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Brett Miller on Self-Doubt, One Second of Hope and the Making of Heaven

A South Florida Songwriter’s 2021 Single Turns Self-Doubt Into a Hopeful Acoustic Pop Refrain

On January 15, 2021, Brett Miller released Heaven, with its official video live on YouTube from midnight Eastern time. The acoustic singer-songwriter single opens on a plain admission, a man asking why he is scared to show his cards. From there, it spends just under four minutes talking him out of his own way. Five years on, Miller has returned to it as the track to lead with. Its question, what a life without regrets would take, still reads clearly.

Brett Miller’s Heaven sits in the playlist below with the singer-songwriter pop this desk keeps returning to. The full run of coverage sits on the Brett Miller profile. The single reached NewMusic.News through PopHits.Co Music Charts, which verifies independent artists and places their releases across its network of music news desks. Press play once, then keep reading for the story behind the song.


Brett Miller on Self-Doubt, One Second of Hope and the Making of Heaven
Brett Miller on Self-Doubt, One Second of Hope and the Making of Heaven

Brett Miller Released Heaven in January 2021, the Year He Left New York for His Home State of Florida

By the time Heaven came out, Miller had spent four years releasing his own music. He started in 2017 with the Something Beautiful EP. A year later, while living and performing around New York City, he opened for Social House. He also opened for Zara Larsson at the Nassau Coliseum on Long Island. His official biography then marks 2021 as the year he left New York for his home state of Florida. So Heaven sits right at the turn between the city years and the Florida ones.

The single also arrived finished. Chaz Mazzota filmed and edited the official video, which went out on release day. The description beneath it carried the complete lyric for anyone who wanted to follow along. Less than two weeks later, Miller’s own brettmillerlive account added a chord chart for the song to Ultimate Guitar. The chart sets a capo on the first fret and keeps to standard tuning. Its verses rest on three familiar shapes: G, E minor over B, and Cadd9.

Fans of Jason Mraz will know those shapes. Guitarists usually play his I’m Yours with the same G, D, E minor and C forms. They just put the capo higher up the neck. In other words, the chart invites you to play the song as well as hear it.

The Pre-Chorus Where Heaven Turns Self-Doubt Into an Instruction to Get Out of His Own Way

The song builds itself around a short moment. The chorus asks for a single second of imagination. That second is long enough to picture a life with no regrets, full of magic and free of tragedy. Miller is honest about the resistance waiting on the other side. The world, he sings, will try to shut him down. But he only loses if he lets it. Heaven in this song is therefore a decision rather than a destination.

The Verses Brett Miller Wrote So the Chorus of Heaven Could Land

What makes that chorus land is the honesty of the verses around it. The first verse describes years of talking to himself. Those years have turned him into someone else, a stranger playing a part. Next, the pre-chorus admits his head is getting hazy. He does not know which way to go. Then the song makes the turn that drives it: he needs to get out of his own way, right now. He cannot keep lying to himself either. The second verse goes further still and describes a mind in disguise as a hero. That is the kind of inner voice that sounds helpful while it keeps you exactly where you are.

By the bridge, the language has narrowed to almost nothing. Only one way, he repeats, only one way to go. After two verses of second-guessing, that repetition sounds like a man finally agreeing with himself. The harmony shows the same restraint. The verses circle three shapes, while the chorus lifts from Cadd9 to G to D. It also hangs briefly on a Dsus4 under the line about a life with no regrets, and then it resolves.

The song has kept a life on stage, too. In December 2024, a YouTube clip showed Miller playing it acoustically at The Garden Room in Nashville. It is a sign that Heaven kept its place in his live sets long after release.

Watch the video and check the artist’s YouTube channel for more.

Brett Miller on Self-Doubt, One Second of Hope and the Making of Heaven
Brett Miller on Self-Doubt, One Second of Hope and the Making of Heaven

What Heaven Answers for Listeners Who Love Acoustic Singer-Songwriter Pop With a Hopeful Streak

The question Heaven asks is one most listeners recognise: how do you stop standing in your own way? Its answer is practical rather than mystical. First, you picture the life you want for one second. Then you accept that the world will push back. Finally, you refuse to be the one who gives up first. Miller frames that answer in the blend he has made his own. It joins acoustic singer-songwriter intimacy with contemporary pop sensibilities. As a result, the song carries the weight of a confession and stays easy to sing along to.

The same conviction runs through how Miller talks about his work. In a 2024 interview with Shoutout Miami, he called playing it safe the bigger risk. In a 2022 conversation with CanvasRebel, he explained how he built a full-time life in music. That life rests on performing, songwriting and the original releases he has put out since 2017.

Who Heaven by Brett Miller Is For

This is a song for listeners who like acoustic pop that says hopeful things plainly. Anyone drawn to Andy Grammer will recognise the intent. His Keep Your Head Up turned a pep talk into a pop chorus about a decade before Heaven. It also suits guitar players looking for an intermediate song with a real lyric to sing. The chart sits at that level and needs nothing more than a capo.

From the NewMusic.News Curator Team: “What we keep returning to is where Miller places the title. The verses never describe Heaven. It arrives only as the last word of each chorus, after the pre-chorus admits he cannot keep lying to himself. So the reward always follows the confession. That order is a small songwriting decision, and it is why the hopeful ending feels earned.”

Where to Stream Heaven by Brett Miller and Follow the South Florida Singer-Songwriter

Start with the official video above, with the full lyric open in its description. Then let the single sit in your rotation for a few days. Heaven is also on Apple Music, and the release has its own page on Spotify.

Follow Brett Miller across platforms:


Return Trip on Film Scenes, Spanish Roots and the Making of ReScore

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Rachel Chinouriri Built Her Second Album Around One Night Out

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The Long Way to Yours Faithfully, OneNamedPeter's Album Signed off Like a Letter

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Inside Proceed 2: How Kennard Built a Baltimore R&B Album From Loss and Patience

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Johnny Marr Road-Tested The Age of Everything Before Recording It

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Ada Rovatti on Piloo, Her Late Father and the Making of Done Deal

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Inside Husk: How Scarecrowz Built a Self-Produced Hard Rock Album in Their 25th Year

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Erick Castrillon on the Singularity, Generative AI and the Making of The Great Awakening

Erick Castrillon on the Singularity, Generative AI and the Making of The Great Awakening

Rachel Chinouriri Built Her Second Album Around One Night Out

Rachel Chinouriri in a 2026 press photograph for I Think I Spoke Too Soon.

The realisation came in Los Angeles. Spending time there with Lucy Dacus, Rachel Chinouriri started “having these realisations about drinking and partying and all these things”, she said, and the song she wrote out of it, “Broken Chair”, sits near the middle of her second album. I Think I Spoke Too Soon arrives on October 16 through Atlas Artists/Parlophone/Warner Records, and it is told “through the lens of a single, big night out”, according to the album announcement reported by The Music Universe.

That one night stands in for some of the most pivotal years of the London-born singer and songwriter’s life. She has spent the summer and autumn previewing it: three singles are out, she has performed on SNL UK, and in December she joins Gracie Abrams for a run of arena shows in the United States. Here is what is known about the record before release day.

One Night Out, Many Versions of Herself

The album picks up where Chinouriri’s 2024 debut, What a Devastating Turn of Events, left off. The announcement describes it as “a vivid and surrealist glimpse behind the curtain” of pivotal years in her life, a story “that can loop (or maybe even spiral) endlessly” and details “the kind of night that shifts your whole world on its axis and reveals new truths about yourself.”

The theme underneath it is forgiveness. “My core thing is you can change who you are at any moment and you can forgive yourself at any moment,” Chinouriri said when she announced the record, as quoted by Rolling Stone. “And I think forgiving yourself is the first step in becoming a better person.”

