February 11, 2026

Tanner Adell: Giddy Up, Gorgeous

Blending rhinestones with raw emotion, Tanner Adell is reshaping what country music looks and sounds like – a new kind of cowgirl for a new generation, writes Millie Edwards When Tanner Adell strode onto the BET Awards stage in 2024 – white lace bodysuit, strappy heels, covered in glam – country music looked different. For the first time, a young Black woman was standing where few in the genre had stood before. Surrounded by dancers clad in bedazzled denim and cowboy boots, Adell performed her latest singles with swagger and sparkle that made the crowd rise to its feet. This was more than a performance; it was a declaration. Here was country music – bold, glittering and unapologetically feminine – taking up space on a stage it had never owned before. As the first female country artist to perform at the BETs, Adell embodied a collision of worlds: Nashville’s traditions meeting a new generation of artists unafraid to remix them. In an industry long dominated by older, white, male artists, Adell represents a seismic shift – she is redefining what country music’s next chapter looks and sounds like. Between two worlds Long before Adell was lighting up Nashville stages with rhinestones and charm, her story was already one of duality. Born in Lexington, Kentucky and adopted into a family in sun-soaked Manhattan Beach, California, she spent summers in Star Valley, Wyoming where she first sat in the saddle before she could even walk. That early blend of surf and saddle life sparked a love for country music that never left her. Small-town heart and big-city sparkle – a mix that would later define both her sound and style. By her teens, Adell was already musically fluent – trained in piano, violin and string bass before teaching herself guitar. While studying Commercial Music at Utah Valley University, country music began as a running joke among friends, until one day she decided to try her hand at it – and realised she had found her voice. Urged to take the leap by friends, she sold nearly everything she owned and moved to Nashville – the city where country dreams either stall or soar. Glam country After refining her style, Adell released her first single “Honky Tonk Heartbreak” in 2021 – a soulful, steel-guitar-laced debut that nodded to country tradition whilst hinting at something new. Tender yet assured, it paired heartbreak with honeyed vocals and a pop sheen that caught Nashville’s attention, marking Adell as an artist who could honor the genre’s roots without being bound by them. Fast forward to 2023, Adell’s single “Buckle Bunny” exploded across social media, becoming her most viral hit. Reclaiming a term once used to belittle women in rodeo culture – one she had received herself – Adell flipped the insult into an anthem. “[A buckle bunny is] independent, a woman who knows what she wants, who’s not afraid to take risks,” she stated. With playful self-assurance and sparkling charisma, she celebrated femininity on her own terms, proving that strength and glamour can share the same saddle. Her debut EP, also titled “Buckle Bunny” weaves banjos and boot-stomping twang through sleek 808s and R&B grooves, creating a sound that’s as rebellious as it is authentic. Even the Dallas Cowboys Cheerleaders joined the movement, dancing to “Honky Tonk Heartbreak” – a fitting tribute to an artist whose music celebrates flair and freedom. Country, reimagined For decades, country music’s gates have been guarded by the same few voices – overwhelmingly male, overwhelmingly white. According to Billboard data from 2024, women accounted for just 8.39% of country radio airplay, while Black women made up an even smaller fraction. Awareness may be growing, but the inequities remain impossible to ignore. Still, the tides are shifting. When Beyonce released ‘Cowboy Carter’ in March 2024, it reignited a national conversation about who gets to belong in country music. Among the album’s most striking moments was ‘BLACKBIIRD’, a reimagining of the Beatles classic featuring Adell alongside a new generation of Black female country artists. She also lent harmonies to ‘Ameriican Requiem’, adding depth to the project’s opening track. A lifelong admirer of Beyonce, Adell said collaborating with her had long been a dream and a blessing to see it realised. The moment showcased Adell’s dynamic vocal tone and placed her firmly at the forefront of a movement redefining what country can sound and look like. For Adell, the Cowboy Carter moment wasn’t just validation – it was ignition. The work of Beyonce, along with artists such as Mickey Guyton and Charley Pride, proved there is space for artists like her to thrive without compromise. Back in Nashville, that spark turned into a steady flame, fuelling new music, headline shows and a growing sense that her voice was helping to reshape the country landscape from the inside out. As she told The Jennifer Hudson Show, “I hope there’re young people watching this and have an interest in it and will continue to carry this sound. We’re paving the way.” Cowgirl couture Adell’s image is as intentional as her music. In a genre that has long mistaken simplicity for sincerity, Adell’s hyper-feminine style flips the script. She wears pink, glitter, and heels not as a performance, but as power – symbols of self-possession in an industry that too often dictates how women should look. Her aesthetic isn’t about pleasing anyone else, it’s about owning her narrative. Through her presence on social media, live performances and red-carpet moments, Adell challenges the tired archetype of the ‘authentic country girl’. She proves that sparkle and steel can coexist, that femininity can be fearless and that style can be substance. Her fashion choices don’t distract from her artistry – they amplify it, turning every look into a declaration of autonomy. That same fearless femininity runs through Adell’s music. Songs such as ‘Buckle Bunny’ and ‘Strawberry Crush”’ embrace vulnerability and confidence in equal measure, blending catchy hooks with the raw emotion of classic country storytelling. She writes and performs like

