SG Goodman – “Pepper” (Cover)

Prepare for a vocal performance that will stop you in your tracks. SG Goodman brings a raw, Southern-gothic intensity to this song that feels ancient and modern all at once—it’s haunting, beautiful, and totally unique. Cool cover.

Bullseye – “Dangers Of The Heart”

This is a sharp, tight piece of power-pop that hits the bullseye exactly as promised. It’s got a nervous energy and a driving beat that captures that “edge-of-your-seat” feeling of a new romance perfectly.

Mike D – “Switch Up”

Closing out this set with a legendary vibe. Mike D is bringing that effortless, cool-kid energy with a track that’s all about the groove. It’s a sonic refresh that reminds you that sometimes, you just have to switch it up to keep it moving.

In a historic moment for hip-hop fans, Mike D has returned. His first major musical offering since the Beastie Boys’ final album in 2011 and the passing of Adam Yauch. This isn’t just a solo comeback; it’s a family affair that began as a collaboration with his sons, Davis and Skyler, alongside their band Very Nice Person. It’s a bridge between the legendary Beastie legacy and a fresh generation of sound.

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That’s the final note for week 1044, and I truly hope we managed to make your ears smile today. Whether it was the grit of the Black Crowes or the haunting beauty of SG Goodman’s cover, I hope you found something that shifted your perspective just a little bit. As the saying goes, music expresses that which cannot be said and on which it is impossible to be silent—so if a track hit you right today, don’t be silent about it. Go support the artist and share the noise. I’m Chris Bro, stay curious, and I’ll catch you right back here for 1045. Turn it up! Have a brilliant weekend

And remember if you love someone hug them right now.

• Music Question: Deep Tracks and Dinner: My Obsessive Path to 365 Days

• Next: My weekly new music radio show. Week 1043 notable songs of April

• Musical Thoughts. None (that I’m sharing this week)

Cooking dinner is always better with a soundtrack—that’s just a fact.

Last night, in the low-light of the not so quiet kitchen, something shifted. The mundane act of prep work dissolved, and suddenly the spatula was a beat-up Telecaster. And I was channeling something stadium-ready.

It started with Billy Squier’s “Too Daze Gone” rattling the windows. There’s a specific kind of magic when Squier’s classic rock-and-roll haze hits you—that feeling of time lost to the lifestyle. And If you are thinking Billy’s “Too Daze Gone” isn’t a Day. Or a 2. I get how you’d feel that way. It’s a great play on words so I’ll give you Granpaboy’s (Westerberg) “2 days til Tomorrow.”

Once I heard “Too Daze Gone” - I think in music so I immediately drew a line to the headspace of School of Fish’s “3 Strange Days.” (you always need to play the Intro). It was the same territory: lost weekends, neon-lit regret, and the ghost of a hangover. Those glorious blurry memories.

My mind did what it always does—it turned the chaos into a game. You might think oh he’s going to list hedonistic songs. No. Although that would make sense, my music head went in another direction. I had my 2 and my 3 day songs. I needed a 1.

I first thought of The Beatles’ “A Day in the Life.” My inner curator slammed the brakes. A day isn’t 1 day. I have rules, and in this kitchen, I’m the only one playing by them. I pivoted. Pink Floyd’s “One of These Days”? That’ll do. Rule satisfied? In the chaotic, wonderful world of my kitchen-counter logic, it absolutely counts. Rule satisfied. Why the hell not? I mean this all started with a day song titled Daze.

Got love pretzel logic.

Now I was on a roll. I needed to round out the early week, and naturally, The Beatles had to make an appearance. “Eight Days a Week” floated into the mental rotation. Just like that, I had my sequence: 1, 2, 3, and 8.

Then came the Barenaked Ladies’ “One Week,” and my brain started racing, sprinting through a mental jukebox. Yes technically BNL sings “one week” and not “seven days,” but in my music-mind, the rules are fluid AND the floodgates opened. I went sprinting toward “Two Weeks” by Grizzly Bear (what a track). Then doubled back to satisfy my own internal logic with Sting’s “Seven Days.” Chris Bro happy boy. I mean why even have rules at this point?

Don’t worry, dinner is still going fine. Nothing’s burnt.

Next? The alt-country ache of Whiskeytown’s “16 Days.” Oh the brilliance of Prince and his “17 day” song. It has to be his piano and mic version. Holy balls I LOVE that song. You can hear he has a cold and it’s perfect. Oooo - ZZ Ward’s “365 Days.” I had to put a hard stop at one year; I wasn’t about to start cataloging centuries while adding the garlic. That’s when Tame Impala’s “One More Year” was whispering in my ear.

The sequence was forming: 1, 2, 3, 7, 8, 14, 16, 17, 365.

13 is my favorite number so I started thinking about 13 songs. Everyone needs TP in their life so I picked their cover of the JJ Cale song. And 12 days of Christmas. Can I count that one? Should I?

But as the stove hummed, the gaps began to haunt me. I needed a 4. I cycled through Counting Crows. Bam. That took a bit too long. And then 4 days of Heaven and 3 nights of hell jump into my head by Little Feat. (I did go back and look and it’s 3 days of work). Opps. And man do I love their groove-heavy, funky swagger. Then the scramble for the rest of the week began. Blue Rodeo’s “5 Days in May” (it’s May, it’s perfect, it stays).

6. 6. 6. I can’t think of one. Damn it bro. Still thinking about 6. When Humble Pie’s “30 Days in the Hole” (essential) jumps in and starts a quick session of 10s. Slowdive for 40 days. I still need a 6. but I am on the zeros roll. The Gits? Don’t they have a 50 days song? No I don’t think so and Drinking Song doesn’t count. I think it mentioned years and it’s not in the title. Oh...Seattle. Lanegan. Mark Lanegan for the 100-day mark—because you can’t navigate these waters without a little bit of that Seattle soul.

But the number 6... it was a ghost. A phantom. I was pacing, sweating, and scouring my memory. Almost ready to give up. The dinner was nearly plated, the air guitar was packed away, and I was staring into the void of an incomplete setlist.

And then, right as the last dish hit the table, it arrived—The Flying Burrito Brothers. “6 Days on the Road.”

Of course. It was there the whole time, wasn’t it? You were probably watching me sweat it out over the burner, just waiting for the click.

The dinner is served, the list is complete, and the kitchen is quiet again. But now it’s your turn. The needle is dropped. Give me your quick-fire “days in order” playlist. What’s in your rotation?

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Welcome to this special edition of NEXT and as we close the book on April we’re hitting the ‘Rewind’ button. We revisit the songs that defined the last four weeks—the ones that simply demanded another listen. It’s time to look back at the best of the best—let’s jump into our April Rewind.

This Is Lorelei and Momma – “A Song That Sings About You”

If you’ve ever wished your life had its own indie-rock soundtrack, this is it. It’s raw, it’s infectious, and it’s got a melody so catchy it’ll be playing on a loop in your head long after the show ends.

PONY – “Superglue”

This is a blast of pure, unadulterated sunshine. PONY captures that feeling of a connection that just won’t quit, delivering a power-pop track that is as catchy and irresistible as its title suggests.

King Tuff – “Invisible Ink”

The king of cosmic garage rock is back to show us how it’s done. This track is a masterclass in psychedelic pop, with a hook that feels like it’s been burned permanently into your brain—don’t say I didn’t warn you.

Florence Road – “Break The Girl”

There’s a quiet, simmering power in this track that you simply can’t ignore. Florence Road creates an atmosphere that feels like a late-night drive through the city, drawing you in until you’re completely hooked.

Triples – “Happy”

It’s a simple title for a track that delivers on its promise. This song is breezy, optimistic, and features the kind of fuzzy, sun-drenched guitars that make you want to roll the windows down and leave your worries behind.

Two Feet – “The Way She Looks”

Dark, sultry, and undeniably cool. Two Feet brings a swagger to this track that feels like it was tailor-made for a dimly lit room, proving that sometimes the best music is the kind that moves slow and hits hard.

Jack White – “G.O.D. and the Broken Ribs”

Leave it to Jack White to reinvent rock and roll every time he picks up a guitar. This is jagged, frantic, and brilliantly unpredictable—it’s the musical equivalent of a lightning strike.

Sharp Pins – “Fall in Love Again”

Indie-pop charm. It’s light on its feet, impossibly melodic, and carries that nervous, electric energy of a new crush—perfect for anyone who needs to be reminded how good falling for a song can feel.

Noah Kahan – “Deny Deny Deny”

Noah Kahan has a gift for turning deeply personal confessions into massive, foot-stomping anthems. This is heart-on-your-sleeve songwriting at its finest, making even the most difficult realizations feel like a party.

Matt Corby – “Big Ideas”

Matt Corby’s voice is like liquid gold, and it’s on full display here. Lush, sophisticated, and carrying a groove that hits you instantly, this is the kind of soulful track that feels like it was always meant to be on your radio.

Wire – “23 Years Too Late - 24 Years Later Edit”

You’re about to hear a piece of art that sounds as urgent today as it did decades ago. It’s rhythmic, sharp, and brilliantly mechanical—proof that true innovation in music never really goes out of style.

Brigitte Calls Me Baby – “There Always”

If you miss the days when a velvet-voiced croon met a sharp indie edge, you are going to fall for this one immediately. It sounds like a timeless matinee idol fronting a modern rock band, and it is absolutely hypnotic.

GUV – “Out of this Place”

It’s time to crank the volume for something with some serious grit. GUV delivers a raw, propulsive track that sounds like it was forged in a basement but is ready for a stadium—your ticket out of the mundane starts right here.

Deer Tick – “Everything Born”

Deer Tick has a unique way of finding the hidden beauty in the dirt and the dust. This is a whiskey-soaked, honest reflection on life that reminds you why they are one of the most grounded bands in the game.

