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The Paper Kites - maverick-country.com

Paper Kites Announce New Album for January Release

Alternative folk favourites The Paper Kites have confirmed details of their seventh studio album If You Go There, I Hope You Find It, due for release on 23 January through Nettwerk Music Group.

To mark the announcement, the band have shared a new single titled “Every Town”, a tender, wistful piece built on soft melodies and gentle lyricism. The track arrives with an official video, offering a first glimpse of the record’s tone — warm, melancholic, and quietly affecting.

If You Go There, I Hope You Find It follows the same reflective spirit, featuring recent single “When The Lavender Blooms”, recorded at Melbourne’s Sing Sing Studios and mixed by multi-Grammy winner Jon Low. Early notes on the album describe it as intimate and healing-minded, shaped by themes of nature, hope and simplicity, with each song unfolding like a conversation rather than a performance. There is a sense of return threaded through it — of leaving, searching, and coming home changed.

The band are currently back on the road in the United States, including their own headline dates alongside support slots for The Teskey Brothers. They are also scheduled to appear at Bourbon & Beyond in Louisville before heading to Richmond for Iron Blossom Music Festival later this month.

Fans in the UK and Europe will have a longer wait — but not by much. The Paper Kites have announced an extensive 2026 headline tour across the region, with tickets on sale now. London is set for a show at the Roundhouse, following previous sold-out runs at Koko, Kentish Town Forum and a major summer performance at Somerset House. Additional stops include the O2 Ritz in Manchester and 3Olympia Theatre in Dublin.

The Paper Kites now count more than two billion streams worldwide, their soft-spoken sound resonating far beyond folk circles. Their breakout track Bloom has gone multi-Platinum internationally and remains one of the most recognisable modern indie-folk singles of the past decade. It has since been covered on The Kelly Clarkson Show, while the band’s music continues to soundtrack television staples such as Grey’s Anatomy, This Is Us and Virgin River.

Though their influence has grown, the group remain rooted in restraint and nuance — collaborators rather than chasers, working quietly alongside artists such as Lucy Rose, Nadia Reid and Rosie Carney. Their rise has been gradual, steady and built less on spectacle than on craft. It is that patience, along with harmony-rich songwriting, that has carried them to this seventh chapter.

And if the new single is any indication, If You Go There, I Hope You Find It doesn’t mark a reinvention so much as a deepening — another page in a story written gently, thoroughly, and always in service of feeling.

Big Valley Jamboree-Maverick-Country.com

Big Valley Jamboree Reveals 2026 Headliners

Big Valley Jamboree is gearing up for its 34th edition, returning to Camrose from 30 July to 2 August, and organisers have confirmed a powerhouse 2026 Chevrolet Main Stage line-up to match.

This year’s festival places three major names at the top of the bill: eight-time ACM Group of the Year Old Dominion, multi-platinum hitmaker Riley Green, and four-time GRAMMY winner Keith Urban. ACM New Artist of the Year Nate Smith will open the weekend during Thursday’s Kickoff Party inside the Coors Original Saloon.

“As we celebrate the incredible history of Big Valley Jamboree, this line-up feels like the perfect way to honour where we’ve been and where we’re headed,” said Troy Vollhoffer, CEO of Country Thunder.

“Keith Urban, Old Dominion and Riley Green each bring something unique to the stage, and together they capture the spirit of what BVJ is all about: great music, great community and memories that last long after the weekend ends.”

Urban, returning to BVJ after years away, brings more than two decades of chart success to the Alberta stage. The three-time Entertainer of the Year holds 20 number-one singles – including “Somebody Like You,” “Blue Ain’t Your Colour,” and “Long Hot Summer” – and remains one of the most recognisable live performers in modern country music.

Old Dominion step into their headlining slot as one of the most decorated groups in the genre, with eight ACM Awards and seven CMA wins to their name. Their catalogue of fan favourites – “Break Up with Him,” “Written in the Sand,” “Make It Sweet” – has helped position them amongst country music’s most in-demand live acts.

Riley Green will headline Big Valley Jamboree for the first time following his well-received Kickoff Party appearance in 2024. Known for hits like “There Was This Girl,” “I Wish Grandpa’s Never Died,” and “Worst Way,” Green arrives off the back of multiple ACM and CMA wins and continues to build momentum.

More names join the 2026 roster, including Cameron Whitcomb, Noeline Hoffman, viral breakout Gavin Adcock and Chase Rice. The programme also features Robyn Ottolini, Sacha, Josh Stumpf, Morgan Klaiber, Travis Dolter, Sully Burrows, The Dead South, Mark Chesnutt, Billy Dean & Collin Raye and Logan Layman.

