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Growing up in Mississippi, the son of sharecroppers, Lester Chambers used to love to hear his voice in harmony. What’s more, he loved hearing that harmony echo. Today, the 81-year-old frontman for the Bay Area-based band Moonalice looks back on those early years fondly. It was the time when his dream began—a dream that’s continued through today, into his ninth decade. In this way, Chambers’ voice has been echoing in real-time as long as anybody’s in music history. And that career continues with Moonalice’s latest single, “Let’s Get Funky,” a song Chambers first began to write some 50 years ago and one that American Songwriter is premiering today in its latest form.

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If there’s a secret to the success of the Michigan-born rock band Greta Van Fleet, it’s that the members have always allowed themselves to push the proverbial envelope—to go deep, further, and even toward the weird in their work. To head toward extremes says the group’s frontman and lead singer, Josh Kiszka. The band, which is comprised of brothers Josh on the mic, Jake on guitar, and Sam on bass, along with close friend Danny Wagner on drums, didn’t limit themselves in their exploration and internal discoveries as they coalesced and improved as musicians. The strategy has worked. The result so far has been sold our tours, an SNL appearance, and Grammy recognition. But accolades aren’t necessarily what drives the band. Rather, acceptance from their heroes is, along with the process of going through that which excites and calms their creative minds, which occurs almost in the same breath.

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Grammy-nominated songwriter and performer Sylvia (born Sylvia Jane Kirby) wants people to look inside the next time they think they need help. The tendency, of course, is to look outward for answers. Can someone help me out of this? Who can save me? These are the questions we ask ourselves in our dark hours. But, Sylvia says, we may find better answers if we look to our instincts and our most distilled judgment. These aren’t easy lessons to learn, however. Sylvia, who rose to fame in the ’80s while in her 20s, has now learned from experience.

She’s figured out what to shed and what to keep. Today, she says, she lives in the moment, listening to her own ideas as guidance. The result is the record she’s always wanted to make. An album that offers its listeners a path forward that’s also a path internal. And it begins with a song that American Songwriter is premiering today, “Avalon,” which is the first track from her forthcoming LP, Nature Child, due out on February 22.

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If you ask Joe Newman, vocalist, and co-founder of the popular band alt-J, about the genesis of the band’s new record, The Dream, which is out Friday (February 11), he’ll tell you it all began, essentially, the day he got his first guitar. While, to some, that answer may seem cheeky or even flip, for Newman, it’s completely true. For him, the process of writing songs isn’t something that begins in the morning on a given day and concludes that night. Instead, for the artist, a song may begin 20 years or more before it’s set to record. Or a bit of it may start one year, another bit on another, and even a third chunk some years later. In this way, songwriting, like healing, is not linear. It’s more like assembling a bouquet.

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Songwriter and performer Mason Jennings lives right by a lake in Minnesota. In his home, there are large glass windows to look out onto the water. It’s from this vantage point that Jennings wrote many of the songs for his new forthcoming LP, Real Heart, which is set to drop on Friday (February 4). He wrote these songs on his acoustic guitar, singing with the instrument on the demos. Over the past four years, Jennings has done this, amassing a nice collection. To get another artist’s perspective, Jennings sent the batch to his friend and bandmate (Painted Shield), Stone Gossard, of Pearl Jam. At first, Jennings thought he’d drop the guitar and add new instrumentation. But Gossard recognized the central quality the six-string had. It was important for the tender, open-hearted LP. And so Jennings kept it prominent.

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Innovative bi-coastal artist, Bitch (born Karen Mould), was raised with tap dancing coming through the floorboards. Her mother was a tap teacher, and she had a school in their basement. As such, the tip-twap-tip-twap of the art form was underneath her at all hours. Bitch also remembers watching Sesame Street as a young child. It was on an early episode that she first saw the violin. She was three years old at the time and she soon began to beg her parents for the instrument for herself. At four, she was playing it. Today, the violin features on her forthcoming album, Bitchcraft, which is set for release Friday (February 4). The LP, her first since 2013, showcases the sounds that, Bitch says, were the foundation of her first real communications.

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Legendary songwriter and performer John Mellencamp says the songs he writes are sent to him. “I’m just a conduit,” he says, “for whatever message is being sent to me.”

When it comes to the songs on Mellencamp’s newest LP, Strictly A One-Eyed Jack, which was released on Friday (January 21), the artist says he knows exactly who sent them. The American actor and director, John Huston. “They gotta be,” Mellencamp says. Huston, he adds, was definitely a “one-eyed Jack.” And while the new LP is not about Huston, per se, the songs, Mellencamp says, are sent from the late auteur (Huston died in 1987). No matter how they got into his creative mind, the songs on Mellencamp’s newest record are largely stunning. They feature his ever-so-gravely voice, as well as his somber tone and nuanced touch.

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Any creative person (or Lego enthusiast) will tell you that not every combination of elements yields positive results. Sometimes even the best towers—proverbial and actual—will tumble given the wrong amalgamation. That’s why the Atlanta-born hard rock band Mastodon is such a remarkable entity. The group is one of those in which the pieces just fit. Since its inception in 2000, the four-piece band has amassed eight studio LPs, including its most recent, the Grammy-nominated Hushed and Grim in 2021. And Mastodon’s album prior, Emperor of Sand (2017), earned the group its first Grammy Award for Best Metal Performance. Today, Mastodon is set to get back out on the road with a co-headline tour in March (followed by one in Europe in the summer). After two-plus-decades together, they’re still building and growing. It’s a testament to the chemistry that bonds the band’s four members.

