Editor, Author at STAGING Maverick

CMA Awards Nominees Set to be Revealed

With anticipation building for Country Music’s Biggest Night, the Country Music Association will announce nominees for “The 59th Annual CMA Awards” as well as CMA Broadcast Awards finalists during a livestream on CMA’s official Facebook and YouTube channel in early September. The nominations announcement marks a defining point in Awards season—recognising the artists, songwriters, musicians, and industry professionals whose work has shaped the genre over the past year and setting the stage for a weeklong celebration of the genre’s creative excellence this November in Nashville. “The 59th Annual CMA Awards” broadcasts live Wednesday, Nov. 19 on ABC and streams the following day on Hulu. Coinciding with this morning’s announcement, the Second Ballot for “The 59th Annual CMA Awards” opens today. As part of the CMA Awards’ longstanding peer-voting tradition, this round empowers members to help shape the final nominee slate across all 12 categories. Eligible CMA Professional voting members are encouraged to cast their votes before the ballot closes Monday, Aug. 18 at 6:00 PM/CT. Tickets for “The 59th Annual CMA Awards,” taking place Wednesday, Nov. 19 at Nashville’s Bridgestone Arena, will go on sale Friday, Sept. 5 at 10:00 AM/CT. More than a singular night of honours, the CMA Awards anchors a weeklong celebration of the Country Music community. Returning to Nashville this November, CMA Awards Week will bring together artists and industry professionals through a variety of events and gatherings that spotlight the people, stories, and creative spirit at the heart of the genre. As part of CMA’s ongoing commitment to artist and crew wellbeing, All Access On-Site, an initiative from ECCHO Live, will return for a second year to provide licensed mental health professionals during CMA Awards rehearsals and show day. Following its presence at CMA Fest earlier this year, the program offers confidential, in-person support to artists and crew navigating the high-pressure demands of live production. 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

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Podge Lane Releases Follow-Up Single “Let Me Ask You”

News / Editor

The Irish-born, New York-based alt-country troubadour Podge Lane has released his newest single, “Let Me Ask You”. Following the release of his roots-rocking summer single “Heatwave”, which amassed widespread acclaim, Lane pivots with a fragile, slow-burning ballad about the final moments of a relationship, and the questions that remain. Blending the intimate harmonies of The Civil Wars with the emotional honesty of Damien Rice, “Let Me Ask You” is biled as a raw ballad of love slipping away. Built sonically on sparse guitar, piano and soft backing vocals, the track builds to a desperate swell as drums, cello, and organ aid the singer’s plea before falling back into whispered resignation; A stark contrast to the summer sun in “Heatwave”, “Let Me Ask You” hones in on Lane’s astute lyrical insights and poses a new writing challenge for the songwriter. “I actually wrote this song without any notion of putting it out on a record. The week I moved to New York I was contacted to submit a song for a small film. “It was about a breakup where one of the characters still has a lot of unresolved issues. And that’s not something I usually get to write about. So I threw myself head first into the world of breakup songs. Lots of indie films, tons of old records, and lots of Grey’s Anatomy. “But when I sent it back for submission for the film, I was told they had already picked someone else, and just forgot to tell me! Selfishly I was kind of glad, because I had built a whole life for these characters, and gotten so attached to this song, I wanted it for myself!” Etching out his space in the alt-country landscape, Lane has played over 60 shows in just 3 months. Exciting announcements ensue with further tour dates to be announced, including headlining New York’s Big City Folk and Brookyln’s Gallery 198. 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

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Liam Price Reaches Long Road Final

News / Editor

Rising UK country singer Liam Price has been named one of just six finalists in this weekend’s The Long Road Festival’s prestigious Home Grown Talent competition, selected from hundreds of entries across the UK and Ireland. The contest highlights emerging voices in British country and Americana, with the winner earning a career-changing package including a slot at CMA Fest 2026 in Nashville, a studio session with Snakefarm Records, tickets to Midland’s 2025 UK tour, and a return performance at The Long Road 2026. Price, praised for his soulful vocals and heartfelt storytelling, will now perform live in the competition’s final stage, where judges and the festival audience will decide the winner. “To be chosen from so many talented artists is a real honour,” Price said. “The Long Road Festival has always been a dream stage for me — and the chance to represent UK country music in Nashville is beyond exciting.” Fans will be able to catch his finalist performance at this year’s festival, which takes place from 22nd to 24th August. 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

