NPR Music - New Music Friday: The best albums out Aug. 21

Episode Date: August 21, 2026

Brennan Wedl. Jorja Smith. Brandon Flowers. Host Stephen Thompson chats with Celia Gregory from WNXP in Nashville about their favorite albums out Friday, August 21. Plus, a handful of NPR Music writers and critics offer their personal picks in the lightning round.The Starting 5(01:23) Album No. 1- Brennan Wedl, 'Brennan Wedl'(08:34) Album No. 2- Squirrel Flower, 'Say a Prayer to the Gods of Getting Going'(16:07) Album No. 3- Westside Cowboy, 'It Goes On'(22:45) Album No. 4- Brandon Flowers, 'THRASHER'(28:50) Album No. 5- Jorja Smith, 'What Are The Odds'(34:27) The Lightning Round- Rapsody, 'God Gotta Afro & Gold Hoops'- OK Cowgirl, 'Rhinestone Cowgirl'- Elanor Moss, 'The Knife, The Needle'- Julia Holter, 'Materia'- The Cramps, 'Gravest Gravy'Sample the albums via our New Music Friday playlist and see our Long List of notable releases on NPR.orgCredits:Host: Stephen ThompsonGuest: Celia Gregory, WNXPAudio Producer: Noah CaldwellDigital Producer: Dora LeviteEditors: Elle Mannion, Otis HartExecutive Producer: Suraya MohamedSpecial thanks to Ann Powers, Sheldon Pearce and Lars GotrichSupport public media with NPR+ and enjoy perks for over 25 podcasts like this one. This show’s perks include bonus episodes and sponsor-free listening. Learn more at plus.npr.org.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Happy Friday, everyone, from NPR Music. It's New Music Friday. I'm Stephen Thompson here with Celia Gregory from WNXP in Nashville. Welcome back to the show, Celia. So good to be with you, as always, Stephen. It is a pleasure. Now, I have it on Good Authority that you have just seen several gigantic stadium shows. What did you see? Yeah, Foo Fighters just played the last show that will be in the original Nissan Stadium in Nashville and was Queens of the Stone Age, the band we lovingly refer to as Manicin P on the radio here at National Public Radio. Sure. And what an awesome triple bill.

But yeah, it was really, it was a fun show and just like 100 degrees, though. So I felt very much my age and very much like it's August. You eventually reach a point. We did an episode of Pop Culture Happy Hour recently, like, about concert etiquette and how, like, you know, people at the front row of giant shows are, like, defecating because they don't want to lose their spot. So charming. And so, you know, we did an episode about it.

We were talking about, like, what do you look for in a concert? And I was like, shade and bathrooms. Yeah, we've changed, you know, but such a spectacle. And you know what? To have rock and roll bands, like killing it like that and selling that many seats, it is kind of encouraging for me. Well, let's kick off the show with somebody who is not yet playing stadiums, but perhaps should be.

There are several acts this week that have songs that seem perfectly engineered for stadiums. Brennan Waitle, her new album, is self-titled. I know that the world is on to me, because I started on my TV, and I'm... Stephen, okay, Brennan Weddle is a local to-me artist, so big excitement around this release for us. And it's not her first record,

but it is her debut on the indie label and Thai. And that's also home to her friend and fellow artist and collaborator on this record, Katie Crutchfield of Waxahatchee. So very exciting for them to come together, not just on tour with Wilco, but now to have this record for all of us to hear and enjoy. Yeah, and it feels like a star turn in a lot of ways. And, you know, we just came out of the song Scorpio, which has kind of big waxahatchy energy, right?

That mix of kind of big, crunchy Americana sounds, but with this wistful twang to it, Katie Crutchfield, you know, kind of co-produces this record, and you really hear her stamp on that song. Yeah, it's so exciting to hear. hear and, you know, slight changes to the voice of Brennan Weddle, which has always been strong. I mean, she's really an acolyte of, like, Lucinda Williams. You can't hear this record and not hear Lucinda. And there's this, like, balance of darkness and lightness in her voice, you know, almost like gravel, but gargled with mint or something. Interesting. Whiskey and mint. There we go, and that's my flavor. So trust me, when I say seeing her live, I mean, it sounds just as

