March 2025

Maverick talks to Midnight Sky about their latest album release White HEat, available to listen to now! Your new single, “White Heat” presents a fiery and intense energy, a departure from the reflective tone of your previous work. What inspired this shift in musical direction?  I try to make my creative output somewhat eclectic. One day the phrase “Nero fiddled while Rome burned down” popped into my head, and I knew I wouldn’t be writing a waltz.  The phrase “Nero fiddled while Rome burned down” sparked the creation of “White Heat.” How did this imagery influence the song’s narrative and composition?   As soon as I had that line, I tried to include as many “fire” and “heat” references as I could. The title came from my understanding that white heat is the hottest heat there is.  The remix of “A Few Good Years” adds a new dimension to an already poignant track. What motivated you to revisit and reinterpret this song?  Of all the songs I’ve produced, that one has gotten the most praise. I loved the original version, which has only a grand piano and a string section as instrumentation. But my publicist, Mike Stover, suggested that I punch it up a little bit and add some more instrumentation. He was the one who suggested ramping it up after the first chorus. He was right.  How do “White Heat” and “A Few Good Years (Remix)” reflect the band’s versatility and ability to explore contrasting themes and emotions?   I never set out to write a song in a particular genre. Generally, the lyrics tend to push me in one direction or another. One of my favorite compliments is “That doesn’t sound like something you would write.”  “Last Hope for the Modern World” has been described as a collection of original songs combining emotionally charged songwriting with impressive musicianship. Can you share the overarching themes of this album and what you hope listeners take away from it?   I’m not sure that the album has a theme. But I think that, more than the first two albums, almost all the tracks are very personal. When I decided the order of the tracks, I found myself alternating upbeat songs with downbeat songs. (I’m not sure this matters since people tend not to listen to albums in sequence anymore.) If there’s a theme, I think it’s that life is sometimes happy and sometimes sad and a lot of in between.   The title track, “Last Hope for the Modern World,” was the first single sent to radio. What message does this song convey, and why was it chosen to represent the album?  Well, first, I love the title. It came out of nowhere when we were recording the album. And it was the last track written. I think the title is ambiguous: The song could be positive, or it could be dismal. It actually turned out to be a bit of both. I think it was released first because the performances are great, and it clearly crosses genres.  How did the creative process for this album differ from your previous releases, and were there any new influences or experiences that shaped its sound?   I don’t think the creative process changed, but I’ve lived four more years since the last album. Four more years of life experiences are bound to change the way you look at the world.  Midnight Sky’s music blends country and Americana with various other influences. How have your musical inspirations evolved over time, and how do they manifest in your recent work?   My response to the previous question also applies here. “Dark Stretch” was released in 2014, and “Last Hope” was released in 2023. It’s easy to list my creative influences, at least the obvious ones: Hank Sr., Guthrie, Berry, Dylan, McGuinn, Petty, Dave Alvin. But, in reality, I think most artistic inspiration is more subtle. It’s like the title card in a movie that says, “inspired by a true story.” In this case, the true story is my life.  Reflecting on your journey from your debut album “Dark Stretch of Road” to “Last Hope for the Modern World,” how has the band’s sound and artistic vision evolved?   I know the sound and vision have evolved, but it was organic rather than calculated. While Midnight Sky has a core of regulars, we use a lot of “one off” musicians who really influence the sound.  Your background includes a long career as a lawyer alongside your musical endeavors. How has this duality influenced your songwriting and perspective as an artist?  There is one thing that is critical to both legal writing and songwriting: Every word matters. For example, there might be a line in a song that could begin with “but” or “and” or “yet.” Each one works, but one works best. It should be the goal of every writer to make that choice correctly.  What can fans expect from Midnight Sky in the future? Are there any new projects or directions you’re excited to explore?  Over the past few months, we released “442,” a Beach Boys-style car song. We’ve also recorded “Dockside Jump,” which is a big band/swing number. That should be coming out soon. As long as I keep writing, we’ll keep recording!    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 Editor, Maverick Magazine Tel: +44 (0) 1622 823 920 Email: editor@maverick-country.com