That marks a shift from the first album. Towards the end of 2024, she told Rolling Stone she wanted to take a different approach from the emotional excavation of her debut. “Or maybe I’m creating a new world where I write from a happy place and teach myself to write from a place of healing versus a place of trauma,” she said. The new title suggests she tried both, and that the night out is where they meet.

Three Singles From the Night Out

The lead single, “One Song Away From Crying”, arrived with the announcement at the end of July. The Music Universe described it as “a grooving, iridescent, synth-pop number beamed directly from the dancefloor in a moment of insecurity”, a glossy song set in a club and built around the line “She’s never looked better and she’s never felt worse.” Chinouriri explained it as “about the precipice of a night out where you know you need to leave and have to make a decision,” adding: “It’s a deeper decision because it’s less about the night itself but more about a reflection of a deeper internal conflict with your self value that you haven’t looked at yet.” Dora Paphides directed the video, in which she escapes a party she does not want to be at into a dreamlike world.

“Make Believe” followed, and in late September came “Broken Chair”, the third preview. According to DIY, it is a sparkling electronic track whose buoyancy hides more troubling themes, as Chinouriri examines her unravelling relationship with alcohol and intoxication. She wrote it in Los Angeles while spending time with Lucy Dacus, who, she said, “almost reassured me that I am more than enough just being who I am and what I want to be.”

Taken together, the singles sketch the night the album describes, from the moment you know you should go home to the realisations that arrive once the music stops.

The Tracklist

The album runs to 12 songs, as published by DIY:

  1. “One Song Away From Crying”
  2. “Pretty Girls”
  3. “Baby Steps”
  4. “Favourite Desperation”
  5. “I’m a Star”
  6. “AAAHHH!!!”
  7. “Broken Chair”
  8. “Shiver”
  9. “Make Believe”
  10. “Parasite”
  11. “The Good Fight”
  12. “Crash This Car”

The running order follows the concept. It opens on the single about wanting to leave the party, puts “Broken Chair” near the middle and closes on “Crash This Car”.

Who She Made It With

I Think I Spoke Too Soon was written and recorded across London, Hereford and Los Angeles. Rachel Chinouriri worked with longtime collaborators APOB, Mary Weitz, Glen Roberts and Daniel Hylton-Nuamah, and with new ones, including Lucy Dacus and Eli Teplin, according to The Music Universe. The announcement calls it “a marked evolution of her unique alt indie pop sound into expanded creative realms.”

The Dacus connection is the most visible new thread. She is the person Chinouriri credits with helping her through the realisations behind “Broken Chair”, and the collaboration says a good deal about the kind of record this is meant to be: lighter in sound than its subject, but honest about what sits underneath.

From What a Devastating Turn of Events to Now

The debut set a high bar. What a Devastating Turn of Events earned two BRIT nominations, Clash noted, and established a songwriter willing to dig into family, relationships and her sense of belonging. Her 2025 EP Little House, which featured “Can We Talk About Isaac”, kept the momentum going, Rolling Stone reported.

Those records were built on frankness, and she has framed that as a strength rather than a burden. “We’re all slightly broken or traumatized by something,” she said, as quoted by Rolling Stone. “We all accept that, and it’s OK to be emotional.” At the end of 2024 she described the world of the debut as one she could return to: “This is a world that I’ve now made, which I can step into when I need to and grab the stories that I need.” The second album is where she decided to build a new one.

Since then she has supported Florence + The Machine and Wolf Alice, played Olivia Rodrigo’s Daisy Chain Fields festival and appeared on SNL UK, DIY reported. She was the only British artist invited to join the Daisy Chain Fields bill, according to The Music Universe, a detail that shows how far her audience now reaches beyond the UK.

Arena Dates With Gracie Abrams and the Shows Ahead

The next step is an arena run. Chinouriri supports Gracie Abrams on The Look at My Life Tour for a seven-show arena run in December, according to The Music Universe:

  • December 2 and 3: Ball Arena, Denver.
  • December 6 and 7: Oakland Arena, Oakland.
  • December 9 and 10: Desert Diamond Arena, Glendale, Arizona.
  • December 14: Kia Forum, Inglewood.

The new songs have already been road-tested. Between late August and mid-September she played intimate headline shows to preview the record, at El Rey in Los Angeles, the Bowery Ballroom in New York, The Academy in Dublin, 26 Leake Street in London, Botanique in Brussels, Trabendo in Paris, Tolhuistuin in Amsterdam and Säälchen in Berlin, according to The Music Universe.

Next, she plays a run of UK in-store shows around the album’s release, Clash reported. Her own headline dates continue into the new year with Sydney’s Enmore Theatre on February 16 and Melbourne’s 170 Russell on February 17.

Formats and What to Listen For

The album is available on standard vinyl and CD, with an exclusive blue eco-record from independent retailers and HMV, an exclusive pink eco-record through Amazon, and a silver and blue “inkplosion” eco-record deluxe vinyl plus three exclusive-sleeve CDs from her webstore.

How a record is assembled often says as much as what ends up on it; newmusic.news recently looked at how Johnny Marr road-tested The Age of Everything before recording it. For a first listen on October 16, three things are worth following:

  • The arc of the night. The tracklist is built as a single evening; listening in order is the point.
  • The Lucy Dacus sessions. “Broken Chair” shows how a collaborator can steady a songwriter working through something difficult.
  • The shift in tone. Compare the new songs with the debut to hear whether she has found the “place of healing” she described in 2024.

Second albums often carry the weight of a celebrated debut. Rachel Chinouriri has chosen to meet it with a concept rather than a repeat, and with a message she has stated plainly: you can change who you are, and forgive yourself, at any moment.

Johnny Marr Road-Tested The Age of Everything Before Recording It

Before Johnny Marr recorded The Age of Everything in Manchester, he decided to find out how the songs held up in front of a crowd. The album was written in London and road-tested across North America’s East Coast before he laid it down in his home city, as DIY reported when the record was announced. That order of events, write it, play it, then record it, shaped the album that came out on 2 October through BMG.

The Age of Everything is Marr’s fifth solo studio album and his first since Fever Dreams Pts 1-4 in 2022. Here is how it was made, what is on it, and why its release lands just weeks before the biggest London headline show of his solo career.

Written in London, Tested on the Road, Recorded in Manchester

Many albums are finished in the studio and only then learned on stage. Marr reversed part of that process. Songs that were written in London went out on the road first, and only after audiences had heard them did he take them into the studio in Manchester, the city where he was born.

Reviewers have noticed the effect. The Upcoming’s review points to the road-testing of most of these songs as the reason the record balances singalong moments with well-timed guitar breakdowns. God Is in the TV notes that three of the new tracks were already in the set at his Castlefield Bowl show in Manchester in July, that “How Come” was given its live debut in Southampton the previous summer, and that “All in a Life” was first played live in Leeds.

The approach also explains how familiar some of the album already feels to his audience. “It’s Time”, one of the singles released ahead of the album, had already become a firm live favourite before the album was released, according to the same review. By the time the record arrived, fans who had followed the tour had heard a good part of it already.

Why Marr Calls It His Most Cathartic Record

Marr has described The Age of Everything as the most cathartic songwriting of his career, according to Classic Pop. He has explained that the title arrived early in the writing and became an idea he could not shake, because it seemed to sum up the way many people feel right now.

He has been careful to say the title is not a complaint. In his account, there is a sense of overwhelm in the culture brought about by technology, but the same situation, seen in a different light, also carries a sense of possibility. That double meaning runs through the record: songs about information overload and unsettled relationships sit beside songs that look for something hopeful in the noise.

The opener and lead single, “Spin”, makes the theme plain from the first verse, with Marr singing about having too much coming into his mind. Its video was conceptualised by Marr himself and filmed in Manchester, which ties the song back to the city where the album was recorded.

The Ten Songs, From Spin to All in a Life

The album runs to ten tracks: “Spin”, “Beyond the Rain”, “It’s Time”, “How Come”, “Ophelia”, “That Feeling”, “In and Out of Love”, “Just Once More”, “Fire With Fire” and “All in a Life”.

