From Synths to Sobriety: Charles Kelley’s ‘Songs for a New Moon’ Marks a Fearless New Era

With a new take on music and a new take on life, Charles Kelley’s ‘Songs for a New Moon’ embraces bold ‘80s-inspired sounds and raw honesty, marking a powerful departure from his Lady A roots and a confident step forward in his solo evolution.

Stream: ‘Songs for a New Moon’ – Charles Kelley

There’s something new in Charles Kelley’s voice.

Maybe it’s the stillness that comes with sobriety, or the edge of someone who’s walked through fire and come out singing. Maybe it’s the quiet confidence of a man no longer afraid to be fully heard. Whatever it is, it lingers like smoke after a candle’s been blown out – subtle, but noticeable.

You can hear it all over his second solo album Songs for a New Moon – the name of which underscores his evolution as an artist willing to leave familiar territory and take bold creative leaps. While Kelley’s had a successful career in country music as a member of Lady A, the only thing that still sounds southern is a soft Georgian drawl as he talks with great enthusiasm about his latest project.

Songs for a New Moon - Charles Kelley — Songs for a New Moon – Charles Kelley

Kelley co-wrote all of the original songs on the 16-track collection, drawing inspiration from the ’80s and ’90s pop he grew up with as a kid in Augusta. The influences are unmistakable – from the Peter Gabriel-esque “Can’t Lose You” to “Take Back Goodbye,” which wouldn’t feel out of place on a Michael McDonald record to “Angel Eyes” which channels Richard Marx in his “Should’ve Known Better” era.

A couple of carefully chosen covers (“Time After Time” by Cyndi Lauper and “Here With Me” by The Killers) round out the track list, adding a fresh twist to familiar favorites while tying the project’s nostalgic thread together.

Songs for a New Moon isn’t just a sonic shift — it’s a personal one.

With layered synths, heartfelt lyrics and a voice that sounds more open than ever, Charles Kelley is stepping into the spotlight on his own terms.

Ahead of the album’s release, Atwood Magazine caught up with Kelley to talk about finding his sound outside of Lady A, what sobriety has taught him, and why now felt like the right time to take a creative risk.

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:: stream/purchase Songs for a New Moon here ::

:: connect with Charles Kelley here ::

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A CONVERSATION WITH CHARLES KELLEY

Atwood Magazine: I have to know – did you set the mood in the studio with vintage synths or maybe Miami Vice playing in the background?

Charles Kelley: Man, it was a lot of fun. Every session basically started with the synths. We’d say, “Alright, that sounds good – now let’s go to the synths.” It was exciting to chase a totally different sound from the beginning of this project. It’s definitely a nod to the ’80s, but I don’t want people to think I’m playing some kind of character. It’s more about blending classic ’80s tones and instruments with some modern production tricks.

What prompted this direction? I know you grew up on ‘80s music, but do you remember the moment you realized, “This is what I need to do right now?”

Charles Kelley: One of the big turning points was a song called “Run.” At the time, we didn’t even know what we were writing for – maybe it was for Lady A – but after we finished it, I just thought, “This feels really good.” A week later, I had a session with Chuck and Lindsey, and that’s when we wrote “Can’t Lose You.” I played them “Run” and said, “Let’s throw out the rulebook and chase this down.” Chuck started playing that synth riff, and by the end of the session, I had no idea what we were making, but I knew it felt right. That feeling became the foundation for this whole project.

There’s a lot of emotion on tracks like “Can’t Lose You.” It sounds like you really let loose vocally. Did it feel like a breakthrough?

Charles Kelley: Definitely. When you’re in a group – especially one with multiple vocalists – you have to compromise on key sometimes. You might end up singing lower or higher than you’d prefer. With this project, I wanted to push myself and reach for notes I hadn’t really gone for before. I stacked my vocals in different places, experimented more. It felt freeing. I even took the keys higher than anything I’ve done with Lady A. It brought out a different kind of emotion – almost a Bryan Adams vibe – and it was really fun to explore that.

You’ve said this album reminded you of making those early Lady A records. What did you discover about yourself during the process?

Charles Kelley: Over the years, you start doubting yourself. There’s this fear of failure that creeps in, especially after you’ve had both hits and misses. I think I was craving a clean slate. I’d done that in my personal life with sobriety, and I wanted the same creatively. I stopped trying to write songs I thought would be hits and just focused on what moved me in the moment. At one point, I came home from a writing session and thought, “Am I just losing it, chasing all these ’80s songs no one will hear?” But that uncertainty, that mystery, is what made it exciting.

That excitement really comes through. You also included a couple of covers. Why were those particular songs meaningful for you to reinterpret?

Charles Kelley: We threw out all the obvious cover ideas. I wanted something that would feel fresh, and Sam Ellis, my producer, suggested “Time After Time.” It’s one of my all-time favorites – lyrically and melodically. When I sing it, I picture my son. The line “When you’re lost, you will find me time after time” hits me differently now. At first, we recorded it with just piano and vocal, but after a few minutes, I said, “This is too simple – we need more.” Sam just kept layering and building until it became something really special. He deserves so much credit for how that one turned out.

You mentioned your son. How old is he?

Charles Kelley: He’s nine. And surprise – we just found out we’re having another baby! My wife and I are in our 40s, so this was unexpected. But it’s such a blessing. One of the greatest gifts of sobriety has been reconnecting with my wife on a deeper level. I don’t think we’d even be in this place without that journey. We’re having another little boy, and I couldn’t be more excited.

Charles Kelley 'Songs for a New Moon' © Harper Smith — Charles Kelley ‘Songs for a New Moon’ © Harper Smith

It sounds like the ‘80s hold a deep personal connection. What did that era represent for you growing up?

Charles Kelley: Oh, man. I have so many memories of road trips, with my mom playing “Delilah” on the radio; Richard Marx, The Commodores, Bonnie Raitt, Michael McDonald. That soft rock just soaked into my soul. I’ve always loved all genres: Southern rock, R&B, country, but this time, I wanted to make a record that just felt good. The ’80s represented a time when I wasn’t worried about anything. The first 10 years of your life are like that – you’re just soaking it all in.

It was like a built-in escapism. Was that part of the appeal for you at this stage in life?

Charles Kelley: Totally. I’ve been through a heavy chapter, and I didn’t want to make a heavy record. I wanted this album to express some gratitude—a kind of new beginning. That’s why I called it Songs For a New Moon. It’s a new phase, a new sound, and a new mindset.

It's interesting – we’re seeing pop stars go country, and you're doing the reverse. Do you feel like a bit of a rebel?

Charles Kelley: [laughs] I know, right? But honestly, I think it just shows we’re all lovers of music in general. Any time you feel boxed in, painting on the same canvas over and over, you eventually need to try something new. It’s just a natural part of being an artist.

The album ends with “Look What We Did,” which feels like a personal reflection. What do you hope listeners take away from that track?

Charles Kelley: I’m in my 40s now, and my wife and I have been through so much together. Every real relationship has moments where you question things. “What if we’d done it differently?” But now we can look back and say, “Wow, we made it.” I’m learning to be grateful for the present. I don’t know what’s coming next, but right now, life is really good. That song is about appreciating the now.

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