Teen Jesus And The Jean Teasers – “Go Waste My Time”

With a name this good, you know the music has to deliver—and it does. This is high-energy, defiant rock and roll that makes “wasting time” sound like the most important thing you could be doing this afternoon.

Rainbow Kitten Surprise – “Sixteen”

Prepare to get lost in the layers. This track is a lush, expansive journey that showcases why RKS is one of the most exciting bands in modern music. It’s poetic, weird, and entirely wonderful.

The Twilight Sad – “Waiting For the Phone Call”

Atmospheric, haunting, and deeply emotional. The Twilight Sad captures the tension of anticipation, creating a soundscape that stays with you long after the final note fades out.

And that closes out our look back at the standout sounds of April. I hope hearing them a second time around felt just as good as the first. The beauty of a show like NEXT is that a great song never really gets “old”—it just gets better the more you live with it. As we head into a new month, keep these tracks in your rotation, share them with someone who needs a new favorite, and keep that hunger for discovery alive. I’m Chris Bro, thanks for letting me be your guide through the noise this April. I’ll see you at the next frequency. Peace.

Thank you for listening/reading.

And remember if you love someone hug them right now.

I don’t say a word. I just walk to the chalkboard. The surface is scarred by decades of equations and dates. I reach into the tray, my fingers finding a fresh, sharp piece of white chalk—the kind that feels substantial.

I raise my arm and begin to print.

C-H-R-I-S B-R-O.

The chalk screams slightly against the slate, leaving behind thick, jagged lines of dust. I step back, dusting off my palms, and turn to face the room. I let the silence hang for a beat too long, just to see who’s actually tuned in.

Welcome, everyone. Please, find a seat. Today’s lecture focuses on a phenomenon I call “The Musical Triple Play.” Or “Who Are You?” – The Bands That Answered Thrice.

In the vast landscape of musicology, most artists spend their careers trying to establish a brand. But a select few achieve a rare, recursive perfection where the Artist, the Album, and the Anthem all share a single name. It is the ultimate statement of self. A sonic business card that demands the listener acknowledge exactly who they are and what they represent.

Why the “Triple Play” is a Masterstroke of Branding

When a band places their name on the group, the record sleeve, and the A-side of the single, they are making three guarantees of quality.

Recursion: It creates a recursive loop. The Who is the What, which is the How. Don’t worry about the When. We know the Why.

Branding: It ensures that you cannot talk about the record or the song without saying the band’s name.

The Manifesto: It acts as a three-point mission statement. By the time you finish the title track, you know exactly who this band is.

This technique is often used for debuts as we see with Black Sabbath or Bad Religion. And let’s not forget some veterans like Wilco who use it to redefine or reaffirm their path. It’s an effective strategy across all genres, from the early self-mythologizing of Bo Diddley to the visceral, multi-media machine that is Run The Jewels.

If you were starting a band tomorrow, could you make this commitment? Could you make your entire existence a singular statement?

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Let’s examine the “Triple Play” through the lens of identity and legacy.

The Progenitors: Black Sabbath

We begin in 1970, in the rainy industrial sprawl of Birmingham. When Black Sabbath released Black Sabbath, featuring the song “Black Sabbath.”

“It’s a bit of a weird thing to name everything after yourself, but it just felt like a premonition. We wanted something that sounded heavy and dark, and once we had that riff, we knew that was us.”— Geezer Butler

The song’s tritone - the “Diabolus in Musica” - created a sonic signature so powerful that the band name and the album title became inseparable from the sound itself. Yes it became: The “Black Sabbath” Riff. Which defined heavy metal

It is the gold standard of the Triple Play.

The Blue-Collar Outlaws: Bad Company

Moving into the mid-70s, we see the Triple Play used as a badge of defiance. When Paul Rodgers left Free to form Bad Company, he used the self-titled track on the self-titled debut to cement their “tough-as-nails” persona.

“I saw a poster for a film called ‘Bad Company’ and I thought, ‘That’s it.’ It sounded like a gang. When we wrote the song, it was about being an outsider. Naming the album the same thing just hammered the point home.” — Paul Rodgers

The Meta-Modernists: Wilco

Fast forward to 2009. The Triple Play is usually reserved for debuts, but Jeff Tweedy and Wilco decided to use it for their seventh studio album, Wilco (The Album), featuring “Wilco (The Song).” This was a brilliant, tongue-in-cheek nod to their own longevity.

“We thought it was funny. It’s like, ‘Here we are.’ There’s something very comforting about saying, ‘Wilco will love you, baby.’ It was our way of acknowledging the relationship we have with the fans.”— Jeff Tweedy

It’s the band leaning into their own legend with a wink.

The Punk Paradox: Pennywise

In the punk scene, the Triple Play often serves as a manifesto. Take Pennywise and their 1991 debut. The song “Pennywise” on the album Pennywise. It’s about the societal fears the band intended to dismantle.

“We were just kids from Hermosa Beach trying to find a name that sounded menacing. Once we had the song, it felt like the centerpiece. It just made sense to make the whole package a singular unit.” — Fletcher Dragge

Why Does the “Triple Play” Matter? Is it a refusal to be misunderstood? The “Triple Play” is the ultimate insurance policy against anonymity. I want you to think about the intentionality behind these choices. Is it a lack of imagination? Or is it the highest form of confidence?

I pause. I reach for my coffee cup, find it empty, and set it back down with a hollow thud that echoes. I continue.

The Manifesto: Bad Religion

Bad Religion used it as a thesis statement for an entire subculture. In 1981, they released the Bad Religion EP, featuring the song “Bad Religion.” It was a sonic blast that questioned authority, religion, and social constructs. AND all while defining the “West Coast” melodic hardcore sound.

“We were just sixteen or seventeen years old, and ‘Bad Religion’ seemed like a perfect name to annoy the people we wanted to annoy. The song was a critique of people’s need for a structured belief system. Naming the band and the record the same thing was just our way of saying, ‘This is our stance, take it or leave it.’” — Greg Graffin

By the time they hit the final chord of the track, you knew exactly what the logo on the sleeve represented.

The Architectural Groove: Kool & the Gang

In 1969, before they became the global disco-funk titans of the “Celebration” era, they were a lean, mean, jazz-inflected outfit from Jersey City. Their debut instrumental album, Kool and the Gang, opened with - you guessed it - the track “Kool and the Gang.”

They used the “Triple Play” to let their instruments do the talking.

“We were coming out of a jazz background, but we wanted to make people dance. When we hit that first riff on ‘Kool and the Gang,’ it was like we were announcing a new club that everyone was invited to. We named everything after the group because we wanted that name to be synonymous with the rhythm. We wanted you to feel ‘Kool’ before you even met us.” — Robert “Kool” Bell

The song is largely instrumental, punctuated by the rhythmic chanting of their name. They were etching their identity into the listener’s subconscious.

The Manufactured Identity: The Monkees

We must look at the 1966 phenomenon of The Monkees. Unlike the organic evolution of Black Sabbath, this was a “Triple Play” by design. Created for a television series, the band had to be a brand before they even played a note together.

The debut album, The Monkees, featured “(Theme From) The Monkees,” and the message was clear: this was a product, a personality, and a playlist all rolled into one.

“We were ‘The Monkees’ because that was the show. The song was the introduction to the characters. People forget that we were trying to find our own voices within this machine, but that first album—and that theme song—created an identity so strong it’s still what people think of sixty years later.” — Micky Dolenz

It is perhaps the most “pure” form of the Triple Play because it was engineered to ensure that the audience could never, ever forget the name.

The Alternative Altar: Porno for Pyros

Following the dissolution of Jane’s Addiction, Perry Farrell returned in 1993 with a project that felt like a fever dream. The self-titled album Porno for Pyros featured the track “Porno for Pyros,” introducing a world of chaotic, art-rock curiosity.

“The name came from looking at a fireworks magazine and seeing the term ‘Porno for Pyros.’ It felt like the world we were living in—this explosive, voyeuristic energy. Having the song and the album share that name felt like we were building a specific world for people to step into.” — Perry Farrell

The Modern Duo: Run The Jewels

In the 2010s, Killer Mike and El-P redefined the independent hip-hop landscape. Their 2013 debut, Run The Jewels, kicked off with the track “Run The Jewels.”

“We didn’t just want to make a record; we wanted to start a movement. ‘Run The Jewels’ is a command. It’s about taking what’s yours. Putting that song first on the first album with that name... it was about setting the tone for everything that came after. It was the mission statement.” — Killer Mike

The Gritty Revival: Bully

Now let’s look at the 2013 self-titled EP from Alicia Bognanno’s project, Bully. The track “Bully” serves as a masterclass in grunge-inflected vulnerability. This is the “Triple Play” acting as an anchor for a raw, uncompromising sound that would soon take the indie world by storm. Or at least my world.

“Naming it ‘Bully’ felt very direct, which is how I try to write. The song itself is so central to what I was feeling at the time that it just made sense for it to represent the whole EP and the project itself. It’s a very singular way to introduce yourself to the world.” — Alicia Bognanno

The Sonic Assault: Body Count

Few “Triple Plays” carry as much cultural weight as Body Count. In 1992, Ice-T made the pivot from hip-hop to heavy metal, releasing the album Body Count with the lead-off track “Body Count.” It was a jarring, necessary collision of genres.

“I wanted to show that rock and roll belongs to us, too. ‘Body Count’ was a name that came from the streets—it was about what was happening in the neighborhood. Making the song the title track and the band name was about making sure you couldn’t ignore the message. You had to say the name to talk about the music.” — Ice-T

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Ahem. I see a few of you reaching for your jackets. Stay with me. We aren’t quite through the syllabus yet.

If you’ll please turn your attention back to the lectern, we have a few more critical case studies to examine before we conclude today’s seminar.

These examples represent the moment a band looks the listener in the eye and says: This is exactly who we are.

