As I rummaged through bins of fresh-pressed vinyl at my favorite hidden gem record shop in Echo Park last weekend, the thrill of discovery hit me like a perfect chord progression. Dusting off a rare reissue while chatting with fellow music lovers about the latest drops, I couldn’t wait to dive into New Music Friday January 16. This week’s lineup—from Dolly Parton’s heartfelt ballad to Hilary Duff’s pop comeback, A$AP Rocky’s gritty flows, Charlie Puth’s soulful vibes, and ENHYPEN’s high-energy K-pop anthems—reminds me why music remains our ultimate escape. Whether you’re curating a cozy playlist or blasting tracks on a road trip, these New Music Friday January 16 releases promise to soundtrack your moments. Backed by insights from Billboard and Rolling Stone, let’s explore why this batch is unmissable and how it fits into 2026’s evolving soundscape.

Alt text: Vibrant album covers from New Music Friday January 16 featuring Dolly Parton and more Caption: A colorful array of New Music Friday January 16 releases ready to spin.

What’s Dropping on New Music Friday January 16?

New Music Friday January 16 kicks off 2026 with a diverse sonic feast, blending country legends, pop revivals, hip-hop edge, heartfelt ballads, and K-pop dynamism. According to Entertainment Tonight, this week’s highlights include Dolly Parton’s collaboration-heavy single, Hilary Duff’s empowering anthem “Roommates,” A$AP Rocky’s introspective track from his upcoming album, Charlie Puth’s emotional “Beat Yourself Up,” and ENHYPEN’s high-octane EP. These drops reflect broader trends, like the resurgence of nostalgic pop and genre-blending experiments noted by Billboard.

This variety caters to every mood—whether you’re unwinding after a long day or energizing for the weekend. For fans exploring the 80 best albums of 2025, these releases build on last year’s momentum, pushing boundaries in production and storytelling.

Spotlight on Dolly Parton: A Timeless Voice Evolves

Dolly Parton graces New Music Friday January 16 with a poignant duet featuring rising stars like Lainey Wilson, channeling themes of resilience and love. As Rolling Stone praises, her signature storytelling shines through, blending classic country with modern production twists. At 80, Dolly continues to inspire, much like her recent Grammy nods highlight her enduring impact.

Pair this track with a cozy listening session—grab the exact turntable I use for that warm vinyl crackle, perfect for savoring her harmonies.

Hilary Duff’s Comeback: Empowering Anthems for a New Era

Hilary Duff returns triumphantly on New Music Friday January 16 with “Roommates,” a bold pop track exploring modern relationships and self-growth. Celeb Secrets notes its catchy hooks and relatable lyrics, marking her first major release in years. Drawing from her Lizzie McGuire roots, this single resonates with millennials rediscovering pop’s joy.

For immersive listening, try noise-cancelling headphones—currently 30% off, ideal for blocking out distractions and diving deep into her vibe.

Alt text: Hilary Duff’s new single cover for New Music Friday January 16 Caption: Hilary Duff’s empowering “Roommates” artwork capturing her fresh sound.

A$AP Rocky’s Fresh Flows: Hip-Hop Innovation Continues

A$AP Rocky drops a gritty single on New Music Friday January 16, teasing his anticipated album with raw lyrics and innovative beats. As BuzzJack highlights, it features experimental production that pushes hip-hop forward. His fashion-forward style bleeds into the music, creating tracks that feel like a cultural statement.

Enhance your setup with a portable speaker for on-the-go vibes, the one I take to rooftop listening parties.

Charlie Puth’s Emotional Depth: Hits That Hit Home

Charlie Puth unveils “Beat Yourself Up” on New Music Friday January 16, a soul-stirring ballad about self-reflection and growth. POP! Goes The Charts calls it a standout for its vocal prowess and relatable themes. Known for chart-toppers, Puth’s evolution shines here, blending pop with introspective lyrics.

Stream it on a high-quality Bluetooth speaker—run to snag this model at its current discount.

ENHYPEN’s K-Pop Energy: Global Sensations Level Up

ENHYPEN electrifies New Music Friday January 16 with a dynamic EP packed with high-energy tracks and intricate choreography teases. Yahoo Entertainment notes their growing global fanbase, fueled by catchy hooks and visual storytelling. As K-pop continues dominating, this release cements their rising status.

For concert prep, check out wireless earbuds that deliver crisp bass—the exact pair I use for dance practice sessions.

Alt text: ENHYPEN’s EP artwork from New Music Friday January 16 Caption: ENHYPEN bringing high-energy vibes to New Music Friday January 16.

Why These New Music Friday January 16 Releases Matter in 2026

In a year where music blends nostalgia with innovation, New Music Friday January 16 stands out for its cross-generational appeal. Rolling Stone reports a 15% surge in collaborative tracks, mirroring these drops. They address timely themes like empowerment and self-care, aligning with cultural shifts noted by Greater Good Science Center.

