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Radiant Tennessee-born singer-songwriter, Valerie June, is resourceful, especially energetically. Speaking with the conscientious musician, it’s quick to see she’s as caring about ideas as she is talented, as aware of tone and feeling as she is technicality or intellect. It’s this mood that she brings to collaborations and cooking sessions with stars like Norah Jones—the two hung out and made music and meals together recently—and the mood June brings to playing stages like the Pilgrimage Music and Cultural Festival, which she will perform at on September 25, now her third time at the fest. But, for June, it’s often about making the most of these moments—whether they’re in person or at home in hibernation—and learning how they can better inform the present and future days that’s significant.

For the dynamic sonic force LP, who is known for her hits like “Lost On You” and “When We’re High,” it’s all about serving the song. There are many people who can sing, she says. Many people with talent. But the special thing in music is most often the complete composition, the song that compels one to dance, think, or even change perspectives on an idea. The song is the torch, no matter if it’s about sex and drugs or the essential deep love one human being can have for another, romantically or platonically. This is how LP approached writing and producing her new, forthcoming album, Churches, which is set for release on December 3.

When you’re a professional in any field, there is a desire to be as successful as possible, often to make the most money and to earn the most respect you can. Those are the ambitions people are taught to strive for. But when you’re a professional artist, some of those profit-driven, more cutthroat goals can be looked down upon or feel uneasy. Or seem incongruent with your mission of making art, mining your soul, and metaphorically touching others. Therefore, what is one to do?

Artists want their work to be heard but also to rise above the idea of commerce. It’s a tricky balance and one that Nashville-based songwriter, Phoebe Hunt, has wrestled with for many years. Yet, via Hunt’s forthcoming album (Neither One of Us is Wrong, out November 12) and newest single, “Some Things Change,” which American Songwriter is premiering here today (September 16), there is a solution for the songwriter: to embrace the idea of reconciliation.

Herb Alpert, the legendary recording artist, and A&M Records co-founder, remembers passing on the Kingsmen’s recording of “Louie Louie” in the late 1960s. At the time, the record just didn’t speak to Alpert, he says. So, he trusted his instinct and passed on the opportunity to distribute the recording. Even though at that moment, it may have steered him wrong, commercially speaking, Alpert doesn’t regret the decision, artistically. It’s of no real matter to the Kingsmen, of course, who went on to make history with their recording. Yet, the story is indicative of how Alpert approaches just about everything in his life: he uses his mind, intuition, understanding, and makes the best decision he can. It’s what led him to found A&M with partner Jerry Moss, and it’s what led him to record his famous 1965 LP, Whipped Cream & Other Delights, and what’s led him to release his newest album, Catch The Wind, out Friday (September 17).

If you ask the co-founding members, Pat Via and Mitch Mitchell, of the New York City-based pop group, January Jane, they’ll tell you their first session together was like an “arranged play date.” The two met at a gallery opening in the Big Apple, introduced by mutual friends. Via, who sang, was looking for a guitar player. And Mitchell, who played guitar, was looking for a singer. Kismet. From there, they hunkered down to work and, as Mitchell says, “write, write, write.” The two then took opportunity after opportunity, setting out to “say yes” to whatever chance came their way. From there, came a gig at a renovated adult theater and a friendship and partnership with famed music journalist, Matt Pinfield. Now, the pop outfit is poised to release its debut EP, Your Drug, on September 17 via BMG.

When blues artist, Adia Victoria, was first introduced to music in earnest, it felt for her like a religious experience. This, though, was at least somewhat tragically ironic for the future songwriter. At the time, Victoria was part of the Seventh-day Adventist Church in her then-hometown of Spartanburg, South Carolina. She was also enrolled in the adjoining Christian school. For Christmas, the students would perform concerts for the congregation. For Victoria, learning the songs and performing with her friends in front of an audience felt like an epiphany. More than any Bible verse or bit of scripture, this is what actually felt divine to her. “That for me was a revelation,” she tells American Songwriter.

Like high school sweethearts who say they’ll stay together forever but rarely do, it’s hard to maintain bonds—especially deep ones—to those you’ve grown up with. But that’s exactly what the members of the U.K. rock band, Don Broco, have done. From prior band names that now seem comical (Club Sex) to sticking together through sonic evolutions and experimentations, the members of the hard-rocking band are tight. So much so that it provides the space—the freedom—to try something new, to become different creative people, and to know that they will have each other’s backs. In an age where bickering is often more common than conversation, it’s a breath of fresh air amidst their shattering, thrashing tracks.