The Galloping Standard: Iron Maiden

In 1980, while the punk scene was still smoldering, a group of East End Londoners led by bassist Steve Harris unleashed their debut. The album? Iron Maiden. The closing track? “Iron Maiden.” The result was a definitive “Triple Play” that established a sonic empire.

Unlike the doom-laden crawl of Black Sabbath, Iron Maiden’s self-titled anthem was built on a “galloping” bass line and high-velocity energy. It was an invitation into their world. A world inhabited by their skeletal mascot, Eddie.

“We had the name ‘Iron Maiden’ before we even had the full lineup. When we wrote the song, it was always the high point of the set. It’s got that build-up, that energy... it felt like the only right way to introduce ourselves on the first record. It says: ‘This is who we are, and we’re coming for you.’” — Steve Harris

The Literalists: Living in a Box

Now, we turn to a curious case from 1987. If there were an award for “Most Consistent Branding,” it would undoubtedly go to the British synth-pop trio Living in a Box. They achieved the Triple Play with their debut single, “Living in a Box,” on their debut album, Living in a Box.

The song actually predated the band name. As the story goes, the lyrics came first, and the label realized they had a marketing goldmine on their hands.

“The title came from a friend who said I looked like I was ‘living in a box’ in my tiny flat. When we wrote the song, it had such a hook that the producers said, ‘Why call the band anything else?’ It became this weird, recursive loop. Everywhere we went, it was ‘Living in a Box’ by Living in a Box from the album Living in a Box.” — Richard Darbyshire

Some critics dismissed it as a gimmick. It remains one of the most effective - if slightly claustrophobic - examples of identity in pop history.

The Supergroup Synergy: Damn Yankees

When Jack Blades, Tommy Shaw, and Ted Nugent joined forces to create a brand of high-octane American rock. Their debut, Damn Yankees, featured the titular track “Damn Yankees.”

“We wanted something that sounded like a call to arms. When Ted [Nugent] or Tommy [Shaw] and I got in a room, it was just this explosion of energy. Naming the song, the album, and the band ‘Damn Yankees’ was about that collective identity—it was a statement that we weren’t just a side project, we were a unified force.”— Jack Blades

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Wait! Before you head out. We cannot conclude a lecture on the “Nominal Trinity” without discussing the man who essentially invented the concept of self-mythologizing in rock and roll.

We are talking, of course, about Bo Diddley.

In 1958, he released the album Bo Diddley, featuring the song “Bo Diddley.” While the other artists we’ve discussed used this technique for branding or manifestos, Bo used it to create a legend.

The Architect: Bo Diddley

You have to understand the landscape of the late 1950s. Most artists were still trying to fit into the “crooner” or “entertainer” boxes. Bo Diddley arrived with a rectangular guitar and a beat. The “Bo Diddley Beat”. That changed the DNA of music forever. By naming the band (himself), the album, and the song “Bo Diddley,” he was asserting his presence as a force of nature.

“I didn’t know no other names to call it! I just told ‘em, ‘This is Bo Diddley.’ People would ask me what kind of music I played, and I’d tell ‘em, ‘I play Bo Diddley music.’ It wasn’t just a song; it was me telling the world I arrived, and I wasn’t going nowhere.” — Bo Diddley

Every artist we’ve discussed today - from Black Sabbath to Run The Jewels - owes a debt to this specific moment in 1958. Bo Diddley proved that if you say your name loud enough and often enough, it becomes immortal.

Now, that is a proper stopping point. Thank you for your patience. We’ve moved from the dark omens of Sabbath to the synthesized boxes of the 80s and the televised charm of the 60s. Each of these bands chose—or were given—a singular identity that bridged the gap between the performer and the performance.

As you go about your week, I want you to consider: if you had to define your entire existence in one word, one title, and one song - could you do it?

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Watch out for the “Triple Plays” on your walk home. They’re more common than you think once you start looking!

For Monday’s session: I want you to research an artist who almost achieved the Triple Play but missed a step. I want to know if the decision to break the Trinity was artistic or logistical.

We have a guest speaker next week, and the topic is “The sophomore slump: why the second album is always the hardest.” Do your reading.

Thank you for your attendance today. Keep your ears open. Class dismissed.

We’re diving into a massive crate of new sounds, from the legendary soul of Willie Nelson and Paul McCartney to the fresh energy of Teen Jesus and the Jean Teasers. In all 55 minutes of new music for your new music loving ears.

Welcome to week 1042 of NEXT and whether you’ve been with us for a thousand sessions or this is your very first, we have one mission today: we are going to make your ears smile. As the great Jimi Hendrix once said: Music doesn’t lie.

So let’s get to the truth together. The discovery starts right now

This is Lorelei & Momma – “A Song That Sings About You”

Imagine if your favorite coming-of-age movie soundtrack got a gritty, indie makeover. This version is raw, catchy, and has a melody that feels like a long-lost friend calling you up just to say hello. It is also off the second (!) deluxe version of the album.

The Afghan Whigs – “Duvateen”

This track is pure, unadulterated swagger wrapped in a dark velvet jacket. It’s got a groove so deep and a vocal so soulful that it might just make you want to start a drama in a dimly lit bar.

PONY – “Superglue”

If you need a shot of pure sunshine to get you through the day, hit play on this one. It’s a sparkling power-pop gem about the kind of connections that stick to your ribs and never let go.

Triples – “Gonna Be Good”

The title isn’t lying—this track is an absolute mood-booster. It’s breezy, optimistic, and features the kind of fuzzy guitars that make you want to roll the windows down and drive toward the horizon.

Noah Kahan – “Deny Deny Deny”

Noah Kahan has a way of turning a simple feeling into a massive anthem, and this track is no exception. It’s a foot-stomping, heart-on-your-sleeve journey that makes even the toughest realizations feel like a party. Also see the doc. It’s quite good.

Prince – “With This Tear”

When the Purple One decides to break your heart, he does it with more style than anyone else on the planet.

The vault at Paisley Park has opened ten years after his passing. Originally recorded in 1991. This track features Prince handling every single instrument and every vocal layer himself, capturing a level of vulnerability that’s rare even for him. The song was eventually given to other artists to record. It’s a soulful, reflective journey that marks the beginning of a year-long celebration of his unreleased genius. Yes, listen for more Prince this year!

Paul McCartney – “Days We Left Behind”

Sir Paul is taking us on a nostalgic trip that feels like a warm hug. It’s a gentle, beautiful reminder that while the past is behind us, the melodies we made there never truly fade away.

Willie Nelson – “Dream Chaser”

At an age when most people are slowing down, Willie is still out here chasing the light. This track is a dusty, soulful piece of wisdom that proves as long as you have a dream and a guitar, you’re never really lost. I get that “look in the mirror” too. The who the fuck are you moment.

Beck – “Ride Lonesome”

Beck has always been a sonic shapeshifter, and here he’s channeling a lonesome, cinematic cowboy vibe. It’s atmospheric, cool, and sounds like the ending credits of the coolest western you’ve never seen.

All Them Witches – “The Welterweight”

This track hits like a heavyweight despite the title. Dorky. Yes. Had to. Yes. It’s a swampy, blues-infused rocker that builds a tension you can feel in your teeth—perfect for anyone who likes their music with a bit of grit but not too much. Smooth grit.

Widowspeak – “If You Change”

Hazy, dream-like, and utterly captivating. This song feels like watching a sunset through a soft-focus lens, offering a melody that drifts through the air and settles right into your soul.

Teen Jesus & The Jean Teasers – “Go Waste My Time”

With a name like that, you know you’re in for a ride. This is high-energy, defiant rock and roll that makes “wasting time” sound like the most productive thing you could possibly do today. A bonus track on the deluxe version.

Ian Sweet – “Criminal Kissing”

This track is a dizzying explosion of indie-pop creativity. It’s quirky, fast-paced, and features a vocal performance that feels like a secret being whispered directly into your ear over a driving beat.

Matt Corby – “Big Ideas”

Matt Corby is bringing the soul back to the airwaves with a voice that sounds like liquid gold. This track is lush, sophisticated, and has a groove that will have you nodding along before the first verse is even over.

Duran Duran ft. Nile Rodgers – “Free To Love”

When you put the kings of New Wave in a room with the master of the “chuckle” guitar, you get pure dance-floor magic. This is sleek, fun, and reminds us that some collaborations are just written in the stars.

And that’s a wrap on week 1042. I hope you found at least one track today that made you want to turn it up and lean in. If you did, remember the golden rule: find a way to support that band, because new music only survives when we show up for it. If something you heard today spoke to you, don’t be silent about it—go share the noise. I’m Chris Bro, this has been NEXT, and I’ll see you back here for 1043. Peace.

and if you love someone hug them right now.

There’s a unique bit of digital sorcery that takes place when a text notification acts as a wormhole to 1993. A buddy of mine - a guy who was right there with me during the glory days of alternative radio - just hit me with a link and a reality check: I know you’re still obsessed. Enjoy.

The link led to a holy grail of musical archaeology. A full, two-hour archival upload of the 1993 120 Minutes Year-End Live Recap.

Oh and don’t skip the ads - a bail bonds commercial followed by a Waffle House commercial? Absolute gold!

The Link.

Whether it was staying up past midnight to catch the broadcast or cueing up a blank VHS tape (or probably reusing one) to record the latest transmissions from the underground - 120 Minutes was my lifeline. It was the primary source for so many of the bands that still occupy the “all-time favorites” shelf of my brain today. It introduced me to the artists that defined my musical DNA.

This 1993 footage feels even more special because at that time I was living in the Virgin Islands on St. Thomas. So I missed the “live” experience of this particular show entirely.

I wasn’t completely shut off from the alternative movement. If my memory serves me right - and it’s been a few decades - the spot was called Sib’s. They had an Alternative Night. Every Thursday, the air changed. That “Alternative Night” became a sanctuary for my buddy Jeff and me. A weekly ritual of grabbing a drink and just letting the sound take over. For a few hours, we were plugged into the global, distorted conversation that everyone else was watching from their couches on the mainland. As Kim Deal famously put it: I just want to get things loud. And on that rock in the Caribbean, those loud nights were the absolute peak of my week.