For deeper dives, link these to rediscovering the beats that make life pop, much like our exploration of why buy music box sets and reissues again.

How to Build the Ultimate New Music Friday January 16 Playlist

Curating a playlist from New Music Friday January 16 is simple: Start with Dolly for heartfelt starters, layer in Hilary’s pop punch, add A$AP’s edge, weave Charlie’s emotion, and amp up with ENHYPEN. Spotify’s algorithms make it seamless, but for vinyl lovers, hunt physical copies.

Enhance with a multi-room speaker system—currently 30% off, transforming your space into a personal concert hall.

Pairing New Music Friday January 16 with Your Daily Vibes

Integrate New Music Friday January 16 into routines: Dolly for morning motivation, Hilary during workouts, A$AP for commutes, Charlie for reflective evenings, ENHYPEN for parties. This approach boosts mood, as Psychology Today links music to emotional wellness.

Tie it to finding peace in the chaos, one breath at a time, with ambient tracks enhancing mindfulness.

Common Myths About New Music Friday January 16 Debunked

Myth: Only mainstream hits matter—busted! Indie influences in these releases prove otherwise. Myth: Physical media is dead—vinyl sales up 20% per Billboard. Embrace reissues for that tangible joy.

Seasonal Twists: New Music Friday January 16 for Winter Playlists

In winter’s chill, New Music Friday January 16 warms with cozy vibes—Dolly’s ballads for fireside listens, ENHYPEN’s energy for indoor dances. Align with holiday music guide for seamless transitions.

Alt text: Winter playlist inspired by New Music Friday January 16 releases Caption: Cozy winter setup with New Music Friday January 16 tracks playing.

Essentials List for Your New Music Friday January 16 Listening Setup

Elevate your sessions with these Amazon finds:

• Vinyl Turntable – Spin those new releases with crystal-clear sound.
• Noise-Cancelling Headphones – Block distractions for immersive vibes.
• Portable Speaker – Take the playlist anywhere.
• Bluetooth Speaker – Multi-room audio for house parties.
• Wireless Earbuds – Perfect for on-the-go energy.
• Music Box Set – Collect reissues inspired by these drops.
• Essential Oils Diffuser – Set the mood with relaxing scents.

Must-Read Books on Music and Entertainment

Deepen your appreciation with these gems:

1. 1. Dolly Parton, Songteller: My Life in Lyrics – Insights into her timeless songwriting.
   2. Hilary Duff: Reaching for the Stars – Her journey from teen star to music icon.
   3. A$AP Rocky: Master Collaborator – Exploring rap’s creative evolution.

   4. CHARLIE PUTH BIOGRAPHY: The Evolution of Charlie Puth: From YouTube Sensation to Global Pop Icon – Behind his emotional hits.

   5. The Ultimate Fan’s Guide to Enhypen – The rise of global sensations.

Frequently Asked Questions About New Music Friday January 16

What are the top releases on New Music Friday January 16?

Highlights include Dolly Parton, Hilary Duff, A$AP Rocky, Charlie Puth, and ENHYPEN, blending genres for all tastes.

Where can I stream New Music Friday January 16 tracks?

Platforms like Spotify, Apple Music, and YouTube—check Entertainment Tonight for links.

Why is Dolly Parton’s new single special?

It features collaborations and her signature storytelling, as per Rolling Stone.

Is Hilary Duff’s “Roommates” worth listening to?

Absolutely—empowering pop with relatable vibes, noted by Celeb Secrets.

How does ENHYPEN’s EP fit 2026 trends?

High-energy K-pop pushing boundaries, aligning with global surges per Yahoo.

P.S. Craving more discoveries? Grab our free Music Playlist Guide for curated gems: http://livelaughlovedo.com/music-playlist-guide/

Related Posts

• The 80 Best Albums of 2025 Popmatters
• JFMs Favorite Albums of 2025
• Why Buy Music Box Sets and Reissues Again
• Dave Grohl on Which Nirvana Album Was the Uncomfortable Soundtrack
• David Bowie Turned a Heartbreaking Letter Into One of the Saddest Songs

Stream it now: Apple / Spotify

“Roommates” – Hilary Duff

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DON’T BE DUMB – A$AP Rocky

Stream it now: Apple / Spotify

“Beat Yourself Up” – Charlie Puth

Stream it now: Apple / Spotify

“Misty” – Jeff Goldblum & The Mildred Snitzer Orchestra feat Melody Gardot

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THE SIN: VANISH – ENHYPEN

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“Wish I Didn’t” – Megan Moroney

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“I Believe” – Paul Anka

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locket – Madison Beer

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Khaotic – Wiz Khalifa

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Nat & Alex Wolff – Nat & Alex Wolff

