With a fresh perspective on music and life, Charles Kelley’s 'Songs for a New Moon' features bold sounds reminiscent of the '80s and an unfiltered honesty, representing a significant shift from his Lady A origins and a strong step forward in his solo journey.
Stream: ‘Songs for a New Moon’ – Charles Kelley
There’s something different in Charles Kelley’s voice. Perhaps it's the calm that comes with sobriety or the resilience of someone who has faced challenges and emerged with a song. It could be the quiet assurance of a man no longer hesitant to express himself fully. Whatever it is, it lingers like smoke after a candle is extinguished—subtle yet evident. You can sense it throughout his second solo album, Songs for a New Moon, a title that highlights his growth as an artist willing to venture into unfamiliar territory and take creative risks. While Kelley has enjoyed success in country music as part of Lady A, the only lingering southern element is his soft Georgian accent as he passionately discusses his new project.
Kelley co-wrote all of the original tracks on the 16-song collection, inspired by the '80s and '90s pop sounds from his childhood in Augusta. The influences are clear—from the Peter Gabriel-inspired “Can’t Lose You” to “Take Back Goodbye,” which could easily fit on a Michael McDonald album, to “Angel Eyes,” reminiscent of Richard Marx in his “Should’ve Known Better” phase. A few carefully selected covers (“Time After Time” by Cyndi Lauper and “Here With Me” by The Killers) enhance the track list, bringing a fresh twist to these familiar songs while connecting to the project’s nostalgic theme.
Songs for a New Moon isn't only a sonic transformation—it's a personal one. With layered synths, emotive lyrics, and a voice that feels more open than ever, Charles Kelley is stepping into the spotlight on his own terms. Ahead of the album’s launch, Atwood Magazine spoke with Kelley about his journey to discovering his sound outside of Lady A, lessons learned from sobriety, and why now was the right time for creative risks.
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A CONVERSATION WITH CHARLES KELLEY
Atwood Magazine: I have to ask—did you create a specific atmosphere in the studio with vintage synths or perhaps some Miami Vice playing in the background?
Charles Kelley: It was a blast. Each session typically began with the synths. We'd say, “Alright, that sounds great—now let’s move to the synths.” Chasing a completely different sound from the start was exhilarating. It’s definitely a nod to the '80s, but I don’t want anyone to think I’m adopting a persona. It’s more about merging classic '80s tones and instruments with modern production techniques.
What led you in this direction? I know you have fond memories of '80s music, but was there a defining moment when you realized, “This is what I need to pursue right now?”
Charles Kelley: A pivotal moment was a song titled “Run.” At that time, we were unsure of what we were writing for—maybe it was for Lady A—but after completing it, I felt really good about it. A week later, I had a session with Chuck and Lindsey, and that’s when we created “Can’t Lose You.” I shared “Run” with them and said, “Let’s disregard the usual rules and pursue this sound.” Chuck started playing that synth riff, and although I had no clear idea of what we were creating, I knew it felt right. That feeling became the foundation for this entire project.
Many emotions are present in tracks like “Can’t Lose You.” It seems like you really opened up vocally. Did it feel like a breakthrough?
Charles Kelley: Absolutely. Being in a group with multiple vocalists necessitates compromises, which can lead you to sing higher or lower than you prefer. With this solo project, I wanted to challenge myself, reaching for notes I hadn’t attempted before. I layered my vocals in various ways and experimented more. It was liberating. I even pushed the keys higher than anything I’ve sung with Lady A. It elicited a different emotional response—almost a Bryan Adams vibe—and exploring that was a lot of fun.
You mentioned that this album reminded you of creating those early Lady A records. What did you learn about yourself during the process?
Charles Kelley: Over the years, self-doubt can creep in. There’s a fear of failure, especially after experiencing both successes and failures. I yearned for a fresh start. I had achieved that in my personal life with sobriety, and I wanted the same creatively. I stopped trying to compose songs I thought would become hits and instead focused on what resonated with me in the moment. There was a time I came home from a writing session and thought, “Am I losing it by chasing
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Charles Kelley’s ‘Songs for a New Moon’ presents a fresh perspective on music and life, embracing audacious sounds influenced by the '80s and displaying sincere authenticity. This marks a significant shift from his Lady A origins and represents a strong advancement in his solo journey.