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Picture of Brett Young - Photo by Seth Kupersmith - Maverick

Brett Young’s ‘2.0’

Exclusives, Top Picks / Editor

Brett Young’s 2.0 refines his signature romantic country-pop with a slightly bolder energy. The album blends familiar heartfelt ballads with more up-tempo, arena-ready moments, featuring collaborations with Lady A and George Birge. Smooth vocals, polished production, and concise songwriting keep it accessible, if predictable at times. Young’s strength lies in his ability to craft earnest love songs that resonate without overcomplicating them. While it doesn’t break much new ground stylistically, 2.0 maintains his emotional appeal and delivers a reliable, polished collection of tracks for fans of contemporary country-pop. A confident, if conservative, addition to his catalogue. To read the full article, 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

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Lainey Wilson’s “Somewhere Over Laredo”

Exclusives, Top Picks / Editor

Lainey Wilson’s “Somewhere Over Laredo” blends cinematic flair with her signature gritty vocal delivery. Borrowing melodic elements from “Over the Rainbow”, the song reimagines familiar country tropes with theatrical scale and emotional charge. It’s a sweeping ballad layered with lush instrumentation and dynamic builds, capturing her growing confidence as a storyteller. The production feels grand yet grounded, and her vocal performance carries both strength and vulnerability. As the lead single from the deluxe edition of Whirlwind, it underscores Wilson’s knack for blending tradition and boldness, offering a memorable, ambitious addition to her repertoire that highlights her creative evolution. To read the full article, 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

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Liam Price’s The Grass Ain’t Green

Exclusives, Top Picks / Editor

Liam Price, whose voice will be recognised by many from the Luke Combs UK Tribute, delivers a raw, confessional ballad exploring regret, relapse, and the rocky road to redemption with “The Grass Ain’t Green.” Set against imagery of isolation, drinking, and self-reckoning, it captures the ache of realising that escape doesn’t guarantee clarity. The recurring line “I can’t see the wood for the trees” sharply illustrates emotional disorientation. With its cyclical chorus and emotional honesty, the song reflects a remarkably self-aware young artist wrestling with pain, accountability, and the hard-earned wisdom of hindsight. To read the full article, 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

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Blast from the Past - Maverick-country.com

The Quiet Trailblazer – How Kitty Wells Redefined Country Music

Exclusives / Editor

Her 1952 single cracked open the doors of country music for women, reshaping the genre with honesty and grit. Here’s how Kitty Wells left her mark forever. When “It Wasn’t God Who Made Honky Tonk Angels” hit the airwaves in 1952, it didn’t just climb the charts — it changed the conversation. Kitty Wells, at the time a session singer and mother of three, reportedly didn’t expect much from the track. But its unflinching critique of double standards in relationships struck a chord with listeners and ruffled feathers with gatekeepers. Radio stations banned it for its perceived impertinence, yet it became the first No. 1 country song by a woman, signalling that audiences were eager to hear female perspectives. Wells’ performance resonated because it was plainspoken yet defiant — a quiet rebellion that cracked Nashville’s glass ceiling. The song’s resonance extended far beyond its initial reception, sparking conversations about women’s roles in country music and beyond. Contemporary artists have pointed to this track as a watershed moment that allowed them to write and perform songs about real experiences without apology. Wells showed that women could reclaim the conversation, which inspired artists in subsequent decades to pen tracks with their own rebuttals and perspectives. The controversy around the song even reached national press, with some critics calling it inappropriate while others lauded its honesty. This tension only helped cement its place in country history, sparking dialogue far beyond Nashville about morality and gender in popular music. Its impact was so profound that it became one of the most covered and referenced tracks in the genre’s history, with younger artists continually citing it as a source of inspiration when crafting songs about love, betrayal, and independence. Ellen Muriel Deason was born in Nashville in 1919, surrounded by gospel music and the rhythms of hillbilly radio shows. Performing in a family trio during her teenage years, she cut her teeth at local dances before joining her husband Johnnie Wright’s act, touring extensively across the South through the 1940s. At first, she saw herself as supporting his career, playing rhythm guitar and adding harmonies. It wasn’t until her fateful session for “Honky Tonk Angels” — for which she reportedly earned a modest session fee — that she discovered her ability to speak directly to women’s experiences. Later, she reflected that she hadn’t expected her voice to spark such a reaction but was gratified that it did. Those early years shaped her professional ethic and deepened her connection to audiences. Growing up in a working-class household, she learned to value humility and hard work, traits she carried into her career even after achieving fame. Family members and collaborators later noted that she always made time for her fans, sometimes staying after shows for hours to greet them. This accessibility became a hallmark of her public persona and further solidified her reputation as “The Queen of Country Music.” To read the full article, 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