Ringo Starr’s ‘Look Up’ blends heartfelt country with rich collaborations, marking his first full-length country album in over 50 years, produced by T Bone Burnett.  On January 10, 2025, Ringo Starr unveils ‘Look Up’, a country album that marks his first full-length venture into the genre in over five decades. With a stunning collaboration between the legendary Beatle and the iconic T Bone Burnett, this record isn’t just another star-studded country album – it’s a tribute to Ringo’s deep roots in the genre that have long been part of his musical identity. For fans of Ringo’s work with The Beatles, where country elements were always subtly present, ‘Look Up’ feels like a natural evolution. Country music has always been part of Starr’s musical DNA, with early songs like ‘Act Naturally’ and ‘Don’t Pass Me By’ standing as proof of his affection for the genre. Yet, with ‘Look Up’, Starr takes that passion to new heights, exploring modern country while paying homage to its classic roots. The 11-track album, recorded in both Nashville and Los Angeles, is a carefully crafted collection, co-written and co-produced by Burnett, with nine of the songs penned or co-penned by him. The album opens with ‘Breathless’, featuring the renowned Billy Strings, setting the tone for an album that moves with ease between traditional country, bluegrass, and even a touch of rockabilly. It’s a beautiful example of the seamless fusion that Ringo and Burnett create, where Starr’s vocals and drumming form a perfect foundation for the rich instrumental tapestry. Each track on ‘Look Up’ carries its own story. ‘Look Up’, the title track, features the unmistakable sound of Molly Tuttle, and its melancholy but uplifting lyrics resonate deeply. Written by Daniel Tashian and Burnett, it’s a stirring reminder of the power of music to transcend the moments that shape us. Then, there’s ‘Time On My Hands’, the album’s debut single, which serves as a perfect introduction to the record’s mood. Co-written by Paul Kennerly, Tashian, and Burnett, the song is a reflective piece that speaks to the passage of time, a theme that becomes a quiet motif throughout the album. Perhaps one of the standout moments of the record is ‘Never Let Me Go’, which features Billy Strings again. The track feels like a timeless classic, evoking memories of the heartfelt ballads that country music is known for. ‘Can You Hear Me Call’, another Burnett-penned track featuring Tuttle, brings the album back to its more intimate moments, with subtle arrangements that focus on Starr’s seasoned vocals and Tuttle’s angelic harmonies. However, it is on ‘Thankful’ – the closing track – that Ringo’s full emotional range comes through. This song, which he co-wrote with Bruce Sugar, features the legendary Alison Krauss. The lyrics are an expression of gratitude, with Krauss’s ethereal voice lending the track an almost celestial quality. ‘Thankful’ feels like a perfect way to close an album that balances nostalgia with fresh perspectives. In a way, it also reflects Starr’s personal journey, full of thanks for the life and career he’s had, and for the friends who have shaped it, like Burnett. Starr’s partnership with Burnett is, undoubtedly, one of the driving forces of the album’s success. In an interview, Starr himself reflected on the moment when Burnett brought him nine country tracks instead of just the one he had requested. This serendipitous shift pushed Starr to create a full album instead of just an EP, and in doing so, he found himself on a new musical path. Starr’s enthusiasm for the project is palpable. “It was a joy making it and I hope it is a joy to listen to,” he said, and as listeners press play, it’s clear that joy was at the heart of this record…   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

Americana titan Lyle Lovett finally makes the trip across the Atlantic to delight and mesmerise fans in London. With his signature blend of country, jazz, and storytelling, Lyle Lovett delighted London audiences with a performance full of charm, humour, and masterful musicianship. In the UK, Lyle Lovett remains best known to the mainstream for his brief but high-profile marriage to Julia Roberts in the mid-1990s. It’s an unfair yet inevitable footnote for an artist whose career has spanned decades, seamlessly blending country, jazz, swing, folk, and blues into a sound that is uniquely his own. Beyond the gossip pages, Lovett has earned a devoted following as a Grammy-winning songwriter, an actor (notably in Robert Altman’s The Player and Short Cuts), and, above all, a consummate live performer. His recorded output has become more sporadic in recent years—his latest album, 12th of June, was his first in a decade—but his touring schedule remains consistent, even if appearances on this side of the Atlantic are rare. That made his UK run a must-see event. With a near sell-out crowd in attendance, anticipation was high—not least because Lovett was honoured as an international trailblazer at this week’s UK Americana Awards. Taking the stage in his signature suit and tie, Lovett was preceded by a quintet of superb musicians, each a master of their craft. Over the course of more than two hours, the Texan shared the spotlight generously, revelling in the camaraderie of a band that included ace fiddler Stuart Duncan and virtuoso pianist Jim Cox. Opening with ‘On a Winter’s Morning’ from ’12th of June’, Lovett immediately showcased his deft touch with a jazz-infused arrangement. The playful energy continued with a blistering rendition of the bluegrass classic ‘Head Over Heels’, with fingers flying across strings and keys in a dizzying display of technical prowess. From the outset, Lovett’s voice was in fine form, warm and