luke bryan mind of a country boy

Luke Bryan announces release date for ‘Mind Of A Country Boy’

Luke Bryan, the five-time Entertainer of the Year and country music superstar, has announced the release of his highly anticipated eighth studio album, ‘Mind Of A Country Boy’, set to drop on 27th September. The 14-track album, a product of the successful collaboration between father and son producers Jeff and Jody Stevens. To mark the announcement, Bryan has also released a new track, ‘Closing Time In California’, which coincides with his ongoing ‘Mind Of A Country Boy Tour’ in California, with concerts lined up in San Diego and Los Angeles this week. The album, ‘Mind Of A Country Boy’, comes after a four-year hiatus since Bryan’s last release, and it reflects a culmination of his life experiences and his 17-year career in the industry. Known for his love of country music, hunting, fishing, and his dedication to family, Bryan’s new album promises a mix of playful familiarity and sophisticated growth, with songs that resonate with his journey and the lifestyle of his fans. “I’ve been able to take my time and really compile songs for this album,” Bryan shared. “If it’s a song that I cut two or three years ago, and I still love it, and it still sounds fresh, then I feel like it’ll stand the test of time.” He added, “I think this album, as I’ve tried to do with all my albums, just has a little bit of everything. I do some things different vocally on this one that I’ve not done before. It’s about each song having its place and having its meaning. It’s trying not to be overly redundant with songs. I think that’s why I’ve been blessed to have a long career and what I feel like this album’s going to do.” Bryan’s passion for live performances remains undiminished. His legacy includes iconic concert events, from the massive ‘Spring Break’ shows on Florida beaches, which attracted over 200,000 fans, to his 15 years of Farm Tour and the popular Mexico destination concert experience ‘Crash My Playa,’ which will celebrate its ten-year anniversary next January. His headline tours have drawn over 14 million fans to date. “I’m still having a lot of fun in my concerts, and it’s still a big ole party. But I think as you grow older and mature, subject matters change and things that you can sing about change. But the love of trying to find the right song and a song that moves people is still at the forefront of what I want to do as an artist,” Bryan reflected. His current single, ‘Love You, Miss You, Mean It’, has swiftly climbed the charts, with industry expert Bob Oermann of Music Row describing the song as “written with panache and hooks a-plenty” and “hit bound.”   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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rachel sage

Spotlight: Rachael Sage

‘Another Side’ marks a reimagining of your 15th studio album, ‘The Other Side’. What inspired you to revisit and rework this particular album?  Often on tour, listeners ask, “What album sounds the most like what I’ve just heard you do live?” and it can be a struggle to point to anything that’s not highly produced alt-pop. After over a year of playing these songs on tour with my violinist, cellist, and harmonica player, I decided to rebuild these arrangements with a roots/folk aesthetic. This shift also caters to the folk community, which I love being a part of even though I aspire to be “genre-bending” overall.     Can you share more about the process of collaborating with Mikhail Pivovarov and Grammy winner Andy Zulla on this project?  Mikhail, my longtime engineer, was my right hand during this project. We spent many hours at my home studio, The Creek, recording various special guests and re-recording my parts. From the beginning, he understood the assignment. He’s also a wonderful bassist who played extensively on my previous (companion) record ‘The Other Side’. Although he doesn’t play upright bass, so for tracks that needed that sound, we brought in guests like Conrad Korsch (Rod Stewart).  Andy Zulla, my longest-running musical collaborator, met me when I was a teenager. He’s always understood my musical vision and supports it as a mixer while bringing years of experience and creativity. His guitar-only mix of “I Made A Case (ft. Howard Jones)” is one of my favourite tracks and went through several incarnations before we found the right balance. We’re both obsessed with Glen Hansard and The Swell Season, which influenced the vibe of that track.     The new album features esteemed artists such as Crys Matthews and Annalyse & Ryan. How did these collaborations come about, and what did each artist bring to the project?  Americana duo Annalyse & Ryan are my friends and neighbours from the Hudson Valley in NY. During lockdown, they were actively involved in our music community. They hosted musical events with multiple artists and invited me to participate. That’s how our relationship began, and we’ve toured together since. Annalyse is one of the best mandolin players I’ve met, and Ryan’s voice is deep and rich, reminiscent of Marc Cohn, who is my favourite male voice!    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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jess and the bandits