raw, but also pitch perfect as it does on record. So must see when she tours your town. You mentioned Lucinda Williams, and I think in the back half of this record especially, you really start to hear that Lucinda Williams vibe roll in, especially in some of the weirier, slower, folkier songs like High Priestess, where, you know, there's an atmospheric quality, but she's able to kind of get her voice, you know, she's still pretty young. I mean, Brennan Wadle has been around for a while now. She's been putting out music since 2012, but she manages to tap into some of the world weariness of a Lucinda Williams. Who I am with you is who I want to be, be you. I'm coming on strong, and it won't take too long

to lose you one more time, but you're still, I keep trying to understand, but I can't. Stephen, she sort of labeled this herself as grungitry, like grunge tree, like country and grunge together, because it's not a straightforward country record. You know, you've got really big guitars, like on pretty little fantasy with assistance from snail mail's Lindsay Jordan, too. That particular track, the guitars, like, are ported out of an Allison Chains record from 1993, this fusion of grunge and country. That's not just throwing cute terms around. Like, there is a grungy vibe to this record. One thing that's all make him a My blue sky

The skinnerves blur Break is all from me One thing that I like about this Because this record is clearly You know kind of being presented As a national breakthrough You know this It's, as you said

It's her first album on Antai She's getting a big national push around it But she has been releasing music for a good long time Well over a decade And I think That lived experience is coming through on this record. You know, she had a religious upbringing that she's been coming to

terms with. She's now sober. She's taken up meditation. She's kind of done a lot of the, like, youthful transgression that shapes so many musicians. But she's been around long enough, and she's been kind of trafficking in this sound for long enough that she's able to take kind of the wisdom of those lived experiences and channel them into this record that still has this like, here's who I am, the kind of record you might put, it sounds a little bit like the kind of record you might put out when you're 22, but she's not.

I love that take because, yeah, it feels like a great introduction to her. If you're first hearing her on these songs, you're like, what is this? Even if it's been an evolution, what you mentioned about the lived experience and now being sober, I think you can tell it

like sort of the observational storytelling of like fake cowboy, right? That song is so Nashville, I can smell it in the American Legion. Right? And the storytelling is so, vivid because she's able to experience it as an observer and not be in the thick of it. A montage of monologue, because big talk and smear enough, I listened, and sucked in my god.

Who'd here from Memphis and won't pay his taxes, I nodded, and kept my mouth shut. And one more thing I was loving to read in the liner notes is that during tracking, she had to step out multiple times to cry and marvel at the journey of a song, you know, and where your imagination can take you. I think she's really owning her own storytelling and songwriting and, of course, appreciating the champions she has. So it just feels like almost like a rebirth and a reemergence, and I hope everybody gets to hear this record now. Absolutely. That is Brennan Weddle.

Her new album is self-titled. Next up, Squirrel Flower. Squirrel Flower's new album is called Say a Prayer to the Gods of Getting Going. So Squirrel Flower is Ella Williams. She's a singer-songwriter from Chicago. She manages to marry this kind of observational, quiet, indie folk music with, kind of like Brennan Waddle, big, chunky, awesome guitars. And amazing guitars is a major recurring theme in this episode. This record is very guitar forward if you have not seen her Tiny Desk concert from 2024, where she

closes with this song called Iowa 146 that like makes me blubber. She is a phenomenal talent. And I'm so excited she's back. Oh, same. And also, shameless self-promise. we have her in our Sonic Cathedral. So two pieces of homework for the listener, the Tiny Desk, and the Sonic Cathedral session from WNXP. I was, same thing. I'm just crying and trying not to have that picked up in the mic in that small space.

Truly a stunning talent and hearing her deepen over the course of several records. Some of these songs remind me of some of her earlier stuff. She did go into a harder rock direction, her last record. But this really covers a lot of ground here too. And what's never missing is how absolutely stunning her vocals are. You said it's guitar forward, but you're never going to miss Ella Williams' voice in a track.

It's never going to get buried in the guitars. And you mentioned the big stuff, Stephen, and foot thick ice was a surprising one for me. It's maybe my favorite on the record. And it's also sort of recommended if you like this catharsis moment, like with Wednesday or another band that can do Alt Country really well, and they're not shying away from the amplifiers. One thing that is so impressive here is how many of these songs mix kind of delicate. and storminess. And it would be really easy for the storminess to just override the delicacy and just bury it completely. But you take a track like helicopters. She has a skill that