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BE MORE GRATEFUL – DaBaby

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After Hours – Richard Marx

Stream it now: Apple / Spotify

“God Spoke” – Labrinth

Stream it now: Apple / Spotify

“Orange County” – Gorillaz feat Bizarrap, Kara Jackson & Anoushka Shankar

Stream it now: Apple / Spotify

“Feel Alive” – ILLENIUM feat Bastille & Dabin

Stream it now: Apple / Spotify

“Most Wanted” – Leigh-Anne feat Valiant & Rvssian

Stream it now: Apple / Spotify

“Two Broken Hearts” – Morgan Evans & Laci Kaye Booth

Stream it now: Apple / Spotify

“Never Comin’ Back” – Flatland Cavalry

Stream it now: Apple / Spotify

Running With Scissors – Cavetown

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Head First – Corbyn Besson

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“pelinegra” – JOAQUINA

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“You’re It For Me, Honey” – Caroline Jones

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“Complicated” – Gabby Samone

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“Struggle Bus” – Iris Copperman

Stream it now: Apple / Spotify

“Stronger (What Doesn’t Kill You)” – PEPPA PIG

Stream it now: Apple / Spotify

Box sets. Super deluxe editions. Reissues. Whatever you want to call them, it is the season for record companies to give consumers the opportunity to spend their hard-earned cash on previously issued material in new formats, usually buttressed by music you haven’t heard or at least haven’t heard in this particular form. Reissues are cash cows, designed to extract additional money from people who have already purchased the same music multiple times already: LP or cassette, then CD, then some digital format, then maybe you bought the record again after you sold your vinyl in favor of CDs.

But then it gets complicated. There’s the 10th anniversary remastered CD; some time after that, it’s the new and revolutionary format that will soon become outdated or forgotten (anyone remember SACD? Or half-speed masters?), the 15th anniversary set with bonus material and special Dolby remix, the commemorative 20th anniversary box featuring new and unreleased demos and outtakes, the 25th year celebration edition, the 30th year anniversary box, the 40th year re-remastered remaster using the Plangent Process (or Atmos! Or a new format that will not have an impact on 99.9% of the people buying and listening to it), and the list will continue to go on as long as there are tapes in the vault and customers with money.

These items only used to exist around records that were considered canon or at least landmark. Nowadays, everyone wants to get in on it, and not just for financial reasons. Artists embark on these projects for historical/legacy reasons — it’s their chance to present their work with the benefit of time and experience, rectify errors or oversights — as well as for the gravitas of having this kind of package exist for your music. So the list of box sets and reissues has grown exponentially each year. It’s still less expensive to reissue something you already own than it is to put money towards artist development and new bands or musicians who could be great if they had the chance to grow and develop.

Then there’s the packaging. Nowadays if you want the fanciest of the fancy box sets, you have to buy the vinyl version (which may or may not come with a download card so you can have a digital version to listen to on your portable device) if you want to get the benefit of the re-imagined packaging, archival photos, and (hopefully, but not guaranteed) extensive liner notes. Otherwise, get out the magnifying glass (no matter how old you are) to read the liner notes in a CD-sized booklet.

The question most listeners and fans ask is simple: Is it worth the money? It might sound great, but how much better does it sound than the thing I already own in at least two versions? There’s outtakes and demos? Again, how much of that detritus exists, and how essential is it to the story of the band or the album? Are we talking about half a dozen alternate takes that basically sound the same, but have a couple of lyrical differences and an extra guitar solo? Is it everything someone found in the vault that was recorded in that time frame, and thrown in without regard to what these tracks mean to the artist or the project?

Within this framework, here’s some thoughts on recent reissues that might be a good fit for your holiday gift lists. (And for the record, your columnist bought all of the following releases with her own money.)

“Horses” has been commercially reissued three times previously: in 1996, it was digitally remastered as part of a box set of Patti Smith’s 1970s work on Arista; in 2005, they released a “Legacy Edition” that was also remastered, and then there was a 2012 Record Store Day reissue that audiophiles across the internet actively dislike.

Comparing the remaster with an original pressing (not a flex, I’m just old) on a very analog stereo system sounds fantastic. Given the fact that both Lenny Kaye and Tony Shanahan (credited as the reissue producer) have their names all over the 50th Anniversary version, this is where you want to put your money if you don’t own a copy of the record or hadn’t upgraded it since your original purchase. It’s worth it.

The outtakes are (with one exception) previously unreleased, taken from earlier rehearsals or alternate sessions in 1975 and then several from Electric Lady as well. There’s always something interesting to find in early demos and outtakes; “Snowball” is a bright, poppy number but not at the level of the rest of the material in that time period, there’s what sounds like an initial take of “Break It Up” that has Verlaine’s guitar work higher in the mix, and if you haven’t heard Patti’s version of the Marvelettes’ “The Hunter Gets Captured By The Game,” she always — still! — infuses her delivery on these songs with the same kind of always-smiling verve that you’d have experienced in the audience at any Motown Revue.

