March 2026 New Albums (so many)
March 2026 Albums Sampler Spotify Playlist
Intro - Too Much of a Good Thing
Where to begin with March?
While world history has spun into another chaotic chapter (oh, The Ides…), and rockets were flying overhead, it was particularly difficult to focus on the music towards the end of the month (which is why it’s now the end of April). I have reached my bandwidth. Passed it, actually.
March brought a barrage of new albums. Some hit instantly, some will percolate for later; only time will tell who will rise and who will sink in this streaming state of life.
Just for detailed comparison, I usually list 15-20 albums per month to check out (that’s a lot, agreed). Then I sift through to whittle them down to the ones recommended on this list. But on March 27th, the music industry released 13 new albums that I wanted to spin…no one asked, but spoiler alert - there’s already one major “casualty” that was bumped to next month.
Art and music, in particular, feel closer when quality surpasses quantity.
While it’s perfectly valid and enriching to revisit favorite films and TV series from time to time, returning and replaying music albums (or, for that matter, re-reading books) is another experience altogether. It’s magnifying. Pop music is specifically designed for repeat listening. The hooks climb in and move from the ear and head to the heart.
When there are too many albums in one month (or year), they are each granted less time to sink their hooks and develop their hold. I may learn that next time I should maybe split the post. Or write my musings while I listen, but I do want to give albums the chance to reverberate and not feel forced to write immediate reactions. They change.
And with that intro out of the way (do I take it too seriously, perhaps), the theme of this month might be indie-pop. It’s a worthwhile point to ponder (at some point) as to what constitutes “indie-pop” (do you have any thoughts?), and why I feel major boldface artists like Robyn and Harry Styles, in letting their eccentric selves play in that zone, are adding to this sub-genre.
So now let me introduce you to this month’s shimmering moons, stars, and other satellites:
Indie-Pop Constellation
A new Robyn album is something to celebrate and luxuriate over. Like a comet, she appears every 5-7 years, shines lovely and bright, adding new ingredients to her evocative electropop brew, and leaves a trail of brilliance for us to enjoy and for others to try and emulate. It’s her 7th album and just as infectious and striking. I picked the deliriously fun Max Martin-co-produced “Talk to Me” as a preview in January, so this time I’ll highlight the gorgeous closer “Into the Sun”.
One of the top male artists in the pop arena. Somehow it feels as though he’s intentionally downplaying his own immense popularity, creating curtains for himself to hide behind, veil himself, and soften the world’s gaze by letting the music speak louder than his own presence, lyrics, and even vocals. Contrasting his version of pop stardom (and male pop stars) with the female pop stars would be a fascinating topic to explore. Back to the album, though, there’s a smooth flow to it, it’s inviting and sophisticated in its production, and it’s uplifting. “Aperture” is the standout, but having already highlighted it in January (seeing a pattern here), I will select the pure joys of “Pop”.
And from the reliable and familiar to the brand new for me:
Indeed, everything glows. I must confess, I had not known them before this one. The more I listened to this glide of an album, the more songs I wanted to highlight, and it was orbiting closer to my heart. This is what my indie-pop dreams probably sound like, painting lush skylines and lights both natural and artificial in a brilliant swirl of fun. It’s their fifth album, but first for me; it quickly hooked me and is on its way to becoming one of my favorite new albums.
She is a DJ and producer (how cool), and this is her 2nd album with the Charm. Light feathery vocals, serious hooks, and a bold musical landscape that takes chances; her record-spinning days are definitely on display on some of these tracks.
AllMusic describes them as “Los Angeles-based synth pop duo who tout carnivalesque fashion and '80s-inspired synths.” Songwriters Michelle Buzz and Lance Ship previously wrote for some of the biggest pop stars - Buzz for Kylie Minogue on “DISCO” and for Katy Perry on “Never Really Over”. Shipp for THE Britney Spears on “Coupure Électrique” (a gem from her Glory album) and for Calvin Harris on “Obsessed”. Those are some serious credentials. I love their dramatic flair on this debut album. Their music makes me imagine an under-the-radar theatrical version of Lady Gaga, or less radio-friendly Sabrina Carpenter/Chappel Roan (I enjoy this album and might actually give Chappel Roan another chance, despite my continuing reluctance).
When I listen to it, I enjoy it immensely, down the left turns, the surprising production, the exuberance, and the fun of her 2nd album (first for me). I think in a sense it reminds me of The Naked and the Famous in its brashness and energy. I need to listen to it more; if forced, I’ll have to repeat what I wrote for Cannons and Avalon Emerson (both above) in other revelatory words.
Honestly, it’s hypnotic, it’s electronic (the kind I love), it’s new, it’s got hooks, and it somehow faded due to the amount of new albums I had experienced in too short a time. It’s their eighth album, but their first full one for me.
