Rebecca Morpeth-Spayne

Rebecca Morpeth-Spayne
ellesbaileylpcover

Review: Elles Bailey – Beneath The Neon Glow

It’s no secret that Bailey is talented. The UK Americana Award winner has returned with an album that is reflective of just how good she is. Upon reviewing this album, there wasn’t a single track that we were able to sit still for! From the dance-friendly introduction of ‘Enjoy The Ride’ (we should have taken Bailey’s advice and buckled up) to the last note of ‘Turn Off The News’ (more sage advice there), we were absolutely hooked. Representing UK Americana might be a tough job, but Bailey is perhaps the only one tough enough to do it. ‘1972’ is a funky addition to the album that adds a little Charlotte Church to Bailey’s work (if that’s too obscure, you don’t know good UK artists). It’s varied enough to keep the imagination – and our attention – for the entire listen through. That’s quite the compliment from us! Do give this a listen if you get the chance.       Read the full feature in our free digital magazine here: https://bit.ly/3WUe56j Never miss a story… Follow us on: Instagram: @Maverick.mag Twitter: @Maverick_mag Facebook: Maverick Magazine Media Contact Hannah Larvin, Editor, Maverick Magazine Tel: +44 (0) 1622 823 920 Email: [email protected]

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karleyscottcollins

One to watch: Karley Scott Collins

Karley Scott Collins’s music is instantly identifiable by one thing: her love of an electric guitar. Collins’s passion for the instrument originates in another love for her, heavy rock and metal music. As Collins releases her brand new EP ‘Write One’, we take a look at her career so far, her rise to playing the main stage at C2C and where she is going next.   “There’s a song that I’ve just recorded that is going to have a really cool feature on it, but I’m not allowed to tell you who it is yet. That will probably have the most rock influence that I’ve done so far,” Collins tells us at C2C in March. Now, we know that feature is none other than country music superstar Keith Urban, taking on the titular song of the EP – it’s not surprising, knowing how excited Collins was about the feature. Urban’s electric guitar contributes heavily to the rock side of the track – a facet of country music that women are woefully lacking in visibility. Collins might not have told us who the feature was, but she definitely drops some hints about Urban’s take on the track saying, “I watch people, say, Slash or something and I’m just like, ‘oh my God!’ Or Keith Urban even. I mean, he’s amazing.” Upon reflect it’s a little mischievous, Collins exerting her control over information to subtly imply what’s coming next. A sign of confidence not only in her music, but in her dealings with the media. It’s a powerful move, as powerful as her voice.     Rock royalty  For Collins, country rock music is a natural choice. She is a country rock fan, so she makes country rock music, it’s simple logic. “Guns ‘N’ Roses is my dad’s favourite band of all time. He’s actually here he is wearing Guns ‘N’ Roses shirt tonight, as funny as it is. So, when I was growing up and when I started singing, he used to tell me to put a little Axel Rose on it.” Collins is only 24 years old at the time of writing this piece, so her knowledge of rock annals comes in handy to inform her own sound. As she shapes her career around her, Collins looks to the greats of the past to inform her future.   As we move on to discuss her love of UK artists, Collins is quick to bring up the punk rock influences that have shaped her own writing: “I was listening to literally only UK people this morning when I was getting ready. Well, right now I’ve been into the Sex Pistols vibe because I was down on Brick Lane. I was like, it just felt like that was what I should be listening to. But I love The Cure, I love The Smiths. I was listening to the Rolling Stones, too. I like Royal Blood a lot. None of them are country, sorry!” Collins might point out that none of her favourite UK artists are country, but it’s clear to see where they help to curate her tastes. The unifying force between the bands she names is their ability to create a unique electric guitar sound. It’s a theme that comes up again and again, as she tells us she wants to learn how to “really shred. I think would be awesome, it looks cool too”, it’s clear that one of her aims is to stand out as a woman writing, playing and eventually shredding in country music. That unique guitar sound might not have found its feet in Collins’ repertoire as of year, but there’s no doubt that she will continue to strive for it, seek it out and play around with her music until she does.       Read the full feature in our free digital magazine here: https://bit.ly/3WUe56j Never miss a story… Follow us on: Instagram: @Maverick.mag Twitter: @Maverick_mag Facebook: Maverick Magazine Media Contact Hannah Larvin, Editor, Maverick Magazine Tel: +44 (0) 1622 823 920 Email: [email protected]