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Picture of Kylie Frey - Photo by Rachael Mason - Maverickl

Kylie Frey – Rodeo Roots and Country Roads

News / Editor

From Louisiana rodeo arenas to Nashville stages, Kylie Frey blends her equestrian heritage with heartfelt country music, crafting songs that resonate with emotional depth. Born on March 3, 1995, in Opelousas, Louisiana, Kylie Frey grew up immersed in the rodeo lifestyle. A third-generation rodeo participant, she was named Louisiana High School Rodeo Queen at 15 and won the state championship for goat-tying at 16. Music was always present, with family road trips soundtracked by artists like Lee Ann Womack, Wynonna Judd, and Shania Twain. Despite a childhood lisp and limited vocal range, Frey was drawn to songwriting. At 16, attending the Pensacola Beach Songwriters Festival, she was inspired by Lisa Carver’s storytelling prowess, prompting her to pursue music more seriously. Frey’s initial foray into music involved writing songs as an emotional outlet. Her early compositions were, by her own admission, rudimentary, but they laid the foundation for her evolving artistry. She began performing at local venues, gradually building a following with her authentic country sound. In 2014, she released her debut album, Cinderella Dreams, marking her official entry into the music industry. The album showcased her storytelling abilities and deep connection to traditional country themes. Frey gained national attention as a finalist on USA Network’s Real Country in 2018, where she was mentored by Shania Twain. Her performance of “Wide Open Spaces” by the Dixie Chicks earned her 4.5 stars from the studio audience, a $10,000 prize, and a spot at the Stagecoach Festival. This exposure led to increased opportunities, including opening for established artists and expanding her fan base. Her time on Real Country solidified her reputation as a rising star with genuine country roots. Frey’s single “Spur of the Moment” became her fourth No. 1 on the Texas Regional Radio Report, setting a record as the fastest-rising No. 1 by a female in chart history. The song, co-written with Leslie Satcher, reflects her rodeo background and personal experiences. Collaborations have been a significant part of Frey’s career. She teamed up with Bri Bagwell for a country rendition of Cyndi Lauper’s “Girls Just Wanna Have Fun,” which topped the Texas charts. Additionally, she contributed background vocals to Cody Johnson’s Human: The Double Album, further cementing her place in the country music community. In 2022, she released her EP Rodeo Queen, which included a reimagined version of her early single “One Night in Tulsa” and the fan-favourite track “I Do Thing.” The project was praised for its honesty and modern-traditional fusion. Critics noted that Frey had found a balance between honouring her country roots and expanding her stylistic range. Frey has often credited her songwriting influences to the strong female voices of 90s country. Artists like Reba McEntire and Patty Loveless were formative in shaping her lyrical perspective—resilient, emotive, and steeped in realism. She has said that her goal is to tell the truth, even if it’s hard, and that principle underpins much of her catalogue. To read the full article, 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

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Picture of CMAT - Photo by Caitlin Devlin - Maverick