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There’s also an early version of “We Three,” the torch song she wrote with Tom Verlaine, which would later make it onto “Easter.” But it is, perhaps unsurprisingly, an alternate take of “Birdland” dated from the September album sessions at Electric Lady Studios, that stands out, an embryonic but still magical version of the improvisational number that would appear on the album.

Because there aren’t any liner notes — there’s a paragraph reprinted from Smith’s “Bread of Angels” —  we don’t know why these takes were selected, or their particular significance, but even without that kind of curatorial guidance a careful listener can posit that the bonus tracks (which are identical on the CD reissue, points for not making people buy both to get everything) are meant as a mirror to the official release. Perhaps it was an alternate track listing at some point, or maybe it’s just meant as a window into the past, a small analog time machine letting you sit in the corner while the band works through their material.

Nervous breakdowns! Substance abuse! A revolving door of band members! This is more than a reissue; it is a reclamation and a delightfully obstreperous collection of material. First of all is a remastered version of The Dream Syndicate’s sophomore 1984 album, something that had been AWOL thanks to major label rights issues. The band won their fight, but under the condition that it could only ever be released on their own record label. So guitarist/songwriter Steve Wynn revived the indie label he started back in the ’80s and “Medicine Show” was free again.

“Medicine Show” was a record that either confounded or delighted fans of “alternative music” back in the early ’80s. “Medicine Show” was “Radio Ethiopia” in terms of the sonic and energetic fields it encompassed compared to the band’s debut, “The Days of Wine and Roses,” which gave them their spot in the New American Underground. They made their first record in a couple of hours and then signed to a major label, got a fancy producer in Sandy Pearlman (best known for his work with Blue Öyster Cult and the Clash), and then founder Steve Wynn had a substance-enhanced nervous breakdown. “Medicine Show” was the result, and you loved it, or you hated it, but if you hated it, you were probably in the wrong place to begin with.

This is a set for the true believers, compiled in a spirit of genuine fan service. With the help of crack archivist Pat Thomas (whose recent credits include The Waterboys’ “Life, Death and Dennis Hopper”), they pulled together this doozy of a reissue, including the remastered album, unreleased bonus tracks, and loads of live and rehearsal tracks, including a 1984 Chicago show that was broadcast on WXRT and a proto-”Medicine Show” workout at CBGB’s in 1983 show. We get to hear a brief incarnation of the band with keyboards and the rotating bass player lineup, including several appearances by the great Kendra Smith before her departure.

What I think I love the most about this four-CD set is that there are no less than seven — both studio and live — versions of “John Coltrane Stereo Blues” on here, which is truly exceptional when you consider that the album version is almost nine minutes long and there is no version on this set that is shorter than that. There’s an almost-16-minute version from CBGB’s in 1983 that I might have been in attendance for, where Steve Wynn in the intro makes reference to “the debacle at the Palladium,” which was when the band opened for U2 on the “War” tour (I was definitely at that). “We figured it was a good time to jam for 15 minutes, so this is the song we jammed on in front of 5,000 people.” But this collection of versions isn’t just an inside joke (although it is that, too), it’s also useful archivism, as it lets the listener chart the evolution and development of an absolute epic. It’s also insane, in the best possible way.

The Replacements have been absolutely outdoing themselves with box set reissues that are worth your money, assembled by the right people who have done an exemplary job at balancing the concerns of legacy and fan service. Now we’re back at the record that could have (and should have) made the band into a household name; there are many reasons that didn’t happen (there’s a great book that explains all of it in detail), but it wasn’t for lack of talent. They had it, and this box set will make you remember if you were there, and will make you wish you were if you weren’t.

The remastered album still sounds great; whatever improvements that were made aren’t overwhelming. But also, the people who worked on the original record were very good at their jobs, and given the low-budget constraints, the record sounded very good when it came out, and it still sounds great now. The set is accompanied by fantastic liner notes from the great Elizabeth Nelson — and even if you think you’ve already read everything written about The Replacements, you’ll learn something. Her perspective is full of both deep appreciation and keen insight.

Of course, there is the requisite disc of rarities and B-sides. The five tracks that appeared on the 2008 reissue of the record are present, including the awesome “Perfectly Lethal” and their dynamite cover of the Grass Roots’ “Temptation Eyes,” but the standouts have to be the two home demos of “Answering Machine.” One of the demos was on the 2008 issue, but the impact of hearing the two of these back to back is simply stunning. It’s the kind of archivism that will make you go back and forth between the alternates and the album track, comparing and contrasting minute differences in vocal inflection.