Festival-goers can also expect two signature events: Thursday’s Kickoff Party led by Nate Smith, and the official BVJ After Party, complete with late-night surprise guests throughout the weekend.

Further updates are expected in the months ahead. Tickets and camping packages are already on sale, with a new payment plan allowing visitors to secure their place for £20 down, followed by equal monthly instalments.

A landmark summer for country fans is already on the horizon – and Big Valley Jamboree looks set to make 2026 one to remember.

Brooks & Dunn - maverick-country.com

Brooks & Dunn – The Long Game

They didn’t arrive as revolutionaries. But Brooks & Dunn redrew the borderlines of country music just the same — blending honky tonk, arena rock, and emotional clarity into a sound that still echoes through the genre’s bloodstream.

When Brooks & Dunn reunited in 2015 after a five-year hiatus, it wasn’t out of necessity. They had nothing left to prove. Already Country Music Hall of Famers, with more CMA Awards than any other duo in history, they could’ve stayed gone — proud, platinum, and preserved.

But Kix Brooks and Ronnie Dunn were never interested in legacy as museum piece. Their return wasn’t nostalgic. It was purposeful. A reminder that the sharpest tools in country’s box were far from relics, they still had an edge.

Three decades after their 1991 debut, Brooks & Dunn remain a blueprint: for duos, for crossover acts, for anyone trying to make traditional country sound contemporary without losing its roots. And for all the numbers — the chart-toppers, the tour grosses, the awards — their real achievement might be that no one’s ever done it quite like them since.

Their origin story is tidy on paper, but jagged in reality. Both men had solo ambitions. Dunn was a powerhouse vocalist from Texas with a gospel background. Brooks was a sharper-edged songwriter from Louisiana with industry connections and an ear for momentum. Arista Records head Tim DuBois suggested they try working together, and they did, somewhat reluctantly.

The pairing didn’t immediately make sense. Their writing styles clashed. Their personalities diverged. But the tension became fuel. In interviews, Brooks has often said the act only worked because they were so different. Dunn, more reserved and vocally dominant, brought the ache. Brooks, gregarious and guitar-forward, brought the grit.

That tension gave them range. It let them pivot between floor-fillers like “Boot Scootin’ Boogie” and ballads like “Believe.” They weren’t trying to split the difference, they were doubling the spectrum.

By the time their debut album Brand New Man dropped in 1991, the balance had clicked. Four No.1 hits later, Brooks & Dunn weren’t a gamble. They were the new standard.

Throughout the 1990s, Brooks & Dunn became country’s most bankable act, not by chasing trends, but by setting them. Albums like Hard Workin’ Man and Waitin’ on Sundown fused dancehall energy with emotional storytelling. Their music lived on jukeboxes and in stadiums. It worked as well in boots as it did in headphones.

They built an aesthetic as much as a catalogue. Cowboy hats and designer jeans, Telecasters and pyrotechnics. They didn’t play small, they scaled country up. And they did it without sacrificing the fundamentals: story, heart, and voice.

Radio embraced them, but so did fans outside the usual orbit. Their sound, stitched with blues, rock, honky tonk, and even gospel, made them accessible without sanding off their roots. Dunn’s vocals soared; Brooks kept the rhythm grounded.

And they just kept winning. By the end of the decade, they’d earned Entertainer of the Year, dozens of chart-toppers, and a place on the Mount Rushmore of modern country.

To read the full article, see our last issue here.

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Photo by HuneyFire - Maverick-Country.com

HuneyFire Release Festive Christmas Single

Afro/Latina country duo HuneyFire are embracing the holiday season with the release of their new single, “My Christmas Wish”, a warm and romantic track celebrating love in December.

The song is described as a light-hearted tribute to spending the festive period with someone special, wrapped in harmonies and seasonal glow.

“My Christmas Wish is a sweet and playful holiday single about the joy of being in love at Christmas and wanting nothing more than to spend the season with the one you love,” the duo said.

HuneyFire added that the track captures “the simple and tender desire to make memories together under the glow of Christmas lights.”

Written and produced by Cheaza Figueroa, the song features Figueroa and daughter Marri Nevarez-Barlow sharing lead vocals and harmonies, bringing a soft, familial touch to the arrangement.

The recording also features Caitlin Evanson on fiddle, Eddie Dunlap on dobro, and Hugo Castillo contributing drums, bass guitar, organ, piano and synth. The single was recorded at Mir Records USA.