kind of reminds me of like Sharon Van Etton, where Sharon Van Etton can do these very whispery, you know, very, very soft songs. But she is also like a rock and roll frontwoman. And she can rock your face off at a giant theater. And she can also, you know, melt your heart in a coffee shop, you know, if you were lucky enough to see her there. And I think that same vibe permeates this record, you know, where there is a grandeur and a bigness to these songs, but her voice is always there pulling you close. I know one thing for certain. I'm not getting far from you before turning around. Yeah, I know You know, place plays such a role in Chicago for a long time, but she's lived in

a long time, but she's originally from New England. She's lived all over. What you get here, though, is still this, like, slice of Americana, meaning, like, you know, Southern Gothic Americana, Midwest Emo, Great Plains, sort of sparseness all across the lyrics, so it's hard to place her. Yeah. She doesn't just sound like this jaded. indie kid, you know, working jobs in the streets of Chicago.

She's, she puts you in different places, which of course is what you want from a record with songs this big and this soft. Yeah, I think that sense of place really comes through in this record. She drops references to a lot of locations and you really get a sense that she's been there. And it, you know, it's very Midwestern. You know, I mean, she recorded the demos for this record in Door County, Wisconsin, where I used to take vacations because I'm from Wisconsin. She references Indiana.

You get a sense that she's driven around the Midwest a lot. Which is so funny because she has a song called Highway Woman, as though she's talking to somebody else, but I'm like, is that to you? Because, you know, she says, Highway Woman, pack your knife and your guitar, you can change it as you go. She's also been touring. She's been on tour consistently for the last several years, so I'm sure that's weighed on her,

but also given her a lot of perspectives from which to write these songs, different parts of America. Yeah, you get the sense that she writes on the road. Yeah, for sure, and never stops writing, because she's been pretty prolific in the last few years, too. Canyons of New Mexico, memories of Indiana, bunkers of California,

harbors of New England called She ends up in border That is Squirrel Flower. Her new album is called Say a Prayer to the Gods of Getting Going. Got more records we're going to get to first. we're going to take a quick break. From NPR Music, it's New Music Friday. I'm Stephen Thompson here with Celia Gregory from WNXP in Nashville.

Celia, what's going on at the station? Oh, big things happening at WNXP, namely we have a quote, unquote, sold out. I say that because it was free, but all the RCPs have been grabbed for our summer line series. Our free outdoor series is family-friendly, but we have huge artists and NPR favorites like bully and blonde shell and rat boys all coming up this very weekend, starting. and through the end of September. Nice. Well, if I lived in Nashville, I would certainly be there.

That sounds amazing. I'd find a way to squeeze you in, Steven. I would wait outside the door and demand to be let in. All right, well, next up, Westside Cowboy. Their new album is called It Goes On. And if the rain is really falling

as slick as it looks, the paper chains inside. Let the breeze blow circles in the hallway line. So West Side, Glastonbury's English guitar band broke through last year by winning Glastonbury's emerging talent competition. Kind of became an It guitar band almost immediately. They've gone on, they've opened for geese, you know, kind of speaking of, you know, it bands.

Such an interesting marriage of like indie rock and Americana with like these big, billowy, shoegazy guitars over everything. Like we said, this is a big week for guitars. And this record is full of them. Man, I mean, there are songs that are suited for stadiums. And then there's a song like Pinup Boys, which is built for something bigger than stadiums, like canyons. Coming soon to a canyon near you.

Stephen, this is my great to myself Because this band And this album is Scratching all the itches For me Right The melody

It's my rock band from Manchester I'm listening I'm already tuned in but they do it really well, that balance of the female male vocal, and it feels like nothing was phoned in. It's all intentional, and it's a great listen start to finish. Yeah, I think I wrote down the word build, like eight times, writing about this record,

because these songs have such a knack for kind of starting in one place, getting like just incrementally grander and grander and grander, but also like taking strange turns along the way. Like the song Kickstones, parentheses, the boys. You know, it's kind of shuffling and rumbling a little bit at first. You get a little bit of like a Velvet Underground influence. But as the song builds and builds, it just escalates into something kind of sharper and stranger as it goes.

And they've been very overt about their references, including Velvet Underground, right? They're like, we are a rock band. They actually said it was sort of a mandate in the studio. the original mission statement was, if you've got too many chords in it, you're wrong. So let's scale back. And they kept it, you know, keep it simple, stupid. And they do go softer, right?

