On Tuesday, Phoebe Bridgers was a surprise guest on Jimmy Fallon’s Tonight Show. Her backing band was a group of very skilled kids, nodding to the “Lost Boys” she sang about in her Peter Pan-inspired comeback single. Yesterday, Bridgers returned to Fallon to perform an acoustic version of “Lost Boys,” the first single from her forthcoming album Lost Weekend. It may have only been a day, but the chorus’s “never grow up” premise no longer seemed to apply to her backing band.
Michael Jackson’s solo catalog traces one of the most dramatic artistic journeys in popular music, beginning with youthful Motown recordings and expanding into albums that transformed pop, R&B, dance music, rock, music video, and live performance. This complete discography follows his studio albums, posthumous releases, remix projects, live recordings, soundtracks, and selected compilations through 2026. Michael Joseph Jackson was born on August 29, 1958, and rose to fame as a child performer with the Jackson 5 before developing one of the most successful solo careers in music history. His early Motown albums documented the transition from child prodigy to young
Native James has officially joined the SharpTone Records family, and celebrated with the release of a new song alongside a genuine grime legend.
James had this to say about becoming part of the SharpTone legacy, now rubbing shoulders with the likes of Loathe, unpeople, Dying Wish and more:
“I can honestly say it’s insane that I’m signed to SharpTone; it feels like this will be a mad chapter for me, I’m gassed I won’t lie to you, and can’t wait to start working to give you more music!”
Whilst SharpTone themselves added, “We are beyond excited to welcome Native James to SharpTone. From the moment we first saw his incendiary performance in a tiny basement in East London, we just knew that we had to find a way to work together and be a part of his story. Native embodies everything that we strive for here at the label; originality, personality, and pure goddamn talent. We cannot wait to amplify that talent in what will inevitably be a very bright future.”
And with his first offering for the label, he demonstrates exactly why he is such a uniquely ambitious star.
Taking the heart and heat of a classic grime flow and adding in a caustic and crushing riff, it is crossover power at its finest. And in bringing in Frisco, known for being part of the iconic Boy Better Know, it is as special a co-sign as you are going to get. Metal and rap have always had a close relationship, but with tunes like this, Native James is opening whole new doors, and that should get you very excited indeed.
James had this to add about the track:
Never Been Scared is what it says on the tin. This song is for people who have felt a time where they need to overcome something, whether that be your personal best, an exam, getting up to to face challenges at work, life itself… it’s a power play to your internal, to remind yourself you can overcome whatever you want.”
Little Dutch doom-death band Doomcult have been lurking around for 10 years, releasing three albums that haven’t earned them a large slice of mainstream notoriety. Starting life as the solo project of one J.G. Arts, Doomcult has been a vehicle for expressing J.G.’s adoration for the classic Peaceville-era sound made famous by My Dying Bride, Anathema, and Paradise Lost. Early albums played out like a love letter to the 90s Gothic-doom sound, with long, meandering compositions wallowing in chronic sadboi dysfunction. Fourth release, Sacrifice All Life, finds J.G. still running the show, but this time he brought in a vocalist to help round out the sound. The overall sonic blueprint has also been tweaked to incorporate more aggressive tempos and a greater death metal element to anger up the doomy musings. This makes for an interesting collection of tunes with a surprising amount of in-your-face heaviness and extremity.
Opener “Necromancer” wastes no time waking the dead with big, burly riffs. It feels more like High on Fire or Orange Goblin in spirit than classic doom-death, and the Peaceville-loving days seem a million miles away at first. Soon, roof-rattling leads that cleave closer to death metal ride roughshod as new vocalist Rens van Herp (or possibly J.G.) delivers booming death gurgles while someone (J.G., I assume) offers clean, thrash-like shouts. It’s quite effective, and those mid-tempo dino-riffs are impossible to resist or ignore. This is some satisfyingly heavy, forceful noise. I especially like how similar the clean vocals are to Bob Mayo of Wargasm. “Consciousness” cleaves closer to the early Peaceville days with mournful, depressive harmonies laying Gothic flowers on the gravesite as large, ugly death roars dominate the field. The aggressive elements soon resurface, and the dual-vocal attack pays dividends once again. The spikes in tempo keep the nearly 7 minutes moving and grooving, and there are interesting ideas sprinkled throughout the corpse broth.
