August 2024

little big town greatest hits

Little Big Town celebrate 25 years with UK tour and new album release

Country music fans in the UK are set for a special treat this September as Little Big Town, the GRAMMY® and CMA Award-winning quartet, mark their 25th anniversary with a headline tour across the nation. The band, made up of Karen Fairchild, Phillip Sweet, Kimberly Schlapman, and Jimi Westbrook, have built a strong following in the UK, and their return is highly anticipated. Little Big Town have performed at the Country to Country festival three times, including the inaugural event in 2013, as well as in 2016 and 2018, when they headlined to solid reviews. More recently, they played at major UK stadiums and London’s Hyde Park in 2022, supporting the Eagles at the British Summer Time festival. The upcoming UK tour will see them performing in Manchester, Bristol, Cambridge, Newcastle, London, Birmingham, and Glasgow. The tour dates span from 10th to 19th September. This tour coincides with the release of their ‘Greatest Hits’ album, which collects some of the band’s most well-known tracks. The album features songs like ‘Pontoon,’ ‘Boondocks,’ ‘Better Man,’ and the popular ‘Girl Crush.’ It reflects on the band’s journey over the past two decades. Speaking about the album, Karen Fairchild commented, “This ‘Greatest Hits’ album is all about reflecting on some of the songs that have meant the most to us throughout the band’s incredible journey. These last 25 years have been an absolute whirlwind, and we’re so thankful to have our fans along for the ride – this album is truly a love letter to them.” The album also includes a few special collaborations. Miranda Lambert joins the band on a new version of their 2010 hit ‘Little White Church,’ which retains the feel of the original while adding Lambert’s touch. Kelsea Ballerini features on the track ‘Shut Up Train,’ and Sugarland collaborates with the band on a cover of Phil Collins’ ‘Take Me Home,’ which they performed together at the 2024 CMT Music Awards. The ‘Greatest Hits’ album provides a broad overview of Little Big Town’s career, offering long-time fans a chance to revisit some of their favourite songs, while also serving as a good introduction for new listeners.   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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cmt giants

CMT to premiere ‘CMT Giants: Alabama’ on 15th August

Music fans across the US are in for a treat as CMT prepares to premiere “CMT Giants: Alabama,” a star-studded tribute to one of the most iconic country groups in history. The special airs this Thursday, 15th August, at 8 p.m. ET / 7 p.m. CT, exclusively on CMT. This once-in-a-lifetime event will feature some of the biggest names in music paying homage to Alabama’s legendary career. Performances include Blake Shelton with Steve Wariner, Brad Paisley, Jamey Johnson, Jason Aldean, Little Big Town, Old Dominion, Pam Tillis with Lorrie Morgan, Riley Green, and Sam Hunt. The tribute will highlight some of Alabama’s most beloved hits, such as “Mountain Music,” “My Home’s in Alabama,” “Dixieland Delight,” and “Song of the South.” The performances were recorded live before an exclusive audience at the Fisher Center in Nashville. Alongside the live renditions, the special will include appearances from stars such as Evander Holyfield, Lionel Richie, Luke Bryan, Martina McBride, and Vince Gill, who will share personal stories and reflections on Alabama’s lasting impact on music. The programme will also feature rare archival footage and an exclusive interview with the band members themselves, offering insights into their storied career. Following its premiere, the special will be available on CMT VOD from Friday, 16th August, with several encore showings scheduled on CMT MUSIC and MTV LIVE throughout the month. Fans won’t want to miss this heartfelt celebration of Alabama’s contribution to the music world. “CMT Giants: Alabama” is executive produced by CMT’s Margaret Comeaux and Taillight’s Tom Forrest. The programme is overseen by Jackie Barba, Heather D. Graffagnino, Leslie Fram, Suzanne Bender, and Donna Duncan.     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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timbaland x universal