Take my leaving as I love you broke me into, Stephen. I got to read lyrics again. I'm the lyrics, girly. He says, as awful as it feels, nothing good comes out of comfort. We've known each other so well, so long. I can't imagine you don't see that. What? It feels like you're let in on a FaceTime that is devastating one-on-one,

but it's a song that we can all cry to. So appreciate them for that. As awful as it feel, nothing good comes out of comfort. We've known each other so well so long. I can't imagine you don't see that. Do you have any other favorites you want to talk about? Well done, kid. You did it.

I keep playing that one over and over, and I think it's because the repetition is so profound. The refrain here is if you ever found out what happened to me, hold on to that thought and save me the pain. Don't bring it to me. That person has gone. There is some story here about, you know, growing up and growing into who you're supposed to be.

And I feel like they're giving us that as songwriters, but also as a band. Here's our story. They're only a few years in. Right. But they're clearly already growing up before us because of the geese effect, right? And the bigger and bigger crowds that they've gotten to play to

including Glastonbury. But I hope they can just retain this new band energy, not because I want to keep them small, Stephen, and be selfish about it, but about how pure it is, the ways they've shared in this band, and that comes across on this record. If you ever find out what happened to me,

hold on to that thought, hold on to that blood, and save me the pain, don't bring it to me, that person has gone, that person has gone. That is west-sized. Cowboy. Their new album is called It Goes On. Next up, something pretty different. It's Brandon Flowers from

The Killers. Brandon Flowers' new solo record is first in more than a decade is called Thrasher. Does it ever cross your mind? The wonder that it is to be a lie. Taking in a purple sky, awakening to the splendor of the day. And that crosswalk guard in a yellow vest. Leading children to their morning bell. One last thought came streaming through the cracks and stopped me in my tracks along the way. Yep, Stephen, we got it. We got Yeeha, Brandon Flowers.

And I don't know if we asked for it, but I'm so glad he went there just so we could get a taste of this. You know, I was a little skeptical about a country-leaning record, but his voice seems made for this and applied to this type of song. I really stood corrected.

about this album's place in the year of Our Lord, 26. Yeah, I mean, it's certainly not the hairpin turn I was expecting from the lead singer of The Killers. You know, when you think of the Killers, I think most people, especially casual fans, think of songs like Mr. Brightside, which is more than 20 years old now. But the entire time, the Killers and Brandon Flowers in particular, have definitely followed their own unique and distinct muse. And, you know, the killers kind of went in more of an Americana direction. Brandon Flowers definitely has a, you know, big Bruce Springsteen energy and wants to be making

these kind of grand rock and roll statements about life in the United States. I definitely got Sturgel Simpson energy from a couple of the songs here. You take the song, a song like Paradise, that feels kind of Sturgel coded in that kind of it's country, but it's sideways. all the ships right before the summer. Then the bastards forced me on to swing. I'm parking some white sedan while the owner tries his hand roll and I. It's just another day as I used to.

This chasing flashy cars is a young man's game. If I don't keep up the pace, somebody's son, Some of these songs feel like they could be on modern country radio. They fit right in, and I mean that in a way of his turns of phrase, the sing-along quality of some of these songs. It almost is strange to me, Stephen, that he didn't start in this place because his voice is suited that way. Instead, he's reflecting back on where he's from.

So not the slick Vegas lights that the killers brought us, and we all lapped up, but, you know, his father's country western music and rural Utah and pay. those pictures. Like you said, when it works, it works like any other country music coming out right now. Yeah, and there are also songs here that really remind you. You know, Brandon Flowers is from the Las Vegas suburbs and you used the phrase country western. The Western often kind of drops out of country music when we talk about country music in 2026. But the West is a big part of kind of traditional country sounds, Bakersfield, California, right? And like, Brandon Flowers, is interested in the West.

He sings about it, and he's bringing kind of sonic signatures of Western music. There are like mariachi kind of makes its way into red ground, you know, where you get like a southwestern quality to it. It's not Nashville Bro Country. It's country music that is steeped in country and Western tradition. When you've been gone to launch or step, boy, you can lose something. It's angled it so far, front yourself. Been circling a bit off of soul. That is Brandon Flowers from The Killers.

His new album is called Thrasher. We've got one more record we want to talk about in-depth, as well as a lightning round of some of our other favorite records out today, August 21st. We're going to bring in a few members of the NPR music team to help us out with that. But first, let's take a quick break. From NPR Music, it's New Music Friday. I'm Stephen Thompson here with Celia Gregory from D. WNXP in Nashville.

