Cody Diekhoff (aka Chicago Farmer) grew up in an Illinois farming community in the tiny community of Delevan, and his grandparents were a pivotal part of his upbringing, with his grandfather being a master storyteller as well as a first-class farmer. Young Cody listened to these stories with fascination, and the effect they had on him has stayed with him all his life. Diekhoff has now recorded his debut album with the help of his recent touring band, The Fieldnotes. They are Charlie Harris on bass, Cody Jensen on keyboards and mandolin, Frank Kurtz on drums and Jaik Willis on guitar.
Listening to these songs, there’s a raw immediacy to them with Diekhoff’s vocals being delivered as though it’s his last day on earth.
Category: americana
The expanded release includes two additional songs: A cover of the Jason Isbell track “Good While It Lasted” and “Stopover”.
Listening to current Nashville resident Imogen Clark’s latest, Choking On Fuel, you’d swear she was a native who got her start playing dive bars around town before finally getting booked at The Bluebird Café or The Basement East.
Surprisingly, Clark got her start as a teen playing bars in Sydney, Australia, not exactly the most obvious jumping off spot for a rising country/Americana star. Regardless, Choking On Fuel is an impressive collection.
Clark has spent the past few years on the road, headlining as well as opening for a slew of disparate musicians ranging from…
Charles “Poppy Bob” Walker’s guitar compositions have a liquid, expansive cosmic Americana scope. The notes linger in pellucid backwashes and slide eerily between the known tones. Not much is known about the Yuma-based outsider artist, now apparently deceased, but his work on DOUBLE-WIDE —and on the earlier Dirt Bike Vacation — is a far cry from the usual pickin’ and grinnin’ proficiencies of blues-folk old-timers.
The guitarist and song-hunter Cameron Knowler stumbled on Walker’s work at, of all places, a Texas local library branch. Intrigued enough to track down a sample, Knowler immediately became obsessed with the music, which evokes ambient kosmische players like Chuck Johnson, Luke Schneider, and in some moods, William Tyler.
There are several artists, it seems, who go by the name of Sam Lewis. So, just to be clear, this release, Everything’s Fine, is from the Nashville musician of that name, and it’s his 7th release, following on from 2024’s Superposition. In terms of intention, Lewis, in discussion with studio engineer Joe McMahan, wanted to deliver a sparse recording, in places that might be seen as the case, but there’s still a full sound across this album.
The spirit of John Prine floats above the opener and single ‘Chase the Moon’, rhyming couplets and a narrative melodic bounce push along picked and strummed guitar. The song was created around the time of Prine’s passing, so it’s fitting that his influence lives on through this.
…Title track ‘Everything’s Fine’ appears at…
Grammy Award-winning singer, songwriter, and guitarist Trey Hensley has officially released his solo studio album Can’t Outrun The Blues via Pinecastle Records. The 10-track collection marks a major milestone in Hensley’s solo career and features an impressive lineup of collaborators including Molly Tuttle, Vince Gill, Steve Wariner, and the legendary Nitty Gritty Dirt Band.
Produced by renowned hitmaker Brent Maher, known for his work with artists such as The Judds, Kenny Rogers, and Merle Haggard, Can’t Outrun The Blues showcases Hensley’s signature blend of fiery guitar playing and powerful vocals. The album seamlessly fuses Bluegrass, Americana, and traditional Country influences into a cohesive and energetic project that highlights both his…
Most all within the sphere of my reach has a reverence for classic soul music. Not upper-cased to designate any genre distinction, but closer to the ground… the small “s” signifying what truly changes and crosses the course of our blood. We’ve sought solace and direction as if a spinning disc were a communion rail before which we surrender; as if at the bent knee of our parents. It’s a ritual that has remained fortifying and alive – because the music itself has: refusing challenges to its legacy and relevance by evolving as we do.
