October 7, 2024 - STAGING Maverick

Review: The Gleeman – Something To Say

Leave a Comment / Top Picks / Rebecca Morpeth-Spayne

Ok, this record captured our interest from the start. The opener, ‘The Legendary Planetary Émigré’, is a track full of musical miss-matches that gives it a sense of strangeness, echoing the subject matter. It’s not unpleasant, but required a little bit of dissection: The snare drums come in infrequently, the syncopated bells add complexity to an already full mix and the guitar focuses on the down beat and claps keep a beat at the end of every 4/4 line, it’s as if The Gleeman didn’t want the listener to have a single beat where something wasn’t happening. As for the vocal line, The Gleeman’s falsetto is accompanied by a harmony that can only be found in the depths of space, adding layers onto layers – and that’s just the first track. As the second track, ‘The Hurting’, kicks in we have what can only be described as musical whiplash. The Gleeman showcases a side of their voice that displays a richness and depth that sounds like he could sing any ballad from a millennials’ youth. It’s heartfelt, miles away from the fun, overstuffed opener. There’s a smell of The Calling’s ‘Wherever You Will Go’ about this track, with the next ‘Borrowed Time’ having a slight whiff of Elton John and that’s not just because it’s a piano ballad. It’s the structure of the track, the long vowel sounds and the use of ‘C’ and ‘T’ lyrically to provide a beat that the drum-less track needs. As we listened, there was a realisation that The Gleeman is incredibly adept at creating sonic spheres, mastering sound after sound and fine point-tuning their music and vocals to each track – it’s almost as if he’s showing off how many types of track he can produce eloquently, which makes sense, after all The Gleeman is a classic singer-songwriter. This is a 14-track album, but it feels like The Gleeman takes us on a journey, an overused phrase in music, but that is the only way it can be explained when it comes to ‘Something To Say’. ‘Marie’ is another change of pace, with trumpet and whistling coming into play to give this upbeat, positive track a happy feel. As the album progresses, it’s clear The Gleeman is a fan of piano, it’s almost as if you can see the artist sitting at the piano, writing away like a modern-day Bernie Taupin. Even on the track ‘Gunslinger’, the country-style guitar is an embellishment to the accomplished piano playing, everything comes second to The Gleeman’s voice and piano chops. Quiet acoustic tracks like ‘You Are Not Alone’ and ‘Blink Of An Eye’ allow the writing to shine. It’s an incredibly well executed album and overall, we are big fans. 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: Dan Pettitt – Messages In Blood

Leave a Comment / Top Picks / Rebecca Morpeth-Spayne

The instant this record started, we could only think of one thing; Pettitt embodies Led Zeppelin. Pettitt’s singing style is highly reminiscent of 1970s folk rock, but for the modern age. In particular the track ‘Drop Out’ highlights the use prescription medication as a means of escape, with Pettitt’s flow of consciousness writing working perfectly well with the subject matter – the track sounds like someone struggling increasingly until the close. ‘Stones You Throw’, near the middle of the record, proves to be a left-hand turn into a more morose Pettitt. It’s ideally placed in the track list to keep the listener engaged and bring them back into a sense of intimacy. The album also includes something we love; a starting song with a reprise at the end. It adds structure to a record that is irresistible and brings ‘Messages In Blood’ full circle. Pettitt is just a man and his guitar on this album and, as always, it is a delight. 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: Connor Daly – Ain’t Got A Cape

Leave a Comment / Top Picks / Rebecca Morpeth-Spayne

Daly taps into the pain of watching someone you love struggle with their mental health on this track. It’s a quiet, lonesome track with just Daly’s voice and acoustic guitar until the second verse, where drums and violin enter the mix, providing an even more sorrowful tone. It’s intensely emotional, a very impressive feat of songwriting. It’s hard to not relate to Daly’s plight: you can’t always save someone from themselves, you can’t swoop in and be the superhero every time. It could be a bitter song, but Daly turns his hand to writing a track that instead doesn’t assign blame or disappointment in the other person, but soundtracks the feeling of helplessly watching someone crumble from the outside. Get your tissues ready when you listen to this one, it’s a magical song, but truly sad. 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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Spotlight: Ward Thomas