The real acid test comes with the 15-minute album centerpiece “Sacrifice.” At times, the music reminds of classic Candlemass, and at others it invokes the raw, early days of Paradise Lost and Cathedral. It’s a study in how to hold a listener’s attention over a long period via slick songcraft. Tempos shift at key moments to break things up and keep you on your toes, and time becomes meaningless. Some segments are scuzzy death-doom, others read classic epic doom, and a few isolated bits stink of funeral doom and even stoner booty-shaking. All this is accomplished with very simplistic riff patterns and very little in the way of decorative harmonies. You reach the halfway point before you know it, and the ebb and flow carry you along effortlessly. I’ve seen far better-known and respected bands tank on songs this long, so it’s a wonder how well Doomcult pull it off. They even uncork blastbeats toward the finale, finally unchaining the guitar to noodle and spew. It’s a aural geyser of cathartic release. The goods keep flowing with the caveman-simplistic, but hooky riff-rolling of “Barbed Wire,” and “All Shall Fall,” which nods to Novembers Doom and Cemetery as well as olde Paradise Lost while delivering a massive truckload of prime riff beef to your doorstep. Could I do without the album closing with a re-recording of a song off their debut? Sure, but it provides a nice comparison point for where the band started and where they are now. Does the album feel long at 57 minutes? Not really. I assumed it was a 45-minute platter and was quite surprised when I saw the actual length. That’s a feather in their cap to be sure.
With J.G. handling almost all the guitar work, all other instruments, as well as the songwriting, lyrics, and backing vocals, this is his baby, and he deserves the lion’s share of credit for how effective and listenable Sacrifice All Life ends up. Sure, the shouted cleans are one-dimensional and don’t always work as well as they could, but that’s a minor niggle in the wake of the things that do work. The riffs make this album seethe and bubble with energy, and there’s way more fire and fury here than any doom-death platter should be allotted. If it’s Rens van Herp doing the death roars, kudos to him, as they’re massive, raw, and primal, giving the material all the heaviness it needs. The real star of the show is the songwriting, which manages to use fairly simple, stripped-down music to make long-form compositions pop and sizzle. Not an easy task, but Doomcult do it well.
Sacrifice All Life is another easy-to-miss release you likely won’t hear much about, but it definitely deserves attention. It isn’t doom-death, and it isn’t death-doom, but it sits somewhere in that inky blackness between the genres, and it packs a big wallop. I’ve been spinning it over and over and keep finding new things to appreciate. I’m now investigating their back catalog and studying up on this little Cult that could. You should too. Be a joiner!
On October 14, 2006, My Chemical Romance scored their first (and, to date, only) UK number one single with Welcome To The Black Parade, the striking centre-piece of their soon-to-be-released third album third album, The Black Parade. This was a genuinely remarkable achievement for a band who, just five years earlier, were playing basement shows in their native New Jersey and giving away their songs for free on MySpace. But while their commercial break-through was celebrated loudly by MCRmy loyalists in the UK, not everyone was on board with emo’s new superstars.
In the same week that Gerard Way’s band stormed to the top of the British charts, another fast-rising rock band, homegrown indie darlings Kasabian, hit out at the band for their “weird and dark” music, labelling the quintet “sad” and claiming that they “don’t have anything positive to say.”
“It’s like ventriloquists’ music,” fumed frontman Tom Meighan. “It’s weird and dark…The only good news is that it won’t last. These clowns won’t be around for much longer.Their make-up will flake off and the scene will die out. And it can’t happen soon enough.”
“I just can’t relate to it,” added guitarist Serge Pizzorno. “We are about decadence, having a good time and getting off your head. We champion youthful rebellion. We’re into peace and love, spreading harmony and having respect for people. But these people are the absolute opposite. It’s sad. These emo kids should get out more and try and have a good time instead.”