The early part of the record moves fast. God Is in the TV describes “Spin” as driven by a propulsive rhythm section and a thick, bass-heavy groove, and “It’s Time” as built on rapid drumming with Marr’s guitar lines cutting through. The Upcoming hears rapid-fire guitars on “It’s Time” that recall The Smiths, and a subtle disco rhythm under “Ophelia”.

The middle of the album changes pace. “How Come” is a slower, reflective song that God Is in the TV says shows a more wistful side of Marr. “In and Out of Love” is his own favourite on the record and, by his account, the first song he has written about heartbreak. The Upcoming calls it a sweeping waltz unlike anything else in his solo catalogue.

“Fire With Fire” grew partly out of an unsettling experience Marr has described: hearing someone you have known for years suddenly express a view that makes you wonder how well you really knew them. While writing the album, he returned to his earlier solo records, and that song carries some of the momentum of Playland, according to God Is in the TV.

The closer, “All in a Life”, belongs to a tradition in his solo work. As God Is in the TV points out, each of his albums has had a darker, more brooding song, from “Say Demesne” on The Messenger to “Candidate” on Playland, “Walk Into the Sea” on Call the Comet and “Rubicon” on Fever Dreams Pts 1-4. On this record, that song is the one that ends it.

The Band Behind the Record

Marr wrote the songs, but the album is very much a band record. God Is in the TV singles out Iwan Gronow’s bass on “Spin” and Jack Mitchell’s drumming on “It’s Time”, and calls Marr and his band a powerhouse, with several of these songs already proven on stage.

James Doviak is the other important name. His keyboards, guitars and production have helped Marr widen the sound of his solo work, and God Is in the TV hears that instinct most clearly on “That Feeling”, where effects layered over Marr’s vocal add another texture. Instrumentally, that track echoes parts of Marr’s debut solo album, The Messenger.

Both reviews also single out Marr’s singing. The Upcoming argues that his voice has grown since 2013 into a strong instrument in its own right, and God Is in the TV hears a new confidence that lets him be more vulnerable in his songwriting.

A Busy Few Years Between Albums

The four years since Fever Dreams Pts 1-4 were hardly quiet. In 2023 Marr released the career-spanning collection Spirit Power, a reissue of the Healers’ Boomslang and his guitar photobook, Marr’s Guitars. The 2025 live album Look Out Live! followed, as DIY notes.

The guitar book kept him especially busy, culminating in an auction at Christie’s in London where more than 100 of his guitars, amps, posters and other pieces were exhibited and sold, and The Upcoming puts the total at £3.6 million. An illustrated anniversary edition of his 2016 autobiography, Set the Boy Free, is also on the way.

All the while he kept touring, which is where the new songs were tested. In that sense the busy period and the new album are the same story: the road work that filled the gap between records is part of how this one was made.

From The Smiths to a Fifth Solo Album

For newer listeners, the background matters. Marr was born in Manchester in 1963 and formed The Smiths with Morrissey in 1982. Between 1984 and 1987 the band released four studio albums, and Marr’s guitar became the musical counterpoint to Morrissey’s lyrics, as Messed!Up sets out in its overview of his career.

After The Smiths split in 1987, he chose variety over repetition. He joined The The, formed Electronic with New Order’s Bernard Sumner, and worked with The Pretenders, Pet Shop Boys and Talking Heads, before later stints with Modest Mouse and The Cribs. The Upcoming adds his work with Gorillaz and Hans Zimmer to that list.

He did not step out under his own name until The Messenger in 2013. Playland followed in 2014, Call the Comet in 2018 and the double album Fever Dreams Pts 1-4 in 2022. The Age of Everything is the fifth. God Is in the TV reads it as further proof that there is far more to Marr than being the guitarist from The Smiths, and The Upcoming calls it potentially his best solo album to date.

Wembley Arena and What Comes Next

The album arrives at the peak of a big year on stage. Marr played a sold-out homecoming show at Manchester’s Castlefield Bowl on 9 July, and he headlines London’s Wembley Arena on 24 October, with Baxter Dury as special guest. DIY describes the two shows as the biggest solo headline gigs of his career.

The record is out now on CD, black vinyl and limited edition red vinyl, with an exclusive three-colour splatter vinyl and bundles through his official store, according to Classic Pop.

“Testing songs in front of audiences before recording them is an old-fashioned way to make an album, and it suits a songwriter whose solo shows keep moving into bigger rooms,” said the NewMusic.News curator team.

For another look at how a British songwriter made a new record, read how Michael Kiwanuka built FUDGE in a shack outside Southampton. The Age of Everything by Johnny Marr is out now on BMG.

Inside Husk: How Scarecrowz Built a Self-Produced Hard Rock Album in Their 25th Year

Four Ottawa Musicians Produced Ten Tracks Themselves and Gave the Band’s Name Its Own Imagery

The credits on Husk by Scarecrowz read like a band that decided to do almost everything itself. The Ottawa four-piece produced this ten-track hard rock and heavy metal album alone, and three of its musicians shared the engineering. Only the mix and master went to an outside hand, Rohan Despande. The record then came out on 6 June 2025.

Scarecrowz open Husk with Clutter, the track now in the playlist below. The band’s full run of coverage sits on the Scarecrowz artist profile. The album came to NewMusic.News through PopHits.Co Music Charts, which verifies independent artists and places their releases across its network of music news desks. Give it a spin before reading on about the four players who produced it themselves.


Inside Husk: How Scarecrowz Built a Self-Produced Hard Rock Album in Their 25th Year
Inside Husk: How Scarecrowz Built a Self-Produced Hard Rock Album in Their 25th Year

Scarecrowz Formed in Ottawa in 2000 and Marked Their 25th Year by Producing Husk Themselves

Scarecrowz formed in Ottawa in 2000, so 2025 was the band’s twenty-fifth year. Plenty of groups mark a milestone like that with a compilation or a reunion show. Scarecrowz, by contrast, marked it by writing and recording ten new songs.

The line-up on Husk is a four-piece. Ger Madden sings lead and backing vocals and plays rhythm guitar. Reno D’Santie handles lead and rhythm guitars, on electric and acoustic. Meanwhile, Trevor St. Peter plays bass, and Aansen Harrison covers drums and percussion. In addition, Zac Bryan steps in on bass for one track, Degeneration, and its official lyric video is on YouTube.

The engineering stayed inside that circle too. D’Santie, St. Peter and Bryan engineered the sessions, and the band took the producer’s credit as a group. As a result, the decisions on Husk belong to the people who play it, from the guitar sounds to the running order.

Even the packaging followed the same instinct. The photography credit goes to Madden, with artwork by Rachael Chandler of Artistik Vibe. It is a small detail. Still, it sums up the whole record, which stayed close to home with the people who know the songs best.

Madden is also the last founding member still in the band. A year after Husk came out, he told the whole story on Episode 127 of the All About M.E. Podcast. He covered how Scarecrowz first came together, and how the band kept going through every line-up change since.

Ten Tracks Run From the Opening Riff of Clutter to the Closing Pull of Dark

Husk runs for just under forty-six minutes. It opens with Clutter, a song about throwing out whatever is weighing you down. It then closes with Dark, which is about reaching for a way out when you cannot see one. In between, the songs range further than a quick listen might suggest.

For example, The Scythe tells a battle story set during the Crusades, with riders, steel and a long view of who fought and why. Khildren Of The Corn, meanwhile, turns a horror-film pun into something more reflective. It is about leaving the fields of your youth for a better life, and wondering what you gave up on the way. At almost six minutes, You’re Not Leaving Alive is the longest track.

The titles also do something the band’s name always invited. A husk, a scythe and a field of corn all belong to a scarecrow’s world. Husk leans into that imagery without turning it into a gimmick. On Bandcamp, Scarecrowz files the record under hard rock, heavy metal, metal, garage rock and Ottawa. That is a fair map of where it lives.