Leave a Comment / Exclusives / Rebecca Morpeth-Spayne

How did growing up in a musical family influence your songwriting and performance style? We grew up with our parents both in a band performing 60s/70s rock classics like The Beatles, Fleetwood Mac, etc., all harmony-focused bands/artists. So I guess that was a big influence on the style of our singing and songwriting. We were taught to have fun on stage and to always be ourselves completely, which has definitely played a part in our performance within our shows. What is it like to be British country musicians in Nashville? It’s really great. Especially now, every time we go to Nashville, we meet more British artists building their careers over there, which just shows how the country genre is becoming more and more popular globally. Eleven years ago, when we started going over there, it was a different story. Nashvillians were pleasantly surprised to see two Brits attempt a British stamp on country music. You’ve got an acoustic UK tour coming up in early 2025. What made you decide to do a more ‘intimate’ tour? We did this set-up last year, and it worked really well with our songs. We both loved the intimate connection with the audience. It gave us a lot of freedom to show new material, tell the in-depth stories of a lot of the songs, and it was also a great challenge to build a headline show with a stripped-back set-up, which we’ve found to be a lot of fun. We’re looking forward to creating another show with new elements added to it. You both got married over the past few years. How has that impacted your songwriting? I guess a lot of things have changed in a small amount of time, so we both write about the stage of life we’re in, like we’ve always done. For example, at each of our weddings, we wrote a song for one another as our speech, and those two occasions were written as individuals, not together. So that was very different. What did you learn from your ‘Quarter Life Crisis’? That it was okay not to have it all figured out at the age of 24, haha. We look back now and enjoy the headspace we were in whilst writing that song. How did you end up working with Kezia Gill? As we’re both country artists, we’ve crossed paths a few times, and we thought her voice would suit this song really well, so we reached out and asked if she’d be up for singing on it. She was also joining us on tour, so it was perfect timing. 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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Spotlight: Cory Marks

Leave a Comment / Exclusives / Rebecca Morpeth-Spayne

Your music blends country with rock elements seamlessly. What inspired you to merge these two genres? Whichever comes first, and it depends on how and what I’m feeling when I’m writing or coming up with a melody. I was very lucky to grow up around great music, be it country or rock, from Merle Haggard, Vince Gill, Shania, to Rush, Bryan Adams and Ozzy! What have been the biggest lessons you’ve learned from sharing the stage with artists like Five Finger Death Punch and Brantley Gilbert? That real success doesn’t happen overnight, especially if you want to have more than a 5-year career. It takes time and a great team who are all on the same mission to make the dream come true! ‘Outlaws & Outsiders’ became a massive hit and even featured Mick Mars of Mötley Crüe. How did that collaboration come about, and what was it like working with such legendary musicians? We were all on the same label at one point, and when the label showed Mick, Kevin Churko (Five Finger Death Punch producer) showed Ivan Moody, and my manager at the time got it to Travis Tritt… I was lucky they all loved the song and message but, most of all, could relate. I’m even more lucky that I’m able to call them friends! Your lyrics often touch on themes of rebellion, freedom and resilience. How do your personal experiences influence the stories you tell through your music? The music industry was never easy for me, especially here in Canada, trying to chart on Canadian country radio, and it’s still a challenge. I mean, I even failed music in grade 10—the only thing I failed in high school. I wasn’t the ‘cool kid’ growing up and still feel that way sometimes. I’ve always done things differently and my own way, I guess, and I’ve always felt like an outsider, even when I tried to fit in. You get to a point where you say, ‘F**k it! Do what makes you happy and write stuff that makes a legit connection with people, their lives, and stories.’ That’s all that really matters, and it’s my job to tell my story too because we all have them, but someone’s got to speak out and speak up. We’re not alone. I’m a lot like you, and you’re a lot like me. Country music often celebrates tradition, but you bring a fresh, edgy sound to the genre. How do you see the evolution of country music, and where do you think your style fits within it? I mean, we’ve all got to celebrate something, in some way, whether that’s a hard week’s work, a goal achieved, or simply the fact that we’re here. I’m country, I’m rock, but most of all, I just try to do great and make great music that people can relate to, listen to, reflect on, and sing along to! 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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Post Malone’s ‘F-1 Trillion’: A modern country album?