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cambridgefolkfestival

The stellar Cambridge Folk Festival kicks off today

The Cambridge Folk Festival returns this weekend, promising a spectacular celebration of Americana. This year’s line-up features an array of incredible artists across four main stages, with something for everyone – including the little ones. A major highlight of the festival is the Transatlantic Sessions, led by the multi-talented Jerry Douglas. The Sessions, known for bringing together top folk and roots musicians from both sides of the Atlantic, will feature the acclaimed duo Allison De Groot & Tatiana Hargreaves, winners of multiple Canadian Folk Music Awards. Their Saturday performance, exclusive to UK festivals, is set to be a unique musical experience. Bess Atwell, whose new album ‘Light Sleeper’ has received rave reviews, is another must-see. The Brighton-based singer-songwriter is poised to captivate audiences with her mesmerizing melodies and storytelling. Festival-goers can also look forward to Flamy Grant, the powerhouse vocalist and comedy drag queen from North Carolina, who has taken the Billboard charts by storm. Dean Owens & The Sinners, described as “the pulse of all our lives” by Irvine Welsh, bring their unique Americana flair to the festival as part of the Showcase Scotland Expo partnership. Taylor McCall, with his deep-rooted musical heritage, and Leyla McCalla, whose music vibrates with three centuries of history, add to the festival’s rich tapestry of sound. Favorites like Darlingside, with their technical brilliance and blissful harmonies, and Larkin Poe, the Grammy-nominated sisters known for their electrifying Roots Blues Rock, are set to return to the festival, promising performances that will leave audiences smiling. The festival also features Grammy-winning singer-songwriter Aoife O’Donovan, NYC-born Annie Dressner and Rolling Stone’s “future of music” Lizzie No. The Independent Spotlight will shine on Irish duo Lemoncello, while Manchester singer-songwriter Robbie Cavanagh, the recipient of the Bob Harris Emerging Artist Award, will also grace the stage. In addition to world-class music, the festival offers a range of activities, including children’s workshops, a silent disco, storytelling, clog dancing and Tai Chi. Attendees can enjoy delicious fare from Cambridge’s finest food trucks. The festival also proudly upholds its “Outstanding” rating at the Greener Festival Awards, ensuring a sustainable and enjoyable event for all.   To read more exclusive articles and latest news, see our last issue here. Never miss a story… Follow us on: Instagram: @Maverick.mag Twitter: @Maverick_mag Facebook: Maverick Magazine Media Contact Hannah Larvin, Editor, Maverick Magazine Tel: +44 (0) 1622 823 920 Email: [email protected]  

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baileyzimmerman

Behind the song: Bailey Zimmerman’s ‘Where It Ends’