Inside Husk: How Scarecrowz Built a Self-Produced Hard Rock Album in Their 25th Year
Inside Husk: How Scarecrowz Built a Self-Produced Hard Rock Album in Their 25th Year

What a Self-Produced 25th-Year Album Answers About Scarecrowz, From Black Sabbath to Motörhead

Every long-running band eventually faces a question: is there still something new to say, or only something to repeat? Husk answers with ten new songs, a fresh set of images and a production made entirely on the band’s own terms.

Two reference points help place the sound for new listeners. First, Black Sabbath set the template for slow, heavy riffing on their first album in 1970. The darker, weightier moments on Husk sit in that tradition. Second, Motörhead added speed and a rough, garage-style edge from the mid-1970s. That is the energy the faster tracks on Husk draw on.

Scarecrowz moves between those two poles across the record. In the end, that range is the clearest sign that a twenty-fifth year can be a working year rather than a commemorative one.

Who Should Hear Husk by Scarecrowz, and Where to Follow the Band

Husk suits listeners who like their hard rock and heavy metal raw rather than polished. It also suits anyone curious about how a veteran band sounds when nobody else is steering the sessions.

From the NewMusic.News curator team: “Producing Husk themselves gave Scarecrowz a record that sounds like a band in a room. The riffs on Clutter and the slower weight of Dark carry the same rough edge. That consistency comes from four players making every call together.”

Stream Husk on Apple Music or buy it on Bandcamp. After that, explore the earlier catalogue on Spotify and Bandcamp.

Follow Scarecrowz on Spotify, Apple Music, SoundCloud, the YouTube channel, Instagram, TikTok, X, Facebook and Linktree, and visit the official website.


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Brett Miller on Self-Doubt, One Second of Hope and the Making of Heaven

Brett Miller on Self-Doubt, One Second of Hope and the Making of Heaven

Rachel Chinouriri Built Her Second Album Around One Night Out

Rachel Chinouriri Built Her Second Album Around One Night Out

The Long Way to Yours Faithfully, OneNamedPeter's Album Signed off Like a Letter

The Long Way to Yours Faithfully, OneNamedPeter’s Album Signed off Like a Letter

Inside Proceed 2: How Kennard Built a Baltimore R&B Album From Loss and Patience

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WIL.SON on One Guitar, a Stomp-Box and the Making of Blues Tourist: Vol. 1

WIL.SON on One Guitar, a Stomp-Box and the Making of Blues Tourist: Vol. 1

Johnny Marr Road-Tested The Age of Everything Before Recording It

Johnny Marr Road-Tested The Age of Everything Before Recording It

Ada Rovatti on Piloo, Her Late Father and the Making of Done Deal

Ada Rovatti on Piloo, Her Late Father and the Making of Done Deal

Inside Walking the Tightrope: How Stephanie Phillips Built a Folk Album Between Grief and Joy

Inside Walking the Tightrope: How Stephanie Phillips Built a Folk Album Between Grief and Joy

Inside Into The Night: How Seadog Built a Haunted Dream Pop Single in Brighton

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Inside On y va: How Hub30 Built a Feel-Good Song From Reggae, House and a Bordeaux Lake

Inside On y va: How Hub30 Built a Feel-Good Song From Reggae, House and a Bordeaux Lake

Erick Castrillon on the Singularity, Generative AI and the Making of The Great Awakening

Erick Castrillon on the Singularity, Generative AI and the Making of The Great Awakening

Inside Walking the Tightrope: How Stephanie Phillips Built a Folk Album Between Grief and Joy

A West Chester Songwriter’s Seventh Album Holds a Brother’s Loss and a Wedding Together

Two days before his 52nd birthday, Stephanie Phillips lost her younger brother. A month later, she married her second husband. She wrote and recorded much of Walking the Tightrope, her seventh album, in the shadow of that year of grief and joy. The album came out on 28 August 2026, and its title track is where the two feelings meet.

Stephanie Phillips’ Walking the Tightrope sits in the folk playlist below, among the contemporary and chamber folk this desk follows. Her coverage across the network is gathered on her artist profile. The album reached us through PopHits.Co Music Charts, which verifies independent artists and places their releases across its network of music news desks. Press play on the title track, then read on for the story of how the record came together.


Inside Walking the Tightrope: How Stephanie Phillips Built a Folk Album Between Grief and Joy
Inside Walking the Tightrope: How Stephanie Phillips Built a Folk Album Between Grief and Joy

A Brother’s Death and a Second Wedding Within a Month Shaped the Folk Songs on Walking the Tightrope

Phillips has described that stretch as a time of low lows and high highs. In an interview with Rising Artists, she explained that she wrote the title track to help her process the upheaval. She also said she leaned into every feeling to finish writing the album. Her own site puts it plainly: much of the record came out of an emotionally tumultuous year, and that backdrop of grief and joy runs through many of the songs.

The title track names the feeling directly. One line moves from weeping in a loved one’s arms to holding a wedding bouquet, and Phillips has said that it sums up her year. Similarly, SameWay Magazine heard a song from a complicated time, when grief and love lived side by side, written over a year and a half of upheaval.

A Click Track and a Drummer’s Tension

The recording came some time after the writing, so Phillips wanted the takes to carry the feeling she had when the songs were new. For the title track, she decided to record to a click track, which is not her usual practice. That way, she could lean into the emotion without worrying about the rhythm. She credits her drummer with building his own tension into the song, and her recording engineer with a good ear.

She has also been candid about her voice. In the same interview, she said it has grown richer over the years. In addition, she felt the key she wrote the song in sits in a sweet spot for her.

Drums, Cello and Keyboards Widen Stephanie Phillips’ Acoustic Folk Sound on Walking the Tightrope

Walking the Tightrope runs to 12 tracks, from Try As We Might to Study in Opposites. Her guitar, melodies and lyrics remain at the centre. This time, however, she built drums, cello and keyboards around them, and her site describes the result as a fullness of sound that reflects how her style has grown. Notably, the second track, My Brother’s Shoes, sits directly before the title track in the running order.

The album is folk in the singer-songwriter sense: acoustic at its core, with alt-folk and folk-pop touches. Phillips has been singing, playing guitar and writing since an early age. According to her site, she has also performed across the United States, including clubs in New York City. At home in West Chester, Pennsylvania, she scheduled her album release concert at Uptown for 30 September.

Seven Albums Across 23 Years

Her catalogue on Spotify runs back to Home in 2003. True to My Soul followed in 2013, and since 2020 she has kept a steady pace, from What Have I Lost? through Carousel of Hope, Retrospective and Certainly Love to this record. Before the full album arrived, two of its songs, Receive and Study in Opposites, came out as singles in May and June 2026.

Inside Walking the Tightrope: How Stephanie Phillips Built a Folk Album Between Grief and Joy
Inside Walking the Tightrope: How Stephanie Phillips Built a Folk Album Between Grief and Joy

What Walking the Tightrope Answers About Holding Grief and Joy at the Same Time

The question at the heart of the record is how to hold two opposite feelings at once. The closing track’s title, Study in Opposites, says as much, and the album never asks the listener to choose between the grief and the joy. In that sense, the title is exact: walking a tightrope means keeping your balance while both sides pull.

Three days before the album arrived, Phillips also released a new protest single, How Tall Did You Stand?. Meanwhile, she is already writing her next record.

Where Walking the Tightrope Sits

Listeners who know Patty Griffin will find a familiar shape. Griffin recorded her seventh album, American Kid from 2013, as a tribute to her late father, and Walking the Tightrope is likewise a seventh album shaped by a family loss. By contrast, Joni Mitchell set personal upheaval against sparse acoustic backing on Blue in 1971. Phillips takes the opposite route, building a fuller band around her guitar.

Who the Album Is For and Where to Follow Stephanie Phillips Online

This is an album for listeners who come to folk music for honest songwriting. It also speaks to anyone who has had to grieve and celebrate in the same season. Fans of acoustic singer-songwriters who like their records warm, plain and unhurried will feel at home here too.

