2024

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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janet devlin spotlight

Spotlight: Janet Devlin

‘Country Singer’ marks a bold statement against compromising oneself. Can you share the inspiration behind this track and what message you were looking to get across?   I wanted to reiterate a lesson that I learned a few years ago. The whole notion of not settling for anything less than I deserve when it comes to love. Now I’m not talking about putting the people I date through the wringer. More not making myself suffer for a love that was merely lukewarm. In my past I would bend and break myself to fit the mould of the person I was dating. But I refuse to do that anymore. As my mother says “take me as you find me, or don’t take me at all”. She’s right. Though the song is about someone, it took that someone to send that message home to me.     Your upcoming album ‘Emotional Rodeo’ promises a blend of your Irish charm with country rock influences. What was the creative process like for this album, and how does it differ from your previous work?    A lot of things were different in the writing/making of this album. Especially in comparison to my older works. After essentially trauma dumping in my last album – I was finally in a place to write more in tune to my personality. So there’s a lot more lighthearted and jokey songs on this album. One simple thing that’s different is I used to carry a massive bag filled with journals to every writing session.    You recorded ‘Emotional Rodeo’ in Nashville and Grammy-award-winning producer Vance Powell has mixed a lot of the songs. How did this experience influence the final sound of the album?   Recording in Nashville is a whole new world to me. In the best way possible! The energy you get from having a band play live together is truly something else. It brought so much life and personality to the songs that I don’t think I could recreate otherwise. I’ve never done an album this way but I’m so glad I did! The Nashville players are talented beyond belief. Getting Vance to mix was honestly surreal. I couldn’t believe he said yes! Haha. He was the perfect man for the job considering his back catalogue of my favourite artists of all time. Plus his sensibilities with preserving the live nature of the recording and the human elements to the tracks.     Read the full feature in our free digital magazine here: https://bit.ly/3WUe56j Never miss a story… Follow us on: Instagram: @Maverick.mag Twitter: @Maverick_mag Facebook: Maverick Magazine Media Contact Hannah Larvin, Editor, Maverick Magazine Tel: +44 (0) 1622 823 920 Email: editor@maverick-country.com  

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

On 7th September, the acclaimed singer-songwriter Dawn Landes will grace the Barbican in London with a live performance of her widely praised album, ‘The Liberated Woman’s Songbook’. This special event will feature esteemed guests, including folk legend Peggy Seeger, US indie-rock songwriter Skylar Gudasz, folk singer Lail Arad, Roots/R&B singer and actress Bridgette Amofah, violinist MaGuire and jazz-influenced singer-songwriter Sylvie Lewis. In an effort to amplify women’s voices, Landes released ‘The Liberated Woman’s Songbook’ in March during Women’s History Month. The album reimagines music from the women’s liberation movement, featuring songs originally published in ‘The Liberated Woman’s Songbook’ in 1971. Landes, alongside producer Josh Kaufman, has highlighted 11 musical stories from the canon of women’s activism spanning from 1830 to 1970. These narratives remain as pertinent today as ever, reflecting centuries of women’s struggle for their voices to be heard. “The project began while I was grounded at home during the pandemic and came across this intriguing book at a thrift shop,” said Landes. “With the overturn of Roe v. Wade rolling back women’s autonomy by 50 years, I turned to the songbook for inspiration. We’re suddenly back in 1971 all over again. I know we’re in for a long fight, and it helps to find solidarity where you can.” Josh Kaufman added, “Working with my old friend, Dawn Landes, on this collection of tunes was a real creative and collaborative gift. Many of these songs were already powerful in message but musically were never meant to travel beyond the picket line. I hope our work helps to amplify their message of freedom and equity anew.” ‘The Liberated Woman’s Songbook’ was recorded in Upstate New York at Little Pink and The Garage in Chapel Hill, NC, with Landes leading on vocals, guitar, and organ, and Kaufman steering guitars, keys, drums, bass, mandolin, and percussion. Landes enlisted an array of powerful voices to accentuate the album’s vital messages, including Emily Frantz of Watchhouse, Kanene Pipkin of The Lone Bellow, Rissi Palmer, Charly Lowry, Annie Nero, and Lizzy Ross of Violet Bell. In July 2023, Landes and Kaufman captivated audiences with a live performance of ‘The Liberated Woman’s Songbook’ at the Newport Folk Festival. Landes has established herself as one of music’s premier independent singer-songwriters, exploring a wide variety of styles from indie pop and folk to the French-language album “Mal Habillée.” She has collaborated with artists such as Justin Townes Earle, Will Oldham, and Norah Jones, and has shared the stage with Ray LaMontagne, Feist, Andrew Bird, Sufjan Stevens, Suzanne Vega, and other notable artists. Her work also includes numerous film and TV credits. Landes is currently based in Chapel Hill, NC.   To read more exclusive articles and latest news, see our last issue here. Never miss a story… Follow us on: Instagram: @Maverick.mag Twitter: @Maverick_mag Facebook: Maverick Magazine Media Contact Hannah Larvin, Editor, Maverick Magazine Tel: +44 (0) 1622 823 920 Email: editor@maverick-country.com