Bailey Zimmerman’s ‘Where It Ends’ is a bombastic track that mixes country with pop punk. It’s hardly surprising, looking at the team that put the song together though; there’s the producer, Austin Shawn, alongside three writers, Zimmerman himself, Grant Averill and Joe Spargur (also known as Joe London). Debuting at number seven in the Billboard Hot Country Songs chart, the 2023 single stands out amongst the other tracks on Zimmerman’s ‘Religiously. The Album.’ LP. It’s thoroughly country rock, unlike the softer tracks on the record, and shows off Zimmerman’s more growling, intense vocal abilities. It is, however, connected to the rest of the body of work by Zimmerman’s ability to express raw emotions, whether loving or that ‘I’m-through-with-this’ swagger that ‘Where It Ends’ embodies. It’s no wonder the track is a fan favourite.     Zimmerman himself describes the inspiration behind the track as “wasted energy” on a relationship that is doomed to fall apart and finally walking away from it. There’s a sense of enjambment to the lyrics; Zimmerman doesn’t seem to need to breathe between the lines – perhaps a suggestion that the intensity of his emotions means he needs to ‘spit it all out’ or that he’s venting.  The songwriting team behind ‘Where It Ends’ deserves special mention. Grant Averill, known for his ability to weave heartfelt narratives into his lyrics, brings a depth to the song that resonates with listeners. His background in country music is evident in the way the story unfolds, capturing the essence of heartbreak and resolution. Joe Spargur, or Joe London, adds his own flair to the mix. As a seasoned songwriter and producer with a knack for creating chart-topping hits across genres, Spargur’s contribution to ‘Where It Ends’ is palpable. His experience in blending different musical styles is key to the track’s unique sound, merging country with an edge of pop punk seamlessly.     As for the production, it’s loud and somewhat violent (not in a bad way). Shawn is renowned for big drums, defined, clear vocal lines and memorable melodies. Shawn collaborates heavily with Zimmerman, producing his first radio single ‘Fall In Love’ and working together on Zimmerman’s debut EP, ‘Leave The Light On’. The special relationship between the two highlights the country elements in Zimmerman’s career; Shawn hails from Fort Worth, Texas, an area renowned for providing great country musicians. The Red Dirt influence is clear in Shawn’s production; it’s grittier than Nashville country, usually defined as ‘country with an attitude’ – and ‘Where It Ends’ certainly has buckets full of attitude. Shawn’s production style in ‘Where It Ends’ complements the rawness of the lyrics. The use of heavy drums and sharp guitar riffs amplifies the emotional weight of the song. The track’s arrangement allows Zimmerman’s vocal delivery to shine through, making the listener feel the intensity of every word. The synergy between the production and the songwriting is evident, creating a powerful listening experience that sticks with you long after the song has ended.     Currently, Zimmerman is captivating audiences on his completely sold-out international headlining tour, ‘Religiously. The Tour.’ The tour’s success is fuelled by the nearly four billion streams of his music globally, a testament to his widespread appeal. Fans are drawn to his authenticity and the raw emotion he brings to his performances. ‘Where It Ends’ is a highlight of his live shows, with audiences connecting deeply to the song’s message of letting go and moving on. The success of ‘Where It Ends’ can also be attributed to its relatability. Many listeners have experienced the frustration of investing time and energy into a relationship that ultimately fails. Zimmerman’s ability to capture this universal feeling in his lyrics makes the song resonate on a personal level. The track’s anthemic quality, with its catchy chorus and driving rhythm, invites listeners to sing along and feel a sense of catharsis.    Read the full feature in our free digital magazine here: https://bit.ly/3WUe56j Never miss a story… Follow us on: Instagram: @Maverick.mag Twitter: @Maverick_mag Facebook: Maverick Magazine Media Contact Hannah Larvin, Editor, Maverick Magazine Tel: +44 (0) 1622 823 920 Email: [email protected]

Behind the song: Bailey Zimmerman’s ‘Where It Ends’ Read More »

ruththeodore

Review: Ruth Theodore – I Am I Am

Americana artist Ruth Theodore’s latest release comes in blue (literally). It’s a raw, lyrically intriguing, poetic album that plots Theodore’s love life. ‘Full Metal Jacket’ is a jazzy standout that is fast-paced and includes very interesting harmonies. It’s the kind of track that makes you want to bounce up and down, makes you want to go and see how Theodore performs it live. Other essential listening comes in the shape of ‘Captured’, which includes the apt line ‘not every protest has a banner’ and ‘every slot is a ballot box’. It’s about enjoying life in real time, the frustration of modern life and touches on social media and its effect on the psyche of everyone who uses it. Overall, Theodore’s offer is exciting, refreshing and political, all the things you want from an Americana album. 

