On Countertenor, Anthony Roth Costanzo's Nonesuch debut album, the acclaimed singer delves into a wide-ranging survey of falsetto. The record, featuring an ensemble conducted by Dan Schlosberg, comprises a world premiere recording of a new song by Osvaldo Golijov; arias by Philip Glass, Mozart, Vivaldi, and Monteverdi; a traditional Hawaiian song; an early Baroque song by Dowland; a Renaissance song by Morley; a Klaus Nomi-inspired interpretation of John Madara and David White’s “You Don’t Own Me;” and the classic Frankie Valli and the Four Seasons tune “Walk Like a Man.” In his book Countertenor (Farrar, Straus & Giroux), Costanzo takes readers on a journey through his life, his education in art, and the history of his extraordinary voice type.

Composer, producer, saxophonist, and synthesist Josh Johnson's solo album Animative is his third album under his own name and his first for International Anthem / Nonesuch Records. The ten track album—co-produced by Johnson and Paul Bryan, featuring contributions from Meshell Ndegeocello, Macie Stewart, Marquis Hill, Ben Lumsdaine, and others—blends skeletal soul-jazz, post-bop, electronic minimalism, and dreamy ambience. Johnson often uses the saxophone to control a sampler or a drum machine, triggering changes in a loop or an effect, but always in service of a feeling.

On Fantasy & Reveries, Brad Mehldau performs his solo compositions Fantasy for Piano and Fourteen Reveries. Originally commissioned by Jeremy Denk, Fantasy for Piano was written in the same period as Mehldau’s Three Pieces After Bach. Fourteen Reveries, similarly to the composer’s Suite: April 2020, comprises a collection of shorter pieces.

Robert Plant and Saving Grace's EP Saving Grace: All That Glitters..., first released on vinyl for Record Store Day 2026, follows their acclaimed album Saving Grace. Both feature singer Suzi Dian and a band of musicians from the English countryside that Plant calls home. The EP's four tracks explore the folk and Americana songs that Plant and the band love: the traditional tunes "The Blackest Crow" and "Two Coats," arranged by Robert Plant and Saving Grace, as well as Gillian Welch's "Orphan Girl" and Bert Jansch's "Poison."

Rhiannon Giddens's album Hope Is the Thing with Feathers was inspired by the beauty of people coming together and drawing strength from each other. It was intentionally recorded live with no frills and few overdubs, just pure and essential music that captures the feeling of community, clarity, as well as the joy and power of creating together. From exploring the lineages that make American music to the community-oriented spirit in which it was conceived and recorded, in many ways the album tells the story of the past 20 years of Giddens’ life.