If you are curious about who played and when on the video:

02:34 Smashing Pumpkins - Cherub Rock

07:20 Juliana Hatfield - My Sister

11:25 They Might Be Giants - Why Does The Sun Shine

14:17 Swervedriver - Duel

24:54 Violent Femmes - Add It Up

31:00 Suede - Animal Nitrate

34:12 Bad Religion - American Jesus

42:33 Afghan Wigs - Debonair

46:40 X - New Life

49:50 PJ Harvey - Wang Dang Doodle

57:57 Matthew Sweet - Ugly Truth Rock

1:02:36 Victoria Williams w/ Lou Reed - Crazy Mary

1:08:09 Buffalo Tom - Soda Jerk

1:13:20 Therapy? - Screamager

1:16:30 Concrete Blonde - Everybody Knows

1:26:36 Paul Westerberg - First Glimmer

1:32:14 Catherine Wheel - Crank

1:35:50 Bjork - Aeroplane

1:44:36 Cracker - Low

1:49:11 Evan Dando - Into Your Arms

1:54:45 Connells - Slackjawed

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By the time this year-end special hit the airwaves, the music industry was navigating a beautiful state of flux. The “Seattle Sound” had already smashed the doors down in ‘91. Here in ‘93 the dust was settling into a landscape that was far more diverse and delightfully strange.

This two-hour recap is a perfect time capsule. It captures the raw aftermath of the grunge explosion - the mechanical pulse of rising industrial rock, the ethereal shimmer of British shoegaze, and the very first whispers of the Britpop wave.

Watching it today, I’m floored by the pacing. There was a genuine patience to the programming. Which is crazy to me today. We - the audience weren’t treated like we had five-second attention spans. That would come soon enough. They let the live sets breathe and the interviews get comfortably awkward. It felt unpolished, unscripted, and entirely human. A time when music television felt like it was made by - and for - actual human beings. Can I have this back please?

I have an idea. Hear me out. Tell me I’m not crazy.

They should just rerun old MTV forever. They could have three channels that people would actually watch (or maybe it’s just me): 120 minutes, Headbanger’s Ball and Yo MTV raps

Revisiting these two hours proves that MTV’s decision to bury this archive is nothing short of a tragedy. They really should just loop the “classic” years indefinitely—rinse and repeat.

Just open the vaults and let the original tapes run until they disintegrate. If they wanted to actually matter again, they’d give us three dedicated channels we could actually care about:

The 120 Minutes Channel: Dedicated to the underground and the outsiders.

The Headbanger’s Ball Channel: For the heavy-duty riffs and the legends of the metal scene.

The Yo! MTV Raps Channel: Focusing on the icons who built the hip-hop landscape.

Put these on a 24-hour loop, and I’d be glued to the screen for the first time in decades. I would binge the fuck out of that.

If you grew up with a VCR constantly cued to MTV at midnight on a Sunday, you know exactly what I’m talking about. It was the classroom where we learned that “Alternative” is a mindset you carry in your gut.

Watching this 1993 recap now feels like a long-overdue gift. A snapshot of a time when music felt like a vast, undiscovered frontier.

To the friend who sent this to me: thank you. So, dim the lights, check your levels, and get ready to remember why this music changed your life.

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As Tom Waits once said: I’m not a scientist, I’m an explorer.

My “music mind” went into full exploration mode. I had to excavate a little bit of MTV history. This is the kind of rabbit hole my music brain was built for. I think in music so I was curious about the first videos MTV ever played on August 1, 1981.

In those first 24 hours, the network premiered 116 unique videos. Spinning them a total of 209 times. So yes that means repeats. From that very first day, MTV established the high-rotation system that would define a generation’s listening habits.

The Who’s “You Better You Bet” earned the distinction of being the first video ever repeated on the network.

April Wine’s “Just Between You and Me” and Phil Collins’ “In the Air Tonight” were the day’s heavy hitters on that first day - each airing five times.

And if you were watching on day one, you couldn’t escape Rod Stewart. He dominated the inaugural broadcast with 16 total appearances across 11 different videos.

The “Firsts” That Defined an Era

The Buggles’ “Video Killed the Radio Star” was the first video played.

Pat Benatar’s “You Better Run” made her the first female artist on the air, and her husband Neil Giraldo the first lead guitarist.

REO Speedwagon’s “Keep on Loving You” was the first Billboard #1 hit to air

Iron Maiden’s self-titled track holds the crown as the first Heavy Metal song played on the network.

Bassist Phil Chen became the first non-white musician to appear on the screen during Rod Stewart’s “She Won’t Dance With Me.”

The first 30 videos played:

1. The Buggles - “Video Killed the Radio Star”

2. Pat Benatar - “You Better Run”

3. Rod Stewart - “She Won’t Dance With Me”

4. The Who - “You Better You Bet”

5. Ph.D. - “Little Suzi’s on the Up”

6. Cliff Richard - “We Don’t Talk Anymore”

7. The Pretenders - “Brass in Pocket”

8. Todd Rundgren - “Time Heals”

9. REO Speedwagon - “Take It on the Run”

10. Styx - “Rockin’ the Paradise”

11. Robin Lane and the Chartbusters - “When Things Go Wrong”

12. Split Enz - “History Never Repeats”

13. .38 Special - “Hold on Loosely”

14. April Wine - “Just Between You and Me”

15. Rod Stewart - “Sailing”

16. Iron Maiden - “Iron Maiden”

17. REO Speedwagon - “Keep on Loving You”

18. Michael Johnson - “Bluer Than Blue”

19. The Pretenders - “Message of Love”

20. Lee Ritenour - “Mr. Briefcase”

21. The Cars - “Double Life”

22. Phil Collins - “In The Air Tonight”

23. Robert Palmer - “Looking for Clues”

24. Shoes - “Too Late”

25. Stevie Nicks and Tom Petty and the Heartbreakers - “Stop Draggin’ My Heart Around”

26. Rod Stewart - “Da Ya Think I’m Sexy?”

27. Rupert Hine - “Surface Tension”

28. Split Enz - “One Step Ahead”

29. Gerry Rafferty - “Baker Street”

30. Pat Benatar - “I’m Gonna Follow You”

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Turn it up and lean in. You’re officially tuned to NEXT. We have one very specific goal for the next hour: we are going to make your ears smile.

NEXT: A Sonic Necessity?

That’s up to you and how you feel about new music discovery.

Welcome into a brand-new hour of NEXT. I’m Chris Bro, and if you’ve been here before, you know the drill: we believe that discovering new music isn’t just a hobby - it’s a necessity for the soul. We are here to clear out the static and find the songs that actually move the needle. Let’s get into it.

Adult Leisure – “Heartbreaker”

Get ready for a surge of pure indie-rock adrenaline. Adult Leisure is back with a shimmering, guitar-driven anthem that feels like a neon-lit drive through the city. It’s melodic, it’s massive, and it’s going to live in your head all week.

Brigitte Calls Me Baby – “There Always”

If you miss that classic, velvet-voiced croon mixed with a sharp indie edge, this is your new obsession. Brigitte Calls Me Baby sounds like a 1950s matinee idol fronting a modern guitar band, and the result is absolutely hypnotic.

Prism Shores – “I Didn’t Mean to Change My Mind”

Sometimes the best songs are the ones that feel like a daydream you don’t want to wake up from. Prism Shores delivers a sun-drenched, jangly piece of pop perfection that captures that hazy feeling of second-guessing your own heart.

GUV – “Out of This Place”

It’s time to turn it up and get a little gritty. GUV is delivering a raw, propulsive track that sounds like it was forged in a basement and meant for a stadium. If you’re looking for a song to help you escape the noise, this is your ticket out.

King Tuff – “Invisible Ink”

The king of the cosmic garage is at it again. Psychedelic power-pop! Featuring a hook so sharp it feels like it’s been written in permanent ink on your brain. It’s vintage, it’s fresh, and it’s pure King Tuff.

Deer Tick – “Everything Born”

Deer Tick has always had a knack for finding the beauty in the dirt. It’s a soulful, whiskey-soaked reflection on life and legacy that reminds us why they are one of the most honest bands in the game today.

Massive Attack & Tom Waits – “Boots On The Ground”

Chris Bro happy boy. 2 of my favorites teamed up. And it shouldn’t work, right? Imagine the trip-hop atmosphere of Massive Attack meeting the gravel-and-whiskey growl of Tom Waits. It’s dark, it’s cinematic, and it’s unlike anything else you’ll hear today.

A Rare Release: This marks Tom Waits’ first new original recording since 2011 and Massive Attack’s first new music since 2020. The Message: Described as a biting protest track, the song targets state authoritarianism and the militarization of police. The B-Side: The release includes a spoken-word piece by Waits titled “The Fly.” A Cause: Profits from the eco-friendly 12” vinyl release will be donated to the ACLU and the US Immigrant Defense Project. The “Spotify Skip'“: Staying true to their independent spirit, Massive Attack has explicitly withheld this release from Spotify.

Ratboys – “At Peace In the Hundred Acre Wood”

Ratboys have a way of making the specific feel universal. This track is a gentle, fuzzy, and incredibly smart piece of indie-folk that feels like a warm blanket on a cold afternoon. It’s a moment of quiet reflection in a loud world.

NewDad – “Kick The Curb”

Coming straight out of Galway, NewDad is leading the charge for the new shoegaze revival. This track is all about atmosphere. Swirling guitars, haunting vocals, and a rhythm section that hits you right in the chest.

Phosphene – “Wire”

Tense, tight, and absolutely electrifying. Phosphene is walking a sonic tightrope with “Wire,” delivering a track that builds with a nervous energy until it finally explodes. It’s a brilliant exercise in dynamics that you need to hear.