NewMusic.News curator team: “Walking the Tightrope lets grief and joy share the same songs without making either one smaller. Recording the title track to a click, against her usual habit, is a small technical choice that keeps the feeling at the front of the mix.”

Stream the album on Spotify or Apple Music.

Listen to Stephanie Phillips on Spotify, Apple Music and Amazon Music, and watch on her YouTube channel. Follow her on Instagram and Facebook, and find the CD, downloads and tour news on the official site.


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Erick Castrillon on the Singularity, Generative AI and the Making of The Great Awakening

The Long Way to From Local to Global: The Remix That Closes the Spitfire Sparks Album

An Arizona Rapper Ends a 17-Track Album by Handing His Song to Four New Voices

From Local To Global ends by handing one of its own songs to other people. Its closing track reworks the earlier Solved That with four guest voices. That final decision turns the title of the new Spitfire Sparks album from a slogan into a description.

Spitfire Sparks’ tracks are in the playlist below, and his full run of coverage sits on his artist profile. From Local To Global came to NewMusic.News through PopHits.Co Music Charts, which verifies independent artists and places their releases across its network of music news desks. Listen in, then keep reading for the remix that closes the record.


The Long Way to From Local to Global: The Remix That Closes the Spitfire Sparks Album
The Long Way to From Local to Global: The Remix That Closes the Spitfire Sparks Album

The Closing Remix That Explains the Whole Spitfire Sparks Album

The track is Enele Khale [Solved That REMIX], and its guests are Pes Gr8, Venotide, Iconic Lejakane and Koete Classic. In fact, they arrive as a circle that already works together. Iconic Lejakane has released songs with Pes Gr8, including the Sesotho-titled Lithabeng Tsa Thesele. Similarly, Ha re no tela brings Iconic Lejakane together with Koete Classic and Venotide. In other words, Spitfire Sparks did not simply add a feature at the end. He handed one of his songs to an established crew and let them make it theirs.

That ending is the right place to start, because it explains the rest of the album. From Local To Global arrived on 7 August 2026 as a 17-track hip-hop album. Its credits read like a map. Some guests come from the wider American independent scene, like Mark Battles from Indianapolis and Krizz Kaliko from Kansas City. Others, like King Gonzo, work closer to home in Arizona. The reach is real, and it was built one feature at a time.

Two months on, that is what makes the album worth returning to now. It is not a debut, and it is not a reinvention. Instead, it is an independent rapper gathering the people he has worked with into one place. The running order does the explaining.

What From Local to Global Holds Between The Spark and the Closing Remix

The album opens with The Spark, a short statement track in which Spitfire Sparks sets out his goals. From there, it moves quickly. Twenty Twenty Flow, a high-energy trap cut, sits near the front and shows off the record’s rhythmic intensity. It first came out as a single in August 2024 and is still on Spotify in that form. After that, the guest list takes over.

Snowman joins him on Your Moment, Mark Battles on Whatcha Feelin’ Like, and Krizz Kaliko on Game Day. Efreezee drops into the short Freezeestyle (Interlude), and Rose Gold appears on Journal Of My Mind. King Gonzo shows up twice, on Marathon and Face Off. Meanwhile, Push The Envelope brings in Dustin Warbear, Ace Wild and Wyshmaster Beats together. Then Kato On The Track lends a hand on All Mine. By the time the remix arrives, fourteen different artists have passed through the record.

Above all, what holds it together is the host. Spitfire Sparks moves between conscious rap and harder trap production. Some songs are about self-belief, while others are about the simple pleasure of rapping well. The tracklist is pieced together to keep listeners guessing. Even so, the guests give each stretch its own colour without pulling the album away from the man whose name is on the cover.

The pacing helps too. Across roughly 44 minutes, twelve of the seventeen songs make their point inside three minutes. The 56-second Freezeestyle (Interlude) sits at track nine of seventeen, the exact centre, like a breath between halves. As a result, it suits listeners who move through a tracklist quickly, then come back for the verses that stuck.

NewMusic.News’s curator team: “What makes From Local To Global worth hearing is how willingly Spitfire Sparks shares the microphone. An album that ends by handing its song to four new voices tells you exactly what its title means.”

The Long Way to From Local to Global: The Remix That Closes the Spitfire Sparks Album
The Long Way to From Local to Global: The Remix That Closes the Spitfire Sparks Album

What an Independent Rap Album Answers About Going Global Without a Major Label

For an independent artist, “global” rarely means a world tour or a major-label campaign. More often, it means a guest list built through years of sessions and remixes. Then comes a record that brings those relationships together. From Local To Global answers the question of what that looks like in practice. The answer is a Phoenix rapper, a long run of collaborators and a generous closing track.

That is why the album has a clear audience. Listeners who follow independent rap will find plenty of entry points here. Many will come for an artist they already know and stay for a new voice. For some, that will be Krizz Kaliko. For others, it will be the newer voices on the remix. Fans of fast, conscious lyrics should start with Twenty Twenty Flow and Solved That. After that, they can hear how the remix changes the song.

Where to Stream the Spitfire Sparks Album and Follow Him Online

There is also a simple pleasure in hearing an artist enjoy his own collaborators. Spitfire Sparks gives his guests real space, and that generosity is the album’s best argument for him.

Stream From Local To Global on Apple Music, Tidal or Audiomack, or choose any service from the album smartlink.

Follow Spitfire Sparks across platforms: Spotify, Apple Music, YouTube Music, Tidal, Deezer, Audiomack, YouTube channel, Linktree, Instagram, TikTok, Facebook and X.


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Inside Walking the Tightrope: How Stephanie Phillips Built a Folk Album Between Grief and Joy

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Michael Kiwanuka Built FUDGE in a Shack Outside Southampton

The session had gone nowhere. Michael Kiwanuka and his multi-instrumentalist Joe Connell had spent the day on songs that were already written, and none of them would come alive. So they stopped, had dinner, and came back to the little room near Kiwanuka’s home in Southampton with no plan except to play. What came out was “Love In My Heart”, a seven-minute song that unfolds slowly and, as the label’s notes put it, opens up like a flower.

“It felt moving to me,” Kiwanuka says in the notes that accompany the album. “I wanted to share it with other people. That was the eureka moment.” That jam became the centre of FUDGE, his fifth album, which Polydor releases on 23 October. It is the first time he has taken on production duties himself since his 2012 debut, Home Again, DIY reported, and it was made without his long-time collaborators Danger Mouse and Inflo.

The Hut Outside Southampton

The room matters to the story. Kiwanuka wanted somewhere he could drop into for an hour at a time and keep working without the weight of a big studio booking, and he found it in a one-room building not far from his house, built from cob, a rough-and-ready organic material. “It looks like a medieval hut,” he says. “I needed a creative ecosystem, so I could pop in and do an hour here and there and keep my creative brain awake.”

He spent his Mercury Prize money on a console and filled the room with equipment. The second thing he needed was a collaborator who could play the parts he could not, and he found one around the corner: Joe Connell, the multi-instrumentalist in his live band. “He can play anything. He’s a one-man machine,” Kiwanuka says. They named the studio Dreamers.

The results sounded bigger than the space. “It sounds like we’re in Capitol Studios on Vine Street, but we’re actually huddled in this shack outside Southampton,” he says of “Love In My Heart”. Many of the songs were recorded in single, flowing takes, and they ran longer than his usual writing, which is part of why the album feels loose and unhurried.

A Record Made Alongside Small Changes

FUDGE was never meant to be a separate project. It grew over three years in parallel with Small Changes, the 2024 album Michael Kiwanuka made with Danger Mouse and Inflo as the follow-up to his Mercury-winning 2019 record, KIWANUKA. With that album carrying the expectations, the heat was off the songs taking shape at Dreamers, which were looser and more stream-of-consciousness.

