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𝐉𝐨𝐡𝐧 𝐑. 𝐌𝐢𝐥𝐥𝐞𝐫
“The Great Unknowing“
★
@jrmillerwv
Release; July 17, 2026
@rounderrecords
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Listen up! Full album in BiO!
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John R. Miller has outdone himself with The Great Unknowing, his latest release. The West Virginian is a true songwriter’s songwriter.. and Miller continues to establish himself as one of the most compelling artists today.. recently awarded the John Prine Fellowship for Songwriting.

Classic John R. Miller is on full display here – a master class in storytelling. Full of wry whit, journeys, questions, and the truths we all wrestle with along the way. The Great Unknowing is a record that requires some attention, filled with those perfectly placed one-liners and hidden gems that stop you in your tracks for a scratch of the head and force you to ponder.

Musically, the album is equally impressive. The band is locked in, creating a wide range of soundscapes that evolve naturally across all 16 tracks without ever feeling disjointed.

For The Great Unknowing, Miller intentionally stepped away from the familiar. “My goal was to get into a room with a bunch of people that I didn’t already have a rapport with and track the record live,” he shared – hoping to spark new creativity through a fresh environment.

That vision took him west to Tulsa’s newly reopened Church Studio, the legendary home of Leon Russell. There, he assembled a remarkable group of local musicians, including John Fullbright on keys and Muskrat Jones on pedal steel and dobro. Despite many not having a previous history with Miller’s music, the chemistry was immediate. The core album came together in just three days, leaving time to capture a few covers along the way.

At a whopping 16 tracks, The Great Unknowing is a commitment, but one that never feels like a chore. It’s the perfect companion for a dusty backroad drive, a quiet stretch of highway, or any moment where reflection takes the wheel.

John R. Miller didn’t just make another record. He created a place to wander.
@meanwhile_in_music …

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𝐁𝐢𝐠 𝐆𝐮𝐲 & 𝐓𝐡𝐞 𝐕𝐞𝐫𝐲 𝐋𝐚𝐫𝐠𝐞 𝐌𝐞𝐧
“soft hands, hard times“
Pop
★
@rlybigguy
Release; June 26, 2026
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Listen up! Full album in BiO!
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The all-new project, Big Guy & The Very Large Men, is the latest creative venture from songwriter James Droll. Best known for his work in the electronic and pop worlds, Droll has spent years writing songs performed by artists including Joy Oladokun and Noah Kahan.

With his seven-song EP, soft hands, hard times, Droll steps into deeply personal territory. The project explores the joy, vulnerability, heartbreak, and beautiful mess of embracing an authentic queer identity while growing up – and ultimately finding yourself.. in the cultural crossroads of the Bible Belt. Raised on a llama farm in Pleasantville, Ohio, Droll was immersed in a family deeply rooted in the evangelical church, an upbringing that echoes throughout these songs without ever defining them.

As compelling as the backstory is, the real magic lies in the music. While soft hands, hard times may be labeled as pop, it is Americana-adjacent at its core. The result is a collection of songs that blur genre lines with effortless confidence, pairing sharp storytelling, emotional imagery and a wit that’s as disarming as it is unforgettable.

Tender, clever, and emotionally resonant, soft hands, hard times looks fearlessly at the ghosts that shaped Droll’s past while embracing the hope, freedom, and uncertainty of the road ahead.
@meanwhile_in_music
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#NewMusic #Nashville #Ohio #Queer #pride …

Color me grateful to live in a place and time, and in a city capable of delivering a Sunday afternoon as joyful as the one we were gifted today.

The always wonderful Melissa Carper tee’d things off, followed by the incomparable Jaime Wyatt. You can’t ask for a much better end to the weekend. Here they are covering an old Flatlanders’ tune.. Dallas.

All of it brought to you by one of Austin’s finest honky-tonks, Sagebrush. …

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𝐒𝐔𝐒𝐓𝐎 𝐒𝐭𝐫𝐢𝐧𝐠𝐛𝐚𝐧𝐝
“Volume Two“
Folk
★
@sustoisreal @hollerchoirmusic
Release; May 29, 2026
@_missingpiecerecords
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Listen up! Full album in BiO!
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Meanwhile In Music has never been shy about showing SUSTO some love, but what’s not to love? Justin Osborne remains one of our favorite voices in Americana-adjacent music – a songwriter capable of delivering personal and rich observations on life, loss, and redemption without ever losing sight of humor, humanity, or heart.

Released May 29th, SUSTO Stringband Volume Two arrived with the unenviable task of following one of our favorite releases of the past couple years. Thankfully, rather than trying to outdo its predecessor, Vol. Two expands the world that Osborne and company began building on the first installment, deepening the collection while maintaining everything that made it special.

Osborne writes with conviction. His songs arrive thoughtful and evocative – tackling heavy themes like suicide, substance abuse, grief, and quiet gestures of America’s failing healthcare system. Yet he’s equally capable of delivering something wildly entertaining. That’s the magic of SUSTO: profound reflection and genuine fun can coexist in the same breath. “E-350,” an anthem of sorts for touring musicians that depicts a grumpy landlord and his sewer line throwing shade on the beloved tour van.