“My Christmas Wish” adds a festive chapter to the duo’s catalogue, blending country instrumentation with soulful, honey-toned delivery, and positions HuneyFire as emerging seasonal voices within the genre.

HuneyFire continue to build momentum as a mother-daughter pairing distinctly placed within country music – blending cultural heritage, harmony-led songwriting and a modern Americana sensibility.

Their work has drawn attention for its warmth, sincerity and genre-spanning influences, marking them as artists to watch as they move into the new year.

Tim Brink & The Rising promo shot - Maverick-Country.com

Tim Brink & The Rising Release ‘Dark City’

Tim Brink & The Rising have unveiled their debut album Dark City, a cinematic blend of Southern gothic storytelling, Americana grit and brooding blues.

The release marks a defining moment for frontman Tim Brink, the Quebec-born vocalist and multi-instrumentalist whose career to date has included international touring with Pete Möss, a finalist position on La Voix IV, and even consideration as lead singer for Stone Temple Pilots.

Dark City leans into the mythology of desolate highways, ghost-town silence and hard-earned redemption. While fans of Colter Wall, Chris Stapleton and Orville Peck may find familiar textures, Brink carves his own territory – darker, more atmospheric and rooted in the tone of series such as Yellowstone, True Detective and Justified.

The album, co-written by Brink and guitarist Samuel Busque, unfolds like a film. Songs move with tension and release, borrowing the grit of Johnny Cash, the intensity of Rage Against the Machine and the dramatic flair of Tarantino.

Produced by Busque alongside Michel Francoeur and mixed and mastered at Red Tubes Studio, the record explores themes of vengeance, forgiveness and the moral grey spaces that sit between.

Brink’s vocal performance anchors the work – raw, soulful and weathered like a road map creased at the edges. The music shifts between thunderous instrumentation and quiet reflection, offering a listening experience that feels both widescreen and intimate.

Dark City is now officially released, signalling a bold entry onto the North American roots-rock stage and marking the beginning of a chapter that is wholly Brink’s own – storm-charged, cinematic, and unafraid to stare directly into the dark.

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Review: Karen Jonas – The Restless

This dark alt-country offering showcases a new side to Jonas’ songwriting. The record explores themes of romance and ill-fated love, with many of the lyrics having a nostalgic feel to them. The album opens with ‘Paris Breeze’ and the thing that strikes me is the detailed description in the lyrics, “we’re breathing lavender and jasmine and the dust that’s fallen off of some great painting.” In fact, the whole record feels like a very visceral encounter. A highlight is the intimate piano track ‘Lay Me Down’. It explores the theme of choosing to love despite knowing it could end in heartbreak whilst ‘That’s Not My Dream Couch’ is more upbeat and has its own sense of humour and wit. ‘Forever’ definitely takes a more hopeful tone when it comes to love. The production is well thought out, complementing the mood of each track whilst remaining cohesive.  

Spotlight: The Far North

When did you first know that you wanted to be a musician? 

When I was around 11 or 12 I started getting into music in a big way, before that it was whatever my mum was playing in the house, usually Motown or Northern Soul. When I first received a tape of Pearl Jam and Nirvana in 1992 from a friend in school, it lit a bonfire in me that has never left. I then started to join the dots back to music before Grunge and started tracking down old vinyl’s of Queen,/AC/DC and Aerosmith in local second hand shops and music shops and I’d listen to them time and time again, pouring over every liner note and taking in every note of music. A few years later Britpop hit in the UK I was utterly in love with it, it was everywhere at the time and all these incredible bands and all this new music inspired me to pick up the guitar and start writing my own music and I’ve never looked back.    

Tell me about the formation of The Far North? 

I was in a lightly successful band called The Fireflys from 2007-2019 and we played what some might call Americana music on our latter 2 albums and I really wanted to lean into the genre more because as a songwriter it’s probably my most comfortable wheelhouse to write in. However, the Fireflys were first and foremost a rock band and it wasn’t really fair on the other members to keep scratching this itch I had musically to play a more Country style of music that my head and heart belonged to. Ultimately, I had to go my own way and branch off on my own because I had 30 or more songs in my back pocket that I was dying to record and perform under a new name. I had the name “The Far North” as far back as 2015, I was thinking about the solace and safety of what music brings me and imagined a place where all I’d have was my acoustic guitar, and that place was the far north. So I made a note in one of my journals and it said “a good band name if I ever branch out on my own”. I was thumbing through my journal for inspiration a few days after The Fireflys called it a day and there it was – “The Far North”.  