While this small-minded and inaccurate critique of the band revealed much more about Kasabian’s vanilla outlook than My Chemical Romance’s music or worldview, the Oasis-worshipping Leicester band’s comments were reported all all over the world, and soon reached the MCR camp, who found the English band’s ignorance hugely amusing.
“This band has never had a bullshit war ever,” Gerard Way responded. “I haven’t found an opponent worthy enough yet. If you’re gonna take me on, you’d better have the balls for it! If you’re gonna talk shit about us, you’d better have the juice. And we haven’t found anybody with the juice yet.”
As it turned out, there was room on planet earth for both bands.
Kasabian have since racked up seven UK number one albums, the most recent two featuring Pizzorno on lead vocals following the band’s July 2020 dismissal of Tom Meighan, while, 20 years on from the ex-Kasabian man’s prediction that they “wouldn’t be around for much longer”, My Chemical Romance have just played three sold-out shows at London’s 90,000-capacity Wembey Stadium to celebrate the 20th anniversary of their defining album.
Not bad for a bunch of “clowns”.
In a heart-warming post-script, the ‘feud’ was settled amicably almost as soon as it started.
“Just after that came out I got on the plane and who was sitting next to us for about eight hours? My Chemical Romance!” Tom Meighan later told Q magazine. “I’m face to face with the singer. We’re looking at each other, so I said ‘Look man, let’s have peace here!’ And he just laughed. He bought me a bottle of champagne and we got pissed. What a sweet man. He’s fucking cool!”
Ella Langley has moved from Alabama bar stages and independent releases to the center of modern country music with a catalog built on sharp storytelling, traditional influences, and an unmistakable vocal presence. This complete A-to-Z guide gathers her EP tracks, album songs, acoustic recordings, collaborations, featured appearances, and singles through July 2026. Ella Langley grew up in Hope Hull, Alabama, in a musical family, developing a love for singing and songwriting at an early age. She sang in church, learned guitar from family members, and began writing her own songs as a teenager. By the late 2010s, she was performing
Ella Langley is a 27-year-old American country singer and songwriter from Hope Hull, Alabama. Born Elizabeth Camille Langley on May 3, 1999, she moved to Nashville in 2019, signed with Columbia Records and Sony Music Nashville in 2023, and became a major country name after “You Look Like You Love Me,” her duet with Riley Green, broke through in 2024.
By 2026, her career had expanded far beyond one viral hit. Her second album, Dandelion, arrived on April 10, while “Choosin’ Texas” reached No. 1 on the Billboard Hot 100 and made chart history across country radio, streaming, and sales.
Langley’s rise joins an old-country vocal style and direct storytelling with a modern route to fame built through touring, social media, collaborations, and strong fan demand.
Ella Langley Quick Facts
Fact
Detail
Full name
Elizabeth Camille Langley
Date of birth
May 3, 1999
Age in July 2026
27
Hometown
Hope Hull, Alabama
Profession
Country singer and songwriter
Labels
SAWGOD, Columbia Records, Sony Music Nashville
Debut EP
Excuse the Mess (2023)
Studio albums
hungover (2024), Dandelion (2026)
Breakthrough song
“You Look Like You Love Me” with Riley Green
First Hot 100 No. 1
“Choosin’ Texas”
Her record deal and early label career were confirmed through the MusicRow signing announcement, while her releases have also been documented by Columbia Records, Sony Music Nashville, Apple Music, and her official website.
Where Is Ella Langley From?
Ella comes from Alabama
Ella Langley is from Hope Hull, a rural community near Montgomery, Alabama. Her Southern background is central to her music, although her listening habits were broader than a standard country upbringing.
Her grandfather played several instruments and hosted informal music gatherings. After he died, Langley inherited his guitar and taught herself Bob Marley’s “Three Little Birds.”
Her parents also exposed her to a mixed record collection. Hank Williams and Merle Haggard sat beside Pearl Jam, Depeche Mode, folk recordings, and classic rock.
