Jamfest Weekly Roundup
There are two kinds of evenings in the live music world. The first kind asks you to show up, receive what is being offered, and go home entertained. The second kind asks something more of you. It asks you to sit with the music, to let it locate something inside you that you did not necessarily know needed locating, to feel the weight and the history and the living presence of an art form that has been building itself across generations and is still, tonight, still becoming. Tonight at JamFest, we are offering the second kind. Twice.
Beginning at 7:00 PM, All Things Considered Live brings you inside one of the most legendary performances in American festival history: B.B. King at the Newport Folk Festival in 1989. By the time that broadcast gives way to the NewGrass Radio Show at 9:00 PM, we will have moved through nearly the entire spectrum of what American roots music is and what it is continuing to become. This is a night for listeners who understand that the blues and the banjo, the Newport stage and the newgrass festival field, and the archive alongside the brand-new album dropping this Friday are all connected, all telling the same story, and that story has never been more alive than it is right now.
Sweet Relief Musicians Fund has launched a month-long online charity auction called Jam Band July, and the initiative deserves more attention than it typically receives from music publications that cover the news without exploring the deeper story behind it.
The auction features autographed vinyl, festival VIP packages, and memorabilia donated directly by Phish, Dave Matthews Band, Widespread Panic, and John Mayer. That is a collection of names representing billions of combined streams and decades of live music experience. The artists giving back through this auction are not doing so for publicity. They are doing so because the community of musicians, crew members, and music industry workers that Sweet Relief serves has always operated as an extended family, and the jam and roots community has historically understood the obligations that family membership carries.
Sweet Relief Musicians Fund exists because the economics of a life in music, especially for musicians who work outside the commercial mainstream, who tour in vans rather than buses and record in home studios rather than major label facilities, frequently leave people without the financial cushion to survive medical emergencies, unexpected income disruptions, or the health crises that come from years of demanding physical and emotional work on the road. The fund provides direct financial assistance to working musicians in need, and the artists who donate to its Jam Band July auction are expressing, in the most practical way available, their belief that the community’s most vulnerable members deserve to be supported by the community’s most successful.
For the JamFest audience, participating in or spreading awareness of Jam Band July is a direct way to contribute to the health of the ecosystem that produces the music we all depend on. The auction is live now. The artists who donated have made a gesture that deserves to be met with equal generosity from the community they have always served.
In the world of singer-songwriters and the NPR-adjacent live performance space that All Things Considered Live inhabits so comfortably, one of the week’s most compelling stories belongs to someone who has not yet had years of career to reflect on. That is precisely what makes her arrival so exciting.
Sienna Spiro is twenty years old, British, and making her Austin City Limits debut with a global livestream that will showcase tracks from her new album Visitor to an audience reaching far beyond any physical venue. Austin City Limits is the longest-running music performance series in American television history, and the decision to bring a twenty-year-old British singer-songwriter into that lineage for Season 52 is a statement about both the quality of her work and the show’s continued commitment to finding artists who matter before the rest of the world has fully caught up with them.
ACL has a remarkable track record in this regard. The artists who have passed through that studio across five decades represent a comprehensive history of American music and its global extensions, and many of them appeared for the first time before the wider public was paying sufficient attention. Spiro’s appearance places her in that lineage, and the global livestream format ensures that her ACL debut functions as a genuine introduction to a worldwide audience rather than a local event that filters gradually outward through word of mouth.
Not every story in a week like this one needs to carry the weight of institutional significance or decade-long artistic development. Some stories exist simply to remind us that live music is capable of producing moments that nobody planned, and that the best surprises in this world come from musicians who love music enough to say yes when the opportunity presents itself unexpectedly.
Jason Newsted, the bassist whose decade with Metallica placed him in one of the most commercially successful and culturally significant metal bands in history, is currently on the road with his acoustic and roots-oriented project The Chophouse Band. The venture reflects the range of musical interests that have always existed beneath the public image shaped by his years in one of the loudest and fastest bands on the planet. At a recent tour stop, Newsted walked on stage with Southern rock stalwarts Blackberry Smoke for an encore performance that included a full-throttle version of Thin Lizzy’s “Jailbreak,” a song that occupies a specific and beloved corner of the hard rock canon sitting at the exact intersection of both artists’ musical worlds.
