Marcus King turns “Beautiful Stranger” into the kind of song that feels instantly important, like you just found the one cut everybody else missed. It lands with enough swagger and soul to sound brand-new on first spin.
Jazz
Josh Teskey and Ash Grunwald land Push The Blues Away like it already owns the room. The track feels freshly essential because it sounds unbothered by trends and fully alive in the moment.
Shanice Green comes in with “Last Forever” like a fresh cut from the front of the rack: direct, stylish, and hard to ignore. The hook lands fast, and the title alone feels made for replay when everything else is moving too quickly.
Peter Bernstein’s Blood Wolf Moon Blues lands like a fresh cut from a late-night session: sly, clean, and impossible to ignore. In a crowded feed, this one sounds like the record everyone should be talking about right now.
Brianna Harness comes in swinging with “I Won’t Bitch,” a title that sounds like a dare and plays like one, too. In a crowded week, this one cuts through because it knows exactly how much attitude to spend.
Christone "Kingfish" Ingram drops "Rock & Roll" like a hot signal flare, and blues fans should pay attention. The cut feels immediate, muscular, and too alive to ignore.
Robert Randolph & The Family Band rolls out Simple Man like a fresh mandate: loud, soulful, and impossible to ignore. Right now, it lands like the kind of song that clears the air and raises the pulse in the same breath.
Matt Andersen turns Quarter On The Ground (A Song For Uncle Joe) into a surprise gut-check: quiet, plainspoken, and impossible to ignore. Fresh ears get a song that lands like a late-night confession and a front-porch favorite at once.
TORA DAA and Joey Landreth make "One More Drink (feat. Joey Landreth)" feel like the one you keep cueing up after midnight. The groove lands fast, and the song sounds like a fresh discovery with serious staying power.
Earl St. Clair sounds built for the exact moment a good song turns into the whole plan, and "Sober" lands like a surprise keeper with no time to waste. The hook feels immediate, confident, and a little bruised in the best way.
Samantha Fish turns “Let’s Have Some Fun” into a no-nonsense wake-up call for anyone craving volume, grit, and a little swagger. The track feels newly essential because it cuts straight through the static and gets to the good stuff fast.
Josh Teskey and Ash Grunwald hit the sweet spot with “Something With Feel”: rough-edged, warm, and impossible to fake. In a feed full of gloss, this one sounds alive, which is exactly why it lands now.
Million Miles lands "Ice Cream & Cigarettes" like a freshly unearthed favorite you should already know. The title alone feels half-sweet, half-sour, and the track fits a day when the inbox is loud and your patience is low.
Charley Crockett and “Ain’t Gotta Worry Child” land like a fresh radio find with dust on the boots and heat in the wires. The cut feels essential because it sounds too lived-in to ignore and too immediate to wait on.
Black Pool turns “One More Wish” into the kind of instant favorite that sneaks into your day and stays there. With spring creeping in and playlists getting less patient, this one lands like a fresh headline.
Cedric Burnside, J.R. & the Allnighters turn The Other Side into the kind of blues cut that feels freshly unearthed and already indispensable. The groove lands hard, the swagger is intact, and the song sounds built for anyone who needs a pulse-check before noon.
Big Head Todd and The Monsters with “All True Man” lands like a fresh favorite—warm, swaggering, and exactly the kind of blues-rock hit that cuts through the noise. Ronnie Baker Brooks gives it extra muscle, so the track feels bigger than a standard playlist pick.
Philip Sayce lands “Give Me Time” like a fresh cut from the blues-rock front line. The riff hits fast, the attitude is bigger, and the song feels essential for anyone craving something loud, sharp, and alive.
Josh Teskey and Ash Grunwald land Thinking 'Bout Myself with the sort of grit that stops a scroll cold. Blues fans know the names; everyone else hears the first line and realizes the duo already sounds like a late-night staple.
The Allergies’ Get Yourself Some lands like the kind of funk 45 that somehow sounds like a secret everyone already knows. The hook bites fast, and right now that feels less like nostalgia and more like survival.
Bones Owens and “Lightning Strike” land like a fresh bruise and a cleared-off bar top. The track sounds like the kind of record that cuts through the noise right now: loud, lean, and impossible to ignore.
My favorite Jazz songs from the past year.
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Lisa Lugar turns Everything Happens To Me into the kind of fresh find that makes a playlist feel smarter immediately. The title sounds bruised, but the performance stays cool, poised, and slyly magnetic.
Renata Ortega hits with How was I Supposed to Know, a title that sounds like a shrug and lands like a confession. The track feels newly urgent, the kind of song that turns a bad day into a shared secret.