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Folk Music Legends Headline Folk On The Coast Festival

World-renowned artists and rising stars from the Folk Music scene are set to perform at a new weekend-long festival at Floral Pavilion in Wirral from 13th to 15th September. The event promises to bring performances, workshops, exhibitions, and special talks, offering an immersive experience for attendees. The lineup includes an eclectic mix of performances from folk legends such as Martin Carthy, Martyn Joseph, Martin Simpson, The Bar-Steward Sons of Val Doonican, Jackie Oates, and John Spiers. Other notable artists include Jon Wilks, Mikey Kenney, Gilmore & Roberts, Joe Topping, Maddie Morris, James Delarre & Saul Rose, and Jack Rutter. Folk music pioneer Martyn Joseph is set to host a songwriting talk alongside Q&As with Cole Stacey and Keith Wilson. Attendees will also have the chance to enjoy a performance by Mind The Step Appalachian Dancers and participate in DADGAD and poetry workshops. The inaugural festival will utilise the Floral Pavilion’s multiple performance spaces as well as local music venues such as Future Yard in Birkenhead. This approach aims to create a dynamic and engaging atmosphere throughout the event. Floral Pavilion’s Venue Manager, Pauline Campbell, expressed her excitement, saying, “We are so excited to see the venue come alive with Folk music. We’re proud to launch a festival that celebrates the genre and provides a welcome and immersive space. With a beautiful coastal backdrop and world-renowned artists, it is going to be a weekend to remember.” Programme manager, Tom Forth, added, “This September we’re thrilled to welcome some of the world’s finest artists to the first Folk On The Coast festival. Expect diversity from right across the genre; from the contemporary to the traditional, electrifying performances to intimate storytelling and Folk royalty to some of Merseyside’s most promising folk purveyors.” FULL WEEKEND LINE-UP Friday: Ceilidh – The Final Nails, Split Level (Phil Chisnall & Lynne Strange), John Walsh, Gerry Murphy, Keith Wilson, The Skylarks, Raphael Callaghan, Bread Hotel Workshop: An Introduction to DADGAD with Phil Chisnall Workshop: Sea Themed Poetry with Alison Schultz Special Event: Mind The Step Appalachian Dancers Saturday: Martin Carthy, Martyn Joseph, Cole Stacey, James Delarre & Saul Rose, Mikey Kenney, Katie Nicholas, Keith Wilson, The Far North Q&A: Keith Wilson Q&A: Cole Stacey Special Event: Martyn Joseph Songwriting Talk Sunday: Martin Simpson, Jackie Oates and John Spiers, Jon Wilks, Maddie Morris, The Bar-Steward Sons of Val Doonican, Gilmore & Roberts, Joe Topping, Jack Rutter, Douglas and Moss, Mark Pountney, Danny Bradley   To read more exclusive articles and latest news, see our last issue here. Never miss a story… Follow us on: Instagram: @Maverick.mag Twitter: @Maverick_mag Facebook: Maverick Magazine Media Contact Hannah Larvin, Editor, Maverick Magazine Tel: +44 (0) 1622 823 920 Email: editor@maverick-country.com

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jacksondeanonthebackofmydreamsalbumart

