An Irresistibly Groovy Spin On First Words, Second Chances, And The Hilarious Side Of Being Lovestruck
Official Video for Song Available Now
NASHVILLE, TN – (OCTOBER 24, 2025) – Liz Kennedy has announced her latest self-penned release, “Next Time,” an updated 2025 remix/remaster of her original from the album, A Good Peach. Wry and wonderfully relatable, the song captures how new (and second-time-around) love can scramble even the most capable adult, turning everyday tasks into comic misfires while overthinking who should say the L-word first. Driven by a syncopated mandolin-and-drum groove that feels like double-dutch, it blends humor and heart into an irresistibly hooky rush.
The single, the fifth from her upcoming album, is available for radio airplay via PlayMPE and on all digital streaming platforms HERE.
In support of the new music, Liz has released an official lyric video produced by Eric Peltier to accompany her new song. The video is available on her official artist YouTube Channel:
Catch Liz Kennedy’s performance at Keys Jass Bistro on November 19th! TICKETS HERE.
The Hollywood Times had the opportunity to catch up with Liz to talk about this new single and her upcoming new album. Enjoy our conversation:
Liz Kennedy shared, “I wanted to write a song about how being in love, especially at the beginning, can turn even the most capable person into an idiot. Suddenly, you’re incapable of simple tasks: repairs, eating, the little things like your job, or, if it’s the second time, even picking up your kids from school. In my second marriage, I was older, with even more responsibilities than a young girl in love, so I was messing up right and left, significant brain distortion and daydreaming. It was brutal. It was wonderful.” She adds, “And then there’s the question of who says ‘I love you’ first, the L-word. It’s funny: guys think the words ‘next time’ mean the singer is putting it off; girls tend to think she can’t wait to say it the next time they’re together. Which is it? I’ll never tell. The syncopation between the mandolin and the drums is very, very nice. When we perform it, the band starts the groove and I have to figure out exactly where to enter, like double-Dutch, especially with the 6/8 that shifts to 4/4 in the chorus. And 12/32 at the bridge; kidding, there’s no bridge, but I’m considering adding one.”
“I can barely focus
And the hours are screaming long
I gotta make these calls
And the coffee just burned my tongue
And then ooh I’m right
Back there with you
The last few days
My name has turned to mud
And my mind is thick with
Getting to things I should have done
But then ooh I’m right
Back there with you
When…
We were dancing
On top of the sheets
Trading stories
Without any speech
We slid down off the bed
Like a tide off the shore
And your eyes were the color
Of the gold wooden floor
I think I’ll tell you I love you
I’m gonna tell you I love you
Next time…”
On “Next Time,” Liz Kennedy (vocals, piano) leads a dynamic ensemble featuring Billy Johnson (drums),J. Jaffe Jamie Brewer (bass), J. Jaffe (mandolin, background vocals), Hardy Hemphill (keyboards), Eamonn Flynn (B3 organ), Lorin Rowan (acoustic guitar), and Omega Rae (background vocals). Recorded at Studio on the Hill and Studio D Sausalito, the track was produced by J. Jaffe and Liz Kennedy, and engineered and mixed by J. Jaffe (engineer, mixer).
Stay current with everything Liz Kennedy on her website www.lizkennedymusic.com.
Follow her on Bandsintown for performance updates, Facebook, Twitter and Instagram and subscribe to her YouTube Channel for the latest videos.
Music is available on all digital platforms Apple Music, iTunes, Spotify, Pandora, YouTube Music and Amazon Music.
About Liz Kennedy:
After going through a whirlwind of life changes, the San Francisco singer-songwriter, L
Kennedy describes herself as honest and observant and adds, “I sure hope I can easily laugh at myself.” Her songcraft – where the lyrics always follow the music – perfectly reflects that thoughtful self-assessment. The fascinating part of the process is not knowing just where the inspiration will come from. “It’s strange how emotional pain and joy can equally send you racing to the piano to capture something … whether it’s a butterfly or a heavy brick, reflects that thoughtful self-assessment. The fascinating part of the process is not knowing where the inspiration will come from. “It’s strange how emotional pain and joy can equally send you racing to the piano to capture something … whether it’s a butterfly or a heavy brick.