And then there’s a live show, from Chicago’s legendary Cubby Bear in August of 1984. It is, absolutely, an astonishing performance, and was professionally remastered for this release — but it’s still an audience tape from 1984 and unless you are still regularly listening to audience recordings of shows from the 1980s, you will likely struggle to listen to this more than once. This show ended up as part of the package because a fan gave Tommy Stinson a CD-R of the recording, but one has to wonder if there weren’t equally powerful shows that were captured with greater fidelity. If you just want to have all of the music, the CD version is probably the better investment here over the vinyl.

There’s a popular Instagram series where the hook is, “I take this unappealing food and make it into something my family wants to eat.” That’s not bad framing with which to consider the latest reissue box from The Who, this time for 1979’s “Who Are You.” Unless you’re one of those people who have to purchase everything your favorite band has put out, you would probably nod and keep scrolling when you encountered the news of the “Who Are You” reissue  — which is what I originally did, despite the band consistently demonstrating that their retrospective box sets are always worth the money and demonstrate a genuine respect for their fanbase.

That’s because most of the news stories about this box set completely buried the lede, and I had to wait for a diehard fan to post about it. What’s essential about this super deluxe edition are the discs of live material, taken from both The Who’s 1979 tour and the discs of live tracks from the concerts that were staged in order for director Jeff Stein — back then, a fanatic Who fan who literally once stole film as it spooled off the projector — to have the definitive shots he felt he needed to end his pivotal documentary, “The Kids Are Alright,” back in 1979.

While the concert recordings exist in the robust network of fan bootlegs — acknowledging that that isn’t necessarily accessible to everyone — the Shepperton Studios material has not leaked, except for the two songs that feature in the film. Here, there are the six tracks from that performance, the last time Keith Moon played drums for The Who before he died, and although “Baba O’Riley” and “Won’t Get Fooled Again” were on the movie soundtrack, here they’ve both been cleaned up as well as texturized to feel grittier and more live, even if it seems impossible for that footage to be more powerful than it already was.

When you combine all of the above, plus your bog-standard disc of outtakes as well as a newly remastered version of the album and a very curious rejected version engineered by Glyn Johns that for some reason removes John Entwistle’s bass (or sounds like it), plus yet another exhaustively comprehensive 100 page hard-cover book compiled by long-time archivist Matt Kent, you now have a highly-desirable 8-disc box set in a season chock full of them. (It’s also very fairly priced for what it offers, coming in around $125 at press time.)

Florence Adooni – A.O.E.I.U. (An Ordinary Exercise in Unity) (Philophon)

At the end of the title track of her debut album A.O.E.I.U., an ecstatic Florence Adooni rhapsodizes about music. It is many things, she says: the art of time, a metaphor for life, capable of generating cosmic meaning. It is “an ordinary exercise in unity”, the phrase for which the title stands. In Adooni’s case, though, ordinary is not a euphemism for dull. Instead, perhaps it’s shorthand for the idea of music as intertwined with everyday being, for groundedness and inclusivity. The exercise of music making may be ordinary, but as a creation, A.O.E.I.U. is an extraordinary, rejuvenating, and soulful release that’s one of the year’s best so far. – Adriane Pontecorvo

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Annie & the Caldwells – Can’t Lose My (Soul) (Luaka Bop)

Annie & the Caldwells’ Can’t Lose My (Soul) emerges victorious—against all odds—from the dense overgrowth of history’s enigmatic wilderness. Our journey begins in the early 1970s, when gospel’s DNA, which had already shaped funk and R&B, cross-pollinated back, inspiring a new generation of gospel singers to embrace the same unapologetic, dance-worthy grooves that fueled the Staples Singers—whose gospel-funk hybrid could make you shut up, get down, and maybe even get a little spiritually minded. 

Can’t Lose My (Soul) was years in the making, but that extended timeline does nothing to diminish its power. If anything, it just proves Annie & the Caldwells can create an unrepentant soul-stirring sound capable of transcending time, place, and—on occasion—even the most unshakable atheism. – Emily Votaw

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Willow Avalon – Southern Belle Raisin’ Hell (Atlantic / Assemble Sound)

https://www.youtube.com/watch?v=videoseries

Even before listening to Willow Avalon’s Southern Belle Raisin’ Hell, one knows it will be a twangy country female declaration of pride just by its title. This record follows that tradition, exemplified by Kitty Wells and Loretta Lynn in the past, as well as the more modern crop of gifted, spirited women like Miranda Lambert and Ashley McBryde. There’s a thin line between just perpetuating negative redneck women stereotypes and creating work that conflates expectations through humor and insight. Happily, Avalon’s new album transcends the simple generalities and has much fun doing so. – Steve Horowitz

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Julien Baker and Torres – Send a Prayer My Way (Matador)