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Grandson—aka the Los Angeles-based artist, Jordan Benjamin—is an optimist. When the rain pours, that just means more flowers. If one plan has to fold, that must mean another is about to open. If he’s at the end of one road, turn left or right, a new road is right there. That’s the spirit the musician has used throughout his career. And whether fans notice it explicitly or not, it’s present and it resonates in his music. But in order to maintain this sense of optimism, something must hold. Grandson is rooted in an aim to make work that feels honest and engenders self-satisfaction, pride. It’s the result of myriad hours spent and almost as many musical influences. Today, with an acclaimed debut LP in his rearview along with recent collaborations with artists like Kesha, Travis Barker, and Vic Mensa, grandson is slated for a swath of tour dates in 2022.

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For Brent Smith, frontman of the acclaimed Jacksonville, Florida-based rock group Shinedown, honesty is always the best policy. That idea may seem obvious on the face of it. But it can also seem that the more one looks around, the more dishonesty or diversion seems to proliferate the ether. Smith knows this, too. What he also knows is how tricky it can seem to be honest, both with oneself and with others. Honesty is not about consistency or regularity. Sometimes to know the truth about something requires one to be uncomfortable. Smith is aware of this, as well.

These philosophies and vantage points show up in Shinedown’s songs. Their tracks are complex and diverse. The music grabs and shakes as much as it provokes the brain. And this has perhaps never been more evident than on the band’s latest single, “Planet Zero,” which is out today (Jan. 26) and portends a new album of the same name, slated for April 22.

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For Danish artist MØ (born Karen Marie Aagaard Ørsted Andersen), life for a while felt something like a hamster wheel. But it didn’t begin that way—not musically.

As a young person growing up in Denmark, MØ first felt the surge of music at eight years old when she first laid ears on the Spice Girls. Before that, she’d let the songs of her mom and dad essentially wash over her. But when she heard the Spice Girls’ LPs, she lost herself in them and listened repeatedly.

Her family is comprised of academics—except for MØ. She didn’t feel comfortable studying diligently, yet also never knew how to make a music career begin early on. Soon, she discovered punk rock, trading in her ambition to be Sporty Spice to be Kim Gordon. She found like-minded friends. Her interests became layered. In her twenties, MØ’s career took off. So much so, however, that burnout found her. Now, at 33 years old, the artist is back with her best work yet—a 10-track LP born from resilience, Motordrome, out on Friday (January 28).

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Sometimes, it’s really hard to remember. That could be because the subject at hand is so difficult you don’t want to embrace it again. Or it could be because the subject is so far in the past that it’s unclear in its details all these years later. But what if the subject is so important that a people—the world, even—must remember it as it gets more and more distant in the rearview if only to ensure it doesn’t ever pop back up again in real life. For musician Lee Oskar these questions are paramount to both his life and career. Oskar, the son of a Holocaust survivor, is also a co-founding member of the band War (of “Low Rider” fame). Oskar also has a new LP, Never Forget, which is set to release on Friday (January 28). It’s an album born from his mother’s and her sister’s experience as two people who escaped Holocaust death marches.

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There’s a feeling that in order to achieve something—anything—you need to be inspired first. As if some divine light will find your brain and plant the seed of something great that you only need to act on. This of course is silly. One can wait around for a lifetime for such inspiration. A better way, then, is to begin something—anything—and then see if, while already moving, a bit of inspiration finds you to further fuel your push.

Texas-based artist Chrystabell knows this well. She waits around for nothing. Instead, she’s always moving, working, flying to some foreign land to return with more in hand. She creates her own inspiration rooted in what she finds stellar. It’s an alchemy all her own but one she’s always willing to share. She does so on her forthcoming album, Midnight Star, which is set to drop on Friday (January 21), and in her latest music video for “Silent Scream,” which American Songwriter is premiering today.

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British songwriter and performer, Miles Kane, embodies the idea that artists are indeed the sum of all their influences. And Kane’s influences are many. Growing up, the skilled musician was initiated to music from his family—his mother, in particular. He remembers Motown and the Beatles at family gatherings. Kane was born in Birkenhead, England, which is across the river from Liverpool (hence the Mop Tops). Around 12 years old, Kane found the guitar; namely, his cousin’s three-quarter-body Spanish style. He became obsessed, he says.

Soon, he got his own, along with the chord book for Oasis’ (What’s the Story) Morning Glory? With each passing day, Kane absorbed more and more music, especially from his cousins, who would go on to form the popular U.K. band The Coral. And at 18, Kane began to collaborate with famed British rocker Alex Turner of The Arctic Monkeys. Now, all of these elements both comprise and feature expertly on Kane’s newest LP, Change The Show, which is out Friday (January 21).

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There’s an old saying: you can’t go home again. The idea is that once you leave home, there is no real way to return because too much time has passed, too much has changed. You’re not the same person you were when you left. But the 70-year-old blues artist Keb’ Mo’ is living proof that sayings, like rules, are made to be broken. Mo’ was born in Los Angeles, and later in his life moved to Nashville, where he’s enjoyed a residence with his wife now for about a dozen years. But during the COVID-19 pandemic, a lot changed for the artist, both internally and externally. He’s reconsidered what’s most important, down to the very idea of what home is or can be. These changes and the perspectives they brought helped Mo’ to create his latest LP, Good To Be, which is set for release Friday (January 21).

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