Otis Redding, being but one sharp example, continues to sound like a living human being leaping from a pair of speakers because, in a very real way, he is one: his voice still reaching out with what poet William Carlos Williams…
The Set Up is flagged as a companion piece to last year’s Mr. Luck & Ms. Doom, starting off from a tune Willy Vlautin brought in at the end of the sessions, ‘Walking with His Sleeves Down’. Vlautin says, “Amy learned it on piano, and we recorded it live. Her take was stunning, but the song didn’t quite fit with the record. It was lonelier, more rattled, and it missed that rudderless romance that inhabits the world of Mr. Luck & Ms. Doom, so we set it aside”
Stunning doesn’t begin to cover it. If you had a namecheck for Birmingham’s Judas Priest on your Delines lyric bingo card, you can tick it off on this song. Just Amy Boone and piano, bleak but beautiful. The next song that Vlautin brought to the band was ‘The Meter Keeps Ticking’,…
Few artists are as closely tied to the foundation of country music as Willie Nelson. Before the outlaw movement, before the braids and bandanas, Nelson was a Nashville songwriter absorbing the work of Hank Williams, Ernest Tubb, and Merle Travis.
Originally released in 2010 and produced by T Bone Burnett, Country Music is his direct salute to that lineage. It was his first album made entirely of country standards, a tribute to the songs that shaped him before he became a household name.
The current reissue from Craft Recordings and HighTone Records gives the album renewed focus. HighTone’s relaunch has centered on core Americana titles, and this record fits squarely within that tradition. Country Music opens with Nelson’s own 1959 single…
Album release dates are usually arbitrary, utilitarian business decisions, devoid of any tangible meaning. But once in a great while, an artist releases an album on or near a date that dovetails perfectly with the album’s theme. Such is the case with Keegan McInroe’s eighth solo album Neon John, which was released on Friday, February 13th. Juxtapose that superstitiously unlucky date with the next day, which just happens to be Valentine’s Day, and you have the dominant theme of the album-love sought, love found (or not), love lost, wrapped in a musical salve that feels light-heartedly melancholy yet somehow comforting.
The album opens with the line “Looking for love in all the wrong windows” sung in the familiar melody of Johnny Lee’s ‘Looking for Love’…
UNHINGED is Sophie Gault’s third album after Delusions of Grandeur (2022) and 2024’s Baltic Street Hotel. The title comes from her own view of herself: “I’m unhinged and a little bit crazy”, and this gives some idea of the energy of the record. It is rather traditional female-fronted country-rock, but done with such verve and brightness that it really wins you over and puts a smile on your face. And it doesn’t do any harm that Gault has a great country voice.
She has written five of the ten tracks here, but the first track is a rollicking Buck Owens cover, ‘Love’s Gonna Live Here’, with slide guitar and country licks, that improves on the original. This staple of her live set is a great start to the record. Following is ‘Pocket Change’, with a bit of a twang in…
Up in the North Star State recently, America’s seams appeared to be unravelling, with Minnesotans having to weather the chill of ICE. Meanwhile, down in the Golden State, Rose’s Pawn Shop was applying the final stitches to a musical security blanket for these turbulent times. American Seams is their Californian quilt of sound, a ten-track patchwork of country, rock, folk, and bluegrass, with a golden ratio of banjo and fiddle.
Rose’s Pawn Shop’s fifth studio album comes hot on the heels of Marigold, frontman Paul Givant’s solo album of 2025. It was recorded live in the studio at Los Angeles’ Love Street Sound, owned by The Doors’ founder member and guitarist Robby Krieger. Production was in the hands of Eric Corne, whose recent CV also includes…
5CD set featuring two solo albums from The Byrds/Flying Burrito Brothers member, plus solo live recordings spanning his career and a live album from the Gene Parsons Band, along with unreleased studio demos.
Recorded between multi-instrumentalist Gene Parsons’ membership of The Byrds and The Flying Burrito Brothers, his 1973 debut solo album ‘Kindling’ is a country rock and bluegrass classic that also features his friend and fellow ex-Byrd Clarence White on several tracks. Parsons demonstrates his versatility by contributing guitar, banjo, pedal steel, harmonica, bass and drums.