Spotlight: Jess And The Bandits

Can you tell us more about how Jess and the Bandits came together? What drew you to collaborate with the British members of the band?  I started working with a British music producer in 2012. He brought me over to the UK to write and record my first album, which was called ‘Permanent’. I started promoting the album in the UK and developed a great fanbase here. Later, on the release of my second album ‘Loving This Day’ I was invited to go on tour as the support for The Overtones and made friends with the musicians who played for them. We all bonded over a love of country music and before long, Jess and the Bandits was born. Between their British charm and my Texas flare, I think we found something really special!    Your music blends country, pop and rock elements. Who are some of your biggest musical influences in these genres?  As a teenager I listened to everything from Garth and Trisha, Reba and Dolly… to artists like The Bellamy Brothers and George Jones, Tammy Wynette… and on the other side of things, I listened to Pearl Jam and a lot of Nineties grunge, as well as Boyz II Men, Céline Dion and Mariah Carey! My taste was so varied and I think I bring a little bit of it all with me in my music and my live shows! (Maybe not so much of the grunge… we will leave that with 90’s Jessica!)   Congratulations on your upcoming album! Can you give us a sneak peek into the themes or stories behind it?  Thank you so much. I am so excited to finally get this collection of music out there. This time around I decided to write a bit… but also go ahead and use songs that writers in Nashville have given me over the years. It feels like a huge compliment that they would trust me with some of these songs… as they write for some of the biggest artists out there. The stories vary, from love and heartbreak to the loss of my father and the ups and downs of my musical journey so far. There’s a lot in there!    What was the creative process like for this new album?   The creative process was so much fun this time around. It has always been fun but different this time. I have spent the whole of my career from Jessica Clemmons to Jess and the Bandits trying to prove myself as a writer… this time I chose songs based on what I am going to love and what other people are going to love. I recorded the album in Texas which was new for me… I normally record in Nashville and am used to a super quick turnaround. This time it was slower, more precise, more a labour of love… and I loved it.   With the new singles and album release, what do you hope your fans take away from your music?  I called the album ‘Jessica’ because I feel that this record is almost like a rebirth for me. The last album was made before I became a wife or a mother. Now I have two children and my life looks very different. My father, who was my greatest supporter and biggest fan passed away last year after a long illness and it has all shaped me. The things that mattered before matter less. I’m not concerned about pleasing people the way I used to be or willing to make the same sacrifices. I just want to make music, and if you love it, than great!   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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taylor swift eras tour