UMG Nashville partners with Timbaland’s Mosley Music

UMG Nashville has officially announced a strategic partnership with Mosley Music, the independent record label founded by the renowned producer, artist, and songwriter Timbaland. This collaboration aims to explore and nurture new talent, with a focus on bridging cultural and genre gaps within the music industry. “Over the past year, we have been working with Timbaland on the shared goal of developing great artists together as well as bridging the gaps in sound and culture in country music,” stated Cindy Mabe, UMG Nashville’s Chair and CEO. “I am so happy to finally announce our collaboration with Mosley Music on the heels of his prestigious induction into the Songwriters Hall of Fame. Timbaland is one of the most iconic producers, songwriters, and artists in the last 30 years, merging genres and opening the doors to magnify cultural impact across genres. Hailing from Norfolk, VA, Timbaland’s reach and impact have been felt across pop, hip-hop, and country music, including working with and bridging sounds for artists like Bubba Sparxxx, For King + Country, and Brad Paisley. Timbaland continues to push open the doors making innovative cultural impact by pushing boundaries, and I am excited to join forces in breaking barriers in country music.” Timbaland, who has been a prominent figure in the music industry for decades, expressed his enthusiasm for the partnership, stating, “I’ve been aligned with Universal Music Group the majority of my career as an artist and with my label Mosley Music, so UMG Nashville felt like the right place to partner for us in Country. I love their mission of taking chances on special artists to meet culture. Cindy, Chelsea, Charlene, Rob, Lori, Mike, and the rest of the team at UMG Nashville understand our vision and I know will be a great partner for us to continue to break artists.” This partnership is expected to yield exciting developments in the music industry, with both entities committed to discovering and promoting fresh talent that challenges traditional genre boundaries.   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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whiskey and country music

Why does country music love whiskey?

Country music and whiskey share a deep, storied relationship that has evolved over time, rooted in cultural, social and economic ties. This bond reflects a broader narrative of American history and identity, particularly in the Southern United States where both country music and whiskey have strong origins. In times of hardship or celebration, whiskey is often the thread that brings lyrics to life and drives the inspiration behind some of country’s greatest anthems.     Historical Roots  Whiskey, particularly bourbon, has long been a staple of American culture. Its production dates back to the 18th century with settlers in the Appalachian region. These early settlers, many of whom were of Scotch-Irish descent, brought with them a tradition of distilling spirits. Over time, whiskey became an integral part of Southern culture, symbolising resilience and self-sufficiency.   It was frequently liked with moonshine, a drink that took over the American South during prohibition. In the early days, particularly during the Wild West era (usually considered to be from 1866 to 1890), men would gather and socialise in one of two places: Church or the saloon. Whiskey at this time was considered a medical treatment, used to treat every ailment from common colds to antiseptic and even boredom (the effects of alcoholism were less known at this time, as you can imagine).   The birthplace of US whiskey is widely considered to be Virginia, Maryland and Pennsylvania, around 1791. Seen as an opportunity for the burgeoning nation of the USA to raise some much-needed funds, a whiskey tax was proposed, leading to what is now called the ‘Whiskey Rebellion’. It was during this time that Irish settlers in Kentucky and Tennessee would start producing the first American whiskeys. It’s important to note that the US’s perpetuation of slavery had an instrumental role in this, even the now-renowned Jack Daniels was taught to distil by a free slave called Nathan ‘Nearest’ Green. Slaves who had knowledge of the distilling process (from working on Caribbean sugar cane plantations making rum) were sold for a premium at auction. The men (only men were allowed to handle the distilling process, even among enslaved peoples) would be sold to some of the most recognisable names across the country, for example George Washington, who used slaves at his Mount Vernon Distillery and Elijah Craig, the ‘Father of Bourbon’, who owned 32 people in 1800, to manage their whiskey production.   The relationship between Jack Daniels and Nathan Green wasn’t so sinister in its occupation. The pair worked together and Green was the first master distiller to be hired by Daniels, as well as the first African-American master distiller on record in the United States. This work led to Green becoming moderately wealthy for the time and the relationship between Green and Daniels goes back further than the former’s emancipation. Green and Daniels first met when Daniels was only eight years old, keen to learn the still from a local preacher, who owned Green. Over the years, Green taught Daniels everything he knew, with the intention of making him “the world’s best whiskey distiller”. After the Emancipation Proclamation, Green was freed, but continued to work with Daniels (who was quick to employ the free man and at least three of his sons). There is no evidence that Daniels himself ever owned slaves or used slavery in his distillery. Direct descendants of Green continue to work in the Jack Daniels distillery to this day – and in whiskey in general, in fact, Victoria Eady Butler, the first ever female African-American master blender, is a direct descendent of Green – a testament to the family tradition of the company and how overriding prejudice makes truly lasting ties.      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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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: editor@maverick-country.com

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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: editor@maverick-country.com

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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: editor@maverick-country.com  

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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: editor@maverick-country.com

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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: editor@maverick-country.com

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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: editor@maverick-country.com  

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