Leave a Comment / Exclusives / Rebecca Morpeth-Spayne

Post Malone’s fifth studio album, ‘F-1 Trillion’, is perhaps one of the most ambitious projects to come out of 2024, representing an artist at the height of his creative powers and his growing ability to transcend genre boundaries. Known for effortlessly blending hip-hop, pop and rock, Post Malone’s latest album makes a striking foray into modern country music. It’s an unexpected yet natural progression in his career, as the rapper-singer has often cited his affinity for country music. With ‘F-1 Trillion’, he doesn’t just dip a toe into the genre – he jumps in headfirst, creating a genre-fluid album that speaks to the evolving landscape of contemporary country while staying true to his artistic identity. The Album’s Themes and Concept At its core, ‘F-1 Trillion’ is an album about identity, self-reflection and the personal toll of fame. The title itself hints at the enormity of the themes it grapples with – excessive wealth, the pursuit of success and the emotional emptiness that often accompanies it. The concept of the ‘trillion’ serves as a metaphor for something unreachable and unattainable, reflecting the never-ending chase for fulfilment in a world driven by material gain. As Post Malone navigates this terrain, he explores the inherent contradictions between fame and happiness, wealth and contentment and ultimately, country music’s themes of home, heartache and redemption. The album seamlessly transitions from reflective ballads to more upbeat anthems, marrying country’s traditional storytelling with Malone’s signature melancholic tone. Songs such as ‘Highway to Loneliness’ and ‘Whiskey Nights’ showcase his ability to draw on the hallmarks of country – nostalgia, longing and heartbreak – while still delivering his characteristic fusion of modern beats and melodies. Post’s gruff yet melodic vocals glide effortlessly over guitar-driven instrumentals, rooted in the twangy, stripped-back style associated with classic country, yet layered with the kind of polished production that is synonymous with today’s pop music. One of the most captivating aspects of ‘F-1 Trillion’ is the selection of high-profile features that Post Malone brings on board. Country music has always been collaborative, with duets and joint efforts often forming some of the genre’s most iconic moments. Here, Malone taps into that tradition, but with his own twist. From both country veterans and up-and-coming stars, each collaboration adds depth and richness to the album’s overall narrative. Perhaps the most talked-about track is ‘Cowboy Dreams’, featuring country legend Willie Nelson. At 91 years old, Nelson’s raspy voice is a testament to his enduring presence in the genre and his duet with Post Malone provides a beautiful contrast between the old and new. ‘Cowboy Dreams’ is a slow-burning anthem, reflecting on the mythical and fading figure of the cowboy, symbolising freedom, rebellion and solitude. The melancholic guitar riffs and soft percussion allow both artists’ voices to shine, weaving a touching narrative about the cost of living freely. Another standout track, ‘Southern Comfort’, features Kacey Musgraves, an artist whose progressive take on country aligns well with Post Malone’s genre-blending ethos. The song is a melodic ode to the simple pleasures of life – the warmth of home, the smell of fresh-cut grass and the solace of a glass of whiskey after a hard day’s work. Musgraves’ ethereal voice complements Post’s more gravelly tone and together they create a nostalgic yet modern take on the Southern ballad, a love letter to the comforts of the American South. 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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Chayce Beckham: Unfiltered country