While a song like “Tuesday” may underscore the point, the entirety of Send a Prayer My Way announces itself as an unapologetically queer country record. Julien Baker and Torres present this as a matter of fact. They aren’t creating or joining a sub-genre or waving a banner. It is a simple declaration that this too is life, attending to strands of thread woven into the tapestry of day-to-day life. It is not some anomaly as some seek to propagandize it, but a tributary that has continuously fed American roots and thus should be at home within its music, as much at home in country music as any other factor in its polyvalent story of simple resilience. – Rick Quinn

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Baths – Gut (Basement’s Basement)

Will Wiesenfeld has been moving toward a pop-oriented sound since his first two releases as Baths, Cerulean and Obsidian. His latest, Gut, is a fitting title. After an eight-year absence, during which he focused on soundtrack work, Wiesenfeld is not pulling punches. The songs in this collection are frank and direct. He explores the joy and pain of casual sex and the pursuit of desires. As such, this record forgoes the chilliness of some of his early Baths records in favor of a more pop-oriented sound with live guitar, violin, cello, and drums on several tracks. It is a thrillingly alive collection of songs. – Brian Stout

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Bon Iver – SABLE, fABLE (Jagjaguwar)

Bon Iver purists may feel a familiar sense of frustration after listening to Justin Vernon’s fifth studio album, SABLE, fABLE. On the one hand, the record includes the SABLE EP (2024), which features three strong tracks, including the unmatched “S P E Y S I D E”. That offering hinted at a return to form, even if it included odd capitalization and punctuation choices (are those spaces in the song title?). However, that is only half of the equation, as SABLE, fABLE contains lush arrangements and celebrates Bon Iver‘s affinity for R&B over sparse folk sounds that put him on the map. – Patrick Gill

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Bonnie Prince Billy – The Purple Bird (No Quarter)

Will Oldham, usually performing as Bonnie Prince Billy, has spent his prolific career finding new approaches to old styles, frequently by partnering with new collaborators. The Purple Bird suggests that Oldham doesn’t sound restless if he remains busy and curious. The new primary collaborator this time is David “Ferg” Ferguson, a Nashville producer, engineer, and musician. Ferguson receives some songwriting credits and had a hand in creating this record, but it still sounds like Oldham (as much as that means anything). Rather than sounding like a modern Nashville record, The Purple Bird comes across as a comfortable spot for Oldham, well built on Americana traditions without sounding stodgy or artless. – Justin Cober-Lake

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Benjamin Booker – LOWER (Fire Next Time / Thirty Tigers)

Peel back any of Benjamin Booker’s songs from his three albums, and in its center, there is always a looming question, unasked but pleading: How do we keep going in an awful world? Booker’s songs speak of a yearning to find a way through the mess in his self-titled first record, filled with energetic guitars and fueled by anxiety, pressing his music forward.

When listening to Benjamin Booker’s LOWER, I imagine these characters, despite living in our age of necropolitics where those in power dictate how some may live and others must die, still grope along, putting on their “walking shoes” and taking steps in a world that cares nothing about them. These faltering steps, though, urge the rest of us to believe that we can also take some steps into the darkness. – John Lennon

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Circa Waves – Death & Love Pt. 1 (Lower Third)

https://www.youtube.com/watch?v=videoseries

Anyone curious about the state of British guitar rock over the last decade would do well to dive into the discography of Circa Waves and their new album, Death & Love Pt. 1. Opening with a brief and insistent rocker, “American Dream”, the record hits its stride with the second track, “Like You Did Before”. Panoramic pop with a 1980s techno vibe, “Like You Did Before” also feels reminiscent of Harry Styles‘ “As It Was”. Regardless of what previous songs “Like You Did Before” might initially conjure in a listener’s head, the song has a fun vibe all its own, and it’s a worthy addition to Circa Wave’s collection of perfect and near-perfect pop tunes. – Rich Wilhelm

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Circuit des Yeux – Halo on the Inside (Matador)

With her new record, Halo on the Inside, Haley Fohr continues to investigate fertile paradoxes and syntheses. Circuit des Yeux has long been sensitive to the way archetypal energies play out in the human psyche. With Halo on the Inside, she again explores aesthetic poles—the clamorous and subdued, dramatic and restrained, tense and cathartic. Her work, including her singular voice, conjures the grand epics, the metamorphoses that the ancients whispered and sang about. Fohr is grounded in timeless magic, functioning as a modern-day alchemist. – John Amen

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As I wrote in a blog, “Longing in music takes many forms, whether in the sharp whine of a pedal steel guitar, the weary cry of a muted trumpet, the pulsating digital beat of an 808 kit, the blending of human voices suggesting loss and grief—and most obviously, in lyrics.” Songs with questions, instructions, or desires all count as “longing songs.”

I won’t reveal the context, but in 2013, I realized that at least 20 of my favorite songs are all about longing. The following year, I created a Spotify playlist featuring such songs, which ballooned to over 3,000 songs. 

