John Mayer returns from the battlefield of love having lost Jennifer Aniston, but having gained some perspective, and his music is better for it.

Jeremy Camp’s message never gets old, but his delivery continues to improve with time. I saw him last year in Fresno sharing the stage with TobyMac and his messages and testimony were compelling; but his live show has improved tenfold.

Casting Crowns has owned a spot on regular play in my car for five-plus years now, but I’m still holding the old stuff over the last two non-Christmas albums. But of course, there are exceptions.

Norah Jones emerges from her loss with a new sense of self, and a new sound, too. Most of it is a far cry from “Don’t Know Why,” but nothing in this life stays the same, and it’s nice to see her finding a way to keep moving on.

The focus of the month here in the music update is worship in its many forms and styles. But I am excited about our “Twelve Days of Christmas Music” coming December 1st-12th. I hope that you’ll come back each day for the first two weeks of December…

The Cherry Poppin’ Daddies might surprise you, if all you know is “Zoot Suit Riot.”

Cocky or self-assured? Every Avenue is figuring out their own methods, and baring their soul, while they walk the road together.

McGraw doesn’t sing gospel. He doesn’t have to: the gospel of his faith sings out from many of the songs in studio album #10. The truth is lurking there underneath the cover, and the hope that is offered is real and certainly not hidden.

Thirty years running, Bon Jovi has been rocking the charts and moving our hearts. That sounds like cheesy ’80s rock, but it works for some of us.

TSO tells us a story of love, pain, war, death, resurrection, forgiveness, and hope, through their lyrics, their songs, and their story, redefining “concept album” for the twenty-first century.

Creed has changed, but they’ve also remained the same. The metaphysics of life still lie in the balance, but no trite answers will be found here.

Nate Watts sat down with Chad Butler of Switchfoot to find out what makes the drummer tick and how Switchfoot’s impact continues to grow after a decade in the music industry.

Robbie Williams continues to work this side of the pond, hoping he can replicate his European success in the American market, with self-deprecating humor all around. With rumors of a Take That reunion looming, who knows what the future will hold?

The Almost can’t be considered a side project anymore. Touring with the Used, The Almost shows that Aaron Gillespie is more than fronting in his time away from Underoath.

Switchfoot returns on their own terms with an album that will rock your world, and fill it with hope, too. I couldn’t be more excited to talk about this album with others who hear it.

With crushing guitar riffs and so much more, these four guys seem to balance touring, college courses, and a growing fanbase extremely well.

Full of Glee? It’s hard to have missed NBC’s ads for the school club show about singers, but if you have, their first volume of covers is worth a shot.

Put the album in, snap your fingers, sing along, and enjoy life!

Cartel’s rock is infectious and energetic, two things more bands could use. From a content perspective, there’s just not a lot here, but from a sound and style, Cartel is a fun listen, whether you’re sitting at home or riding in the car.

John Ondrasik tells stories throughout his albums. No matter which one you like the best, there are plenty of songs to move your heart. Maybe in Slice he has captured one of yours.