When it comes to songwriting, where do you draw inspiration from lyrically? 

When I sit down to write it’s always the strangest thing because it either happens or it doesn’t, and by that, I mean it’s genuinely the luck of the draw in terms of a song arriving almost fully formed. I’ll sit there with my guitar and I’ll play G-D-C which I’ve played a million times before but for some reason I’ve never played it like this – the feeling, the vibe is there and I know I’ve got something. Lyrically I’ve never written lyrics down beforehand and tried to marry them up to music, instead I’ll press record on my phone, if I’ve got the chords and whatever comes out tends to be the finished lyrics there or thereabouts. A lot of my lyrics are about love and loss, hope and fear so I guess like everyone else these feelings must be pretty near the top as they keep coming out in my writing.   

My favourite song off your album is ‘When We Were Young’, can you tell me a bit about the story behind that track? 

When We Were Young’ was one of the first songs I wrote that was comfortably in the Americana/Country genre, and along with ‘Branches’ was the song that made me actually realise that I was a good songwriter with something to sing about. I was thinking about my old neighbourhood a lot during this time and how strange it is that one minute we’re 10 years old playing out with our friends, the next we’re in our mid-thirties with all the stresses that adulthood brings and wishing it was the good old days again. I wanted it to sound a little melancholy but also uplifting, like that sense of nostalgia we all feel that is sometimes sad and sometimes happy, and I think I blended it nicely on this one and I got to do a little play on words with my love of Neil Young too on the title!   

A few silly questions, what’s the strangest thing you’ve ever written a song about?  

I’ve written a song called “Angels Of The North” that will end up on my second album eventually. It’s about the UK’s asylums in the 1930’s and what went on in there, and it’s from the perspective of someone who’s in there and dreams of the day they can get out. It’s a little eerie and strange but definitely a subject not too many songwriters have written about so I thought I’d shine a little spotlight on it. It’s quite a departure from my usual songwriting, so I’m intrigued to hear what people might think of it.  

If you were to describe your personality as a flavour of crisp, what flavour would you be? 

Well I’m Vegan so it’d have to be something that didn’t contain any animal cruelty, and I’m obsessed with the sea and all things nautical so I think sea-salt is a pretty good call. Although, my love for a cup of tea is also well known amongst my family so maybe Earl Grey flavoured crips – has anyone invented them yet??  

What’s next for you? 

I’ve written the bulk of album 2 already and I’m in talks with the label about putting out an E.P in the Autumn so along with the shows I’ve got coming up I’ll be really focused on that.  

The E.P will definitely have a huge Country and Americana sound but I think it’ll be a bit louder than “Songs For Gentle Souls” with a bit more overdrive and believe me, some more pedal steel guitar to the fore!  

Review: ‘The Friday Night Club’ – Anna Howie

Anna Howie is a homegrown talent who’s debut 11 track album seeks to solidify her status as one of the fastest rising stars of the scene. Howie penned some of the album in Nashville and reflects upon her time there whilst she also takes influence from family and friends and the trials and tribulations we all faced in the last couple of years.

The stand out track comes in the form of ‘In The Morning’ which features a brass section, which is unusual for the genre. Meanwhile, ‘A Bird Sings In Nashville’ Howie wrote on a porch swing out in Nashville where she had planned to record the album but she made the most of the travel ban by instead recording and producing this track in the UK with Lukas Drinkwater who has kept things simple but has done a great job.

Howie captured the hearts of fans with a livestream every Friday night which garnered nearly two million views and inspired the name of the album. It’s a very well written and produced record that is most certainly worth a listen. 

lazy afternoon

Review – Just As Poor As Before – Lazy Afternoon

The 7-piece outfit from Gotland, a Swedish island, blend Americana, country, folk and rock together. Their latest album, ‘Just As Poor As Before’ is the tightest the band has ever sounded with lively fiddle and country guitar solos adding a new dimension to the record. On the opening track, ‘Who Am I To Say’, the vocals are gorgeous, so clear, bright and well controlled, a classical sounding voice set to banjo and other country instrumentation – it gives the band a unique identity. There is a nice mix of upbeat tracks and ballads throughout the 13 song collection. The highlight for me is the melancholy ‘Song For You’. The vocals quiver in this track which adds to the weight of the emotion of the lyrics, and the harmonies are good in the chorus. ’Wild’ is a toe-tappingly good track to end the record on. It’s a strong record and I can only see the band going from strength to strength over the coming years. As a side note, the album artwork is lush! 

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