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