The two records fed each other. When Kiwanuka felt stuck on one, he could move to the other and come back refreshed, and the more he made, the more his confidence grew. It was a confidence he needed. “I’m always one step away from quitting,” he admits. “My brain’s always saying, ‘You can’t do it, you’re not good enough.'”

The push to keep going came from an unlikely place. Scrolling Instagram during lockdown, he found an interview with the late jazz pianist Chick Corea, part of which now opens the album: “You have to learn to be certain about what you like, not what you think sounds good to someone else… Whatever you think is beautiful, that’s what’s beautiful, and you have to pursue that.”

Working Without the Safety Net

Two songs frame the record and say out loud what it cost to make it this way. “Summer Clothes”, which started life as a contender for Small Changes, opens the album, and “Swings and Roundabouts” closes it. Both deal with his anxiety about working without the safety net of his long-time collaborators.

“It sounds like a break-up song,” Kiwanuka told NME of “Summer Clothes”. “It’s me knowing that the creative relationship I have isn’t going to last forever and I’m going to have find my own road. What do I do then? A lot of this record is working that out.”

The method was the point. “I had to do it differently from the last few records, otherwise there was no reason for this record,” he says. “At some point in each song there had to be outpouring of something that wasn’t overthought. It was almost like someone else was making it.” Even the title carries that spirit. “When I think of fudge it’s playful and childlike, which is good for creativity,” he says. “But also it’s a polite way to say I’m just going to do it.”

The Records Behind FUDGE

Michael Kiwanuka built the album around records that share its sense of play. The notes name the Beatles’ Rubber Soul, Neil Young’s On the Beach, whose winding guitar echoes through “You Sent Me Flying”, Frank Ocean’s Blonde (“It doesn’t make sense but it does”) and Shuggie Otis’s Inspiration Information. “That’s probably my favourite record of all time,” Kiwanuka says of the Otis album. “It sounds like a child’s mind in an adult.”

Some of the songs reach back a long way. “Stars”, with its fuzz guitar solos, was first recorded as he came out of the crisis of confidence that followed Home Again, and its lyric names that loss directly: “When I played I used to feel / Now I don’t feel a thing.” “I remember in school music always seemed to make sense,” he says. “And then suddenly when it became a job it wasn’t making sense. My love for playing guitar disappeared for a while.”

Others are written for people close to him. “Drowning in Your Heart” calls back to his teenage love of Elliott Smith, a song for someone “so sad they’ll sabotage everything”. “Across the Sky” takes the slow-burning reputation of Inspiration Information as its theme, and “Sing” addresses his own doubts about whether to keep making music. “It really does make me feel alive to make music and to sing,” he says.

From Dreamers to the Finished Record

When the songs were ready to leave the hut, Kiwanuka took them to the producer Dom Monks, who has worked with Laura Marling and Big Thief, and to his long-standing string arranger Rosie Danvers, known for her work with Coldplay and Adele, to record what he calls “the posh stuff”. Some string arrangements were recorded at Dreamers itself by Henry Rankin and Harry Fausing Smith’s string quartet. The album was recorded in Southampton and Frome, according to the label.

The look is new too. The artwork, which the label calls a whole new look, comes from Kiwanuka’s old friend Stevie Gee, an award-winning illustrator and animator, whose psychedelic cartoon of bright, smiling faces matches the album’s playful spirit. The full tracklist runs: “Summer Clothes”, “California”, “Just Another Moment”, “Drowning In Your Heart”, “Love In My Heart”, “Across The Sky”, “Stars”, “You Sent Me Flying”, “Move In My Direction”, “Steve’s Paradise”, “Sing” and “Swings And Roundabouts”.

Why FUDGE Is Arriving Now

FUDGE was finished before Michael Kiwanuka fell ill, and its release was held back for almost a year. On 23 September he told fans on Instagram that he had suffered a stroke a few months earlier, after a bleed on his brain brought on by high blood pressure, and that the resulting injury was “quite severe”. He said he still faces significant rehabilitation before he can think about touring again. “It’s a long, tough journey ahead but I’m fighting to get better,” he wrote, according to NME.

The news explains why he cancelled his remaining live shows in the summer of 2025, including festival slots at All Together Now, Sziget, Pukkelpop, We Out Here and Victorious, and a run of North American dates supporting Mumford & Sons. His live commitments remain on hold indefinitely, but the album is coming out with his blessing and his pride in it.

Kiwanuka is not the only artist to find a sound in an unlikely room this season; we wrote recently that Olivia Dean found a house where no music had been made. FUDGE carries its hut with it. Kiwanuka ends his notes by going back to Chick Corea’s advice. “You’ve got to keep following your nose. Sometimes it doesn’t make sense,” he says, smiling, “but it will.”

Leon Bridges Finished Half of Happiness Anytime in Four Days

Leon Bridges

The first song arrived before the instrumental was finished. In April 2025, Josh Lloyd-Watson and Lydia Kitto of the British group Jungle played Leon Bridges a skeletal track built around a Wurlitzer chord progression and a relaxed drum pattern, and he started singing as soon as it began. “Straight away he sang the first bit to ‘Your Love Is Electric,'” Lloyd-Watson recalls in notes released with the album. “And I’m like, ‘Whoo, let’s go. This is it.'”

Four days later, the three of them had six songs, half of the finished record. Happiness Anytime, the fifth studio album from Leon Bridges, is out today on Columbia Records: twelve tracks that the Fort Worth singer describes as being about “cultivating pockets of happiness”.

A Writing Session With One Rule

The collaboration grew out of chance meetings. Bridges and the Jungle pair kept crossing paths at festivals and shows, including one in Copenhagen, before deciding to try a low-pressure writing session in Los Angeles. “I always just loved their dance-y vibe, and I felt they were ideal collaborators,” Bridges told an interviewer in a conversation published by Yahoo last week.

The sessions ran on a simple rule. “We aren’t leaving until we have a full track at the end of the day,” Lloyd-Watson says in the album notes reported by BroadwayWorld. “We didn’t want to have, ‘We’ll come back to this tomorrow.’ We wanted fully finished tracks.” He puts the thinking behind it plainly: “First thought is the best thought. That’s where the emotion is.”

Bridges remembers the process as a release. “It was the most freeing experience of creating music,” he said. “We built everything on drum loops and we’d just pass the guitar around until we landed on something cool.” He is quick to credit his co-producer’s voice as well: “Lydia, man, her vocals, in my opinion, really carry a lot of these songs.”

Pino Palladino, Fela Kuti and a Party in Los Angeles

The record was completed across three fast sessions. When the trio reconvened in August 2025, they were drawing on Fela Kuti’s Afrobeat, Brazilian music, soul, disco and South American rhythms. “We’d been listening to a lot of South American music and Sergio Mendes,” Lloyd-Watson says. “We infused it with these Latin rhythms and African rhythms,” he says, aiming for “music that had groove and soul and feeling.”

They also brought in a player with a long reach: the bassist Pino Palladino, whose credits include D’Angelo and Adele, joined them at Chaplin Recording Studios in Los Angeles to complete the album. The label’s notes describe echoes of Fela Kuti, the wanderlust of Paul Simon’s The Rhythm of the Saints and the warmth of Jorge Ben, while insisting the record never feels referential.

For Bridges, the Fela thread started almost by accident. He told the interviewer he knew only a few of the Nigerian musician’s songs until he heard one at a GQ party at the Chateau Marmont, and it sparked more ideas. “What I do a lot is, when I hear instrumental stuff, I’ll start freestyling over it,” he said. That track, he explained, inspired songs like “Illusion” and the deeper, introspective side of the album.

Getting Back Out Front to Dance

The other goal was movement. Early in his career, Bridges was out in front dancing, something that had waned in recent years. “Leon said he wants to have music that he can dance to,” Kitto recalls. “He wants to have moments where he can put the guitar down and just dance and perform at the front.”