Spoken verses, steel guitar, rock-influenced stage energy, and conversational lyrics all appear in her work, reflecting that unusually wide musical background.
How Did Ella Langley Start Her Career?
Langley performed around Alabama before leaving Auburn University and moving to Nashville in the summer of 2019. She had studied forestry, but live shows and songwriting had become the clearer career path. She was 20 when she relocated, according to a Wall Street Journal profile.
Early momentum came from regional performances and music shared online. “If You Have To” gained attention on TikTok in 2021, giving listeners an early example of her husky vocal delivery and emotionally blunt writing.
Touring with Randy Houser and later opening for larger country acts brought her before established audiences.
A major shift arrived in February 2023, when Columbia Records and Sony Music Nashville announced her record deal. Langley made her Grand Ole Opry debut on February 17, introduced by fellow Alabama singer Jamey Johnson. Her eight-song EP Excuse the Mess followed on May 19.
Ella Langley Career Timeline
The sequence reflects a steady build rather than an overnight discovery. Viral clips helped, but bar shows, opening dates, co-writing sessions, and label development came first.
Which Song Made Ella Langley Famous?
“You Look Like You Love Me” made Ella Langley famous to a national audience. Released in June 2024, the duet with Riley Green stood apart because Langley delivered her opening section as spoken narration instead of a conventional sung verse.
The format recalled older country recitations, yet short-form video made it immediately shareable. Langley later said she pushed back when label representatives wanted the verses sung.
Keeping the spoken approach proved important because the structure became one of the record’s most recognizable features, as she explained in a People interview.
The track became her first Billboard Hot 100 entry, reached No. 1 on Country Airplay, and won Musical Event of the Year at the 2024 CMA Awards. Its awards run continued in 2025, when the CMA recognized it for Single of the Year, Song of the Year, and Music Video of the Year.
The duet also changed her position in the industry. Langley could headline larger venues, receive sustained country-radio support, and introduce her debut album to listeners who already recognized her voice.
What Are Ella Langley’s Biggest Songs?
Song
Career Significance
“If You Have To”
Early online breakthrough
“You Look Like You Love Me”
National breakout and major award winner
“Weren’t for the Wind”
Confirmed demand for her solo material
“Choosin’ Texas”
First Hot 100 No. 1 and record-setting crossover
“Be Her”
Expanded the sound of the Dandelion era
“Choosin’ Texas” became the defining song of her 2026 career. Written by Langley with Miranda Lambert, Luke Dick, and Joybeth Taylor, the lost-love ballad reached No. 1 on the all-genre Billboard Hot 100.
It also became the first song by a woman to lead the Hot 100, Hot Country Songs, and Country Airplay at the same time, according to The Washington Post.
Radio programmers reportedly asked for the record before the formal promotional campaign had fully gathered pace, an uncommon reversal in a format where labels usually lobby stations for playlist additions. The response points to genuine listener demand rather than a chart result driven solely by marketing.
Ella Langley’s Albums
Dandelion is her third album
Langley’s releases show how her sound developed from an introductory EP into full-length records with greater emotional and stylistic range.
Excuse the Mess
Released in May 2023, Excuse the Mess introduced Langley through eight songs, including “Make Me Wanna Smoke,” “Country Boy’s Dream Girl,” and the Koe Wetzel collaboration “That’s Why We Fight.” The complete Apple Music track listing confirms the EP’s running order and release details.
The project established her interest in desire, conflict, and imperfect relationships while introducing the low, weathered vocal tone that would become central to her identity.
hungover
Her debut album hungover arrived on August 2, 2024, with 14 tracks, all co-written by Langley. Producer Will Bundy shaped a consistent mix of barroom country, radio polish, and darker emotional detail. A deluxe edition, still hungover, followed in November with five added songs. Further album release details document both editions.
“Weren’t for the Wind” became important because it kept the album era from being reduced to one successful duet. Its restless outlook and open-road imagery suited her public identity, while its commercial performance showed that listeners would follow her solo work.