Acclaimed author of Are You Ready for the Country, Peter Doggett has written the notes for this box and describes ‘Kindling’ as “a joyous…
This Philadelphia band’s quickened in the pores & bones with jangly guitars, narrative lyrics, & juiced by some psychedelic spice. Nice contrasts. The new album was produced by Brian McTear (electric guitar/bgv) & Amy Morrissey (bgv) at Minor Street Recordings in Philly. Ten songs hang beside the Mirror In The Hallway with the band’s collective effort of original music & Drew Harris’ lyrics (lead vocals/electric & acoustic guitars/harmonica).
This second full-length indie album took 3 years to complete because they wanted it to be ambitious & perfect. Aside from the many topics that are touched upon, it’s basically about self-examination through a fine mix of roots rock, shimmering notes & rhythm, some folksiness, a fluid blend of nostalgia & new beginnings.
Consummate troubadour and songwriter Tim Easton wrote much of his new album beneath a painting of a red horse. The artwork — created by his sister, visual artist Susan Easton Burns—was executed in an abstract-realist style, using gardening tools instead of paintbrushes to form a vivid image from fragmented strokes. It now serves as the cover art for fIREHORSE, Easton’s 14th commercially released record. Made with zero artificial intelligence, the album also arrives just as the Chinese calendar enters the Year of the (Fire) Horse — an apt coincidence given that Easton himself, born in 1966, is a Fire Horse.
“Whether the painting influenced the songs or the album was shaped to fit the painting makes no difference anymore,” Easton says.
Counterfeit Blues, originally released in 2014, was met with critical acclaim and remains a shining example of what Corb Lund’s longtime band, The Hurtin’ Albertans, are capable of. “My old friend Joel Stewart cooked up the idea for this record. Joel was one of the key people responsible for a lot of the successes we had when we first started out and has been a great supporter for many years. He was working at CMT Canada at the time, in his subversive way, and decided he wanted to grab a band and make a live off the floor documentary/recording at Sun Studios in Memphis. Same room Elvis, Johnny Cash, Carl Perkins and Jerry Lee Lewis used,” said Lund. “He told us that of all the bands he worked with we were the most capable of pulling it off, which is…
Cabin Fever returns to print and reclaims its place as one of Corb Lund’s most defining records. Originally released in 2012, the album still sounds tough, grounded, and alive, capturing the moment when Lund’s songwriting reaches beyond borders and starts connecting with a truly global audience. Now expanded with an acoustic bonus disc, this reissue gives the record new space to breathe while preserving its grit.
The album leans into a raw, organic sound built on dusty rhythms, twangy guitars, and stories that feel pulled straight from the road. Fan favorites like “Gettin’ Down On The Mountain” and “Bible On The Dash” continue to stand out as live staples, songs that thrive on their simplicity and swagger. They move easily between humor and hard…
Losin’ Lately Gambler returns to print as part of a renewed celebration of Corb Lund’s extensive catalog, and it lands with the same grit, humor, and lived-in storytelling that define his best work. Originally released in 2009, the album still feels stubbornly timeless, rooted in dust, whiskey, and the hard edges of working-class myth.
The record moves forward on a galloping stand-up bass and the lonesome cry of steel guitar, giving the songs a restless, road-worn momentum. Lund sings in Jack London-like yarns about down-and-out cowboys, ranching life, and late-night barroom philosophy, painting scenes that feel less like fiction and more like stories overheard at the end of a long shift. The production stays raw and unfussy, letting the groove and the narratives…
With Country Sides, The Band of Heathens lean fully into their rootsy instincts, delivering an album that feels both lived-in and refreshingly unforced. The record sits comfortably at the crossroads of country, Americana, and soul-tinged rock, favoring groove and feel over flash. It’s the sound of a seasoned band trusting the songs, letting space, harmony, and restraint do the heavy lifting.
The album opens in a relaxed, open-road mode, where dusty guitars and warm organ tones set an unhurried pace. There’s a conversational ease to the vocals, passed around between band members, that reinforces the group’s greatest strength: chemistry. Nothing here feels overworked. Instead, the arrangements breathe, giving each song room to settle into its own pocket.