Next up, Georgia Smith. Georgia Smith's new album is called What Are the Odds? Do you want to go dancing? Do you want to hook hands? Do you want to take chances? Do you want a romance? And all that you want is, you know, the hair feels like it boss. Do you want to get nasty?

Do you want to live life? Do you want to take chances? Think I know what you like. We used to be lovers. Stephen, so excited we have a new Georgia Smith record and not just because we get to talk about this after so much country and rock and roll. It's a really nice.

So many guitars. So many guitars and absent here because this is a dance record. It's a beats record. And this artist gets me so pumped up. What Are the Odds is a fantastic return for Georgia Smith. She works with the producer, PJ2, that also worked with her on Little Things, one of the best bops I've heard in recent years. And he wanted to do a whole dance record with her.

Here it is. We got it. Absolutely. And, you know, Georgia Smith has had such an interesting career already. This is only her third record. But, you know, her debut from 2018, Lost and Found, was a huge breakthrough. She was nominated for Best New Artist at the Grammys. And she was kind of, you know, like one of those, like, next big R&B stars. Her Tiny Desk concert from that same year has 46 million views.

Huge. Which is an unusually large number. You know, I like to think Tiny Desk concerts are very popular. but that is a huge, huge, huge number. But this record does a really nice job of kind of arraying around her a bunch of other sounds that are kind of trying to pull focus from her voice. And she has a really, really nice gift for knowing when to take the spotlight and when to cede it to kind of these interesting atmospheric synths or, you know,

guest vocalists. You know, she brings in the Nigerian superstar WizKid. for one of the singles from this record alive, she does a really nice job kind of sharing the spotlight here without ever receding into the background. I got the type of loving way to make you really feel your best. I get the type of vibe in way to make you one day on you, make you hold me tight a more.

Let me show you life, you know. I like your fine design. Mommy, I never, never leave you for long. It's impossible for me who's consumed so many great records this year and in recent years out of the UK to not compare her to the of the moment sound of like English soul and beats music

the Olivia Deans, the rays, near archives. But Georgia Smith, as you said, is leaning into this collaborative spirit and she's 10 years into a career that she's done her own thing, right? She has her own label this is out on. She could be a little more selfish to your point with the tracks on here

Instead, there's a feature here. There's a feature there. This city featuring Devlin is gorgeous. I loved that track. That was a standout for me sort of midway through. So I do appreciate her approach to sharing and growing into her sound, no matter what is sort of hip right now and of the moment coming out of the UK. I reveal it in my words.

I lost a passion. Simply it was best when I had nothing. Hard to know the cost when you have everything. Even even individual songs You gave me something on the I try not to take offense But I read everything This place ran is close

I'm tired of riding Even individual songs here Just contain multitudes You know, the title track from this record, what are the odds? It's kind of this subtly haunting Kind of alternative R&B banger that's kind of

laying her very approachable voice Against these chopped up beats And atmospheric synthesizers And then, like, it lets her rap, and it's showcasing another side of her. She's a very, very good rapper as well as being, you know, just like a very big and very successful singer. That's the thing about her life up high. And the lights you can't see what's off. And you can't see behind their smell sometimes when you don't even know what's love.

No one there, I didn't care when the lights go out and the crowd don't shout no more. When you're young and a slave with the mic by yourself, realize and it all, but there's no one there. And there's time to look up, how did I get here? And everyone wants something. Like Oliver Twish, you give, but quick light, please can I have some more, and I know everyone's surviving. Know that it's hard sometimes, life's important, and I would be a saving grace God knows I would if I could afford it. That is Georgia Smith. Her new album is called What Are the Odds? Now, Celia. We have reached the part of the show where we acknowledge that we could not possibly get to every exciting and compelling record out today, August 21st. But we wanted to do a lightning round. of some of our other favorite records out today.

We're going to bring in a few members of the NPR music team to join us. But I'm going to kick us off with the brilliant and unpredictable rapper Rhapsody. She is an astoundingly gifted lyricist. She's a Grammy favorite who got nominated for Best Rap album a while back. And she's an extremely prolific collaborator. You know, we talked about this with Georgia Smith. Rhapsody has worked with Kendrick Lamar, Stevie Wonder, Herbie Hancock, Black Thought. You name it. I'm already loving the sort of title track, which is loaded with just wild sonic ideas, a gospel choir, and a chant along chorus.