The moment is notable precisely because it was unannounced, unplanned by the audience, and completely in the spirit of what live music at its best has always been: musicians who love music finding each other in the right place at the right time and making something together that would not exist under any other circumstances. This is the same impulse that produces Duane Betts walking on stage with Widespread Panic to play Mountain Jam at altitude in Wyoming, and Warren Haynes joining String Cheese Incident for a Grateful Dead and Allman Brothers celebration at Hulaween. The genre changes, the context shifts, but the underlying motivation is always the same. The music calls, and the musicians answer.
There is no more direct path to the emotional and artistic foundation of American music than the Newport Folk Festival, and there is no more revealing entry point into that tradition than a B.B. King performance at his absolute peak. Tonight at 7:00 PM, All Things Considered Live delivers exactly that. The weekly radio program brings listeners exclusive live performances and musical highlights recorded by NPR Music at iconic venues and festivals across the country, and tonight it delivers B.B. King on the Newport Folk Festival stage in 1989, captured in the full depth and presence of a live recording that has lost none of its power in the decades since it was made.
All Things Considered Live exists precisely for evenings like this one. The show is built around the understanding that the most important music is music that breathes, that responds to its audience, that exists in a specific time and place and cannot be fully reproduced in a studio regardless of how sophisticated the production becomes. NPR Music has documented these moments at iconic venues and festivals across the country for decades, and the archive contains performances ranging from emerging artists finding their voice for the first time on a major stage to established legends delivering definitive statements of their entire artistic lives. It is one of the most significant records of American live music culture that exists anywhere.
B.B. King at Newport 1989 is among the treasures of that archive. King was 64 years old that summer, which places the performance in a remarkable context. He had been playing the blues for over forty years at that point, had recorded more than thirty studio albums, and had influenced virtually every electric guitarist of any consequence in the intervening decades. He had also recently experienced a significant commercial and critical renaissance that was bringing his music to new generations of listeners who were discovering for the first time what people who had been paying attention already knew. B.B. King was not merely one of the great blues guitarists. He was the point at which the entire tradition of African American blues, electric guitar, and popular American music converged in a single human being who had been playing it his whole life.
What makes a B.B. King live performance specifically extraordinary, and what makes the Newport 1989 recording such essential listening, is the relationship between economy and expression that defined his playing at every stage of his career and reached its fullest maturity in his later decades. B.B. King never played a note he did not mean. Where lesser guitarists filled space with volume and speed, King used silence and space as instruments equal in importance to the notes themselves. A single bent note from Lucille, his beloved Gibson ES-355 that he named and kept with him for decades, could communicate more emotional content than a lesser guitarist’s full-length solo. Every choice was deliberate, every phrase was earned, and the vibrato he applied to sustained notes had a human quality that sounded, quite literally, like a voice crying or laughing or pleading in a language that bypassed the intellect and spoke directly to the chest.
The Newport Folk Festival provided a specific context that amplified all of this. Newport, founded in 1959, had always been a place where the formal distinctions between blues and folk and American roots music were porous and somewhat beside the point. It was a festival built on the understanding that these traditions were not separate departments of American music but branches of the same tree, and that bringing the musicians who carried these traditions into conversation with each other and with an audience capable of deep listening was a public service of genuine cultural importance. B.B. King on the Newport stage in 1989 was not a novelty or a genre crossover booking. He was exactly where he belonged, in dialogue with an audience and a venue that received him with the seriousness and attention his music had always deserved.
Tonight’s broadcast of that performance is an invitation to stop, to listen, to let one of the greatest musical minds of the twentieth century take you somewhere for ninety minutes. All Things Considered Live delivers this kind of invitation every week, in keeping with NPR Music’s long commitment to documenting and sharing the live performances that constitute the living archive of American music. Tonight’s invitation is one of the best ones we have ever extended.
When the All Things Considered Live broadcast closes at 9:00 PM and the NewGrass Radio Show takes over the signal, the music continues without interruption in the deepest sense. What newgrass is, at its core, is exactly what B.B. King was doing at Newport: taking a tradition built across generations and finding within it something alive, something responsive, something that belongs to right now without abandoning where it came from.
The NewGrass Radio Show is where tradition meets innovation in American roots music. The show travels the full spectrum of bluegrass, from the high-lonesome sound of the genre’s founding legends to the adventurous spirit of the artists who are currently expanding what bluegrass can do and where it can go. Bill Monroe invented a genre. Ralph Stanley and Lester Flatt carried it forward with reverence and artistry. And then, in the early 1970s, a generation of musicians led by Sam Bush and the New Grass Revival began asking what would happen if you brought jazz improvisation, rock energy, and the sounds of contemporary popular music into conversation with Monroe’s foundational innovations. What happened was a new genre that has been growing and evolving ever since.
