{"id":60663,"date":"2026-03-23T14:25:41","date_gmt":"2026-03-23T14:25:41","guid":{"rendered":"https:\/\/musicianvoice.com\/index.php\/2026\/03\/23\/the-64-most-anticipated-albums-of-spring-2026\/"},"modified":"2026-03-23T14:25:41","modified_gmt":"2026-03-23T14:25:41","slug":"the-64-most-anticipated-albums-of-spring-2026","status":"publish","type":"post","link":"https:\/\/musicianvoice.com\/index.php\/2026\/03\/23\/the-64-most-anticipated-albums-of-spring-2026\/","title":{"rendered":"The 64 Most Anticipated Albums of Spring 2026"},"content":{"rendered":"


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Faces<\/h2>\n

TBA<\/p>\n

Fifty-three years is a long-ass time to wait between albums but \u201870s rock staples Faces\u2014who initially disbanded in 1975 and have performed sporadically over the years\u2014promise they still have the juice. Remaining members Rod Stewart, Ronnie Wood, and Kenney Jones have been writing together on and off since 2020, with Stewart telling<\/a> the Telegraph<\/em> in 2021 that the band had recorded some \u201cextremely worthy songs\u201d (\u201cWe will get it finished, I promise\u201d he said, about a new record. \u201cNo other band sounds like us.\u201d) Jones followed Stewart\u2019s pledge with a 2025 confirmation that Faces had recorded 11 new tracks, most of which will appear on the next album. \u2014Alex Suskind<\/p>\n\n

Fcukers: \u00d6<\/em><\/h2>\n

March 27<\/p>\n

If Fcukers<\/a> manage to ascend from New York buzz band purgatory, it\u2019ll be because they don\u2019t take themselves too seriously. Or because of a cross-coastal assist from Kenneth Blume<\/a>, the producer formerly known as Kenny Beats, who treats the trashiest strains of electroclash and Eurodance as just more crayons in the box. Or because most of the hooks on Shanny Wise and Jackson Walker\u2019s debut full-length, \u00d6<\/em>, are so Kindergarten-simple\u2014\u201dL-U-C-K-Y I\u2019m lucky,\u201d \u201cI like it like that,\u201d \u201cSay you wanna party? Come over to my house\u201d\u2014that they\u2019ll still be rattling around your skull days after the rave. \u2014Walden Green<\/p>\n

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Flea: Honora<\/em><\/h2>\n

March 27<\/p>\n

Flea seems like the kind of guy who would already have a half-dozen solo releases under his belt. But the forthcoming album from the Red Hot Chili Peppers\u2019 bassist is actually his first. Lead single \u201cA Plea\u201d blends Flea\u2019s slap-heavy bass riffs and peppy trumpet section with lyrics about America\u2019s sordid affairs: \u201cIs the ugly coming, and the guns? (Civil War, Civil War) \/ Is the army coming, blotting out the sun? (Civil War, Civil War).\u201d Still, Flea maintains he has no interest in \u201cthe act of politics.\u201d \u201cI think there is a much more transcendent place above it,\u201d he said in a statement, \u201cwhere there’s discourse to be had that can actually help humanity, and actually help us all to live harmoniously and productively in a way that’s healthy for the world.\u201d \u2014Alex Suskind<\/p>\n

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Foo Fighters: Your Favorite Toy<\/em><\/h2>\n

April 24<\/p>\n

The title track<\/a> on Your Favorite Toy<\/em><\/a> is brash and snarky and full of fuzzy vocals. According to Dave Grohl, it\u2019s the single that unlocked the overall tone and energetic direction Foo Fighters<\/a> wanted to go for their follow-up to 2023\u2019s But Here We Are<\/em><\/a>. Recorded at home with Oliver Roman, the rest of Your Favorite Toy<\/em> is more in line with the snippy Australian rock of the aughts, but it feels new in the hands of Foo Fighters. Even when they slow the pace on single \u201cAsking for a Friend<\/a>,\u201d they snake a venomous guitar solo into the heart of the track to pump it full of blood. \u2014Nina Corcoran<\/p>\n

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Foo Fighters: Your Favorite Toy<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n

Friko: Something Worth Waiting For<\/em><\/h2>\n

April 24<\/p>\n

Friko expanded from a duo to a quartet and hired superproducer John Congleton for the follow-up to cult-making 2024 debut Where We\u2019ve Been, Where We Go From Here<\/em><\/a>. The Chicago band sounds accordingly beefed-up and business-ready on Something Worth Waiting For<\/em>, an album whose indie-rock flair, psych-pop charm, and heartland-rock gusto make it equally suited to a bedroom shrine or festival big-top. If the album positions them in the lineage of sometime tourmates Modest Mouse and the Flaming Lips, Something Worth Waiting For<\/em> sounds less like a swing for the big time than a merry jaunt into its general vicinity, happy to pick up any alt-rock lifers who\u2019ll come. \u2014Jazz Monroe<\/p>\n