Event review: Taylor Swift’s Eras Tour comes to the UK

It started by making friendship bracelets on the train to Liverpool. Behind us, some young women debated whether they could bite through the elastic to tie their bracelets together. I asked them if they wanted to use the tiny safety scissors that I had packed and they thanked me profusely, after a while they gently tapped and asked to borrow them again, I, of course, smiled and obliged. It would be this easy sense of camaraderie, good mood and ultimately sisterhood that would colour the day that Taylor Swift took the stage at Anfield.   Epic, another word that could describe the entire 24 hours. An epic journey from London to Liverpool, epic numbers of fans milling around the city centre from the morning until 4pm when the doors opened, you can spot a Taylor Swift fan from afar, they are enthusiastic, excited, nearly bouncing from place to place knowing they are simply hours away from seeing the country-turned-pop-turned-everything megastar in the flesh. Epic too was the staging, performance and atmosphere at the show. But that’s for later.      The buildup  The fans were everywhere, from the packed train that we sat opposite a father, clearly accompanying his teenage daughter (who was also making bracelets) to the world’s biggest tour, to the hotel check-in, where we stood in a queue of fans, the lobby decorated with bunting showing each of her albums in sequence, the people at the front desk asked everyone if they were going to the show. Nearly every single person (barring a few tourists) was. Every café, pub, bar we walked past blasted Taylor Swift at full volume. The city of Liverpool used its status as a cultural hub to create a ‘Taylor Swift Trial’, each of her albums represented through artwork people could interact with, a black leather throne for Reputation, a moss-covered piano for Folklore. The main train station welcomed us with a rainbow mural, declaring right from arrival that THE Taylor Swift was in town, if only for three nights.   We got dressed into our outfits, one Lover-themed, one a blend between Reputation and Folklore, covered ourselves in glitter from head to toe, scooped up our friendship bracelets and hopped into a taxi. As far as we’d travelled to be here, we were running late – and being late to this particular show was inexcusable. Traffic was plentiful, so we got out about 15 minutes away from the stadium and ran. On the way, we walked alongside every excited fan, there were young girls with their fathers, adult women with their boyfriends, groups of young women all dressed up and queer people in their best Eras tour regalia. A young girl, around seven or eight, excited played with her bracelets on the road to the stadium. We asked if she had made them herself, her father said her mommy helped, we asked if she wanted to swap with us and she squealed with delight at her new, beaded jewellery celebrating Swift.   As we walked up to the press office to pick up our tickets, every single person we talked to vibrated with joy and excitement. It was a wholesome, supportive experience. Everyone smiled, everyone wanted to chat about their favourite songs, their favourite albums, what merch they were going to get and how many times they were going to see the show (jealousy hit us whenever someone told us). The stewards were in on it too, they were all happy, there was not an angry, intimidating person among them, every staff member was helpful and kind, one even walking us to the gate when we got a little lost. The older men who were doing security even talked about they were excited to go in and watch the show and how they had all taken turns to see Swift’s performance, allowing others to see it before they had the chance.    Organised and easy to navigate (despite our initial bewilderment), Anfield was an incredible venue overall. The staff were unbelievably helpful and kind, there were people walking around the arena floor with water, beer and cider available throughout the crowd. The show was, of course, sold out, but even the floor wasn’t too overpacked. It was well-thought through, safety-first – and even the toilet queues weren’t too long (if you’re a woman, you know how those pesky queues are). We exchanged more excited words with others, swapped bracelets and it was time for the show to begin.   Standing near the back (even though I am just five feet tall), I could see well. People moved out of the way and asked if I could see, the fans were all in it together, there for each other, they offered to take pictures, send over videos of us dancing and danced along with us. It was community made real.       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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eddie witz and the most high

Spotlight: Eddie Witz and The Most High

Your debut EP, ‘I Am What I Am,’ is set to release on 5th July. Can you share what this milestone means to you personally and professionally?   Releasing my debut EP, “I Am What I Am,” on 5th July is a huge milestone for me. Personally, it represents years of hard work, growth, and passion for music. Professionally, it’s a significant step in establishing my career and sharing my voice and stories with the world. This release is a dream come true, and I’m excited to see where it takes me.      The album explores themes of resilience, forgiveness and healing. What inspired you to focus on these themes, and how do they reflect your personal journey?   The themes of resilience, forgiveness, and healing in “I Am What I Am” were inspired by my own personal struggles and triumphs. Battling Shingles and Ramsay Hunt Syndrome, which partially paralyzed my face, was a challenging experience that brought fear, pain, anxiety, and insomnia. Through this journey, I learned to confront these challenges and ultimately found a place of forgiveness, acceptance, and gratitude. These songs reflect my path to healing and my hope to inspire others facing their own battles.      Your lead single, ‘In Too Deep,’ delves into trauma, loss, and sorrow. Can you talk about the creative process behind this song and what you hope listeners take away from it?   “In Too Deep” was a deeply personal song to write. Co-writing it allowed me to channel my experiences with trauma, loss, and sorrow into something meaningful. The creative process was both cathartic and enlightening, helping me focus on the light at the end of the tunnel. I hope listeners take away a sense of hope and resilience from the song, reminding them to never give up faith and trust in the greater good and the Universe’s ultimate plan.      You’ve drawn inspiration from artists like Jack Johnson, Ben Harper, John Butler, and Jimmy Buffett. How have these influences shaped your sound and approach to music?     Their ability to blend storytelling with soulful melodies has inspired me to create music that’s both meaningful and relatable. They’ve taught me the importance of authenticity, staying true to my roots, and conveying emotions honestly. Their influence can be heard in my acoustic style, lyrical depth, and the overall vibe of my EP.      Music is often described as a healing force. How has creating this album contributed to your own healing process?   Creating this album has been a transformative and healing experience for me. Writing and recording music has allowed me to turn negatives into positives and bring light to the darkness. By channeling my trials and tribulations into my art, I’ve found it easier and more enjoyable to reach a place of authentic forgiveness, acceptance, and gratitude. This journey has taught me to live in the present moment and treat each day as if it could be my last—an invaluable lesson that has helped me accomplish my dreams.     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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little lore encore

