This Fall, The Fray will re-emerge with a US headline tour and their first collection of new music in a decade. The Fray Is Back, named after a joyful declaration shouted out by a fan at a recent live show, marks the start of a new chapter with vocalist/guitarist and primary songwriter Joe King taking over lead vocal duties alongside longtime guitarist Dave Welsh and drummer Ben Wysocki. When the Colorado-bred band first burst onto the scene in the early aughts, The Fray introduced the world to a profoundly life-affirming form of alt-rock: timeless but inventive, arena-sized in scope but firmly rooted in raw emotion. Over the coming years, their soul-searching songwriting and high-powered sound led to earning four Grammy Award nominations, scoring a multitude of Billboard top 10 hits, and amassing a passionately devoted worldwide fanbase. Their single “How To Save A Life” spent a staggering 58 weeks on the Billboard Hot 100 and became the “unofficial theme song” for Grey’s Anatomy. Rolling Stone praised their “stick-in-your-head hooks and eloquent narratives,” while the LA Times called their music “melodically rich.” The Fray’s debut album How To Save A Life (2005) is certified 4x platinum in the US and has been declared one of the best-selling digital debuts of all time.

Rett Madison’s new album, One for Jackie, pays tribute to her mom, who passed by suicide in 2019, leaving her only child with an unbearable sense of responsibility to understand her mother better as she mourned her. “My mom struggled with depression, PTSD, and alcoholism all my life, but her death was shocking and unexpected,” Madison says. “Writing this album, I was moving through grief; it was part of my healing process.”

Over 12 songs, Madison distills the weeks and months following her mother’s death, drawing inspiration from the storytelling she admires in Appalachian folks traditions of her home state, West Virginia, the ‘70s output of Bob Dylan and Dusty Springfield, as well as the music her mother raised her on. Beyond borrowing from the past, One for Jackie cements itself as a modern American classic.

One for Jackie gives the listener an uncanny sense of familiarity, as if immersing ourselves in Madison’s grief, in her memories, allows us to know a little bit of Jackie, too. This is a testament to Madison’s lyricism; she is specific, exacting, and wise even in her most unguarded moments. In death, we tend to flatten people, turn them saintly and pure and faultless, but One for Jackie does something better: it brings her to life.