Dancing goes back a long way for him. He told the interviewer he fell for it at 11 or 12, practising his moonwalk after taping a Michael Jackson anniversary broadcast, and later danced with a company called Velocity while at Tarrant County College. “I’m always dancing, man,” he said. “I don’t really deem myself an amazing dancer. But I feel like I have my own style and expression.”

That has reshaped the live show. Bridges has been introducing the songs through Leon Bridges Presents Happiness Anytime, a reimagined stage production with a vinyl DJ, a horn section and three backing vocalists, inspired in part by the communal spirit of classic Jamaican dancehall culture. DIY reported that he previewed it in pop-up performances in Paris, Cannes, Los Angeles, at Montreux Jazz Festival and at London’s Jazz Cafe. Earlier this month he performed a medley of “Talk It Over”, “Light The Way” and “Illusion” on The Tonight Show Starring Jimmy Fallon, and “Watch You Dance” premiered on Apple Music 1 alongside an interview with Zane Lowe.

Why Happiness, and Why Now

Bridges is clear that the title is not a slogan about ignoring the world. “For me, happiness is not a feeling that you chase,” he said when the album was announced in July. “I want this album to be something that lingers with people and lingers in people’s bones. There’s this feeling that we have to fix the problems of the world; you feel inadequate or it can be debilitating. My role is to be light.”

He returned to the point in the Yahoo conversation. “It’s not [ignoring] issues of the world. Black people are no strangers to suffering and pain. But we’ve created the most beautiful art that’s come from our suffering,” he said. “If there’s chaos around, you can’t freak out or lose your cool. You gotta stand firm-rooted. That’s kind of what the album is for me.”

Some of the songs look back as well as forward. “Tears of Joy” is a thank-you, a song in which Bridges looks back at the years since his 2015 debut and imagines “10 more years of glory”. Lloyd-Watson hears it as a song about legacy: “What being on the road means. What you sacrifice to give this artistry to the world.” Kitto has the simplest explanation of the title: “It’s music you can put on no matter how you’re feeling, and it makes you feel happy and it makes you want to get up and dance.”

A Release in Three Parts

The album did not arrive all at once. Bridges released it in three instalments of four songs each, starting in July with “Light The Way”, “Tears of Joy”, “Illusion” and “Your Love Is Electric”, according to DIY, so eight of the twelve tracks were already out before today. The full tracklist runs: “Light The Way”, “Tears of Joy”, “Illusion”, “Your Love Is Electric”, “Talk It Over”, “Happiness Anytime”, “All Day, All Night” featuring Lydia Kitto, “Fly Baby”, “Watch You Dance”, “The Way It Goes”, “Take My Hand” and “Please Don’t Say Goodbye”.

Happiness Anytime follows Leon, his 2024 album, which Rated R&B notes debuted at No. 5 on Billboard’s Top R&B Albums chart. The label’s notes position the new record as a return to the warmth of his 2015 debut Coming Home, combined with the adventurous groove of his two collaborative albums with Khruangbin. Across his career, Bridges has earned six Grammy nominations and one win.

What Comes After the Record

Bridges, who is 37, is already thinking beyond his own songs. He told the interviewer his next goal is to help aspiring artists who lack resources. “I actually had this thought to put together a crew of house musicians, almost like a Muscle Shoals vibe,” he said. “Whoever wants to make cool stuff, let’s do it.”

Where a record gets made often shapes how it sounds, and it has been a theme on NewMusic.News this month, from Happiness Anytime’s quick sessions in Los Angeles to the way Olivia Dean found a house where no music had been made.

For Leon Bridges, home remains fixed. “Fort Worth is forever gonna be home,” he said. Happiness Anytime is the sound of him leaving it for a few days, passing a guitar around a room in Los Angeles, and coming back with a record built to move.

Beck’s Ride Lonesome Brings Back the Sea Change Players

Most of Ride Lonesome was made the old-fashioned way, with a handful of musicians in one room playing together in real time. Beck told NME that the bulk of the songs were recorded live, five people at a time, without patching the performances afterwards, so that what you hear is simply how the band sounds together in real time. The room was Room B at United Studios in Hollywood, and the people in it were the musicians who played on three of his most loved records.

Ride Lonesome is released on Friday 18 September through Capitol. It is Beck’s 15th studio album and his first collection of new songs since Hyperspace in 2019, according to Rolling Stone, and it arrives with a long North American tour already under way.

The Band That Made Sea Change Returns

The personnel is the first thing Beck’s longtime listeners will notice. According to the label’s announcement, Smokey Hormel, Joey Waronker, Justin Meldal-Johnsen, Roger Joseph Manning Jr. and Jason Falkner reunited with him for the sessions. All of them had recorded with Beck on Mutations, Sea Change or Morning Phase, and the last two in particular sit at the quieter, more acoustic end of a catalogue better known for genre collisions.

Beck described the group to NME as his own version of the Wrecking Crew, the loose circle of session players behind so many records of the 1960s, and said their musical chemistry had grown deeper and more nuanced over decades of working together. In a statement reported by Rolling Stone, he noted that a decade had passed since they last went into the studio to record Morning Phase, and that this time the playing and the chemistry felt as if they had evolved.

The band members have busy lives of their own. NME’s interviewer noted that Waronker joined Beck at the Royal Albert Hall last year during a break from touring with Oasis. Manning, the Jellyfish and Imperial Drag co-founder, releases his own album, Hopium, on the same Friday as Ride Lonesome, according to the Pause and Play release listings, which describe it as his first album in eight years.

A Record That Waited on a Shelf

Ride Lonesome could have come out much sooner. Beck told NME that he initially planned to finish the album and release it in 2023, but ended up shelving it for two years. He was not sure the songs were strong enough, he said, and was not in the right frame of mind for what a record like this demands once it is out in the world. In another era, he suggested, it would probably have been released a year and a half ago.

He was candid about why this kind of album takes time. Music this exposed cannot be knocked out quickly, he told NME: the singing and playing have to land on exactly the right emotion, and some days that simply does not happen. He said he had to sit with the material for a long while to understand how to sing it, how to play it and how to make it fly.

The songs themselves go back to the pandemic. Beck said many of them were written when he was stuck at home on his own for a couple of weeks. Rolling Stone, citing an earlier interview with NPR, reported that he had to wait a couple of years after Covid before he could get back to work, built his own recording studio, and spent much of the past four years in and out of the studio with his band, making several albums’ worth of music that he expects most people will never hear.

Beck in the Producer’s Chair, Godrich on the Mix

Beck produced Ride Lonesome himself. Nigel Godrich, who produced Sea Change and worked on Mutations, returned to mix the album, according to the label. That division of labour is visible in the singles. The label describes Disappearing Act, the third track released ahead of the album, as a song built on acoustic guitar and orchestration, produced by Beck and mixed by Godrich.

The orchestral colour has a clear origin. NME’s review recalls that Beck played two orchestral concerts at the Royal Albert Hall in London last spring, leaning heavily on Sea Change and performing it with an 85-strong team of musicians. At the time he said the shows had inspired him to work in the studio with an orchestra, while describing the work only as an undisclosed, unnamed project.

His interest runs deeper than one concert series. Beck told NME he has been drawn to orchestras for the past decade and, for a couple of years, went to hear one almost every week. He described the experience of dozens of musicians playing a piece together as beautifully counterintuitive in a world that keeps optimising and streamlining everything, and said he simply prefers music that comes from human effort.

Twelve Songs About Loss and Getting Through It

The album runs to 12 tracks: Ride Lonesome, Run Away, In the Night, Failed Words, Bleed, Disappearing Act, For Your Love, Slow Canyon, It Ends Right Here, Falling Through My Hands, If You Don’t Know What Love Is and Beyond the Light.

Beck was direct about the subject matter. He called it a heartbreak record, one about reckoning with loss and letting things go, covering romantic loss, the death of a good friend and the feeling of one era of life giving way to another. He told NME the record feels closer to Morning Phase than to Sea Change, and described its sound as slow-motion, twilight and acoustic.