Encore: Little Lore

What was the first song you learned all the words to?   I probably knew the words to Sweet Caroline first when I was a child or Joni Mitchell’s Both Sides Now (also covered by Neil Diamond) because my parents where obsessive Neil Diamond fans.   A live show that changed your life?   Seeing First Aid Kit at Brixton Academy a few years ago when they staged the whole performance as characters from The Wizard of Oz. It was utterly breath taking in terms of music and performance, and to embrace a staged gig like that felt very brave and exciting. Something I would like to explore in the future.  A song that reminds you of growing up?   OOH that is so hard! I was a child of the 80s so there is a lot to choose from. I have very strong memories of singing Rat Trap by the Boomtown Rats late at night with my friends and a boy I really fancied, sitting by a weir near where I grew up. It was an iconic song for us, even though it had come out in the 70s, we could all sing it word for word. I think it tapped into the idealism of being a teenager and our emerging feelings about society. Musically it was rock but had these really punk leanings which was probably quite exciting and accessibly rebellious to our young ears. I still love it today. Brilliant songwriting.   A song you can no longer listen to?   Quite harsh to say I would never listen to something if the circumstances were right, but I used to work in a Karaoke bar when I was about 20, I was behind the bar, but because I was a singer the DJ would always get me up to start the night off. He loved it when I sang Arthur’s theme by Christopher Cross, so he would start the backing track and announce me without asking me what I wanted to sing. I enjoyed the song then … but now … I think it goes on the list of songs I have heard and sung one too many times.   An album that made you want to be a musician?   Hard to pinpoint one, but certainly albums that have been really important to me include Suzanne Vega’s Solitude Standing, Joni Mitchell’s Hejira and Lori McKenna’s The Kitchen Tapes – Lori is a huge inspiration to me because she was a little later in life when she found her voice.   Why did you decide to release ‘Seven Stories’ across two parts?   Truthfully, because of the algorithm! If you let all the songs go out in one hit you lose a chance to publicise and have a conversation with potential listeners. I am a huge fan of collections of work so it is a compromise that you have to think this way as an artist, but sometimes you just have to play the game. I have another EP in the making and an album so I will stay dedicated to collections of work going forward, but sometimes you just have to help the system help you. This is especially true for female artists because the music industry is statistically male orientated. Sad really … but that’s the honest answer! I justify to myself that at least releasing it in two parts was truer to my artistry than 7 singles.     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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janet devlin spotlight

Spotlight: Janet Devlin

‘Country Singer’ marks a bold statement against compromising oneself. Can you share the inspiration behind this track and what message you were looking to get across?   I wanted to reiterate a lesson that I learned a few years ago. The whole notion of not settling for anything less than I deserve when it comes to love. Now I’m not talking about putting the people I date through the wringer. More not making myself suffer for a love that was merely lukewarm. In my past I would bend and break myself to fit the mould of the person I was dating. But I refuse to do that anymore. As my mother says “take me as you find me, or don’t take me at all”. She’s right. Though the song is about someone, it took that someone to send that message home to me.     Your upcoming album ‘Emotional Rodeo’ promises a blend of your Irish charm with country rock influences. What was the creative process like for this album, and how does it differ from your previous work?    A lot of things were different in the writing/making of this album. Especially in comparison to my older works. After essentially trauma dumping in my last album – I was finally in a place to write more in tune to my personality. So there’s a lot more lighthearted and jokey songs on this album. One simple thing that’s different is I used to carry a massive bag filled with journals to every writing session.    You recorded ‘Emotional Rodeo’ in Nashville and Grammy-award-winning producer Vance Powell has mixed a lot of the songs. How did this experience influence the final sound of the album?   Recording in Nashville is a whole new world to me. In the best way possible! The energy you get from having a band play live together is truly something else. It brought so much life and personality to the songs that I don’t think I could recreate otherwise. I’ve never done an album this way but I’m so glad I did! The Nashville players are talented beyond belief. Getting Vance to mix was honestly surreal. I couldn’t believe he said yes! Haha. He was the perfect man for the job considering his back catalogue of my favourite artists of all time. Plus his sensibilities with preserving the live nature of the recording and the human elements to the tracks.     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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dawnlandesscaled

