Best Albums of 2026 So Far — Plus Why the Music Business Needs to Change

The Sonic Road Podcast 

The stuff that doesn't make it to YouTube. 

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What's up everybody — Beau here. 

I sat down with Becky Franzel this week to talk about the best rock albums of 2026 so far, and what was supposed to be a straightforward list turned into an hour-long conversation about the music business, toxic fan bases, Record Store Day, Ticketmaster, buying vinyl direct from artists, and somehow Yoko Ono. That's what happens when two people with no filter start talking. Zero regrets. 

Here's a piece of that conversation, and below that, some thoughts I've been sitting with that I wanted to share with you. 

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The Highlight — Ep. 32: Best Rock Albums of 2026 So Far Becky Franzel Returns | The Sonic Road Podcast Ep. 32 

Watch the highlight reel here. The full episode is out on Spotify, Youtube & Apple Podcasts on Wednesday April 29th: https://youtu.be/MOWjlJZD7hk

Becky and I run through some of the best rock, metal, and alternative records that have dropped so far this year — from The Black Crowes to  Elder to Corrosion of Conformity — plus what's still on the way. If you dig what you see, the full uncut conversation drops on YouTube next week. 

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Where Your Money Actually Goes 

I want to talk about something that came up a few different times in this conversation with Becky, because when I step back and look at it all together, it paints a picture that I think a lot of us already feel but don't always put into words. 

The music business is broken. Not rock music — rock music is doing just fine. The bands are there. The records are incredible. The shows are great. But the system around it? The one that's supposed to connect artists with fans and make sure everybody eats? That thing is held together with duct tape and corporate bullshit. 

Let's start with Record Store Day. I love the concept. Supporting independent record stores is critical, especially for the scenes that me and you care about — stoner rock, heavy psych, metal, all of it. These stores are where you discover music. They're community hubs. But the bigger RSD gets, the more the original intent seems to get lost. Smaller retailers are getting boxed out because the cost of buying in is so high, and here's the kicker — they can't return the unsold inventory. So a small shop owner is taking on all of that financial risk, and if those records don't move, they're stuck with them. On top 

Let's start with Record Store Day. I love the concept. Supporting independent record stores is critical, especially for the scenes that you and I care about — stoner rock, heavy psych, metal, all of it.  These stores are where you discover music. They're community hubs. But the bigger RSD gets, the more the original intent seems to get lost.  Smaller retailers are getting boxed out because the cost of buying in is so high, and here's the kicker — they can't return the unsold inventory. So a small shop owner is taking on all of that financial risk, and if those records don't move, they're stuck with them. On top of that, the retail prices on some of these releases are just outrageous. Last time I went to Record Store Day, I saw a single album  — not even a gatefold, just a regular sleeve — going for 65 bucks. Come on, man. At that point, who is this serving? It's not serving the fan who just wants to support their favorite band, and it's not serving the small shop trying to stay alive. 

Then you've got Spotify. This is a corporation that's notorious for paying artists next to nothing for their streams. The algorithms largely don't serve independent artists well. And on top of all that,  there have been reports about where Spotify puts its money — investing in weapons companies and not treating artists fairly. If you're an independent band busting your ass to make a record and get it out into the world, Spotify is not your friend. It might be a tool, but it shouldn't be the foundation. Bandcamp, on the other hand, still seems to get it right. It's artist-centric. When you buy something on Bandcamp, the money actually goes to the person who made the music. That matters. 

And then there's the live side. Concert ticket prices for big shows are just completely out of hand. The Ticketmaster and Live Nation situation — which is currently being looked at for monopoly tactics —  has been fucking over fans and artists for years. I can afford an expensive ticket. I'm just not going to do it on principle because the value isn't there. And I think a lot of people feel the same way. That's why more fans are going back to the clubs, seeing bands in smaller rooms where the experience is real, and the money actually ends up in the right pockets. 

Becky works at a venue in Milwaukee called X-Ray Arcade, and she told me something that stuck with me. She said a band recently played there  — a 275 capacity room — and they made comparable money to what they'd make at a bigger venue when looking at merch sales and their payout. Why? Because X-Ray doesn't take a portion of their merch sales. When booked through the venue, their in-house booker actually thinks about how far a band traveled and factors that into how the door money gets split. That's not radical. That's just fair. But it's become so rare in this business that it sounds revolutionary when you hear about it. 

Here's the thing — I'm not sitting here saying burn it all down. Money needs to be made. Record stores need to stay in business. Labels need to keep the lights on. Venues need to pay their staff. But there's a balanced way to do all of this, and right now, that balance lives in the underground. It's the small labels like Blues Funeral Recordings and Magnetic Eye Records doing right by their artists. It's venues like X-Ray Arcade splitting the door fairly. It's Bandcamp still giving musicians a platform where they actually get paid. It's fans buying vinyl direct from the band's website or at the merch table after a show.

  — Money needs to be made. Record stores need to stay in business. Labels need to keep the lights on. Venues need to pay their staff. But there's a balanced way to do all of this, and right now, that balance lives in the underground. It's the small labels like Blues Funeral Recordings and Magnetic Eye Records doing right by their artists. Its venues like X-Ray Arcade splitting the door fairly. It's Bandcamp still giving musicians a platform where they actually get paid. It's fans buying vinyl direct from the band's website or at the merch table after a show. 