Jackson Dean unveils new single and announces album

Jackson Dean has delighted fans today with the release of his latest single, the studio version of his live show favourite, ‘Heavens To Betsy’. Alongside this release, Dean has announced his much-anticipated sophomore album, ‘On The Back of My Dreams’, which is set to hit the shelves on 6th September. The 13-track album promises to be a thought-provoking body of work, leaving listeners with much to ponder. Already recognised as one of Nashville’s most intriguing artists, Dean’s new project marks a bold new chapter in his career. Embracing his gritty, rambling highwayman spirit, Dean elevates his signature style with turn of phrases, biblical references, soaring guitars, and subliminal messages. The result is a collection of big, wide-open songs that demand bone-shaking vocals. Each track on the album paints a vivid picture, collectively revealing Dean as a man intent on truly living—and living his dream to the fullest. Across the 46-minute set, listeners will find a man relentlessly pursuing every experience life has to offer, facing each sight and feeling head-on. Collaborating with his bandmates, some of Nashville’s finest musicians, and producer Luke Dick, Dean tackles themes of freedom, solace, pain, youth, mortality, and the subconscious. Dean explained the album’s title, saying, “The title can be interpreted from a few different angles, but the face value of that phrase is that in-between state, when you’re in the process of waking up, but reality hasn’t quite set in. Each song on this project has a little bit of that magical surreal feeling. It’s drawn from a lyric in the song ‘Jane,’ this kind of otherworldly, misty tune that immediately embedded into my brain. I’ve lived a lot of life and have watched a lot of life be lived, and each of these songs were written from a single frame of life, almost as vignettes, drawn from daydreams, nightmares, and everything in between.” The single ‘Heavens To Betsy’ stands out as a poignant track, placing Dean in the shoes of a regret-filled man attempting to send a message from beyond to right the wrongs of his past and seek redemption with his daughter. The song has resonated deeply with listeners of all ages, offering a cathartic connection through its characters and soul-stirring plea for atonement. Dean reflected on the song’s journey, saying, ‘Heavens to Betsy’ is like the little song that could. We wrote it and never thought it’d see the light of day, but I started playing it on radio tours to get it out of my head and kill time. I saw a grown man break down and cry to it. That image will hit you like a ton of bricks. So, we started incorporating a bigger version of it into our live shows, and I thought the Live At The Ryman version would be the only place it lived. But once again, this song exceeded my expectations. Night after night, people tell me how it’s helping them through their grief—which is such a beautiful thing. Just the other day, someone told me that their father died 11 years ago, and hearing ‘Betsy’ gave them the closure they’ve been seeking. That’s the reason we do this.” From hearing the expression “heavens to Betsy!” for the first time as a 19-year-old and imagining a man sitting on the outskirts of heaven, trying to communicate with his daughter via a CB radio, to becoming his third radio single due to fierce fan reaction, the unexpected journey of “Heavens To Betsy” encapsulates the surreal aura of ‘On The Back Of My Dreams’. The song’s emotional journey, co-written with Benjy Davis and Driver Williams, begins with a sincere but reserved tone backed by light acoustic guitar. By the chorus, as the man’s comfort grows, the words flow more freely, and the song swells with a piercing electric guitar until its final breath.   To read more exclusive articles and latest news, see our last issue here. Never miss a story… Follow us on: Instagram: @Maverick.mag Twitter: @Maverick_mag Facebook: Maverick Magazine Media Contact Hannah Larvin, Editor, Maverick Magazine Tel: +44 (0) 1622 823 920 Email: editor@maverick-country.com  

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Review: Amanda Anne Platt & The Honeycutters – Pocket Song

Sometimes a slower track comes by and makes you feel wistful for a time that never happened – that’s how this track came to us. Part Joni Mitchell, part Father John Misty and a sprinkling of country with Amanda Anne Platt’s familiar twang, this song is quieter, more acoustic and would be best enjoyed outdoors on a sunny day, surrounded by people you love lying in grass. It’s a dreamy track that benefits from being stripped back, just the gentle drums, stepping bass and acoustic guitar. The sound of steel guitar comes into play and it’s very nearly perfection. As the bridge introduces a tinkling piano, this song is calmness personified, with the correct amount of longing and heartfelt lyricism to make it summer playlist worthy.     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: The Mavericks – The Years Will Not Be Kind

There’s a South American feel to this track. It’s not surprising from The Mavericks, their Latin influence often shines through, but it adds to the storytelling of this track in particular. Half a lament, half an unfilled, pessimistic dream of the future. The bands experience comes through immediately, it feels like you’re in a safe pair of hands. The added accordion in the second verse onwards gives the track an even more Latin feel. Combine that with the fiddle playing and ‘The Years Will Not Be Kind’ takes on the feel of an Argentinian tango – get your dancing shoes on, but make it melancholy. Always great to hear a new song from The Mavericks and this is no exception.    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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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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