The Vindys – “Same Stars”

Prepare for a powerhouse performance. The Vindys are bringing a soulful rock sound that centers around a vocal delivery so strong it could move mountains. It’s a soaring reminder that we’re all looking up at the same sky.

Fruit Bats – “The Landfill”

Eric D. Johnson has a gift for writing melodies that feel like old friends. This latest from Fruit Bats is a warm, folk-tinged gem that finds the light in the most unexpected places. It’s a song that makes the world feel just a little bit smaller and kinder.

Sirsy – “Little Phoenix”

This is the sound of resilience. Sirsy delivers a punchy, defiant track about rising from the ashes and finding your fire again. It’s got a massive groove and an even bigger heart—perfect for anyone who needs a comeback anthem.

Suki Waterhouse – “Back In Love”

Suki Waterhouse continues to master the art of the cinematic pop song. This track is lush, romantic, and sounds like the climax of a movie you never want to end. It’s a gorgeous exploration of falling back into the deep end.

The Notwist – “The Turning”

We’re closing this set with electronic indie-rock. The Notwist has spent decades perfecting their glitchy, melodic sound, and “The Turning” is a hypnotic, layered journey that proves they are still lightyears ahead of the curve.

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And that’s the final track for this session of NEXT. I hope you found something today that shifted your perspective just a little bit. If you heard something today you can’t be silent about, go share it with someone. I’m Chris Bro, thank you for letting me into your speakers, and I’ll catch you right back here next time. Peace.

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From bootlegger to legend: Or leave no tape behind.

10,000 Shows, 40 Years, One Lifeline: The Adam Jacobs Collection is Finally Free.

In 1984, Aadam Jacobs snuck a borrowed Dictaphone into a venue to record his first live show. He can’t quite remember who was playing that night. That’s OK.

Now, the world finally gets to hear it. Thanks to a partnership with the Internet Archive and the “No Tape Left Behind” initiative, Jacobs’ massive collection of over 10,000 recordings is being meticulously digitized and uploaded for free.

A native Chicagoan (Yay Chicago people), Jacobs became a local legend by doing the “forbidden”: capturing the raw, unedited energy of live performance without ever charging a dime for the result. While he spent his early years dodging security, he eventually became such a staple of the scene that he earned the status of a cultural institution. Promoters and bands began to recognize his dedication, often granting him the access needed to document the sounds of the city.

The collection serves as a sonic map of the burgeoning indie, punk, and alternative scenes from the mid-80s through the early 2000s. Whether he was using a grandmother’s Dictaphone, a high-end Walkman, or a home cassette deck, Jacobs captured the “lightning in a bottle” moments of bands before they hit the stratosphere.

The archive features a staggering variety of icons, including:

• 90s Legends: Nirvana, Sonic Youth, and The Cure.

• Punk & Indie Pioneers: Fugazi, Hüsker Dü, and The Replacements. (In fact, The Replacements actually used a mix of Jacobs’ recording for a 2023 live release.)

• Eclectic Gems: Boogie Down Productions, Belle and Sebastian, and even a 24-hour improv set by Fred Armisen.

No Tape Left Behind

Digitizing 10,000 shows is a massive undertaking. A global team of volunteers is currently working to identify obscure song titles and verify setlists that have been buried on cassette labels for decades. So far, nearly 2,500 concerts are live and ready for streaming.

From Liz Phair at a secret Lounge Ax show in ‘99 to a 1987 R.E.M. performance of “I Believe,” the Adam Jacobs Collection is an amazing time machine. For anyone who believes that the true heart of music is found in a loud, crowded room rather than a polished studio, the “No Tape Left Behind” project is the ultimate gift.

https://aadamjacobs.dunlap.ai/

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Now this is Damn cool. and of course it’s PG.

Peter Gabriel zoetrope vinyl release for Record Store Day

https://youtube.com/shorts/sCRGf4LOPIA?si=fK7Z1YVb0eAW4Q1_

More info https://petergabriel.com/news/sledgehammer-for-record-store-day/

and if you love someone hug them right now

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I was driving to get dinner ingredients the other day when Todd Rundgren’s “Bang on the Drum All Day” came on. Suddenly, grocery lists were replaced by a racing internal dialogue about the rare breed of musician who can hold down the pocket and the melody at the exact same time.

I did warn you. Normal isn’t really in my vocabulary. I mean, how does a person go from a song about a nightmare boss to an obsession with singing drummers? If you squint, you can almost see the connection. Maybe. Welcome to my mind. It’s a strange neighborhood, but the soundtrack is excellent.

Once the gear started turning, there was no stopping it. I spent the week obsessing. I chewed on it during dog walks. Drafted lists on napkins. I even texted myself names before they vanished.

Then overthought the whole thing some more. This is the result: a tribute to the artists who refuse to choose between rhythm and throat. A collection of those rare beasts who are half-athlete and half-angel, managing the most exhausting job in the band while simultaneously carrying the lead vocals. It’s exhausting just thinking about it

These popped in my head quickly.

Don Henley (Eagles): Perhaps the most famous singing drummer. Or maybe it’s Phil. Henley sang lead on many of the Eagles’ biggest hits, including “Hotel California” and “Desperado,” while maintaining a steady, laid-back groove.

Phil Collins (Genesis): He stepped out from behind the kit to lead the band after Peter Gabriel left. Collins paired technical, prog-heavy drumming with a massive voice. Often utilizing a “gated reverb” drum sound that defined the 1980s.

Levon Helm (The Band): The man who sang with a “smile in his voice.” I love the “singing while swinging” style. Helm provided a soulful, gritty Southern voice to classics like “The Weight” and “Up on Cripple Creek.”

Karen Carpenter (The Carpenters): Before the world fell in love with her voice, she was a formidable jazz-influenced drummer. She always considered herself a “drummer who sang.” If you watch the old footage, her technical ability behind the kit was absolutely no joke.

As always, I don’t know everything. I don’t have the time to write about every single person who ever picked up a pair of sticks and a microphone. I am but one man. One man who is definitely prone to missing a few legends. So, please, comment with the singing drummer I forgot or the one I simply didn’t know about yet. Thank you in advance.

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I kept thinking.

Dave Grohl (Nirvana/Them Crooked Vultures): Does he count? He moved to guitar and vocals for Foo Fighters.

Sheila E: A virtuoso percussionist and drummer. Latin-infused rhythms with high-energy pop vocals. Most notably during her collaborations with Prince. Doing more in heels than most drummers can do in sneakers.

Andy Sturmer (Jellyfish): He stood up to drum and sat down for nothing. Delivering complex, McCartney-esque vocals while maintaining a standing beat is a brain-scrambling feat.

Anderson .Paak: He blends hip-hop, R&B, and funk. He is known for playing intricate, pocket-heavy grooves while delivering flawless vocal performances.

Micky Dolenz (The Monkees): Though the band started as a TV act, Dolenz became a legitimate drummer and the primary voice behind hits.

Ringo Starr (The Beatles): One song per album - that counts. His ability to maintain a rock-solid beat while delivering a charming lead vocal was a key part of the Beatles’ dynamic.

Buddy Miles: Known for his work with Jimi Hendrix in the Band of Gypsys. Miles had a powerful, soulful voice that anchored tracks like “The Changes.”

Roger Taylor (Queen): Taylor’s distinct, high-pitched rasp provided the lead vocals for several tracks (like “I’m in Love with My Car”) and was essential to the band’s signature operatic harmonies.

Not done. A few more. Then you can start your weekend.

Fred LeBlanc (Cowboy Mouth): A force of nature on stage. LeBlanc is the rare drummer who sits at the front of the stage, acting as the primary frontman and “preacher” for the band’s high-octane rock performances.

Grant Hart (Hüsker Dü): The “pop” in the punk. Hart was the melodic heart of the band. A soulful, pop-tinged contrast to Bob Mould’s more aggressive delivery. His drumming was frantic and driving, yet he never missed a beat on his signature vocal hooks.

Gil Moore (Triumph): Moore shared lead vocal duties with Rik Emmett. He was known for his heavy-hitting style which anchored one of Canada’s greatest power trios.

Peter Rivera (Rare Earth): He locked down heavy, funky grooves without ever letting his soulful lead vocals lose an ounce of power. One of Motown’s most successful rock acts.

Jimmy Marinos (The Romantics): His New Wave style was lean, mean, and perfectly synced with his iconic vocal delivery. His snappy, New Wave drumming style was the engine behind the band’s high-energy power-pop sound.

Georgia Hubley (Yo La Tengo): A staple of the indie-rock scene. Hubley often provides the ethereal, melodic counterpoint to the band’s noisier moments.

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Thank you.

Listening to new music is the spark that keeps your perspective from getting brittle and your tastes from turning into a museum exhibit. That’s why I do NEXT. It’s a weekly mission to find that next frequency that makes your heart skip or your brain itch in the best way possible. Because the second we stop being curious about the “new” is the second we stop being shaped by the sound. Welcome to the search.

I know I’m not normal. Most love the comfort of the music they grew up on. I get that. It feels good. I do that too. And I find only listening to what you know is a trap. It makes your musical world small and brittle. NEXT is my weekly rebellion against that. We are all shaped by what we listen to, and if we stop seeking the new, we stop growing. Let’s go find something different.

Almost Monday – “Leaving Is Easy”

Initially left unfinished and set aside, the band returned to this track to find healing in the wake of a deeply personal loss. It masterfully captures the tension between holding on and letting go, moving through the quiet devastation of grief with a persistent determination to keep going. It’s a powerful reminder that while the song says leaving is easy, finding the strength to move forward is where the real story lives. It’s got that breezy, California-cool energy.

Kurt Vile – “Chance To Bleed”

The master of the laid-back groove is back, and this time he’s digging a little deeper into the emotional soil. It’s a hazy, hypnotic track that proves vulnerability sounds best when it’s backed by a perfectly wandering guitar.