Every time you buy a record on Bandcamp, pick up a shirt at a show, or walk into an independent record store on a random Tuesday instead of just Record Store Day — you're casting a vote for how you want this thing to work. And I think that matters a hell of a lot more than most people realize. 

I'll say this too — I've been thinking about this from the artist's side as well. I'm working on new music right now with a couple of guitar players, and we've already been having early conversations about how we want to release it. My head is leaning toward being more artist-centric with it — probably sparse on the Spotify side and leaning more into Bandcamp and platforms that actually serve the musician. I still need to talk it through with my guys as we move forward, and the project is still in its early stages, so more on that later. But the point is, these aren't just abstract opinions for me. I'm a musician too, and I want my values to line up with how my own music gets put out into the world. 

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Albums You Need to Hear 

Becky and I covered a ton of records in this episode. Here are the ones I want to put in front of you: 

The Black Crowes — A Pound of Feathers (Silver Arrow) 

Written and recorded in eight days. Independent release. This band has been around since I was 12 years old, and they're still saving rock and roll. If you've only heard the hits, you're missing out on a catalog that gets more psychedelic and more adventurous as it goes.  And for the faction of fans who keep crying about the old lineup — go listen to those guys. Are you supporting their music? Chris and Rich wrote the songs. It's their band. Move forward with them or don't, but stop complaining. Go listen to A Pound of Feathers. It's the real deal. 

Corrosion of Conformity — Good God / Baad Man (Nuclear Blast) There's this trope where heavy metal musicians eventually mellow out and go blues when they hit a certain age. That is not what's happening here. These guys are closing in on 60, and this record starts out fierce. It's all-encompassing C.O.C. — every style they've ever played with shows up on this thing. I'm still diving into it after four or five listens, and I'm forcing myself to wait for the vinyl to arrive before I go any deeper. It's killing me, but the patience will be worth it.

Elder — Through Zero (Blues Funeral Recordings, out May 29) I got this one sent to me early, and it's so good. Elder is a band you have to sit with — they don't grab you immediately, but once it sinks in, it never leaves. They've been getting better as they age, which is rare. If you're new to them, start with Innate Passage and work your way forward. Nick is coming back on the show next week to talk about this album, so keep your eyes open for that. 

All Them Witches — House of Mirrors (out late May) 

You already know. If you're on this list, there's a decent chance you're already following these guys. Me and Becky have been doing our thing in their Instagram comments — saying nonsense, getting the engagement going, hopefully the algorithm gods are pleased. The hype is real. I'm praying for a smooth vinyl release and a US tour in the fall. Pre-order the record, sign up for their mailing list, and follow them. Support these guys however you can. 

ABRAMS — Loon (Blues Funeral Recordings) 

This one keeps growing on me. Heavy and melodic at the same time,  which is hard to pull off. These guys out of Denver are hard workers —  they've released a lot of albums, and their heads are in the right place. They're about to do their first European tour, and they're playing DesertFest in London. Go check out Loon on Bandcamp and then dig into their back catalog. 

Also mentioned in the episode: Cat Clyde (Mud Blood Bone), Weedpecker  (Fifth), Bethlehem Shalom (up and coming — keep an eye on her), Clutch  (Earth Rocker reissue coming in June), a single by Milwaukee musician Ian Olvera ("Joke for a Light"),  Handsome Jack (Barnburners!), Fortune Child (Trio EP), The Black Keys  (Peaches, out in May). Some after-the-fact notables: Milwaukee-based bands Orange Drink and Razor Toast will be coming out with albums…soon. Stay tuned!

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Insider Drop 

I'm writing new music. It's early. Like, really early. I'm working   with two guitar players, and we're in the writing phase. If you've   followed me for a while, you might know I was in a band called Burn  Blue Sky for 20 years — heavy stuff, Sabbath worship with a big Down   and Pantera influence. This new thing will probably land somewhere in   that sphere, but with more of a post-rock, instrumental lean. No rules.  We've got some material, and it's pretty bitching. I'll keep you   updated as it develops. 

Nick from Elder is coming on the show next week. We're going to dig   into Through Zero, their new album dropping May 29 on Blues Funeral  Recordings. If you've never heard Elder, this might be the episode to   start with. I'll have the highlight up on YouTube and the full b  breakdown here in the next newsletter.

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Support the Guest — Becky Franzel 

Becky is a Milwaukee-based independent author. She's   working on a book about women in vintage vanning culture, AND a sequel   to Death's Intern Derrick called Death's Subcontractor Derrick. 

Her first two books were recently rereleased as I Don't Belong Here,  —  which features All Them Witches in the story. Yeah, you need to check   that out. 

Publishing: awshuckspub.com 

Personal site: beckyfranzel.com 

Go support independent authors the same way you support independent   bands. Same fight, different medium. 

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The full uncut interview with Becky drops on YouTube next week. If you   dug this, share this newsletter with one person who'd be into it.  That's the best way to help this thing grow. 

Thanks for reading. More to come. 

— Beau 

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