July 2024

ACMhonors

First performers announced for the 17th ACM Honors

The Academy of Country Music® has unveiled the first round of performers for the highly anticipated 17th ACM Honors™, promising a night to remember at the historic Ryman Auditorium on 21 August 2024. This year’s lineup boasts some of country music’s most celebrated artists, including seven-time ACM Award winner Eric Church, nine-time winner Vince Gill, two-time winner Emmylou Harris, eleven-time winner Tyler Hubbard, three-time winner Jamey Johnson, three-time winner Ashley McBryde, two-time winner Darius Rucker, and 15-time winner and 2018 Entertainer of the Year Keith Urban. The evening, often dubbed the “Country Music Industry’s favourite night,” will honour a host of notable figures, including Walt Aldridge, Tony Brown, Luke Bryan, Alan Jackson, Shannon Sanders, Lainey Wilson, and Trisha Yearwood. The event will be hosted by four-time ACM Award winner Carly Pearce, who returns for her fourth consecutive year, alongside reigning ACM Song of the Year winner Jordan Davis. Limited tickets for the ACM Honors™, including exclusive VIP packages, are available via AXS. VIP packages offer premium seating in the first seven rows of the Ryman, access to a VIP pre-party reception with complimentary beverages and hors d’oeuvres, a commemorative Hatch Show Print poster, parking, and drink tickets. In addition to the performances, the evening will celebrate other distinguished honourees, such as Artist-Songwriter of the Year Chris Stapleton and Songwriter of the Year Jessie Jo Dillon. Tyler Hubbard will also play a dual role as both a performer and presenter for the ACM Studio Recording and Industry Awards, which include categories like Audio Engineer of the Year, Bass Player of the Year, and Producer of the Year.     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: editor@maverick-country.com  

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Beyond Nashville: From China to Appalachia

In the heart of Maryland, within the vibrant creative nucleus of Strathmore, a profound musical connection has blossomed between three extraordinary musicians, transcending geographical boundaries and cultural divides. Grammy Award winners Cathy Fink and Marcy Marxer, alongside Chinese dulcimer virtuoso Chao Tian, have embarked on a captivating musical journey culminating in their eagerly awaited album, ‘From China to Appalachia’, set for release on August 16, 2024.  This ambitious project serves as a testament to their deep-seated commitment to cultural exchange, blending the rich tapestries of American and Chinese folk traditions with finesse and passion. Cathy Fink and Marcy Marxer, renowned for their musical partnership spanning over three decades, are celebrated for their mastery across a spectrum of instruments, including guitar, banjo, ukulele, and mandolin. Their repertoire transcends genres, encompassing everything from classic country to the spirited rhythms of gypsy jazz. Their performances have graced a myriad of stages, from intimate folk festivals to prestigious venues like the Library of Congress, earning them a steadfast reputation as musical trailblazers.  Chao Tian brings a unique voice to the trio with her virtuosity on the yangqin, a traditional Chinese hammered dulcimer revered for its shimmering tones and versatility. Tian’s journey with the yangqin began at the Middle and High School Affiliated to China Conservatory of Music, where her passion for traditional Chinese music took root. Today, as a PhD student at Boston University, she continues to push boundaries, exploring innovative intersections of music, dance, and visual art.  ‘From China to Appalachia’ is not merely an album but a celebration of shared heritage and a testament to the universal language of music. The album weaves together a rich tapestry of songs, seamlessly blending traditional American folk tunes such as ‘High on the Mountain’ and ‘Ruby Are You Mad At Your Man’ with evocative Chinese melodies like ‘Nan Ni Wan’ and ‘Yongjun Yangko’. Each track serves as a musical bridge between two cultures, harmonising in ways that speak to the shared human experience across borders.  The trio’s collaborative efforts have garnered widespread recognition, culminating in the 2024 Wammie Music Award for Best World/Global Artist-Group from the Washington Area Music Association. Their performances, which have captivated diverse audiences and even gained viral acclaim on platforms like TikTok, exemplify their ability to unite listeners through their distinctive blend of musical styles.    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: editor@maverick-country.com    