Dawn Landes brings ‘The Liberated Woman’s Songbook’ to the Barbican

On 7th September, the acclaimed singer-songwriter Dawn Landes will grace the Barbican in London with a live performance of her widely praised album, ‘The Liberated Woman’s Songbook’. This special event will feature esteemed guests, including folk legend Peggy Seeger, US indie-rock songwriter Skylar Gudasz, folk singer Lail Arad, Roots/R&B singer and actress Bridgette Amofah, violinist MaGuire and jazz-influenced singer-songwriter Sylvie Lewis. In an effort to amplify women’s voices, Landes released ‘The Liberated Woman’s Songbook’ in March during Women’s History Month. The album reimagines music from the women’s liberation movement, featuring songs originally published in ‘The Liberated Woman’s Songbook’ in 1971. Landes, alongside producer Josh Kaufman, has highlighted 11 musical stories from the canon of women’s activism spanning from 1830 to 1970. These narratives remain as pertinent today as ever, reflecting centuries of women’s struggle for their voices to be heard. “The project began while I was grounded at home during the pandemic and came across this intriguing book at a thrift shop,” said Landes. “With the overturn of Roe v. Wade rolling back women’s autonomy by 50 years, I turned to the songbook for inspiration. We’re suddenly back in 1971 all over again. I know we’re in for a long fight, and it helps to find solidarity where you can.” Josh Kaufman added, “Working with my old friend, Dawn Landes, on this collection of tunes was a real creative and collaborative gift. Many of these songs were already powerful in message but musically were never meant to travel beyond the picket line. I hope our work helps to amplify their message of freedom and equity anew.” ‘The Liberated Woman’s Songbook’ was recorded in Upstate New York at Little Pink and The Garage in Chapel Hill, NC, with Landes leading on vocals, guitar, and organ, and Kaufman steering guitars, keys, drums, bass, mandolin, and percussion. Landes enlisted an array of powerful voices to accentuate the album’s vital messages, including Emily Frantz of Watchhouse, Kanene Pipkin of The Lone Bellow, Rissi Palmer, Charly Lowry, Annie Nero, and Lizzy Ross of Violet Bell. In July 2023, Landes and Kaufman captivated audiences with a live performance of ‘The Liberated Woman’s Songbook’ at the Newport Folk Festival. Landes has established herself as one of music’s premier independent singer-songwriters, exploring a wide variety of styles from indie pop and folk to the French-language album “Mal Habillée.” She has collaborated with artists such as Justin Townes Earle, Will Oldham, and Norah Jones, and has shared the stage with Ray LaMontagne, Feist, Andrew Bird, Sufjan Stevens, Suzanne Vega, and other notable artists. Her work also includes numerous film and TV credits. Landes is currently based in Chapel Hill, NC.   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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folkonthecoastlineup

Folk Music Legends Headline Folk On The Coast Festival

World-renowned artists and rising stars from the Folk Music scene are set to perform at a new weekend-long festival at Floral Pavilion in Wirral from 13th to 15th September. The event promises to bring performances, workshops, exhibitions, and special talks, offering an immersive experience for attendees. The lineup includes an eclectic mix of performances from folk legends such as Martin Carthy, Martyn Joseph, Martin Simpson, The Bar-Steward Sons of Val Doonican, Jackie Oates, and John Spiers. Other notable artists include Jon Wilks, Mikey Kenney, Gilmore & Roberts, Joe Topping, Maddie Morris, James Delarre & Saul Rose, and Jack Rutter. Folk music pioneer Martyn Joseph is set to host a songwriting talk alongside Q&As with Cole Stacey and Keith Wilson. Attendees will also have the chance to enjoy a performance by Mind The Step Appalachian Dancers and participate in DADGAD and poetry workshops. The inaugural festival will utilise the Floral Pavilion’s multiple performance spaces as well as local music venues such as Future Yard in Birkenhead. This approach aims to create a dynamic and engaging atmosphere throughout the event. Floral Pavilion’s Venue Manager, Pauline Campbell, expressed her excitement, saying, “We are so excited to see the venue come alive with Folk music. We’re proud to launch a festival that celebrates the genre and provides a welcome and immersive space. With a beautiful coastal backdrop and world-renowned artists, it is going to be a weekend to remember.” Programme manager, Tom Forth, added, “This September we’re thrilled to welcome some of the world’s finest artists to the first Folk On The Coast festival. Expect diversity from right across the genre; from the contemporary to the traditional, electrifying performances to intimate storytelling and Folk royalty to some of Merseyside’s most promising folk purveyors.” FULL WEEKEND LINE-UP Friday: Ceilidh – The Final Nails, Split Level (Phil Chisnall & Lynne Strange), John Walsh, Gerry Murphy, Keith Wilson, The Skylarks, Raphael Callaghan, Bread Hotel Workshop: An Introduction to DADGAD with Phil Chisnall Workshop: Sea Themed Poetry with Alison Schultz Special Event: Mind The Step Appalachian Dancers Saturday: Martin Carthy, Martyn Joseph, Cole Stacey, James Delarre & Saul Rose, Mikey Kenney, Katie Nicholas, Keith Wilson, The Far North Q&A: Keith Wilson Q&A: Cole Stacey Special Event: Martyn Joseph Songwriting Talk Sunday: Martin Simpson, Jackie Oates and John Spiers, Jon Wilks, Maddie Morris, The Bar-Steward Sons of Val Doonican, Gilmore & Roberts, Joe Topping, Jack Rutter, Douglas and Moss, Mark Pountney, Danny Bradley   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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jacksondeanonthebackofmydreamsalbumart