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Mae Estes: The sharp edge of tradition

Beyond Nashville, Exclusives, News / Editor

Ten years in Nashville have turned an Arkansas rodeo kid into one of country’s clearest truth-tellers – a neo-traditional torchbearer who treats pedal steel, plain talk and online-era hustle as parts of the same story Mae Estes’ story starts in a rodeo arena. She grew up in Hope, Arkansas, and first stepped in front of a crowd at seven years old, singing the national anthem in the middle of the ring. That rodeo origin matters because it explains why performance, not polish, sits at the centre of how she thinks about country music. In interviews, she has described that early move from small-town Arkansas to Nashville as a shock to the system, saying the city’s pace and the distance from her family were hard to adjust to, even as she recognised it was the only way to get this thing off the ground. From the outset, she framed herself as a traditionally influenced country singer-songwriter whose southern accent and love of Keith Whitley naturally pulled her toward the genre’s heart. That grounding means her story isn’t just “small-town girl chases big-city dream,” but something sharper: a conscious decision to leave a place where, as she’s pointed out, most people do not leave and do not dream on this scale. Turing industry heads That commitment shows up in the material that first turned industry heads. Early singles such as “Thinkin’ Bout Cheatin’” were built around perspectives she felt she hadn’t heard before, and she has said that kind of angle is the benchmark she holds for herself every time she writes. Even when she steps into darker narratives or “uncomfortable content,” as she once put it, she tends to lean into them rather than away, a trait that later reassured label executives she would be willing to tackle harder stories on record. So when critics now frame her self-titled 2025 EP as a project that “honours the past and shoots for the future,” they’re not just talking about production choices. They’re recognising an artist who treats tradition as a living reference point rather than a costume. The work behind The romance of that narrative can obscure how long it took to crystallise. Estes moved to Nashville in 2015 and spent years paying dues, sometimes working up to three jobs at once while writing and playing wherever she could. She didn’t begin releasing music until 2019, signed her first publishing deal the following year, and only unveiled her debut EP, Before the Record, in February 2023, seven years after she arrived in town. That timeline reflects both perfectionism and pragmatism. She has admitted that making projects can feel paralysing, describing herself as a classic creative mix of OCD, attention issues and perfectionist tendencies who wants every song on a release to lock together in one neat line. With Before the Record, she finally allowed herself to present a first complete body of work, even printing physical CDs which had been a long-held dream from childhood, despite being aware that the format is close to obsolete. The EP functioned as a calling card: six songs she either wrote or carefully chose to paint what one feature described as the truest picture of who she was as an artist up to that point. It also led directly to a bucket-list moment. In March 2023 she made her Grand Ole Opry debut, an achievement she still describes as the most impressive line on her résumé and the greatest stage she could ever stand on. Songs as mirror If Before the Record introduced Estes as a writer determined to tell difficult truths in recognisably country language, the Mae Estes EP sharpens that image. Released via Big Machine in October, the five-track collection pairs introspective ballads with what the label called “back porch barnburners,” all rooted in the neo-traditional sound she’s been pursuing since her independent days The project’s content underlines how she thinks about storytelling. “Mr. Fix It” is a warm, hooky tribute to her real-life mechanic husband. “Mountain Of A Man” and “Drunk On That” lean into more classic heartbreak, one reverent, one hazier, allowing her to step just far enough beyond her usual writing voice to explore different dimensions of herself. What’s perhaps most revealing is how she explains the project’s organising principle. Instead of forcing a concept, she eventually decided that the common thread was simply her own taste: five songs she loved and believed represented what she enjoys as a listener. That sounds modest, but it’s an unusually clear artistic stance. Rather than chasing algorithmic trends or a manufactured persona, she’s trying to build a catalogue that lines up with what she would put on her own playlist, on the assumption that the people drawn to her music share that taste. Stage as classroom If the studio documents what she believes, the road has taught her how to deliver it. By 2024, she was no longer just working odd jobs and playing small rooms; she was touring with artists such as Jackson Dean, supporting Nitty Gritty Dirt Band, Gary Allan, Eli Young Band and Dierks Bentley, and opening select dates for Brad Paisley, Luke Bryan and Carly Pearce. Crucially, she’s never abandoned the songwriter-round circuit that helped her build a Nashville community in the first place. She’s didn’t take the Broadway cover-band route; instead, she built her life around writers’ rounds and still returns to them because they keep her connected to the people and stories that shape the town. That double life, as an arena-ready support act and back-room storyteller, helps explain how she’s ended up with more than 13 million streams and over a million YouTube views, largely built “independently and organically,” as her biography puts it, before the label machine fully kicked in. Future in focus For all the milestones – the Arkansas CMA awards, the Opry circle, the publishing and label deals, the watch-lists and support slots – Estes tends to frame success less as arrival and more as accumulation. Her 10-year Nashville anniversary prompted her to talk