Tonight the NewGrass Radio Show is your home for music that honors that entire arc, from the founding vision through the revolutionary expansion and into the extraordinary present moment, which as this week’s news has made abundantly clear is one of the most fertile and exciting periods in the history of American roots music.
Before we go deeper into tonight’s programming, we need to spend some serious time with the week’s biggest stories. The past several days have produced an avalanche of news across the bluegrass, newgrass, Americana, and roots music landscape that collectively paint a portrait of a genre family in full creative and institutional bloom.
The single most consequential institutional development in the bluegrass world this week is also the freshest. Just today, July 13, 2026, the International Bluegrass Music Association revealed the official lineup for its reimagined IBMA Bluegrass Live! festival, now relocated to Chattanooga, Tennessee, for an October 23 and 24 event that represents a genuine reinvention of one of the most important annual gatherings in the genre.
The move away from Raleigh, North Carolina, where IBMA World of Bluegrass had built deep roots and a loyal regional audience over many years, is not a small decision. Festival relocation carries enormous logistical, cultural, and emotional weight, and the choice of Chattanooga as the new home for IBMA Bluegrass Live! signals an intentional repositioning of the festival within the broader Southern cultural landscape. Chattanooga has been developing a serious and well-organized live music infrastructure, and bringing IBMA’s flagship festival event to the city represents a meaningful endorsement of that development and an investment in building a new regional bluegrass community around what had previously been a Raleigh-centered institution.
The October lineup is, by any measure, exactly what a reimagined IBMA flagship event should look like. Sierra Ferrell leads the bill, which is itself a statement about where the genre’s center of gravity currently sits. Ferrell has emerged as one of the most compelling figures in contemporary Americana and roots music, a songwriter and performer whose range across country, bluegrass, swing, and old-time is matched only by the emotional directness of her delivery and the quality of her original material. Her presence as a headliner communicates that IBMA is not simply celebrating the tradition as it existed but actively engaging with where the tradition is going.
Leftover Salmon brings their three-decade legacy of what they have always called polyethnic Cajun slamgrass, the gleeful, genre-ignoring, high-energy collision of bluegrass, Cajun music, rock, and funk that has made them one of the most beloved bands in the extended jam and roots community since the early 1990s. Larry Sparks represents the living connection to the genre’s classic era, a vocalist and guitarist whose high-lonesome authenticity is the real article, preserved and practiced for over sixty years. Michael Cleveland and Friends brings the most technically extraordinary fiddle playing currently happening in traditional bluegrass, a standard of instrumental excellence that connects directly to the tradition’s founding heroes while operating in the present with full command. And Lindsay Lou rounds out a bill that manages to be simultaneously backward-looking and forward-reaching in exactly the proportions a healthy genre festival requires. Her own major news this week we will address in depth shortly.
Two days before the Chattanooga lineup announcement, on Wednesday July 15, the IBMA will also reveal the 2026 Bluegrass Music Awards nominees live on SiriusXM Bluegrass Junction at 10:00 AM Central Time. The broadcast will simultaneously announce the Bluegrass Music Hall of Fame Class of 2026, the annual enshrinement of figures whose contributions to the genre have been foundational enough to merit permanent recognition, alongside live performances from Bronwyn and Mason Via. For anyone tracking the current state of bluegrass at an institutional level, Wednesday’s announcement is a mandatory event.
If the IBMA news is the institutional story of the week, then Lindsay Lou’s announcement of Bluegrass Women is the artistic story, and it is one that deserves to be told with all the attention and seriousness it merits.
Dropping August 14, 2026, Bluegrass Women is a collaborative album project built around a vision that is deceptively simple and genuinely powerful: a celebration of female songwriting in the bluegrass and roots tradition, performed and recorded by a collective of some of the most gifted women in contemporary American acoustic music. The guest roster that Lou has assembled is, by any reasonable assessment, extraordinary. Sierra Hull, whose mandolin virtuosity has been redefining what the instrument is capable of for over two decades. Molly Tuttle, a guitarist and songwriter who won the IBMA’s Guitar Player of the Year award multiple times and whose solo work has demonstrated an artistic range extending from deep traditional bluegrass into Americana and singer-songwriter territory with equal mastery. Aoife O’Donovan, whose musical intelligence and compositional sophistication place her in a category of her own within the broader Americana landscape. Sarah Jarosz, a multi-instrumentalist and songwriter whose discography represents one of the most consistently excellent bodies of work in contemporary roots music. And Alison Brown, whose banjo playing is as technically accomplished and harmonically adventurous as the instrument has ever produced.