Silversun Pickups – “In The Air” (Fishbone Cover)

Taking a 90s ska-fusion classic and dipping it in a vat of signature Silversun fuzz? Yes, please. This cover is a wall-of-sound masterpiece that keeps the soul of the original while adding that massive, atmospheric weight we love.

Courtney Barnett – “Great Advice”

Courtney has a PhD in observational songwriting, and this track is her latest thesis on the quirks of human interaction. It’s witty, conversational, and features the kind of jagged guitar hook that gets under your skin and stays there.

King Tuff – “Stairway To Nowhere”

Don’t let the title fool you—this “nowhere” is exactly where you want to be traveling. Sometimes going back to your roots is the simplest way to find your footing. Returning to the garage-rock vibes. It’s a fuzzy, high-energy reminder that the best way forward is often found by tapping back into the raw tradition that started it all. This feels like a vintage rock record discovered in a time capsule from the future.

Peter Frampton – “Buried Treasure”

After sixteen years, the legendary Peter Frampton is back with a project that is a true family affair, co-written and produced with his son, Julian. This lead single, “Buried Treasure,” features the unmistakable keys of Benmont Tench in a beautiful tribute to the late Tom Petty, with lyrics cleverly crafted entirely from Petty’s iconic song titles.

Guided By Voices – “Advance Without Dropping”

Robert Pollard must have a factory in his basement that produces high-quality indie-rock hooks at record speed. This track is a punchy, propulsive gem that proves that after all these years, Guided By Voices still knows how to command a frequency.

Sam Fender with Olivia Dean – “Rein Me In”

When the pride of North Shields teams up with the soulful Olivia Dean, the chemistry is absolutely undeniable. It’s a soaring, emotional powerhouse of a song that captures the beautiful tension of trying to stay grounded while your heart is racing.

The Beaches – “Silver Springs” (Live Cover)

One of the absolute standout moments from their live set, this stunning cover of the Fleetwood Mac classic. It manages to be both deeply respectful and incredibly fresh. Staying true to the original while adding their own signature grit. It’s a brilliant showcase of their talent for reviving the classics. Much like their take on “I Ran So Far Away”.

Dogstar – “Joy”

Keanu Reeves and his bandmates are delivering exactly what the title promises. This is a grounded, optimistic piece of alternative rock that reminds us that sometimes the best music is just about the simple, honest pleasure of playing together.

Modest Mouse – “Look How Far…”

Isaac Brock continues to be the poet laureate of the beautifully eccentric. Arriving just as the band hits their massive 30th anniversary milestone, this track proves that three decades haven’t mellowed Isaac Brock one bit. It’s an urgent, frantic, and delightfully prickly affair that strips away the polish in favor of something far more biting and chaotic. Anchored by the blunt, sneering realization of “Look how far we’ve come / oh my god we’re so fucking dumb,” it’s a classic piece of dark humor that fits perfectly into their legacy of misanthropic anthems. And man do we have a long way to go.

The Strokes – “Going Shopping”

Julian Casablancas and the boys are leaning into their sleeker, more melodic side with this one. It’s got that classic New York City cool—effortless, sharp, and featuring a bassline that’ll have you strutting down the sidewalk.

Goose – “Good2B”

Closing out the set with a track that feels like a warm sunrise over a festival crowd. Goose brings their signature blend of tight musicianship and expansive grooves, leaving you with a feeling that is, quite literally, good to be alive.

And just like that, the volume drops on another episode. If one of these tracks made your ears smile today, do me a favor: find a way to support that artist—buy the merch, share the link, or show up to a gig. Stay loud.

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Thank you for Listening/Reading. Have a brilliant weekend. And you will if you listen to the song below. Everyone has a Led Zeppelin phase. It might be 1 song long. Or 1 week. Or 1 Month. Or 1 Year. Or 1 Lifetime. But everyone has one.

Robert Plant just gave us one of those “only in New York” musical moments that reminds you why he’s still the gold standard. He stopped by The Late Show with Stephen Colbert with his band, Saving Grace, to showcase “Higher Rock” from their new album. Plant treated the audience to a haunting, roots-driven version of the Led Zeppelin classic “Ramble On.”

One word. Holy Balls!

Colbert is famously a Tolkien superfan, and “Ramble On” is essentially the anthem for Middle-earth travelers everywhere.

It’s a reminder that some songs truly never stop rambling.

This week I hit random and chat about what songs pop up. Maybe we unearth a “new-to-you” vintage gem or rediscover an old favorite that had slipped into the back of your mental crate. My favorite number is 13 so…let’s do 13. Cool?

The “work” playlist is a bit of a misnomer. It’s less of a background-noise situation and more of a living, breathing archive—a personal frequency that operates on the “Chris Bro Radio” philosophy.

It’s curated chaos that’s constantly evolving. One minute it’s a deep-cut Seattle anthem, the next it’s a brand-new indie discovery that just dropped this morning. My music listening is all over the place. I’ll link to the full spotify playlist. You can hit random and see what pops up for you.

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The Shuffle Challenge

31 hours is a lot of ground to cover. It’s enough time to drive from Seattle to Chicago with a few hours to spare for coffee stops.

The first song to emerge from the 477-track shuffle is a heavyweight. If this playlist was actually picked on by me for a “Chris Bro Radio” post - this would work. You want to start off strong. This is strong.

Song 1: “Heart of a Nation”

Artist: Columbia Mills

Album: Heart of a Nation (2022)

They are Irish. This is a massive, moody blend of indie-rock and “modern shoegaze.” It also a scathing critique of the Irish housing crisis. The track has a “euphoric, upbeat sound” that almost tricks you into thinking it’s a standard indie anthem, but the lyrics are heartbreaking.

Each verse tackles a different perspective of the crisis—from a mother forced to sleep with her children in a police station to the “crooked businessmen” and politicians behind the scenes.

I’ve always picked up on the “Joy Division” DNA: You can hear that dark, ambient post-punk influence (think Joy Division meets The National) where the pulsing beat keeps things danceable even as the subject matter gets heavy.

In Their Words: The track documents the housing crisis in Ireland... It peels back the political rhetoric and looks at the real people affected when the ruling class looks out for themselves.

— Fiachra Treacy, Lead Singer

Next up in the rotation? Damn. Random is on fire. Well played random.

Song 2: “Bad Behavior”

Artist: The Beaches

Album: Future Lovers (2021) / Blame My Ex era

If you’ve been following “Chris Bro Radio,” you know this band is makes Chris Bro happy.. They are spiritual successors to The Runaways, but with a sharp, 21st-century wit.

And this song? It’s an anthem for those moments when you know you’re making questionable choices and are leaning into the chaos. Deciding to enjoy the ride anyway.

Jordan Miller’s bass i’s the heartbeat. There’s a delicious nonchalance in the vocals. It’s half-sung, half-sneered, capturing that specific feeling of being “over it” while simultaneously being right in the middle of it.

In Their Words: We wanted to write songs that felt like us. We’re not perfect, we make mistakes, and sometimes ‘bad behavior’ is just part of the growing process. It’s about owning your flaws and having a damn good time while doing it.

— Jordan Miller, Lead Vocals/Bass

If you are counting at home. 475 songs to go. Next?

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The shuffle just took a turn into the introspective. If the first two songs were about external friction and social energy, this one is the quiet, 3:00 AM conversation with yourself.

Song 3: “Off He Goes”

Artist: Pearl Jam

Album: No Code (1996)

The third single from No Code. Acoustic-driven. Slightly ragged. A very “Neil Young-esque” moment.

For years, fans speculated on who the “he” in the song was. Was it a friend struggling with addiction? A distant father? A nod to the late Kurt Cobain? Eventually, Eddie Vedder cleared the air, admitting the song was a mirror.

The “Asshole” Confession: During a show in Poland in 2000, Vedder introduced the song by saying, “This is about being friends with an asshole,” before pointing directly at himself. It’s a song about the realization that you are the unreliable friend who disappears and reappears without warning.

Jack Irons’ drumming here is incredibly subtle. A car traveling down a long, empty highway.

In Their Words: The song ‘Off He Goes’ is really about me being a shit friend. I’ll show up and everything’s great and then all of a sudden I’m outta there...

— Eddie Vedder

What’s next? Let’s see what song 4 has to say.

Song 4 brings us a good flow.

Song 4: “Good Intentions”

Artist: Toad the Wet Sprocket

Album: In Light Syrup (1995) / Friends Soundtrack

“Good Intentions” has a strange history. It was originally recorded in 1991 during the sessions for their platinum album fear. The band famously left it off the record. Why? Because they thought it was too catchy. In the height of the 90s alt-rock era, sounding like you had an obvious “radio hit” was seen as a liability for your indie-cred.

The song sat in a vault until 1995, when it was released on their rarities collection In Light Syrup and featured on the Friends soundtrack.

Glen Phillips wrote this when he was only about 19 or 20. It’s a remarkably mature look at the “gray areas” of life on the road—the struggle to stay true to yourself.

If you see them live these days, they often perform a “bluegrass” version of this song with a prominent mandolin. It started as a joke in rehearsal but became a fan favorite because it highlights the folk-roots at the heart of the songwriting.

In Their Words: It was about general misunderstandings. Operating on the edge of ‘moral okayness’ as a young person... pushing those edges and everybody trying to figure out where they stand in a relationship that way.

— Glen Phillips

4 songs in. We’ve gone from Dublin post-punk to Canadian guitar-rock, through the heart of Seattle grunge, and now into Santa Barbara folk-pop.

This “Chris Bro Radio” shuffle has a hell of a range. Should we keep the randomizer spinning for Song 5?

Next in the shuffle - we hit a song that represents the absolute peak of 90s alternative grandiosity. If “Off He Goes” was a quiet acoustic handshake, this is a cinematic explosion of orchestral angst.