Of course, none of this works without The Holler Choir String Band. Their musicianship serves as both engine and glue, carrying these stories effortlessly from one song to the next. The performances are loose where they should be, precise when they need to be, and consistently engaging throughout. This time around, the circle widens a bit with guest appearances from Joshua Hedley, Morgan Wade, and Madeline Dierauf.

SUSTO Stringband Vol. I set a remarkably high bar around these parts. Matching those expectations would have been an accomplishment on its own. Volume Two does more than that – it reinforces just how special this collection of musicians has become. Essential listening doesn’t have to be a classic, but these records have made their mark.
@meanwhile_in_music
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#NewMusic #music #LiveMusic #Americana #Texas …

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𝐈𝐧𝐝𝐢𝐚 𝐑𝐚𝐦𝐞𝐲
“Villain Era“
Country
★
@indiarameymusic
Release; May 8, 2026
@copacorecords @blueelan
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Listen up! Full album in BiO!
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India Ramey has been quietly building a catalogue to be proud of, & her newest release, Villain Era, is no exception. From the opening track, Ramey & her band march through the record with a ferocity that signals a clear shift into self preservation – and a sharpened sense of what she will & won’t tolerate.

Fueled by that conviction & a fresh set of songs, Ramey left the South for the first time & traveled to Los Angeles to record with two-time Grammy-nominated producer Eric Corne. Together, they crafted a soundscape that is both cinematic and cathartic.

Ramey described her vision to Corne as “Johnny Cash & Loretta Lynn rising from the dead to score a Quentin Tarantino film,” & the sessions fully deliver on that concept. To bring the project to life, Corne assembled an all-star band, including Ted Russell Kamp, Eugene Edwards, Chris Masterson, Eleanor Whitmore, Kevin Brown, Boo Bernstein, and Haley Spence Brown.

Villain Era arrives with all the bumps & bruises you’d expect from a dusty road of potholes & fractured relationships, but Ramey transforms them into something almost celebratory. With a sly sense of humor, she whips some of life’s toughest defeats into deceptively sweet, harmonious lashings of the tongue.

The record moves fluidly through country noir textures – drifting between psychedelic high desert haze, snake-charming spaghetti western energy & rockabilly swagger – all anchored by a voice that’s not only powerful but laced with intentional wit & attitude. There’s a constant undercurrent of charm that reads like a smiling “fuck you very much.” That grin is not only consistent but contagious, as you can’t help but mirror it when listening to tracks like “Cryin’ In My Lingerie,” echoing the storytelling spirit of John Prine. The song feels like it could have been a natural duet for the two – sharp, funny, and soaked in devastating truth.

Villain Era rewards repeat listens, revealing more of its clever wordplay & layered one-liners each time – best experienced loud and often. 🍷 🌹
@meanwhile_in_music …

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𝐇𝐢𝐬𝐬 𝐆𝐨𝐥𝐝𝐞𝐧 𝐌𝐞𝐬𝐬𝐞𝐧𝐠𝐞𝐫
“I’m People”
★
@hissgoldenmessenger
Release; May 1, 2026
@chrysalisrecs
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Listen up! Full album in BiO!
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Sometimes you hit play and you know you’ve landed on exactly what you needed. That’s the feeling I got with Hiss Golden Messenger’s latest release – I’m People, the first on Chrysalis Records.

The record plays with a purpose – finding balance between fight & flight.. it wanders through heartbreak, the quiet reckonings of getting older, the weight & wonders of life and the kind of longing that doesn’t always resolve cleanly. There’s disillusionment here too – but it never settles. Instead, the album arrives somewhere harder to come by: a durable, hard-earned sense of persistence – even after everything’s been worn down to the bone.

There’s a subtle mastery in the details. “Mercy Ave.” is a standout track – deceptively simple, yet intricately built. Hand drums pulse beneath saxophone & flute, while background vocals drift in and out like a second thought you can’t quite shake. That aesthetic carries through I’m People – simple complexities, carefully layered textures, & tones that never tip into excess, allowing MC Taylor’s writing to move naturally, his words settling into the rhythms.

Hiss Golden Messenger is the vehicle for North Carolina songwriter MC Taylor – a voice that’s long operated in a space of soulful folk and surrounding areas.

Produced alongside Josh Kaufman at Dreamland Recording Studios – an old church just outside Woodstock – I’m People carries a lived-in warmth. You can envision it in the making: musicians gathered in a circle, light spilling through stained glass windows onto guitars, drums, & upright bass. Nothing rushed, nothing forced.

The all-star cast of collaborators deepens that world.. Bruce Hornsby, Sam Beam, Marcus King, Sara Watkins, Amy Helm, Eric D. Johnson, and members of Dawes all contribute to a sound that feels immediate, human, and fully alive.

What did I do when the final track played through on I’m People? I hit play again.
@meanwhile_in_music …