These are not cameos. This is a genuine musical collective coming together around a shared vision, and the decision to center that vision on the tradition of female songwriting in bluegrass gives the project a cultural significance that extends beyond its considerable artistic merits. That tradition has been present from the genre’s earliest days but has not always received proportional critical attention, and Bluegrass Women addresses that directly and joyfully.
The first single, a cover of Dorothy Skaggs’ “All I Ever Loved Was You,” went live today, and the choice of opening track is eloquent. By leading with a cover of a song by a woman who represents the older tradition the album is celebrating, Lou and her collaborators locate themselves in a lineage rather than simply announcing a statement. They are not positioning themselves as revolutionary outsiders. They are presenting themselves as the next chapter in an ongoing story, women who love and honor what came before them and are ready to carry it forward in their own voices.
For the NewGrass Radio Show, Bluegrass Women is exactly the kind of project that belongs at the center of the conversation. It is traditional in its roots and radical in its ambitions, and it features musicians who understand that those two qualities are not contradictory. They are, in fact, what the best bluegrass has always been.
It is almost impossible to discuss the current state of bluegrass and newgrass without immediately discussing Billy Strings, because he has positioned himself so completely at the center of the genre’s popular moment that any attempt to describe the landscape without him at the center would be like describing a solar system by focusing on the planets. His summer tour begins tomorrow, July 14, in Roanoke, Virginia, and it is entirely sold out. For a tour of this scale, spanning major markets across the country and culminating in arena-level venues, that is a statement about his commercial ascent that would have been difficult to predict even three years ago.
The decision to livestream every single tour stop for free to all subscribers on Nugs.net is both a generous act of community engagement and a sophisticated understanding of how fandom operates at this level. When a tour sells out this completely, the community of listeners who love the music is always larger than the community of listeners who can physically attend the shows. Livestreaming the performances acknowledges that the conversation around what Billy Strings is doing on any given night extends far beyond the venue walls, and that serving that broader community builds exactly the kind of deep, loyal relationship between artist and audience that sustains a career through the inevitable fluctuations of public attention over a long arc.
The fall tour continues to expand. The addition of a two-night stand at Chattanooga’s Tivoli Theatre, timed to coincide with the newly renovated historic venue’s grand reopening, and a massive arena closer at Austin’s Moody Center on December 12 extend what is already one of the most ambitious touring schedules in contemporary American music. His new studio album So Much For Goodbyes arrives August 28, and the combination of a major new record, a completely sold-out summer tour with free livestreams, and a fall arena run of this scope constitutes a moment of mainstream arrival for Billy Strings that the bluegrass community has been watching build for years.
What makes this remarkable is not the commercial success itself, though that is genuinely impressive, but the artistic integrity that has accompanied it. Billy Strings has not simplified his music to reach a larger audience. He has continued to demand of himself and his band the same improvisational depth, the same technical excellence, and the same willingness to take a song somewhere unexpected in a live setting that distinguished him from the beginning. The audience has grown toward the music rather than the music growing toward the audience, and that is the rarest and most satisfying form of artistic success the live music world produces.
There is a particular kind of artistic courage that sometimes gets less attention than the more dramatic forms. It is the courage of a successful band to simplify rather than complicate, to strip back rather than add on, to return to something essential rather than continuing to expand in the directions that success makes most comfortable and commercially safe. The Steep Canyon Rangers have that kind of courage, and their new album Next Act is its most direct expression to date.
The Rangers have been explicit about what Next Act represents: a deliberate creative return to raw, traditional bluegrass and acoustic roots. After years of expanding their sound into Americana territory, after their celebrated collaboration with comedian and banjoist Steve Martin brought them to audiences who might not otherwise have found their way into bluegrass, after the Grammy recognition and the mainstream visibility, the Steep Canyon Rangers looked at where they were and decided that the most honest and necessary thing they could do was go back to where they started.
This is not a commercial strategy. Traditional acoustic bluegrass does not expand your audience; it deepens your relationship with the one you already have. The decision to make Next Act is a statement of values, a declaration that what they love most about making music is the specific thing that drew them to bluegrass in the first place. The acoustic intimacy, the vocal harmonies, the instrumental conversation, the direct connection between players and listeners that stripped-down acoustic music enables in a way that more produced recordings simply cannot replicate.