From compiling and trimming this monstrosity, I found that longing is, of course, ubiquitous in music. I also found out that, like activist Leah Lakshmi Piepzna-Samarasinha argues in their essay, “republics of desire: disabled lineages of longing” (Disability Intimacy: Essays on Love, Care, and Desire, edited by Alice Wong, 2024, Vintage), longing can be a space of safety for LGBTQ, disabled people like me. Perhaps longing is a condition of human suffering, but in an era of widespread inequity, music can be a powerful force for both personal and social change, and music about longing can aid in the healing process of trauma.

In addition, longing is double-edged: it’s a source of collective and individual joy and release, but also self-pity. Cultural critic Hanif Abdurraqib writes in his essay “On Summer Crushing”, “It is hard to create longing without the reminder of what we’re longing for” (They Can’t Kill Us Until They Kill Us, fifth anniversary edition, Two Dollar Radio, 2022). That may be true, but it doesn’t stop people from longing for vague, amorphous things that aren’t always tangible: euphoria, security, and community. 

However, music does create or reinforce that longing by reminding people of what appears to be lacking. Love songs can exemplify this tendency, but not all songs about longing are about wanting love or sex. Longing to have fun, dance, or be present is also a common theme in music.

This list forgoes canonical renderings of longing in music–also present on the longing playlist, from “Respect” to “Smells Like Teen Spirit” and beyond–in favor of lesser-known gems, even if many are performed by well-known artists. Genres present include rock, country, jazz, folk, soul, and spirituals. All are found on the Spotify playlist at the bottom of the page.

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10. Sweet Honey in the Rock – “Run, Run, Mourner Run” (live)

The legendary, virtuosic Black women’s a cappella group Sweet Honey in the Rock’s stirring rendition of the US Civil War song “Run, Run, Mourner Run” quickly takes flight with the impassioned delivery of leader and founder Bernice Johnson Reagon. When Reagon growls and shouts on this 1987 Carnegie Hall performance, it sounds like the forces of history at work. Reagon’s fellow singers in Sweet Honey hold their own throughout this electrifying performance, one that holds its own among their best-known work, such as “Ella’s Song” and “Breaths“. I’ve never seen Reagon, who died in 2024, on any list of the greatest singers of all time, but she should be, even if she would protest such hierarchical judgments. 

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9. Sarah McLachlan – “Good Enough” (live)

Canadian singer-songwriter Sarah McLachlan has long been a champion of the marginalized, including female musicians and animals in danger. In line with such work, “Good Enough”, a song about abuse, had long moved listeners on her 1993 album, Fumbling Towards Ecstasy. However, in 1999, when she released the hit live album Mirrorball, the louder, heavier, and more muscular version of the song blew me and other listeners away.

McLachlan’s voice sounds less ethereal than typical for most of the music, and the final narrator’s desire to care (“I’ll show you why you’re so much more than good enough”) shines through. “Good Enough” stands out on Mirrorball, and it was one of the very first recordings I considered for my longing playlist.

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8. Mavis Staples – “This Little Light of Mine“

From singing gospel with the Staple Singers to collaborating with Prince, Ry Cooder, and Jeff Tweedy, Mavis Staples has been singing for over 70 years and is still going strong. My favorite non-canonical example of her indomitable spirit in music is this exceptional reworking of “This Little Light of Mine”, the spiritual most famously sung by civil rights activist Fannie Lou Hamer in the 1960s.

This inventive version, taken from her acclaimed 2007 album We’ll Never Turn Back, is driving garage rock ‘n’ soul with antiwar lyrics from Cooder: she sings, “Killin’ folk ain’t in my line / Sure ain’t no way to let my little light shine.” Akin to the legendary “I’ll Take You There“, this is one of my favorite Staples recordings that shows the link between the spiritual and the secular, including in politics.

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7. Joan Baez featuring the Indigo Girls – “Don’t Think Twice, It’s Alright” (1995 version)

Joan Baez and the Indigo Girls have recorded this Bob Dylan folk classic together more than once, but this 1995 recording from Baez’s live album Ring Them Bells is my all-time favorite version of this song. It’s simply three women with acoustic guitars singing a classic breakup song, and while the lyrics’ irony might be less apparent, this is easily the most hauntingly gorgeous version of this song I’ve heard.

Baez, who recorded the song in the 1960s, doesn’t have the pristine voice she once had, but her interpretive skills have significantly improved, and with the Indigo Girls’ harmonies, this version slays listeners like me. I used it as the basis for a personal essay about hearing the recording during the pandemic. By the end, the performance garners more applause than anything else on the album—and deservedly so—but the recording deserves a much greater audience.