Jackson Dean unveils new single and announces album

Jackson Dean has delighted fans today with the release of his latest single, the studio version of his live show favourite, ‘Heavens To Betsy’. Alongside this release, Dean has announced his much-anticipated sophomore album, ‘On The Back of My Dreams’, which is set to hit the shelves on 6th September. The 13-track album promises to be a thought-provoking body of work, leaving listeners with much to ponder. Already recognised as one of Nashville’s most intriguing artists, Dean’s new project marks a bold new chapter in his career. Embracing his gritty, rambling highwayman spirit, Dean elevates his signature style with turn of phrases, biblical references, soaring guitars, and subliminal messages. The result is a collection of big, wide-open songs that demand bone-shaking vocals. Each track on the album paints a vivid picture, collectively revealing Dean as a man intent on truly living—and living his dream to the fullest. Across the 46-minute set, listeners will find a man relentlessly pursuing every experience life has to offer, facing each sight and feeling head-on. Collaborating with his bandmates, some of Nashville’s finest musicians, and producer Luke Dick, Dean tackles themes of freedom, solace, pain, youth, mortality, and the subconscious. Dean explained the album’s title, saying, “The title can be interpreted from a few different angles, but the face value of that phrase is that in-between state, when you’re in the process of waking up, but reality hasn’t quite set in. Each song on this project has a little bit of that magical surreal feeling. It’s drawn from a lyric in the song ‘Jane,’ this kind of otherworldly, misty tune that immediately embedded into my brain. I’ve lived a lot of life and have watched a lot of life be lived, and each of these songs were written from a single frame of life, almost as vignettes, drawn from daydreams, nightmares, and everything in between.” The single ‘Heavens To Betsy’ stands out as a poignant track, placing Dean in the shoes of a regret-filled man attempting to send a message from beyond to right the wrongs of his past and seek redemption with his daughter. The song has resonated deeply with listeners of all ages, offering a cathartic connection through its characters and soul-stirring plea for atonement. Dean reflected on the song’s journey, saying, ‘Heavens to Betsy’ is like the little song that could. We wrote it and never thought it’d see the light of day, but I started playing it on radio tours to get it out of my head and kill time. I saw a grown man break down and cry to it. That image will hit you like a ton of bricks. So, we started incorporating a bigger version of it into our live shows, and I thought the Live At The Ryman version would be the only place it lived. But once again, this song exceeded my expectations. Night after night, people tell me how it’s helping them through their grief—which is such a beautiful thing. Just the other day, someone told me that their father died 11 years ago, and hearing ‘Betsy’ gave them the closure they’ve been seeking. That’s the reason we do this.” From hearing the expression “heavens to Betsy!” for the first time as a 19-year-old and imagining a man sitting on the outskirts of heaven, trying to communicate with his daughter via a CB radio, to becoming his third radio single due to fierce fan reaction, the unexpected journey of “Heavens To Betsy” encapsulates the surreal aura of ‘On The Back Of My Dreams’. The song’s emotional journey, co-written with Benjy Davis and Driver Williams, begins with a sincere but reserved tone backed by light acoustic guitar. By the chorus, as the man’s comfort grows, the words flow more freely, and the song swells with a piercing electric guitar until its final breath.   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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