For the NewGrass Radio Show, Next Act is required listening because it embodies one of the central tensions and creative truths of the entire newgrass tradition. The most interesting journey you can take is away from a tradition and back toward it, finding along the way that the tradition is richer and deeper than you remembered. The innovations you made in your time away give you new tools for understanding what was always there. And coming home, musically, artistically, emotionally, is sometimes the most radical move available to you.
News arrived this week that Chance McCoy has officially returned to Old Crow Medicine Show as a full-time touring member after a six-year absence during which he pursued solo work with the focus and seriousness that genuine artistic development requires. The reunion is significant both personally and symbolically. McCoy’s musical voice is woven into some of Old Crow’s most beloved material from his years with the band, and his return serves as a reminder that the extended families of American roots music have a gravitational pull that eventually draws people back toward each other.
McCoy himself has acknowledged the particular reality of rejoining a band in the middle of a major national summer tour with characteristic directness. There is no gentle on-ramp available, no gradual reintroduction to the touring life. You get on the bus, and the next night you are on stage in front of thousands of people who have been listening to your work for years and have their own deep feelings about how it should sound. That is demanding and thrilling in equal measure, and the fact that McCoy embraced it rather than waiting for a more controlled reentry point says something about his confidence in the musical relationship and his readiness to be fully back.
Old Crow Medicine Show’s extended career, their connection to the Bob Dylan songwriting tradition, their role in the revival of string band music at the beginning of the 2000s, and their willingness to engage with American musical and social history in their songwriting, makes them one of the foundational bands in the broader newgrass and Americana ecosystem. McCoy’s return is good news for everyone who has followed their story.
B.B. King at Newport 1989 and the NewGrass Radio Show at 9:00 PM are not adjacent programming blocks that happen to share a Sunday evening. They are expressions of a single, continuous argument about American music, an argument that tonight’s JamFest broadcast is making with great care and complete conviction.
The argument goes something like this. The blues and the banjo, the acoustic guitar and the electric guitar, the Newport Folk Festival stage and the festival field where Billy Strings sells out an arena tour stop before it has been on sale for a week, the founding legend and the twenty-year-old singer-songwriter making her Austin City Limits debut, the traditional song and the improvisational excursion that starts from that song and travels thirty years into unknown territory before finding its way home: all of this is one music. It has multiple voices and multiple homes and multiple generations of practitioners, but it is one music, built from the same emotional raw material, asking the same questions, searching for the same things, finding them in different ways at different times in different rooms and on different radio waves.
All Things Considered Live and the NewGrass Radio Show exist to honor that continuity. They exist to take the archive seriously and the present moment seriously and to treat listeners as people capable of holding both at once. As people who can sit with B.B. King at Newport 1989 at 7:00 PM and be fully present for Lindsay Lou and Molly Tuttle and Sierra Hull and the entire alive and breathing present moment of American roots music by 9:00.
That is the JamFest promise every week, on every show, across every genre and generation we cover. Tonight, we are keeping it in the most direct and satisfying way we know how.
Turn up the signal. The music is already playing.
JamFest | All Things Considered Live every Sunday at 7 PM, featuring live performances and musical highlights from NPR Music at iconic venues and festivals nationwide. NewGrass Radio Show at 9 PM, where tradition meets innovation in American roots music, from the founding legends of bluegrass to the adventurous spirit of today’s newgrass pioneers.
JamFest — Your home for live music news, festival culture, tour announcements, and the stories behind the scenes and the songs. Keep the spirit alive.
🎵 All Things Considered Live— Mondays at 7 PM EST
🎵 NewGrass Radio — Mondays at 7 PM EST
🎵 Live Nuggets — Tuesdays at 9 PM EST
🎵 NRN Radio Show — Wednesdays at 9 PM EST
🎵 Festival Radio Show — Thursdays at 9 PM EST
🎵 What is Hip?! — Fridays at 10 PM EST
🎵 Club Night — Saturdays at 10 PM EST
🎵 Sunday Spunday — Sundays at 2 AM EST
🎵 Gospel Lunch — Sundays at 12:30 PM EST
🎵 Project Reggaeologist — Sundays at 10 PM EST
Stay tuned to JamFest for breaking music news, concert coverage, festival updates, tour announcements, and the greatest live recordings ever captured.