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notheenoessband

Beyond Nashville: No Thee No Ess

Psychedelia and country aren’t often the best bedfellows, but Cardiff band No Thee No Ess have managed to create an album that highlights the best of both worlds. The band are leaders, not followers, pushing the genre of country to exciting and intriguing new places.     Perhaps intriguing is the best way to describe ‘Distant Country’. It feels like an invitation in; laid-back, easy to listen to but also sonically interesting. It’s an album every country music fan should listen to – and every musician should aspire to.     Described by Andy Fung, one half of the band’s core duo, ‘Distant Country’ is portrayed as a “journey on a wagon, a waltz through the country genre.” This album stands out with a truly singular set of sounds, featuring an array of guest musicians who join the band around the metaphorical campfire. Among these talents are Gareth Bonello (The Gentle Good) on banjo, Kate Ronconi (Lost Tuesday Society) on violin, and Rhodri Ratatosk on pedal steel, contributing to the album’s unique and immersive atmosphere.     No Thee No Ess represents a long-standing collaboration between visual artists and musicians Paul Battenbough and Andy Fung. Both have a distinguished history in the music scene, with previous projects including Derrero, Cymbient, and The Cosmic Array, showcasing their diverse artistic capabilities. Their partnership has culminated in ‘Distant Country,’ produced and collaboratively crafted with Frank Naughton.     Following their 2022 psychedelic release, ‘Dimmer Switch,’ ‘Distant Country’ marks a shift towards a more laid-back and dreamy feel, infused with country influences. The album retains the band’s signature aesthetic while introducing more traditional song structures and acoustic instruments, offering a fresh yet familiar sound for their listeners.     The album was engineered and produced by Frank Naughton and No Thee No Ess at Ty Drwg studio in Cardiff. The inclusion of exceptional guest musicians such as Frank Naughton on bass and piano, Rhodri Viney on pedal steel, Gareth Bonello on banjo, Kate Ronconi on violin, and Sarah Passmore on vocals elevates the album, reflecting the band’s enduring love for alternative country music.     Tracks like ‘All Angelic’ stand out as stoner country hits, and there’s an element of poetry to each song, a philosophy through music. It’s a body of work that could seem out of time, but thanks to the impeccable production – that easily balances light touches with skilled instrumentation – and sound design, it is unmistakably current. It’s probably No Thee No Ess’s greatest work so far, which isn’t to say their previous work was lacking. With blended-out guitar riffs that slip into tracks like ‘Don’t Try Too Hard,’ it maintains interest throughout.     Read the full feature in our free digital magazine here: https://bit.ly/3WUe56j Never miss a story… Follow us on: Instagram: @Maverick.mag Twitter: @Maverick_mag Facebook: Maverick Magazine Media Contact Hannah Larvin, Editor, Maverick Magazine Tel: +44 (0) 1622 823 920 Email: [email protected]

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Zach Bryan - Maverick Country