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Blast from the Past: Emmylou Harris

Blast From The Past, Exclusives / Editor

Five decades on, Emmylou Harris’s legacy remains not just intact, but radiant – a reminder of what happens when an artist follows truth instead of trend Long before Emmylou Harris became one of the most luminous figures in American roots music, she was a young woman moving between worlds. Born in Birmingham, Alabama and raised partly in North Carolina and Virginia, her early years were marked by curiosity, academic promise and a deepening interest in the arts. She has spoken in the past about how literature, theatre and folk songs lived side by side for her. It was a mix that would later surface in her poetic phrasing and the intellectual sharpness of her musical choices. After high school she earned a scholarship to study drama, pursuing acting with earnest intensity before music began pulling her in another direction. She has reflected that the folk revival of the 1960s felt like an awakening, and the guitar became a tool for expression rather than performance. She played coffeehouses, experimented with songwriting, and began forming an identity built on emotional clarity rather than polish. In these early days she moved through a series of geographical and artistic transitions, from the East Coast to the folk clubs of Washington, D.C., and eventually toward the orbit of musicians who recognised the power in her voice. Those years were marked by precarity and persistence. She was a young mother, supporting herself through odd jobs while performing at night, and she has since described that era as one of both struggle and artistic formation. It was here that she developed the discipline and resilience that would define her remarkable longevity. An unexpected partnership Harris’s life changed irrevocably when she crossed paths with a rising country-rock figure whose influence would echo throughout her entire career. She has often spoken about how meeting him shifted her musical direction, opening the door to the possibilities that lay within country songwriting. Their partnership became a formative chapter, not only a professional collaboration but a creative exchange that altered her understanding of harmony, storytelling and interpretation. When his life ended abruptly, Harris found herself carrying both grief and momentum. She has said that the loss was devastating, but it also left her with an unshakeable sense of purpose. In honouring the work they had begun together, she found her own voice more fully than before. This period shaped her artistic identity so deeply that echoes of it can still be felt in her phrasing, her approach to duets, and her instinct for inhabiting songs with near-spiritual intensity. Voice becomes vision Her solo breakthrough revealed an artist who could interpret a song with uncommon sensitivity. She became known for recordings that felt both ethereal and grounded, a tension achieved through her crystalline soprano and her understanding of the emotional architecture inside a lyric. Throughout the 1970s, she moved fluidly between country, folk, rock and Americana influences, building a catalogue defined not by genre loyalty but by artistic curiosity. She has reflected that she never set out to be a purist. Instead, she saw country music as a vast landscape where stories lived, and she treated each one with reverence. Her early albums, including Pieces of the Sky, Elite Hotel and Luxury Liner, were landmarks in establishing that vision. She has spoken about how Pieces of the Sky felt like the moment she finally understood her artistic identity, blending traditional country writing with broader influences. Elite Hotel elevated her stature even further, revealing her instinct for interpreting songs from wildly different writers, while Luxury Liner showcased the emergence of her Hot Band era: tight, adventurous musicianship that carried country-rock into more sophisticated terrain. These early albums introduced the world to her interpretive gifts, but they also showcased her emerging skills as a bandleader. She surrounded herself with musicians who shared her sense of adventure, and together they built arrangements that blended tradition with innovation. She deepened that range in 1980 with Roses in the Snow, a bluegrass-driven collection built around acoustic purity and ensemble playing. That record allowed her to honour Appalachian traditions while stretching her own vocal instincts, and listeners often point to it as an album that proved she could shift genres without diluting her identity. During this era, Harris became an essential collaborator. She harmonised with some of the most influential voices in American music, forming creative partnerships that enriched her own artistry while elevating those around her. She has said that she always viewed collaboration as conversation, a mutual shaping rather than a hierarchy, and her ability to disappear into a harmony line without losing her identity became one of her defining traits. A keeper of the flame By the 1980s, Harris had built a career on emotional honesty, interpretive intelligence and an unwavering belief in the power of the song. She became known as a champion of writers whose work might otherwise have been overlooked, bringing attention to compositions that have since become part of the American songbook. She has spoken about how she felt drawn to stories that carried weight, complexity and moral ambiguity, and her interpretations often revealed layers listeners might not have noticed before. Her leadership extended beyond interpretation; she became a custodian of country’s heritage. She participated in projects that honoured the genre’s roots, drawing attention to the musicians and traditions that shaped her. At the same time, she continued evolving creatively, refusing to remain static or overly reverential. This willingness to honour the past while pushing gently against its boundaries became one of her great artistic signatures. As she moved into the 1990s, albums like Cowgirl’s Prayer signalled a shift toward more introspective writing. She has spoken about how that project grew out of a period of personal transition, its songs carrying themes of contemplation, loss and quiet resilience. The record’s understated production and spiritual undertones marked it as one of her most intimate works of the decade, bridging the gap between her earlier country sound and the bolder experimentation that would