Song 5: “Disarm”

Artist: The Smashing Pumpkins

Album: Siamese Dream (1993)

“Disarm” is a rare bird in the Pumpkins’ early catalog because it doesn’t feature a single electric guitar. Amidst an album known for its “Wall of Sleepy Guitar” fuzz, Billy Corgan opted for an acoustic guitar, a thick layer of strings, and—most famously—a set of tubular bells.

The song is Corgan’s way of confronting the trauma of his own childhood and his shaky relationship with his parents.

And Oh those bells. The Tubular Bells. It gives the song a gothic, church-like weight, making it feel more like a funeral rite for a lost childhood than a radio single.

In Their Words: I didn’t have the guts to kill my parents, so I thought I’d get back at them through song. And rather than have an angry, violent song, I thought I’d write something beautiful and make them realize what tender feelings I have in my heart—and make them feel really bad for treating me like shit.

— Billy Corgan

5 songs down, 472 to go. This set is leaning heavy into the emotional heavyweights today. “Disarm” is the kind of track that demands you stop whatever you’re doing and just feel the years burn for four minutes.

What does the randomizer have for us next? Or are you still recovering from those bells?

Here’s what’s next. Oh OK.

The shuffle just took a sharp turn into the deep South. We’ve moved from the orchestral angst of the ‘90s straight into a smoky, neon-lit bar in Nashville.

Song 6: “Satisfy Me”

Artist: Anderson East

Album: Delilah (2015)

Produced by the legendary Dave Cobb (the man behind Chris Stapleton and Sturgill Simpson). The song was recorded at the iconic FAME Studios in Muscle Shoals, Alabama.

You can practically hear the history in the floorboards on this recording. It’s a relentless, brass-heavy stomp that sounds like it could have been released in 1967, yet it feels completely vital in 2026.

The Muscle Shoals Horns: The rhythm section gives the song its “runaway train” energy.

In Their Words: I just want to make music that feels honest. Those old soul records weren’t perfect, but they had a heartbeat. That’s what we were chasing in Muscle Shoals—that raw, human energy that you can’t fake.

— Anderson East

6 songs down. We’ve officially covered Grunge, Indie-Shoegaze, Alternative Folk, and now Vintage Soul.

31 hours and 15 minutes is a long time, but with shifts like this, it feels like the time is flying. Ready to see if Song 7 keeps the soul alive or pivots back to the rock?

The shuffle just took a sun-drenched turn.

After the high-octane soul of Anderson East, the randomizer has landed on the ultimate “deep breath” track.

Song 7: “Put Your Records On”

Artist: Corinne Bailey Rae

Album: Corinne Bailey Rae (2006)

Before she was a global neo-soul icon, Corinne Bailey Rae was a indie-rocker in a band called Helen. When that project fizzled out, she pivoted toward the jazz and soul influences she grew up with in Leeds. Corinne’s voice had a specific, airy lightness that felt like a fresh breeze.

The acoustic guitar riff that opens the song is instantly recognizable. It has a “lazy” swing to it. It’s not rushing anywhere..

The Bird Calls: If you listen closely to the intro and the bridge, there are subtle bird chirps layered into the production. It’s a small detail that cements the “afternoon in the park” atmosphere.

The “Three Little Birds” Nod: The lyric “Three little birds sat on my window / And they told me I don’t need to worry” is a direct, loving homage to Bob Marley. It’s a musical bridge connecting her 2000s soul to the roots of reggae.

In Their Words: It was about not feeling like you have to be anyone else. I spent so much time trying to fit in, and this song was about that moment where you just decide to let your hair down, put on your favorite record, and be okay with exactly who you are.

— Corinne Bailey Rae

7 songs deep. We’ve gone from the political grit of Columbia Mills to the breezy optimism of Corinne Bailey Rae.

31 hours and 15 minutes of music, and we’ve barely scratched the surface.

Does this one stay in the “Work” rotation for the focus, or is it a “sing-along-at-your-desk” distraction?

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What’s the randomizer got for Song 8?

The 477-song shuffle just landed on a cornerstone of power-pop history. If “Chris Bro Radio” has a Mount Rushmore of pure melodic energy, Todd Rundgren’s face is carved right into the center of it.

Song 8: “Couldn’t I Just Tell You”

Artist: Todd Rundgren

Album: Something/Anything? (1972)

You can hear the DNA of this song in everything from Big Star and The Raspberries to Cheap Trick and The Replacements.

The “Wall of Todd”: Because he’s playing everything, there’s a singular, frantic energy to the track. There is a moment where the music almost catches its breath before crashing back into the chorus. It’s a classic songwriting trick that creates a physical sense of release.

The “Fading” Guitar Solo: The solo feels like it’s spiraling upward as the track fades out. Leaving you wanting to hit the back button and hear that riff one more time.

In Their Words: I had a formula for a while... a certain kind of “yearning” song. “Couldn’t I Just Tell You” was part of that transition where I was trying to figure out how to make a pop record that still felt like it had some teeth.

— Todd Rundgren

8 songs down. We’ve officially hit the 1972-2022 timeline spread. Is Song 9 going to keep us in the 70s, or are we jumping back to the future? Let’s hit random and find out.

The shuffle just took a heavy, high-voltage turn. Turn this one up!

Song 9: “You’re No Good”

Artist: Van Halen

Album: Van Halen II (1979)

The Background

Most people know “You’re No Good” as a chart-topping pop hit for Linda Ronstadt in 1975 (and even hers was a cover!). Van Halen took that soulful blueprint and ran it through a Marshall stack. The “Van Halen-ization” process could turn any melody into a hard-rock anthem.

Recorded at Sunset Sound in Hollywood, the track features the classic “Brown Sound” that Eddie Van Halen spent years perfecting.

And I need to talk about that intro: Before the song even starts, you hear Eddie’s guitar “moaning” with heavy feedback and dive-bombs. He uses his volume knob and a flanger effect to make the guitar “breathe.” The Bass “Throb”: Michael Anthony enters with a low, menacing pulse. The “Scratch”: Just before the main riff, there’s that percussive “chug-chug” of muted strings—the literal sound of a coiled spring about to snap.

It’s the ultimate “calm before the storm.” It takes a pop-standard melody and dresses it in leather and shadows before Dave even opens his mouth.

In Their Words: We didn’t just want to play the songs; we wanted to own them. We’d take a song, strip it down to the chassis, and then build a hot rod around it. That’s what “You’re No Good” was—a high-speed chase in a three-minute song.

— David Lee Roth

9 songs down.

We’ve officially hit the 1979 hard-rock peak. From Todd Rundgren’s power-pop to Van Halen’s heavy strut, the “Chris Bro Radio” vibe is leaning into the “Big Guitar” era right now.

31 hours and 15 minutes of music is a lot of territory. Does song 10 keep the volume at 11, or are we heading back to the acoustic side of the street?

Oh man. This song! This song is in “Desert Island” territory. One of my all time favorites.. This and “Oh La La.”

Song 10: “Can’t Find My Way Home”

Artist: Blind Faith

Album: Blind Faith (1969)

The opening seconds are some of the most hauntingly beautiful in the canon of British rock. It starts with an intricate, folk-baroque acoustic guitar. Add “Ghost” Percussion: Ginger Baker is magical on this one.

Blind Faith was the definition of a “flash in the pan.” Featuring Eric Clapton, Steve Winwood, Ginger Baker, and Ric Grech, they lasted for exactly one album and one massive free concert in Hyde Park.

Ginger Baker’s Restraint: Known for his volcanic drumming in Cream, Baker plays with incredible delicacy here.

In Their Words: It was a very acoustic-based song, and I think it stood out because everything else at the time was getting very loud and very heavy. It was a song about a search for identity, really... trying to find where you belong when everything is changing so fast.

— Steve Winwood

We’ve covered the spectrum: from the Dublin streets of Columbia Mills to the supernatural folk of Blind Faith. This playlist has crossed six decades.

NEXT? The 477-song shuffle just pulled a brand-new wild card. We’ve moved from the legendary foundations of Blind Faith into the cutting-edge, moody atmosphere of 2025. If “Chris Bro Radio” is about keeping the ear to the ground for what’s next, this is the proof.

Song 11: “Bitter Honey”

Artist: The eight five two

Single: Bitter Honey (2025)

The Moody Synth Wash. Dark. Cinematic. A crisp, minimalist electronic beat enters—dry and sharp—contrasting perfectly with the flowing synths. When the vocals hit, they have that intimate, “whispered-in-your-ear” quality that defines modern dark pop.

It’s the sound of a private conversation happening in the middle of a crowded, low-lit club.

The eight five two is a family affair, primarily driven by the de la Hoyde brothers (Nicholas, Joseph, Johnathon, and Timothy). The title is classic oxymoron. It explores the relationship that feels sweet and addictive at first but leaves a sharp, painful aftertaste once the reality of the situation sets in.

The “Space” in the Mix: This song uses silence and space as an instrument. It’s a “less is more” approach that makes every beat feel more intentional.

In Their Words: It’s about that contrast—the things that draw you in even when you know they might be bad for you. We wanted the music to feel like that: attractive, smooth, but with an underlying tension that doesn’t quite let you relax.

— The eight five two (Team De La Hoyde)

This is exactly what a “Chris Bro” station should sound like—no boundaries, just great songs that demand to be heard again. Although the “flow” of the mix would be different if I were to rearrange these specific songs.

But that’s not what we are doing here. We hit shuffle. Chris Bro needs to turn off that part of his musixcal brain.

Whoa - the shuffle just kicked into overdrive. If “Chris Bro Radio” had a “Maximum Energy” button, this is it.

Song 12: “Ha Ha Ha Ha (Yeah)”

Artist: White Denim

Album: Stiff (2016)

We’re breaking down the front door with the spirit of 70s soul-rock. The Twin-Guitar Attack: A synchronized, fuzzy riff that feels like a high-speed chase. It’s got that “Stax Records” soul but played at 2x speed. And oooh The Walking Bass: It gives the track a “boogie” feel that makes it impossible to keep your feet still.