Zach Bryan: Modern Americana icon

Zach Bryan is just 28 years old, but he has a story to tell. Bryan joined the US Navy at 17, finishing his service in 2021. By that time, he had performed at the Grand Ole Opry and released his first album—a tribute to his late mother—DeAnn. Recorded in two months in a Florida Airbnb, it was this set of recordings that would start a career seemingly set out in the stars.     Roots      Born and raised in Oologah, Oklahoma, Zach Bryan’s upbringing was steeped in the traditions of the heartland. Oologah, a small town with a population of just over a thousand, is known for its close-knit community and rural charm. It is a place where life moves at a slower, more deliberate pace and the values of family and community are paramount. Bryan’s upbringing in such an environment played a significant role in shaping his narrative-driven songwriting. His family’s deep appreciation for storytelling and music was a cornerstone of his childhood.     Bryan was surrounded by music from an early age. His father and grandfather were particularly influential, introducing him to a wide array of musical genres, from classic country and folk to rock and blues. These early influences can be heard in the eclectic soundscapes that characterise Bryan’s music today. The family gatherings often revolved around music, fostering a deep appreciation for the art of storytelling through song. This environment instilled in Bryan a profound love for the craft of songwriting.     The Spark of Songwriting     Despite this early connection to music, it wasn’t until his teenage years that Bryan began to seriously pursue songwriting. Armed with a guitar and a notebook, he started crafting songs that reflected his experiences and emotions. His songs were raw and unpolished, but they carried a sincerity that was hard to ignore. This authenticity would become a defining feature of his music in the years to come.     After high school, Bryan made the decision to enlist in the U.S. Navy at the age of 17. This choice was driven by a desire to serve his country and honour a family tradition of military service, one that had seen his own birth in Japan, where his family were based at the time. The Navy provided structure and stability, but it also meant that Bryan had to balance his duties with his burgeoning passion for music. It was during his time in the Navy that he began to seriously consider a future in music. While stationed in various locations, Bryan found solace in songwriting. The transient nature of military life, with its constant relocations and deployments, provided ample material for his songs. He began recording his music in makeshift settings, often using a simple iPhone to capture the essence of his sound. This DIY approach underscored the authenticity that would come to define his music. Despite the less-than-ideal recording conditions, Bryan’s songs resonated with a raw, unfiltered quality that set them apart from the polished productions of mainstream music.     Read the full feature in our free digital magazine here: https://bit.ly/3WUe56j Never miss a story… Follow us on: Instagram: @Maverick.mag Twitter: @Maverick_mag Facebook: Maverick Magazine Media Contact Hannah Larvin, Editor, Maverick Magazine Tel: +44 (0) 1622 823 920 Email: [email protected]

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warandtreaty

The War and Treaty: Music for resilience and hope

Anyone who is fortunate enough to get the opportunity to see The War and Treaty should take them up on their offer. The husband and wife duo, Michael Trotter Jr. and Tanya Trotter, put on a show quite unlike anything else in country music. It’s not just their love-in, fun banter and crowd work, but the pair’s vocals that are truly breathtaking.   Watching from the right hand side at Highways festival, there is a beautiful serenity to the room when they open their mouths to sing, the crowd might have been raucous up until this point, but every audience member leans forward and listens attentively as the Trotters take us on their journey.  That journey is one that spans sympathy, good times and bad, honesty, love and the cornucopia of human emotion. With The War and Treaty as guide, the path feels safe and illuminated by the glow of their transcendent story telling. If you think that’s an over-exaggeration, then you haven’t seen them perform.      The strength within  The War and Treaty can be hard to pin down. Their musical style spans country, gospel, folk and soul – a whole lot of soul. The pair is underpinned by their resilience and strength. Michael is a veteran of the Iraq War who actually learned how to play piano while encamped in one of Saddam Hussein’s palaces. It’s a priority for The War and Treaty to keep contributing to the long history of musicians supporting the military. Michael wrote his first song in honour of the man who encouraged him to play around on the piano in Saddam Hussein’s basement; Captain Robert Scheetz. Scheetz was killed whilst out on a mission in Iraq and Michael played the song he wrote for him at his memorial service. This strength, the strength of a soldier who has experienced and witnessed unimaginable things, is what characterises Michael. Tanya has a strength of her own, one that builds Michael up too.   When they met, Michael was already a veteran. After returning from Iraq, Michael was diagnosed with post-traumatic stress disorder (PTSD) – a struggle that he still navigates with the support of Tanya – and suffered from homelessness. A trial that faces many veterans. Now, Michael and Tanya work to support veterans, doing USO tours and speaking with the people who Michael considers family.   The War and Treaty are not just performers; they are also dedicated to making a positive impact beyond the stage. Their charity work and community involvement demonstrate their commitment to using their platform for good. They have been involved in various charitable activities, from their support of veterans and their families to promoting mental health awareness. “We’ve got to do a better job understanding that mental health isn’t a fad,” Michael has said, “My message to our country is to do better for them.” Often cited is their ‘soul food music’, or music for the soul. It’s frequently the case; after trauma people turn to creativity to relieve their mental burden. As Michael and Tanya step onto larger and more grandiose stages, they bring this special ability to unite people through kindness, pouring their souls into each healing performance.     Read the full feature in our free digital magazine here: https://bit.ly/3WUe56j Never miss a story… Follow us on: Instagram: @Maverick.mag Twitter: @Maverick_mag Facebook: Maverick Magazine Media Contact Hannah Larvin, Editor, Maverick Magazine Tel: +44 (0) 1622 823 920 Email: [email protected]