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Argentina country music - Maverick Country

Beyond Nashville: Argentina

Beyond Nashville, Exclusives / Editor

Argentina’s country music has developed by merging folk rhythms and American influences. Here, we spotlight three artists who are leading the way in their country. Vane Ruth Vane Ruth is widely recognised as one of Argentina’s foremost country music artists in the Spanish-speaking world. Inducted into the Western Swing Society’s Hall of Fame in 2016, she has released seven albums that blend traditional country with folk and rock influences. Her debut Pueblo Atrás (2009) introduced her dynamic contralto voice, while 2015’s Por el Camino del Country featured both Spanish and English tracks, showcasing her versatility. In 2018, Vane became the first female country artist to perform at Cosquín Rock, cementing her regional prominence. She has toured internationally, including a Texas tour in 2018 and performances across Latin America and Spain. Beyond her singing, Vane is also a producer and mentor, supporting independent country artists and nurturing the genre’s growth in Argentina. Her music carries both authenticity and ambition—a true ambassador of country sound in Latin America. Soledad “La Sole” Pastorutti Soledad “La Sole” Pastorutti is a folk icon whose energised blend of traditional música folklórica with pop and country sensibilities helped bring Argentine folk to new, younger audiences. Emerging at age 15 on the Cosquín Festival stage, she quickly became a national phenomenon with her debut Poncho al Viento, which became one of Sony Music’s best-selling albums in Argentina. Her theatrical flair, accessible vocal delivery, and incorporation of acoustic guitar and folk instrumentation often blur lines with country and Americana style, earning her enduring popularity. Over a career spanning three decades, Soledad has released sixteen albums, received multiple Latin Grammy nominations, and performed across Latin America and Spain. She’s also served as a coach on La Voz Argentina and performed at international showcases like Viña del Mar. Her collaborations – including the Grammy-winning Raíz with Lila Downs and Niña Pastori – demonstrate her cross-genre appeal and deep cultural impact. She remains a defining voice for Argentina’s evolving folk-country identity. Yamila Cafrune Yamila Cafrune is a contemporary Argentine folk singer carrying forward the legacy of her father, the celebrated folklorist Jorge Cafrune. Though not strictly a country artist, her repertoire includes songs that echo rodeo imagery and rural life, such as “Road to the Rodeo” (“Camino al Rodeo”). Her live album, En Vivo (2006), intersperses traditional folk songs with narrowly country-adjacent tracks, showcasing her storytelling through acoustic guitar and emotive vocals. Yamila remains devoted to preserving Argentina’s musical heritage, continuing her father’s mission of cultural storytelling through song. Her work offers a bridge between regional folk traditions and broader country-inflected expressions—appealing to audiences who value songs grounded in land, lineage, and lyrical sincerity. In recent years, she has also led educational outreach through musical workshops and cultural festivals across Argentina. These efforts highlight her commitment not only to performance, but to mentoring and sustaining folk and country traditions for future generations.