Mental Lifelines
The next two albums on the list deserve credit for pulling me through the tougher parts of March, when I needed to be productive. Meaning I played them in the background when I needed to focus on working or concentrating, they were comforting, inspiring, validating, and kept me going.
They are quite different, so it’s a bit unfair to lump them together, but they both represent dazzling, more sombre and contemplative soundscapes and atmospheres with parallel themes.
His 7th studio album
His 5th studio album
Legend, Late Blooms & Getting Unstuck
I stumbled upon them because they collaborated with KT Tunstall, who’s one of my favorites, then I saw they also collaborated with James Morrison -another good signal for this album. When I listened to the album, it reminded me of a differently flavored Snow Patrol and Keane. With those associatives, how am I only now hearing of them?? It’s their Fifth album.
And from one fifth album to another fifth album, but this is a different story. As a long-time Grey’s Anatomy enthusiast (from the very first episode when it originally aired), I can say that its soundtrack has profoundly influenced my musical taste. It introduced me to so many of my absolute favorites, and it is a constant, fertile ground for musical discovery. The Fray were part of peak Grey’s with “How to Save a Life”; a part of the show’s DNA and mythology. It warms my heart to hear them back, in such good form, and recall those drives years ago down Ohio roads, listening to their songs, imagining where life will lead.
Arguably the biggest popstar on the planet - Taylor Swift sings on her confessional 11th album title track, “The Tortured Poets Society,” that “…Charlie Puth should be a bigger artist” - what a wild moment for him! Even though one of his biggest hits is a duet with Selena Gomez! (“We Don’t Talk Anymore”) It’s his 4th album. Like many of his boldface peers in that age group that broke out in the mid‑2010s pop wave, he passed me by. Striking falsetto, slick melodies, and yet for me, it just didn’t gel. “Attention” and “We Don’t Talk Anymore” were heard all over and were enough for me. I didn’t feel the need to listen to his albums. Also, I didn’t have the bandwidth back then. I missed out on his whole cohort. But this new album got my attention. The lead single is an updated, though very 80s Peter Gabriel reminiscent, and there’s a lot of really pleasant yacht-rock on this album. It’s growing on me, I’m surprised, it’s a delight. Also, the algorithms on social media seem to push his interviews on me, and I really enjoy his producing and songwriting insights (and surprisingly lower speaking tone of voice).
Another one of those acts that were buzzed and written about a few years ago among music critics, that I had to find out for myself. Lo and behold, it really reminded me of Momma’s last album (one of my favorites from last year). Then I found out she worked with that album producer Aron Kobayashi Ritch. The critical establishment had a more mixed reaction to this album. It seems to recur that when a critical darling finally breaks through for me, or expands to a poppier sound, the same critics are less enthused about their latest album. I really enjoy it and wish it came out in a less crowded month. So I can give it more attention.
I’m going to give this good ol’ fashioned record the credit it’s due. I’ve known of Melissa Etheridge as a rock and music personality rather than from her music for years. Besides “I’m the Only One”, I don’t believe I know her songs or have heard her albums - this is her 17th. I am certain she has influenced some of my favorite singer-songwriters - Alanis, Sheryl and Michelle Branch for sure. I listened to this one on the first morning after I finally went for a run and didn’t have to rush back in fear of an alarm. Its message on “Rise” may be simple, obvious even, but true nonetheless - “you’re gonna fall to your knees, then you’re gonna rise.” I love the fusion of folk, country, and rock. At moments, it reminds me of Faith Hill’s rockier moments at the top of her pop-crossover, and that’s the song I chose for the playlist “Don’t You Want a Woman”. Also, it’s poignant to hear Melissa’s personal songwriting, especially on “Tomboy”- what a great message to send out there for little girls, and while I’m not a woman, “To Be a Woman” feels honest and raw. Respect.
Also, on a meta-note, listening to this album helped me to overcome this not-quite-writer’s block—more like music‑listener’s block. I have my list as a guide, and I try to find the best slot to slip the new albums so I can evaluate and let them take me on a journey. But I don’t want it to feel like a chore, and March 27th put me to the test.
For the Advanced (Where It Gets Weird) + Future Flickers
A well-established alternative rocker of Sonic Youth fame that is so critically acclaimed, I had to check it out for myself. Lo and behold, while her last album didn’t really cut it for me, this one, though it’s odd at times, cast its teeth. It feels to me like what would have happened had Lana Del Rey’s terrific song “A&W” developed into a full album of darkly unexpected and offbeat rhythms.
They had a major bop with the TikTok-shattering “i like the way you kissed me” in 2024, and I enjoyed their first album of dark electronica. This 2nd album feels somehow better than the music The Weeknd has been regurgitating in recent years. It oscillates between the loud and more melodic elements.
These next ones are excitingly different. I haven’t heard much of them, and this is already too long, so I’ll just put them here. These are the small flickers I like to discover and give more time to (when I can). Let’s see when I revisit them again...
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