He also explained why it took so long to write this plainly. The musical climate he came up in during the early 1990s was hostile to quiet, sincere songs, he said, and performers who strummed elegiac songs in bars and clubs could expect to be heckled. He recalled worrying for friends such as Elliott Smith and Lou Barlow, who were writing introspective music when it was deeply unfashionable, and said it took him a long time to find the courage to be this direct and emotional on record.

How the Songs Have Arrived So Far

The rollout began with the title track in April. The album was formally announced in July alongside In the Night, whose video was directed by Mikai Karl and stars the French actor Denis Lavant, according to Rolling Stone. Disappearing Act followed in August as the third preview.

Early reviews have been warm. The label notes a five-star lead review in MOJO. NME’s review describes the album as a meditation on heartache and solitude and places it squarely in the lineage of Sea Change and its 2014 successor Morning Phase. RIFF Magazine scored it eight out of ten, singling out Failed Words as a highlight and calling If You Don’t Know What Love Is some of his best work in decades.

From Vancouver to Nashville on Stage

The Ride Lonesome tour opened at the Queen Elizabeth Theatre in Vancouver on 16 September and runs until 31 October, when it ends at The Truth in Nashville. Along the way it visits the Santa Barbara Bowl and the Greek Theatre in Los Angeles, plays two nights each at The Masonic in San Francisco, Massey Hall in Toronto and the Brooklyn Paramount, and includes a date in Colorado on 1 October, according to the label’s itinerary. Several dates are already sold out.

Beck told NME the shows will be unlike any tour he has done before: slow and dark, with a sense of otherness and distance, closer to a theatre production than a rock concert. That fits a record so bound up with the spaces it was made in. NewMusic.News has looked at how a room shapes a record before, most recently when Olivia Dean found a house where no music had been made. For Ride Lonesome, the room was a familiar studio and the most important instrument was the band’s shared history, built over more than 25 years of playing together.

Olivia Dean Found a House Where No Music Had Been Made

The decision that shaped The Art of Loving was made before a note was written. Rather than book studio time, Olivia Dean and her collaborators found an ordinary house in East London, set a studio up inside it, and she moved in.

“No music had ever been made there before,” she told Numero. “We found a house and I lived in it for eight weeks… I needed to focus to imagine stories that felt honest and warm.”

Why an Empty House and Not a Studio

The detail that matters in that sentence is the first clause. A recording studio is a room with a history: other people’s sessions, other people’s habits, a house engineer with opinions, and a clock. Every decision made in one is made against the memory of what has worked there before.

A house with no musical past has none of that, and it also has none of the affordances. There is no live room, no isolation, no glass between the performer and the person listening. What you get instead is proximity and time, which are the two things a record about intimacy would actually need.

Living in it for eight weeks removes the other constraint. Studio time is billed and therefore rationed, and the rationing shapes the songs: you arrive with the idea already formed, because working it out on the clock is expensive. Moving in inverts that. The idea can be worked out at two in the afternoon or not at all that day, and nothing is lost either way.

The Record That Came Out of It

The Art of Loving is Dean’s second studio album, released in September 2025, following Messy in 2023. It moves along the line between traditional soul and pop, and it takes love as its subject in the widest available sense: romantic, platonic and self-directed, rather than only the first of those.

That breadth is the choice most second albums do not make. A follow-up to a well-received debut usually narrows, because the artist now knows which parts worked. Widening the definition of the subject instead is a decision to be less certain in public, and the house is where that decision became practical rather than theoretical.

Dean has described her writing as grounded in reality rather than fiction, and her songs as small portions of life. Born in 1999 in Haringey to a British father and a Jamaican-Guyanese mother, she grew up in Walthamstow surrounded by gospel music, and the arrangements carry that inheritance without imitating it.

What the Record Has Already Won

In February 2026 she won at both the Grammy Awards and the BRIT Awards. Two ceremonies in the same month, in two countries with different tastes, is an unusually clean result for a second album.

What that does to an artist’s next move is the interesting part. Awards create an expectation of continuity, and continuity is the enemy of the process described above. The method that produced this record depended on nobody knowing what it was going to be, including her.

The album also introduced a large young audience to a set of sounds it had not necessarily sought out. Marie Claire described the effect as bringing classic, romantic sounds to a generation that found them through streaming rather than through a parent’s record shelf.

The Long Route to a Second Album

Nothing about the path here was quick, which is part of why the house made sense. Dean has been writing since her teens; she has named a song called “Slowly”, written when she was sixteen, as the one that best captures her vulnerability, while pointing to “Carmen” as the more accomplished piece of craft.

That distinction, between the song that is most honest and the song that is best made, is the working problem of her whole catalogue. Soul is a form in which technical polish can quietly remove the thing the listener came for, and a singer who can hear the difference between the two spends a career managing the gap. A record made in a house is one answer to that problem: the arrangements can be careful without the performance becoming careful too.

She has also been candid about the limits of the studio as a social space. Describing a session in Los Angeles alongside far more established figures, she has said that being intimidated by another artist makes creativity difficult, that you freeze and cannot speak up, and that out of ten ideas offered, nine will be bad. The good one only arrives if the bad nine are survivable.

Read that alongside the eight weeks in an empty house and the logic closes. If most of the work of writing is producing material that will be discarded, then the single most valuable property of a room is that discarding costs nothing in it. No hourly rate, no engineer waiting, no other artist in the corner. Just the same four walls tomorrow.

A Second Mercury Nomination, and What It Is Up Against

The Art of Loving is on the Mercury Prize shortlist, the second time Dean has been nominated. The winner is announced on 22 October at the Utilita Arena in Newcastle, where the prize returns after Sam Fender won last year for People Watching.

NME’s rundown of the twelve albums shows what she is against: Paul McCartney on the shortlist for the first time, Dave returning after winning in 2019, Florence + The Machine nominated for a fourth time, RAYE back again, and the War Child charity compilation Help(2) among the nominees. Eligible albums had to be released by British or Irish artists between 30 August 2025 and 17 July 2026.

A second nomination reads differently from a first. The first says an artist has arrived; the second says the arrival was not a coincidence, and it puts a record in front of a jury that has already assessed the person who made it.

What the Method Costs

It would be easy to present the house as a straightforwardly better way to work, and it is not. Eight weeks living inside your own project is a long time to be unable to leave the job, and the absence of a clock removes the pressure that finishes records as often as it ruins them.

There is also the matter of what a house cannot do. Rooms built for recording exist because untreated domestic spaces are acoustically difficult: parallel walls, low ceilings, windows. Choosing one anyway means accepting a specific character in the sound and building the arrangements around it rather than fighting it. On a soul record that trade is usually worth making, because the genre rewards air and imperfection. On a different kind of record it would be a serious handicap.

Dean has spoken about the difficulty of being creative when intimidated, describing a Los Angeles session where nerves made it hard to contribute at all, and noting that most ideas offered in a room are bad ones on the way to a good one. That is the clearest argument for the house there is. A space with no history and no audience is a space where the nine bad ideas cost nothing.

What Happens After 22 October

Whether the Mercury goes to The Art of Loving or elsewhere, the more interesting question is what the third record does with the lesson of the second. The house was a solution to a specific problem: how to write honestly and warmly on demand. That problem does not go away, and the solution is not obviously repeatable, because the value of the room came partly from its being unfamiliar.

What can be carried forward is the principle underneath it, which is that the conditions of making are part of the writing rather than logistics arranged around it. Plenty of records are shaped by a room without anyone deciding it should be; this one was shaped by a room chosen on purpose. Records built around a single deliberate constraint tend to be the ones worth returning to, as with Markus Nokio, The Orphan and the violin that answers the piano.

The Mercury Prize winner is announced on 22 October at the Utilita Arena in Newcastle.