The song is a celebration of pure, unadulterated joy—the kind of “Ha Ha” that comes when you finally stop overthinking and just lean into the groove. Listen for the brass stabs in the background. They aren’t there for a jazz solo. They’re punctuation marks. Hitting you right in the chest.

In Their Words: We wanted to make a record that felt like a celebration. ‘Ha Ha Ha Ha’ was just about that feeling of release—getting outside of your own head and just letting the music take over. It’s supposed to be a good time, period.

— James Petralli

12 songs in. 465 to go. We’ve gone from the spiritual depths of Blind Faith to the high-speed garage-soul of White Denim. This “work” playlist is officially a workout.

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Is Song 13 going to keep the tempo up, or is the randomizer going to bring us back down to Earth?

The shuffle brings us back to the Pacific Northwest. It’s no shock that the 477-track “Chris Bro” rotation hit PJ again. There’s a lot of Pearl Jam in this mix. Turn off your brain Bro. This may be a big NO GO but for this post - it’s what happened.

Song 13: “Not For You”

Artist: Pearl Jam

Album: Vitalogy (1994)

Abbruzzese’s drums enter with a slow, deliberate march. It’s not a groove you dance to. It’s a rhythm you stomp to.

Released as the second single from Vitalogy. “Not For You” was Eddie Vedder’s manifesto against the commercialization of the “Seattle Sound.” He was watching a culture he helped build get packaged, sold, and diluted by people who didn’t understand the heart of it.

The song was famously debuted on Saturday Night Live before the album even dropped, with Vedder pointing a finger at the camera during the bridge, making it clear that the “you” in the title wasn’t the fans—it was the industry vultures.

The Bridge Breakdown: The music drops out and Eddie repeats “All that’s sacred / Comes from youth.” It’s the eye of the storm before the final, fuzzy explosion. And listen for the way the feedback lingers at the very end. It feels like the band walked out of the room and left the amps humming.

In Their Words: I think there’s a certain self-expression and a certain passion that’s being used and being sold... This song is about the fact that those who are “using” it don’t really own it. They don’t have a right to it.

— Eddie Vedder

We said 13 songs. That was 13. We’ve gone from the 1969 “Desert Island” classics to 2025 dark-pop, and back to the 1994 barricades of Seattle.

Traditionally, one of the golden rules of the mixtape era was “one artist, one track.” Since we just doubled down on the Seattle legends, let’s reset the balance with a fresh voice that’s currently carving out her own space in the alt-rock canon.

Song 14 please…(and I LOVE PJ just don’t be PJ or any of the others that have plays already)

OK - good.

Song 14: “What’s Fair”

Artist: Blondshell (Sabrina Teitelbaum)

Album: If You Asked For A Picture (2025)

Oh man…This isn’t just another track on the pile. This is a band my son claimed as an absolute favorite after hearing it on NEXT. He didn’t find them on a random algorithm or a TikTok trend -No. He picked them up straight from the NEXT airwaves. There’s no better feeling for a dad (or a DJ) than seeing the next generation claim a piece of the curation for themselves.

Love the “quiet-loud” dynamics.

It starts with a simple, slightly melancholic electric guitar line. It’s clean and crystalline, providing a vulnerable bed for the vocals. Just as you’re settling into the indie-folk vibe, the drums and a heavy, fuzzy bass kick in together. It’s a physical shift that turns a bedroom confession into a stadium-ready anthem.

The 90s influence (think Liz Phair or PJ Harvey) is undeniable.

The song doesn’t provide a neat, happy ending. It lingers on the tension.

In Their Words: It’s about the people you love the most also being the people who can hurt you the most. I wanted to write about that feeling of not knowing where you end and someone else begins. It’s messy, but it’s real.

— Sabrina Teitelbaum (Blondshell)

We’ve broken the “no repeats” rule for Pearl Jam, but Blondshell is here to remind us that the next generation of “all-time favorites” is already being written.

There’s a specific kind of magic in that moment of recognition. Te split second where a song clicks into place. Maybe you’re unearthing a “new-to-you” vintage gem that feels like it was written just for this morning. Perhaps you’re suddenly reunited with an old favorite that had slipped into the back of your mind. Lost to the noise of work, life, or just the passage of time.

Whether it’s a fresh discovery or a rediscovered classic, that’s the heart of the “One Big Mix”: finding the sounds that stick, no matter when they were born.

New music is the lifeblood of our culture, representing the evolving sound of the world and providing a fresh perspective that keeps art moving forward. Since streaming alone rarely sustains an artist, your active support—whether through buying merch, attending a show, or sharing a track—is the essential fuel that allows them to keep creating. When a song makes your ears smile - don’t just listen - become a stakeholder in that band’s future by finding a way to help them stay loud.

Welcome to a brand-new edition of NEXT. I’m Chris Bro, and for the next hour, we have one very specific goal: we are going to make your ears smile. Fresh frequencies and sonic discoveries. Let’s get those grins started.

Johnny Blue Skies – “Ain’t That A Bitch”

Coming out of the gate with some heavy-duty grit, this track feels like a long, dusty highway drive into the sunset. If you’ve had one of those weeks, this is the raw, bluesy country-rock anthem you need to turn up and let it all go.

Florence Road – “Break The Girl”

This quartet is proving exactly why they’re the leaders of the new wave of Irish guitar-pop. Built on a conversation lead singer Lily Aron had about watching a friend get treated poorly. This track from their debut mixtape Fall Back blends that classic Cranberries-style ache with a modern, Wolf Alice grit. It’s a beautifully honest reminder that sometimes the best songs come from the toughest conversations.

Triples – “Happy”

Need an immediate, three-minute shot of adrenaline? Triples have you covered with a fuzzy, power-pop burst of pure, unadulterated energy that’ll have you reaching for your skateboard—even if you’ve never owned one.

Two Feet – “The Way She Looks”

This one is for the late-night drivers, defined by a bassline that hits you right in the chest and Two Feet’s signature soulful, breathy vocals. It’s a smooth, seductive track that finds that sweet spot between electronic groove and raw blues.

TA GA DA – “Another Love Song”

This is the antidote to the cliché. TA GA DA delivers a punchy, indie-rock track that doesn’t just ask the question, it demands you to join the chorus, proving that even a broken heart can have a brilliant, catchy hook.

Jack White – “G.O.D. and The Broken Ribs”

If you like your rock and roll slightly unhinged and brilliantly chaotic, Jack White is still the reigning king. This is a jagged, slide-guitar tour de force that sounds exactly like a thunderstorm rolling through a garage.

Wire – “23 Years Too Late (24 Years Later Edit)”

The post-punk legends return with a track that is as tight as it is cerebral. This is a sonic architectural marvel—minimalist, propulsive, and a strong reminder that nobody does atmospheric dread quite like Wire.

Rainbow Kitten Surprise – “Sixteen”

RKS has a gift for blending genres into something completely original, and “Sixteen” is no exception. It’s a nostalgic, genre-bending journey that builds from a quiet acoustic groove into a massive, choir-fueled anthem.

HighSchool – “149”

Coming straight out of the modern shoegaze scene with a bassline that’ll rattle your dashboard. HighSchool delivers a dark, atmospheric track that feels like the soundtrack to a movie about the coolest party you were never invited to.

U2 – “Scars”

Taking a break from the stadiums for something deeply intimate and raw. U2 reminds us with “Scars” that they are masters of the emotional gut-punch, delivering a vulnerable track that explores the quiet architecture of the human heart.

Adult Leisure – “The Light You Attract”

This one is for everyone searching for that perfect slice of guitar-pop with a nostalgic 80s shimmer. It’s a melodic, soaring track about hope and magnetic connection that’ll have you swaying along from the very first beat.

Sharp Pins – “Fall In Love Again”

If your heart is feeling a little rusty, this is the track to get it beating again. Sharp Pins brings a bright, acoustic-driven folk-pop energy that sounds exactly like that first perfect spring morning after a long, cold winter.

The Twilight Sad – “Waiting For the Phone Call”

Nobody does magnificent, roaring melancholy quite like The Twilight Sad. This track is a wall of feedback and raw vocal emotion that captures the agonizing weight of silence better than any song has a right to.

Angine De Poitrine – “Sarniezz”

We’re ending with something completely unexpected from the Canadian rock duo from Saguenay, Quebec. “Sarniezz” is a brilliant, angular, jazzy-punk explosion that sounds like a cartoon fight in a sophisticated art gallery—completely captivating.

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And that’s the final note for this week’s session. I hope we hit the mark and left your ears a little happier than we found them. I want to leave you with a thought from the great Victor Hugo: Music expresses that which cannot be said and on which it is impossible to be silent.

If you heard something today you can’t be silent about, go share it with someone. I’m Chris Bro, this has been NEXT, and I’ll catch you right back here next time. Thanks for listening.

This Month on The Drink with Kate Snow: Demi Lovato

Pull up a chair for a conversation that cuts through the typical Hollywood noise. This month, Kate Snow (my wife) sits down with Demi Lovato for a candid, glass-in-hand look at a life lived under the constant hum of the spotlight.

Snow has a knack for creating a space where the celebrity persona fades, leaving room for the real person underneath. Lovato opens up about the evolution of her sound, the hard-won wisdom of her journey, and what it actually looks like to find your own rhythm after years of playing a part.

Plus, we get a look at Demi’s latest creative venture: her brand-new cookbook.

Proof that sometimes the most honest stories—and the best recipes—are shared over a drink.

Link to full podcast

Or the condensed video version on NBC

https://www.nbcnews.com/video/demi-lovato-on-camp-rock-3-new-cookbook-and-eating-disorder-recovery-the-drink-with-kate-snow-260436037600

Music is Life. Live music is good for your soul.

If you love someone hug them right now.