expressive. Yet, as the evening progressed, a crack began to creep into his delivery. Between songs, he requested a cup of tea—perhaps a sign that he was nursing a strain—but rather than detract from the experience, the occasional vocal fragility only added to the charm. A born raconteur, Lovett balanced any vocal limitations with his remarkable gift for storytelling. His wry, self-deprecating humour had the audience in stitches. Performing ‘Here I Am’ as a part-spoken skit, Lovett’s comedic timing was impeccable. His storytelling prowess was further on display as he delivered old favourites like ‘If I Had a Boat’ and ‘She’s No Lady’, his band stepping in seamlessly to support the more delicate moments. Any slight roughness in his voice was offset by the sheer richness of the arrangements, each song a testament to Lovett’s ability to blend musical styles without losing his signature sound. Throughout the set, the interplay between the musicians was a highlight. Duncan’s fiddle soared, Cox’s piano sparkled, and Lovett himself demonstrated nimble guitar work, though he often seemed more content to let his bandmates take the lead. It was a reminder that Lovett has never been a conventional country star—he is an artist who thrives on collaboration, whose music defies easy categorisation. By the time the final notes rang out, any concern about vocal strain had long been forgotten. The performance had been a triumph—warm, witty, and steeped in musical excellence. For UK fans, Lovett’s appearances may be few and far between, but nights like this confirm why his cult status remains firmly intact. As he continues his UK tour and prepares to receive his well-earned Americana award, one thing is clear: Lyle Lovett is far more than a footnote in celebrity history—he is one of America’s finest musical storytellers, and a live act not to be missed.   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

Tyler Braden and Brothers Osborne delivered an unforgettable night of powerful country rock at Hammersmith Apollo, blending impressive vocals, emotional depth, and electrifying energy in a memorable performance. The Hammersmith Apollo was alive with energy and enthusiasm on a crisp evening, as the venue played host to a thrilling performance by country rock artists Tyler Braden and Brothers Osborne. The theatre, packed to capacity, was a fitting backdrop for an evening that promised to be nothing short of memorable. Both acts brought their A-game, delivering a show that not only showcased their immense talent but also solidified their places in the country music scene. Tyler Braden, who opened the night, quickly made a lasting impression with his powerful voice. From the moment he took the stage, it was clear that his vocal ability was nothing short of extraordinary. He seamlessly transitioned from gentle, soulful notes to full-throttle belting, commanding the attention of everyone in the room. His range and control were remarkable, and it was a joy to watch as he effortlessly moved between different vocal dynamics. One of the highlights of Braden’s set was when he acknowledged that his mother was in the audience. The crowd erupted with cheers, and the atmosphere became even more intimate, as Braden took a moment to celebrate with his family. This connection with the audience was palpable throughout the performance, and it was a testament to Braden’s incredible stage presence. He even did a special cover of Elvis Presley’s ‘I Can’t Help Falling In Love With You,’ which left the audience in awe. His rendition of the classic was tender and heartfelt, showcasing his ability to put his own spin on timeless songs. Braden’s crowd work throughout the evening was exceptional. His charisma shone as he engaged with the audience, making them feel like active participants in the show rather than passive observers. At one point, he invited the crowd to sing along with him during a cover of The Proclaimers’ ‘500 Miles.’ The audience responded enthusiastically, and for a few minutes, it felt as though the whole room was united in one collective celebration of music. Braden’s ability to connect with his fans was truly impressive, and it felt like he had them completely captivated, wrapped around his finger. The setlist was a mixture of older tracks and newer releases, with a strong focus on Braden’s latest songs, including ‘Me or The Dawn’ and ‘More Than A Prayer.’ These tracks stood out for their depth and emotional resonance, showcasing Braden’s songwriting ability as well as his vocal prowess. His delivery was raw and honest, and the audience could feel the weight of each word he sang. Braden’s performance was an unforgettable introduction to the evening, setting the bar high for the main act. As the lights dimmed and the anticipation grew, it was time for Brothers Osborne to take the stage. The duo, made up of brothers TJ and John Osborne, have long been recognised as legends in the country rock genre, and it was easy to see why as they rocked their way through the final show of their UK tour…   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