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twsitersfilm

Review: Various Artists – TWISTERS The Album

Ok, now this is a big hitter. Featuring tracks from Luke Combs, Megan Moroney and Lainey Wilson, this album is an essential for any country music fan. The inclusion of newer artists like Conner Smith and Tanner Adell adds something even more special (their tracks are among the best on the 29-track album). As far as film soundtracks are concerned, we’d be surprised if this wasn’t nominated for nearly every award when the season comes around. The best of the best of country music is on this album, even if you’re not a country fan, you’ll adore this album. From the heavier, rockier moments like Combs’ opening track to Leon Bridges more R&B/pop-friendly track, there’s everything you could ever want here. We can’t speak highly enough – and we haven’t even seen the film yet!    Read the full feature in our free digital magazine here: https://bit.ly/3WUe56j Never miss a story… Follow us on: Instagram: @Maverick.mag Twitter: @Maverick_mag Facebook: Maverick Magazine Media Contact Hannah Larvin, Editor, Maverick Magazine Tel: +44 (0) 1622 823 920 Email: [email protected]

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blackdeerfest

Event review: Black Deer Festival 2024

The Black Deer Festival 2024 delivered an intimate and family-friendly experience, despite a few unexpected challenges. Known for its relaxed atmosphere, the festival maintained its charm with a blend of music, crafts, and food, but the unpredictable weather added an element of surprise.  Small but mighty  The festival’s small size contributed to its cozy, communal feel, which many attendees appreciated. However, the windy conditions posed significant challenges – of course, that’s no fault of the organisers. One of the notable incidents involved a hat stand being blown over. Another mishap occurred during a grilling demonstration by a master griller, where the grill was toppled by the wind, resulting in steaks being dropped into the charcoal and almost setting the stage on fire. These incidents, though chaotic, added a layer of excitement and unpredictability to the event. Drama is oftentimes a fun aside to the main event, something that people can’t control but create the kind of memories that last – who would forget a near stage fire?!  Unlike larger festivals where crowds can feel overwhelming, Black Deer’s compact layout encouraged interaction and camaraderie among attendees. This intimate setting allowed festival-goers to forge connections not only with fellow music enthusiasts but also with the artisans and vendors showcasing their wares. The accessibility of performers and the opportunity for spontaneous encounters added a personal touch, enhancing the overall experience beyond mere entertainment.  Throughout the festival grounds, the sense of community was palpable. From impromptu jam sessions in secluded corners to shared moments of awe during standout performances, each interaction contributed to a collective tapestry of memories. Families with children, seasoned festival veterans, and first-time visitors alike found themselves drawn into the festival’s warm embrace, where every smile exchanged and story shared became threads in the fabric of Black Deer’s legacy.  Craft and lifestyle offerings  The lifestyle tents, although limited in number, were a highlight. Attendees were treated to an array of unique items, from guitars made out of cigar boxes to beautiful hats and stunning jewellery. The quality of the crafts on display was impressive, with vendors being kind and open to conversation. The crafts added to the feeling of community, supporting small and medium business and gives even more kudos the family festival experience.     Read the full feature in our free digital magazine here: https://bit.ly/3WUe56j Never miss a story… Follow us on: Instagram: @Maverick.mag Twitter: @Maverick_mag Facebook: Maverick Magazine Media Contact Hannah Larvin, Editor, Maverick Magazine Tel: +44 (0) 1622 823 920 Email: [email protected]

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