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Review: Todd Hearon – Impossible Man

Don’t let the cover put you off, Hearon’s ‘Impossible Man’ isn’t a surrealist move. Starting off with ‘Dead Man’s Cove’, Hearon’s voice comes through as singular tone in country. The ability of Hearon to utilise his low, raspy voice to paint a picture is exceptional on this album. Accompanied by acoustic guitar – and a touch of pedal guitar – on ‘A Dark Place’, Hearon channels Nick Cave on his vocal line and skill in spinning a story. The album is a narrative, a series of vignettes that encapsulate perfectly every subject that Hearon approaches. It leans slightly into similarity of sound as the album progresses (that is to say, Hearon could switch it up a little more), but overall it’s a great piece to dip in and out of.     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: editor@maverick-country.com  

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Review: Everette – Keys To Kentucky EP

Duo Brent and Anthony are back and they’re making it truly country this time. The title track is a very sweet ode to love plays on Everette’s more acoustic side, in contrast to electric recordings that have come previously. The pair don’t suffer for it, though, just two men with their acoustic guitars still make an intimate connection with the listener. The spoken verses on ‘Another Man Down’ veer into the fear of spoken word songs, but it all comes together with the twanging guitar and soft vocal harmony in the bridge to make something that is very, very special. The rip-roaring ‘High And Lonesome’ provides a moment for the duo to show off their more fun side, with intricate and excellent guitar picking only adding to the moment. Back to acoustic for the pair on ‘No Vacancy’ feels nostalgic and homesick, drawing in the listener to pay attention to every word. Listen to this EP ASAP.    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: editor@maverick-country.com

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Beyond Nashville: Odin S

At just 16 years old, Odin Sokac, also known as Odin S, is making a name for himself in the Blues music scene. His passion for this beloved genre is palpable and he believes that anyone who feels deeply can sing and play the blues, regardless of their age. This sentiment is encapsulated in his latest single, ‘Mannerist Blues’.      The title ‘Mannerist Blues’ carries a dual significance, both of which are crucial to understanding the song’s essence. Historically, ‘Mannerist’ or ‘Mannerism’ refers to a 16th-century artistic style characterised by artificiality, elegance, and the sensuous distortion of the human figure. This art form was known for its emphasis on exaggerated and often complex poses and compositions.     In the context of Odin Sokac’s debut single, ‘Mannerist’ reflects a different aspect of human behaviour—the tendency to live, speak, and behave in habitual ways that often become the norm. This mannerism can symbolise a stagnation that starkly contrasts with the Blues’ rootsy and improvisational nature. The blues, after all, is a genre born out of genuine human emotions and spontaneous expression. ‘Mannerist Blues’ delves into the rebellious spirit of those who reject societal norms in favour of embracing real human emotions. It celebrates originality, imagination, and positivity in dealing with life’s everyday challenges. This theme perfectly encapsulates Odin Sokac’s mission to spread a message of positivity through his unique interpretation of the blues.     Odin Sokac was born in 2008 in Zagreb, Croatia. He began playing the guitar at the age of eleven, and within two years, he had already written 26 songs. His music balances soul, emotion, technique, and chops, demonstrating a maturity beyond his years.     In 2022, Odin released his debut single, ‘The Wild West War,’ through Dancing Bear Records. That same year, he opened the fourth edition of the Thrill Blues Festival in Croatia, marking his entry into the live Blues scene. His performances have taken him all over Europe and the USA, earning him a reputation as a prodigious talent in the making. A significant milestone in his career was his participation in Little Steven’s Blues Camp in Notodden, Norway, in 2023, made possible by a scholarship from the European Blues Union (EBU). This opportunity allowed him to hone his skills and network with other young blues musicians. In 2024, he competed in the International Blues Challenge in Memphis, further cementing his place in the blues community.     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: editor@maverick-country.com

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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: editor@maverick-country.com

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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: editor@maverick-country.com

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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: editor@maverick-country.com  

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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: editor@maverick-country.com

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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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