Americana lands in Hackney once again – and takes over! We take a look at the week of joy, unity and togetherness that has come to make the UK Americana Association a powerful force. For the ninth consecutive year, the UK Americana Music Association transformed Hackney into a buzzing hub for Americana enthusiasts, hosting a weeklong celebration of music, culture, and storytelling. The streets came alive with people dressed in Afghan coats, cowboy boots, and a colourful array of hats—more than you could shake a stick at—adding an eclectic, bohemian charm to the atmosphere. Passersby strolled and skipped between venues, soaking in the vibrant community spirit that has become synonymous with this annual event. The week began with the screening of ‘I’ll Take You There’, a poignant documentary that delves deep into Alabama’s storied music scenes and their significant role in the civil rights movement. The film is a tribute to both legendary musicians and unsung heroes who not only created iconic sounds but also shaped the social and cultural fabric of America. Through intimate storytelling and powerful visuals, ‘I’ll Take You There’ underscored the resilience and creativity that define Americana. It was a stark reminder of the profound influence music has in uniting people, breaking barriers, and driving change. This striking start to the week set the tone for the festivities, with a focus on the enduring themes of hope, resilience, and the power of art to inspire. After this cinematic journey through history, the festival transitioned into its heart and soul: the artist showcases. Tuesday brought an unforgettable performance by Julian Taylor at ‘Canada House’ (a cleverly rebranded MOTH Club for the week). Taylor’s soulful lyricism shone brightly, captivating the audience with his heartfelt delivery. A highlight of his set was the song ‘Seeds’, inspired by the discovery of the remains of 215 Indigenous children at a former residential school in Canada. The track resonated deeply with the audience, becoming a moment of shared reflection and solidarity. Taylor’s performance was not only a call to remember and honour those who have been wronged but also a celebration of growth, resilience, and the strength to keep pushing for justice and recognition. Later that evening, Jack Francis took to the Night Tales stage, delivering a performance steeped in tradition: one man and his acoustic guitar. But Francis’s set was far from ordinary. His humour, ease on stage, and emotive songs immediately connected with the crowd. The track ‘Failure’ was a standout, offering a self-deprecating yet hopeful reflection on the timeless struggles of artists battling their own perceived shortcomings. It struck a chord with the audience, its upbeat melody masking a deeply personal narrative. With his latest album, ‘Early Retirement’, Francis seems poised for greater things, and his showcase proved he’s closer than ever to achieving his dreams. The centrepiece of the week was, of course, the UK Americana Awards, an evening dedicated to honouring the best and brightest in the genre. Among the night’s most unforgettable moments was CMAT’s triumph. The Irish artist scooped the award for well-deserved UK/Ireland Trailblazer Award and delivered a breathtaking acoustic performance of ‘I Wanna Be A Cowboy, Baby!’. Her commanding vocals and electrifying stage presence lit up the room, leaving no doubt as to why she’s rapidly becoming one of the most talked-about names in UK and Irish country music. With her unique blend of humor, vulnerability, and raw talent, CMAT is a force to be reckoned with. Looking ahead to 2025, fans eagerly await her highly anticipated new releases, which promise to further cement her place in the Americana scene. The awards night carried a unifying theme, celebrating the diversity and inclusivity that Americana music embraces. As the world continues to change and challenge us, the festival was a reminder of the importance of coming together through shared values and love for the music. The atmosphere of the evening felt like a “broad church,” where every performer, whether established or emerging, was celebrated equally. The inclusivity and supportiveness of the Americana community were palpable throughout the night, making it a highlight of the week for many attendees. The grand finale brought a legendary moment to the stage. Candi Staton, an icon whose music has transcended generations, closed the awards ceremony with an unforgettable performance. Joined by nominees and winners, Staton led the room in a rousing rendition of her timeless hit, ‘You Got The Love’. The song’s message of perseverance and hope felt especially poignant in today’s challenging times, reminding everyone in the room of the transformative power of music to heal and inspire. The chorus, sung by a collective of some of Americana’s finest voices, was a fitting end to a week that celebrated unity, resilience, and the boundless creativity of the genre. As the festival wrapped up, the streets of Hackney returned to their usual rhythm, but the spirit of the event lingered in the hearts of all who attended. From the powerful storytelling of ‘I’ll Take You There’ to the stirring performances at the showcases and the unforgettable moments at the awards, the week was a testament to the enduring magic of Americana music. It is not just a genre—it is a movement, a feeling, and a way to bring people together in times of change and challenge. With its vibrant mix of tradition and innovation, the UK Americana festival once again proved why it has become such a beloved fixture on the cultural calendar. Here’s to the sounds, stories, and spirits that will inspire us for years to come.   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