Dandelion
Dandelion was released on April 10, 2026, through SAWGOD and Columbia Records. The 18-song album was executive produced by Langley with Miranda Lambert and Ben West.
Its title reframes the dandelion as a symbol of resilience, independence, and growth in unlikely places, according to the Sony Music announcement.
The Associated Press review praised the record’s old-soul country character and connection to the genre’s history. “Choosin’ Texas,” “Butterfly Season,” and “Loving Life Again” widened Langley’s emotional range, moving from jealousy and regret into recovery and self-possession.
Langley’s voice is low, textured, and immediately identifiable. Her phrasing often feels closer to direct conversation than vocal display, which suits lyrics built around flirtation, resentment, loneliness, or stubborn confidence.
Her sound draws from classic country storytelling and Southern rock performance. Stevie Nicks, Willie Nelson, Jamey Johnson, Ronnie Milsap, Hank Williams, and several rock acts have appeared in accounts of her influences. She uses older musical devices inside contemporary production rather than copying one period.
“Choosin’ Texas” offers a useful example. Steel guitar and geographic references give it a traditional frame, while a compact hook and social-media-ready lyric helped it travel beyond country radio. “You Look Like You Love Me” works differently, using spoken storytelling and duet chemistry.
How Successful Is Ella Langley in 2026?
She won numerous ACM Awards in last two years
By July 2026, Langley had moved from rising artist status into country music’s top commercial tier. Dandelion was her current studio album, “Choosin’ Texas” had led the Hot 100, and her touring operation had grown into arena-level business. Current dates and appearances can be checked through her official tour listings.
Awards provide another measurable signal. Langley led the 2025 ACM Awards with five wins. At the 2026 ceremony, the Academy credited her with a record seven trophies in one year, including Female Artist of the Year, Artist-Songwriter of the Year, and honors connected to “Choosin’ Texas” and “Don’t Mind If I Do.” The results appear in the Academy’s official winners list.
Her growth is unusual because commercial success did not require abandoning country conventions. Spoken narration, steel guitar, narrative lyrics, and references to older songs became selling points.
Social media accelerated discovery, while radio, touring, awards voters, and album listeners supplied separate proof of staying power.
FAQs
Who are Ella Langley’s parents?
Her parents are Jason and Heather Langley.
How many siblings does Ella Langley have?
She has three siblings and is the second-oldest of four children.
Did Ella Langley sing as a child?
Yes. She was already performing at church when she was 3 years old.
Are Ella Langley and Riley Green dating?
No relationship has been publicly confirmed. Langley described Green as a good friend in 2024.
Why does Ella Langley wear bangs?
Her signature bangs began after a self-cut hairstyle went wrong before a show.
Final Word
Ella Langley’s biography is still being written, but the central arc is clear. A singer from Hope Hull turned years of local performances and Nashville songwriting into a major-label career, then converted one distinctive duet into a broader run of solo hits.
At 27, she has two studio albums, major CMA and ACM awards, a Billboard Hot 100 No. 1, and a recognizable musical identity. Strong songs, creative control, and an audience willing to follow her from viral clips to full albums have made her one of country music’s defining new stars.
Little Dutch doom-death band Doomcult have been lurking around for 10 years, releasing three albums that haven’t earned them a large slice of mainstream notoriety. Starting life as the solo project of one J.G. Arts, Doomcult has been a vehicle for expressing J.G.’s adoration for the classic Peaceville-era sound made famous by My Dying Bride, Anathema, and Paradise Lost. Early albums played out like a love letter to the 90s Gothic-doom sound, with long, meandering compositions wallowing in chronic sadboi dysfunction. Fourth release, Sacrifice All Life, finds J.G. still running the show, but this time he brought in a vocalist to help round out the sound. The overall sonic blueprint has also been tweaked to incorporate more aggressive tempos and a greater death metal element to anger up the doomy musings. This makes for an interesting collection of tunes with a surprising amount of in-your-face heaviness and extremity.