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Canadian Country Music Association announces new chair

News / Editor

The Canadian Country Music Association (CCMA) has announced a new chair. Country radio programmer Jenn Dalen will head of the Board of Directors. Community voice Jenn Dalen, who has been on the CCMA’s board for several years, said: “Stepping into this role is an opportunity to deepen the direct impact I’ve witnessed the CCMA have on artists’ careers and the growth of the genre, and to ensure the association continues to be a powerful, unifying voice for everyone in our community. “I’m really looking forward to working closely with the dedicated CCMA staff and board to bring the association’s vision to life, and I’m confident that by working together, we can continue to elevate the entire industry.” Passion for Canadian country music Amy Jeninga, CCMA president, said: “Jenn brings a fresh perspective and a genuine passion for Canadian country music, and has already made a meaningful impact as a member of our Board. We look forward to her leadership as she continues to help shape the association with a clear vision of our future.” This year, the CCMA is celebrating its 50th anniversary as a non-profit organisation committed to promoting Canadian country music. Each autumn, it hosts Country Music Week which aims to raise awareness and exposure of Canadian country music artists. The event includes a music festival and a televised special for the Canadian Country Music Association Awards.

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Morgan Wallen MAIN Image_Credit Cameron Baird - Maverick-Country.com

Morgan Wallen favourite to headline 2027 Super Bowl halftime show

News / Editor

Country music star Morgan Wallen has topped a list of artists who could headline the 2027 Super Bowl halftime show. Following last weekend’s Super Bowl, which was headlined by Bad Bunny, the website Fan Duel has released betting odds on who will headline the 2027 edition. Fan favourites According to the odds, Chasin’ You singer Morgan Wallen sits ahead of Harry Styles, Ariana Grande, and Drake as the favourites to headline next year’s Super Bowl. Morgan Wallen, a Tennessean who rose to fame after competing on The Voice, released his fourth studio album, I’m the Problem last year. It topped the Billboard 200 chart upon its release. Other artists featuring in the Fan Duel list include J.Cole, Justin Bieber, A$AP Rocky, Lil Wayne, Taylor Swift, Cardi B and Miley Cyrus. Meanwhile, Bad Bunny’s halftime show last weekend was the fourth most-watched Super Bowl performance ever. The show was almost entirely performed in Spanish and special guests included Lady Gaga and Ricky Martin. Country music at the Super Bowl Numerous country music stars have performed at previous iterations of the Super Bowl. Those who have featured in the halftime show have included Shania Twain in 2003 and Kid Rock the following year. Country music stars have previously been favoured to perform the national anthem ahead of kickoff, rather than feature in the halftime show. Most recently, Chris Stapleton sang Star-Spangled Banner at the Super Bowl in 2023. Others who have performed the national anthem include the Dixie Chicks, Carrie Underwood, Luke Bryan, Mickey Guyton, and Faith Hill, who has been given the honour twice. However, the most important show in terms of country music was in 1994. The show, named “Rockin’ Country Sunday”, featured Clint Black, Tanya Tucker, Travis Tritt, and the Judds.

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Country Music Cruise 2026 - Maverick Country

Country cruisers raise funds for Country Music Hall of Fame

Lifestyle, News / Editor

An auction aboard a country music-themed cruise has raised thousands of dollars for a good cause. Guests on the Country Music Cruise 2026 raised almost $58,000 for the Country Music Hall of Fame and Museum’s nonprofit mission. Signed guitars Two acoustic guitars signed by the artists performing on the cruise were auctioned. They featured signatures from Randy Owen of Alabama, Jimmy Fortune of The Statler Brothers, Patty Loveless, Graham Brown, Linda Davis, David Frizzell, Wade Hays, The Malpass Brothers, Neal McCoy, Chuck Mead and Shenandoah. The winning bidders also received a complimentary Honor Society membership to the Museum and an invitation to the exclusive Medallion Ceremony, the annual induction of new Country Music Hall of Fame members. Country Music Cruise 2026 The week-long Country Music Cruise 2026 set off from Fort Lauderdale, Florida, on Sunday, January 25. The cruise schedule featured over 100 live performances across seven venues, which included The Grand Ole Opry at Sea. Cruisers had the chance to rub shoulders with artists through meet-and-greets, and hear from performers through interviews hosted by TV presenter, Nan Kelley. Next year’s seven-day cruise will begin on Sunday, February 7 2027.

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11 February 2026