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6. The Velvelettes – “He Was Really Sayin’ Somethin’“

This is the most propulsive, danceable track on this list, and amidst the many Motown Records hits of the 1960s, the Velvelettes’ “He Was Really Sayin’ Somethin’” has gotten lost in the shuffle. That’s a shame because the eternally underrated recording surpasses Motown smash “girl group” classics like the Supremes‘ “Where Did Our Love Go” and the Marvelettes’ “Please Mr. Postman” for its gospel piano-led, bass-heavy groove and overall sass and sexuality, including with its carnal-sounding saxophone solo.

More than the Velvelettes’ bigger hit, “Needle in a Haystack“, “He Was Really Sayin’ Somethin’” showed the group’s immense potential and a strong example of the gospel-influenced “Sound of Young America” that Motown succeeded with. 

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5. Tanya Tucker – “Bring My Flowers Now“

Tanya Tucker has been singing gut-wrenching songs since she recorded as a teenager in the 1970s, but her 2019 comeback album, While I’m Livin’, includes this single that moved me beyond words. Tucker is a master of understated, unsentimental renderings of songs that others would try to wring every drop of emotion out of (“Two Sparrows in a Hurricane“, “Delta Dawn“). Her vocal on “Bring My Flowers Now” makes me believe every last word.

Alluding to the institutional recognition that eluded Tucker for decades, it was followed by accolades like a Grammy award and election to the Country Music Hall of Fame. In other words, even if history remembers Tanya Tucker for her massive hits, this song helped her finally get her well-deserved flowers because, as she so brilliantly sings, “We all think we’ve got the time until we don’t.”

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4. Brad Paisley – “He Didn’t Have to Be“

Most purported tearjerkers do not make me cry, let alone sob. This one did. With no disrespect to “Strawberry Wine“, “Don’t Take the Girl“, “You Don’t Even Know Who I Am“, or any number of other contenders, Brad Paisley‘s “He Didn’t Have to Be” is my choice for the best-written 1990s country song, one of the best story songs I’ve ever heard. Paisley’s first #1 country hit isn’t nearly as well-remembered as hits like “Whiskey Lullaby” or “Mud on the Tires”, but this song made me cry so hard when I first heard it that I’ve said it “slaughtered me alive and served me up for breakfast”.

The lyrics about an adoptive father are mirrored in the music, with the call-and-response between the steel guitar and fiddle sounding like a father-son dialogue. Paisley’s understated delivery makes his longing to match his father figure’s care sound more believable. Call me what you want, but this song is a damn masterpiece.

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3. Bill Withers – “I Can’t Write Left-Handed“

Soul singer-songwriter Bill Withers‘ Live at Carnegie Hall, which I reviewed for PopMatters, is one of the greatest live albums of all time —a gem that deserves to reach many more listeners. This song, never released on a Withers studio album, is a standout. As Withers explains, “I Can’t Write Left-Handed” is a first-person narrative about the effects of war more than a political protest song.

The insistent, slow piano and backing singers sound like a funeral dirge as Withers sings passionately about a US veteran returning home without his right arm. As much as I love certified Withers classics like “Lean on Me” and “Ain’t No Sunshine“, this song deserves far more attention than it’s received, like the live album on which Withers recorded it.

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2. Sarah Vaughan – “I’ll Be Seeing You” (live)

It’s hard for me to pick a favorite jazz singer, but specifically for an unearthly, jaw-dropping sound, Sarah Vaughan is tops. She was not unparalleled in conveying sadness, like Billie Holiday, or joy, like Ella Fitzgerald. Still, when she sang “I’ll Be Seeing You” live for the album Sassy Swings the Tivoli in 1963, you can hear the hushed stillness in the venue as she navigates her astounding range and heavy, slow vibrato on a pop standard.

Vaughan was best with small jazz combos, and the intimacy and quiet intensity of performances like this show why. Her singing here sounds simultaneously less epic in scale, even as she finishes with notes worthy of an opera singer, and it’s more moving than on her pop hits. Wistful longing has rarely sounded so magnificent.

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1. Steve Earle –”Someday”

“The space between staying and leaving, I think, is called longing,” writes artist Larissa Pham in her 2021 memoir-in-essays, Pop Song: Adventures in Art and Intimacy. Maverick singer-songwriter Steve Earle‘s 1986 song, “Someday”, is one of the best musical examples of such longing not being sentimentalized. It’s one of my favorite country and rock recordings ever, partly because it defies the conventions of both genres: lyrically, the song bucks country’s trademark nostalgia in favor of bitterness about small-town life, while musically, its reverberating steel guitar sounds like classic country and not like classic rock.

The tension between staying and leaving in the lyrics is matched by an urgency in the arrangement and production, particularly in the thundering piano chords that accompany the chorus. While Earle is best known for “Copperhead Road” and “Guitar Town“, “Someday” is one of the simplest, most brilliant, and most unconventional country and rock recordings ever made. When he sings, “I wanna know what’s over that rainbow/I’m gonna get out of here someday,” the longing is palpable, and I’m rooting for the character in the song. That’s what a great song can do.

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