Leave a Comment / Exclusives / Rebecca Morpeth-Spayne

Chayce Beckham’s rise in the country music scene isn’t just about winning the nineteenth season of ‘American Idol’. It’s about how his voice, lyrics and personality have brought a refreshing authenticity to the genre. The California native has carved a niche for himself, blending raw honesty with relatable storytelling, reaching out to listeners who may have never considered themselves country music fans before. Beckham’s music speaks to a broader audience, tapping into universal themes of struggle, resilience and self-discovery, making his work a unique and inclusive form of country music. The Power of Vulnerability What makes Beckham stand out is his ability to connect with listeners on a deeply personal level. His gravelly voice carries a sense of lived-in experience, each note laced with a hint of heartache, redemption and a touch of rebellious spirit. But it’s not just his voice that sets him apart—it’s the way he writes about the complexities of life without shying away from the less glamorous parts. His songs, often reflective and unvarnished, are windows into his journey from blue-collar worker to overnight sensation, capturing a reality that feels genuine and relatable. Beckham’s debut single ‘23’ is perhaps the best example of his ability to craft songs that resonate across boundaries. The song, an autobiographical narrative of his struggles with alcohol and self-doubt, paints a raw picture of a young man grappling with his demons. With lyrics like “Now I’m 23 and there ain’t nobody who can drink like me” Beckham doesn’t romanticise his past; instead, he lays it bare, allowing listeners to see their own flaws and vulnerabilities mirrored in his words. This level of candour is rare and it’s this willingness to be vulnerable that makes Beckham’s work feel so inclusive. He’s not just singing about a personal experience; he’s singing about the collective human experience—about falling down, getting back up and trying to make sense of it all. 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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Connor Daly’s gentle revolution

Leave a Comment / Exclusives / Rebecca Morpeth-Spayne

There’s a striking similarity in the circle of Gen Z artists: they—yes, even the men—are more willing to be open, vulnerable, even emotional. It used to be a dirty word; emotional. Take the idea of hysteria, the so-called ‘over emotion’ of women, taken out of context and more often than not, criticised by the very men whose behaviour incited the incident. Recently, there’s been a shift in the dynamics of the music industry. During the Don McLean set at The Long Road, a woman in the crowd heckled the 78-year-old with a taunt usually reserved for young women, the familiar “shut up and sing!” Something has changed in music. As the world becomes more accessible and the ability to listen to whatever you want, wherever you want, whenever you want expands, audiences expect more from their artists. More music, more authenticity. The parasocial relationship between artist and fan is undergoing a revolution. This shift is perhaps best embodied by artists like Connor Daly, who have embraced a more introspective and emotionally honest style of music. The young Virginia-born singer-songwriter has not only captured the attention of listeners with his delicate acoustic-driven sound but also with his vulnerability and willingness to reveal a deeper part of himself through his work. This emerging openness isn’t just a passing trend; it’s a reflection of how the digital age has transformed not only the consumption of music but also the relationship between artist and fan. The Parasocial Revolution In the digital era, the boundary between artist and audience is blurrier than ever. Social media platforms, streaming services, and direct communication channels have allowed fans to feel closer to their favourite musicians, creating parasocial relationships that have redefined the traditional artist-fan dynamic. Parasocial relationships, which were once one-sided and limited to viewing artists through mass media, have become more interactive and reciprocal, even though they still maintain a sense of distance. The blurred line between personal and professional creates a space where fans feel connected to artists on a more personal level, often creating a sense of friendship or kinship, even though the relationship remains largely one-sided. For musicians like Connor Daly, this connection is intensified by the intimate nature of their work. Artists who perform acoustic, stripped-back songs are often seen as more accessible and genuine because their music feels raw and unfiltered. “People want more and more from their artists,” Daly explains. “I want anyone listening to my music to feel emotions, whether it be happy, sad, or nostalgic.” This direct engagement with listeners makes it easy for fans to feel like they know him, that they understand his personal struggles and joys. His acoustic style seems designed to foster this connection, giving the impression that each song is a personal letter or conversation meant for the listener alone. This phenomenon is not exclusive to Daly. Artists across genres are finding that their audiences expect them to be more than just performers. Fans want insight into their personal lives, thoughts, and creative processes. Taylor Swift’s social media interactions, for example, have helped cultivate a highly engaged fanbase, the “Swifties”, who feel as if they are part of her journey. The intimacy conveyed through platforms like Instagram and TikTok has allowed artists to engage directly with fans, but this also creates an environment where fans may feel entitled to continuous access, often blurring the lines between personal space and public persona. 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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7 October 2024