Rhapsody's new album is titled God Gotta Afro and Gold Hoops. Bees in my head going clink, clink, clink, picking out the fro, dripping afro sheen. Rollers in my crown, crusted with the bling, bling. Twelve homies by my side talking. Miriam a keep a high ride for the click. Sixty four Chevy Chabelle trunk. Up next is the newest from OK Cowgirl, a Brooklyn band, and it's called Rhinestone Cowgirl. And as an exposition, truly, Stephen, rock and roll ruined my life. I was like, okay, I'm listening.

Same, same. Leah Levine has all these great perspectives, especially I think on being a woman in show business. But maybe I'm over identifying with it musically. It's just something I can really appreciate, again, like other things that are out today. It kind of flirts with Americana. but it is big city rock and roll to melodic, heartfelt, occasional twang,

and I've found two full listens of this record to be very enjoyable. And that's OK Cowgirl with Rhinestone Cal Girl. Nice. Thank you, Celia Gregory. Let's bring in the wonderful Nashvilleian and Powers. And what do you got? Hey, Stephen. So my lightning round pick this week is The Knife, the Needle by Eleanor Moss. She's an English singer-songwriter.

Eleanor Moss's delicate voice, it's kind of like a flute. It seems beamed in from another time and place. But her songs are so immediate and contemporary. This is her debut album for Merge Records, and on it she's exploring the most challenging aspects of intimacy, touching on subjects like how a relationship can turn violent, or what mental illness does to a family, or how our mobile society can lead to all kinds of embanky,

like phone sex or random hotel encounters. In songs like Fixer or clothes in a hotel sink, Moss spares no one, not her lovers, her confidants, or herself. And yet these delicate songs show that her belief in beauty burns on. Picked up one of those self-help books you read. It only reminds me how much help I need. Like you're in a five-star hotel. And I miss you like washing the wishes away.

That's the knife the needle by Eleanor Moss. Thank you, Anne Powers. Next up, the brilliant NPR music writer Sheldon Pierce. Sheldon, give us your pick. Hey, Stephen. My pick is the singer-songwriter Julia Holter's Materia. Holtzer is always one of the first artists I think of when I hear the term art pop. Her music so perfectly encapsulates the quirky euphony that the genre seeks to embody.

Materia furthers her exploration of that soundscape, pegged as a sequel or companion to her stunning 2024 album, something in the room she moves. It is so dreamy and alive with possibility. Across seven tracks, it is playful in its approach, including two new interpretations, of the song on the album's predecessor from which it takes its name. Toying with song forms has become a hallmark of her catalog, so much of her music feels in conversation with itself, and this turnaround the playpen is the clearest demonstration of her creative flexibility. As with every Holter album, listening is a curious, whimsical, and thrilling experience.

Thank you, Sheldon Pierce. One more. Lars Got Rich. Lars, what he got? Sometimes the lore of a lost album is better than the music itself. Thankfully, Gravis Gravy by the Cramps is a punk treasure. The story goes, in October of 1977, the band drove down to Memphis to record some songs with Alex Chilton from Big Star. Some of those recordings turned up on early singles, and the rest went undiscovered until Henry Rollins and Ian McCahe, you know, the uncles of hardcore punk, got a hold of them. And listening to these sessions, I can't help but marvel at how the cramps had already had its sound and stick down.

Goolishly over-the-top vocal performances by Lux Interior, pounding drums, fuzzed out riffs, and the ancient rock-and-roll guitar manifestations of Poison Ivy, who, by the way, is one of my favorite guitarists of all time. You get early versions of songs that would end up on later albums, plus some truly grimy covers of Roy Ory, And Paul Revere and the Raider songs. This is punk in its most primal form. That's Gravis Gravy by the Cramps. Thank you, Lars Gottrich. That is our show for this week.

Thank you so much, Celia Gregory, for taking time out of your week at WNXP in Nashville. Thank you, Stephen. I can't wait to dig into all these albums and listen many more times, since they're all very sticky for us this week. Absolutely good week and don't sleep on that Rhapsody record. If you enjoyed this week's show, we always appreciate a positive review on Apple or Spotify or whatever app you're listening to right now. This episode was produced by Noah Caldwell,

Al Manion and edited by Otis Hart. Our production assistant is Dora Levitt. The executive producer of NPR music is Saraya Mohamed. We'll be back next week to talk about more new music with Sean Carolyn from NPR member station, WBJB in New Jersey. Until then, take a moment to be well. If you're going to a stadium show, don't forget to hydrate and treat yourself to lots of great music.