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Friko: Something Worth Waiting For<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n

Gia Margaret: Singing<\/em><\/h2>\n

April 24<\/p>\n

\u201cThere was a time when I really didn\u2019t know if I would sing again,\u201d Gia Margaret shared in press materials for her new album, Singing<\/em>. If the title offers any indication, her concern proved to be unfounded. Margaret has spent the past near-decade recovering from the loss of her voice on a 2018 tour, releasing two ambient and piano-forward albums in the interim. But her next record, partially recorded with Frou Frou\u2019s Guy Sigsworth, foregrounds Margaret\u2019s vocals against a bricolage of Gregorian chants, icy electro pop and turntablist flourish. \u2014Hattie Lindert<\/p>\n

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Greg Mendez: Beauty Land<\/em><\/h2>\n

May 29<\/p>\n

When Greg Mendez<\/a>\u2019s music broke beyond his local Philadelphia scene and into the broader nationwide consciousness with 2023\u2019s self-titled record<\/a>, many pointed at Elliott Smith and Alex G to describe his music. Mendez has a voice of his own, though, and that\u2019s increasingly clear while spinning Beauty Land<\/em><\/a>, his fourth album and first for Dead Oceans. Over threadbare acoustic guitar, hollow piano notes, and the occasional percussive additions, these 14 songs track characters as they try to work through grief, love, and addiction. Recorded directly to tape, Beauty Land<\/em> is an empathetic look at the fragile moments that comprise people\u2019s lives. \u2014Nina Corcoran<\/p>\n

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Hiss Golden Messenger: I\u2019m People<\/em><\/h2>\n

May 1<\/p>\n

When M.C. Taylor started his folk project Hiss Golden Messenger<\/a> nearly 20 years ago, he didn\u2019t expect it to take him as far as it has: over a dozen albums, unlikely collaborations, and a deeper understanding of what life is all about\u2014even if it\u2019s hard to put into words. On I\u2019m People<\/em><\/a>, Hiss Golden Messenger press their palms together and dive headfirst into it all: losing faith, having babies, growing older, dashing expectations, rediscovering hope, feeling seen, and savoring the nature surrounding you. Recorded at a decommissioned church in upstate New York, I\u2019m People<\/em> captures a new bundle of imagery that Hiss Golden Messenger spot so effortlessly, this time with additional instrumentation by Bruce Hornsby, Fruit Bats<\/a>\u2019 Eric D. Johnson, Dawes<\/a>\u2019 Taylor Goldsmith, and more. \u2014Nina Corcoran<\/p>\n

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Hiss Golden Messenger: I\u2019m People<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n

Honey Dijon: The Nightlife<\/em><\/h2>\n

April 17<\/p>\n

House icon Honey Dijon<\/a> is back and more famous than ever. For The Nightlife<\/em>, Chloe Bailey lends her sugary pop vocals to the big-room house of \u201cNightlife,\u201d Bree Runway emcees over runway track \u201cSlight Werk,\u201d and Mahalia coos over \u201cRush Me,\u201d which shows off chirpy freestyle synths and a snaking bassline that would make Larry Heard proud. This is an album bridging together the queer club culture of Honey\u2019s homes in New York, Chicago, and London, drawing from late \u201980s Chicago house, early \u201990s ballroom, and synth-heavy R&B funk. It\u2019s definitely clubby, but poppy enough to blare on the radio. \u2014Kiana Mickles<\/p>\n

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Honey Dijon: The Nightlife<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n

Irreversible Entanglements: Future Present Past<\/em><\/h2>\n

March 27<\/p>\n

Irreversible Entanglements<\/a> do not let up: Future Present Past<\/em>, the free-jazz collective\u2019s latest call to action, unites the mind and nervous system in a surge of hyper-focused chaos. The five-piece sets liberatory mantras to music that evokes a carnival of the soul, propelled by freeform drums that clamor forth as if to outpace our grim times. \u201cIt is our duty to vibrate higher, beyond the noise, above the hype, away from the novelty, over the walls, across the borders: to keep going,\u201d the band said in press materials. A pair of Helado Negro collaborations bookend the album, and New York-based vocalist Motherboard returns to join firebrand singer-poet Moor Mother as a guest vocalist. \u2014Jazz Monroe<\/p>\n

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Irreversible Entanglements: Future Present Past<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n

Isaiah Rashad<\/h2>\n

TBA<\/p>\n

An Isaiah Rashad<\/a> album is no hurried thing. His past two LPs, 2021\u2019s The House Is Burning<\/em> and 2016\u2019s The Sun\u2019s Tirade<\/em>, have each taken around five years to germinate\u2014which means we\u2019re right on schedule for Rashad\u2019s next release, which he\u2019s begun to offhandedly tease as his best album ever. In interviews<\/a>, he\u2019s cited influences from Prince and Outkast to Foushe\u00e9 and BunnaB, a characteristically eclectic palette that hopefully reflects in the credits.<\/p>\n<\/div>\n


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