Monday Nights - 9:00PM - 3:00AM
Where tradition meets innovation, NewGrass Radio Show spotlights both classic bluegrass roots and the new generation redefining the genre. Inspired by the boundary-breaking spirit of New Grass Revival, this show celebrates “music without rules” through bold, genre-blending performances. Read More.
Every Monday Night
Monday’s - 7:00PM - 8:00PM
A curated journey through NPR Music’s most compelling live recordings, All Things Considered Live showcases standout performances from iconic venues and festivals like Newport Folk Festival, SXSW, and the 9:30 Club. Each broadcast delivers authentic, high-quality live sets from some of today’s most compelling artists. Read More.
Every Monday Early Evening
Radio Show
Monday’s - 7:00PM - 8:00PM
A curated journey through NPR Music’s most compelling live recordings, All Things Considered Live showcases standout performances from iconic venues and festivals like Newport Folk Festival, SXSW, and the 9:30 Club. Each broadcast delivers authentic, high-quality live sets from some of today’s most compelling artists. Read More.
Every Monday Early Evening
Radio Show
Monday Nights - 9:00PM - 3:00AM
Where tradition meets innovation, NewGrass Radio Show spotlights both classic bluegrass roots and the new generation redefining the genre. Inspired by the boundary-breaking spirit of New Grass Revival, this show celebrates “music without rules” through bold, genre-blending performances. Read More.
Every Monday Night
Radio Show
Tuesday Nights - Begins at 9:00PM
Every Tuesday night at 9PM EST, Live Nuggets delivers a carefully curated, full-length live concert experience, broadcast in its entirety. Each edition is handpicked to showcase standout performances across the live music spectrum—capturing the raw energy, improvisation, and atmosphere that only a true live set can provide. It’s not a highlight reel—it’s the whole show, exactly as it happened. Read More.
Every Tuesday Night
Radio Show
Wednesday Nights - Begins at 9:00PM
A handpicked spotlight on the latest release from your favorite artist, NRN Radio Show brings new music to life with depth, emotion, and intention. Each broadcast dives beyond the surface, showcasing the artistry, storytelling, and production that make every release worth experiencing in full. Read More.
Every Wednesday Night
Radio Show
Thursday Nights - 9:00PM - 5:00AM
Every Thursday night, Festival Radio turns JamFest into a nonstop live festival experience. For over 8 hours, every track comes straight from iconic festival performances—bringing you back to the shows, the crowds, and the moments you loved most. Read More.
Every Thursday Night
Radio Show
Friday Nights - 10:00PM - 9:00AM
A deep dive into the sound and soul of New Orleans, What Is Hip?! celebrates the birthplace of jazz through its roots in Dixieland and traditional New Orleans styles. Each show channels the rhythm, history, and unmistakable groove that define one of music’s most influential cities. Read More.
Every Friday Night
Radio Show
Saturday Nights - 10:00PM - 2:00AM
Every Saturday night, Club Night brings the energy of the world’s biggest dance floors straight to JamFest. Featuring DJ sets, studio mixes, remixes, and top-tier EDM from the planet’s most iconic festivals, it’s a nonstop pulse of late-night sound and rhythm. Read More.
Every Saturday Night
Radio Show
Sunday Mornings - 2:00AM - 9:00AM
The party doesn’t stop—Sunday Spunday keeps it going from 2AM through 9AM EST with a seamless overnight flow of live energy and late-night vibes. It’s the after-hours soundtrack that carries you straight into Sunday morning. Read More.
Late Saturday Night & Early Sunday Morning
Radio Show
Sunday’s - 12:30PM - 2:00PM
Every Sunday from 12:30 PM to 2:00 PM, Gospel Lunch serves up a vibrant blend of NOLA-style gospel and soul. Rooted in the spirit and sound of New Orleans, it’s an uplifting, feel-good set that brings powerful energy to your Sunday afternoon. Read More.
Sunday Lunch
Radio Show
Sunday Nights - 10:00PM - 6:00AM
A global celebration of reggae culture, Project Reggaeologist delivers nonstop reggae, dancehall, roots, ska, and world music straight from the scene and the world’s top festivals. Blending legendary artists with fresh releases and rising talent, each show keeps the heartbeat of reggae alive and evolving. Read More.
Every Sunday Night
Daily News Reports
Four (4) Times Daily - 9:00AM, 12 NOON, 6:00PM & 8:30PM EST
Stay informed throughout the day with NPR’s News Now, airing four times daily with concise, up-to-the-minute coverage of the latest headlines. It’s a fast, reliable snapshot of national and global news when you need it most. Read More.
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