CMAT – Country at the Fringes

Exclusives / Editor

With humour, heartbreak and theatrical defiance, CMAT has built a cult following at the edge of country-pop — and now, the world is finally catching on. At Glastonbury 2025, CMAT arrived dressed like a rodeo pop star from another planet—sequins blazing, fringe flying, boots planted, and voice unwavering. The Pyramid Stage crowd didn’t just watch her—they leaned in. It was the kind of moment that feels inevitable only after it happens: Ciara Mary-Alice Thompson, known to fans simply as CMAT, commanding the biggest platform in British music, still singing about heartbreak, hangovers, and the strange ache of being alive. She didn’t explode onto the scene so much as orbit it, waiting for the industry to catch up. And now, with her third album on the way and her live show fast becoming legend, CMAT stands precisely where she’s always said she belonged: on the edge of things, shining. CMAT’s story is too winding for tidy mythology, but that’s part of the point. Raised in Dunboyne, County Meath, she grew up with a head full of melodies, a love for pop drama, and a taste for country melancholy. There was no musical dynasty or overnight discovery. Instead, there was a brief, bruising stint in Manchester with a now-defunct duo, a detour into retail, and a creative collapse that sent her back to Dublin. Her turning point wasn’t an audition or a co-sign. It was a slow return to herself, often documented on social media, where she blended vulnerable songwriting with grandiose humour. CMAT began uploading songs with titles that read like punchlines but landed like confessions. Her debut album, If My Wife New I’d Be Dead, became a cult classic on release in 2022. Beneath its camp and chaotic veneer was an artist meticulously crafting a voice that could hold both sorrow and absurdity. C<MA CMAT is often called a country artist, but the label doesn’t quite fit—and she knows it. She’s described her sound as “Euro-country” not just to signal its Irishness, but to reflect the genre’s displacement. Her country isn’t the dustbowl or the truck stop; it’s a karaoke bar at closing time, a night bus through Dublin’s outskirts, a voice memo at 3 a.m. trying to make sense of something already lost. The musical references range wide: Tammy Wynette, Charli XCX, Magnetic Fields, Meat Loaf. And while she’s drawn to Americana’s emotional directness, she delivers it with European surrealism. On stage and record, she’s melodramatic without irony, sincere without sentimentality. That contradiction is her power. Her lyrics feel like diary entries written in eyeliner, full of exes, epiphanies and the desperate attempts to make sense of feelings that won’t behave. If her voice occasionally cracks under the weight of what she’s singing, it only underscores her ability to make spectacle feel strangely intimate. To read the full article, 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

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Bailey Zimmerman Cover - maverick-country.com

Bailey Zimmerman – The Weight of Wanting

Exclusives / Editor

Bailey Zimmerman’s rise from the rough-and-ready backroads of Illinois to the bright lights of country music’s biggest stages wasn’t carved from a blueprint — it came gut-first. With a voice like cracked leather and lyrics soaked in heartbreak, Bailey Zimmerman has bulldozed his way into the genre’s core without ever losing sight of what set him apart: the honesty, the ache, and the gravel in his gut. Heavy boots on fresh concrete. That’s the feeling you get listening to Bailey Zimmerman. There’s momentum in his music — not just in the number of streams or tour dates, but in the way his songs drive forward, heavy-hearted and unrelenting. Even when they ache, they move. And movement, for Zimmerman, has never been optional. Long before he became a country chart staple, Zimmerman was working on gas pipelines and posting truck cab videos on TikTok. Raised in small-town Louisville, Illinois, he’d clock a full day on the job before singing straight into his phone. It wasn’t a marketing strategy — it was a release. As he once revealed, he thought he was going to build gas pipelines for the rest of his life. Instead, one of those videos — a raw vocal run on a song that would become “Fall In Love” — caught fire. And in 2022, the heartbreak anthem shot to No. 1 on the Country Airplay charts, making him the fastest debut artist to top that chart in seven years. Zimmerman’s rise was fast, but not fluked. With no formal music background, he crafted his debut album, Religiously. The Album., from instinct and grit. Released in May 2023, it debuted at No. 3 on the Billboard Country Albums chart and spawned multiple hits, including “Rock and a Hard Place.” The track, a bruising ballad of romantic stalemate, landed in the Billboard Hot 100’s Top 10 and became a multi-platinum juggernaut. His songwriting process, by his own account, isn’t guided by formulas or co-writing workshops. Instead, Zimmerman has described it as trying to get the truth out of my head before it chokes him. He tends to record voice memos and rough takes as soon as the emotion hits, sometimes capturing the chorus before the story has a setting. This rawness gives his music its punch — a kind of emotional timestamp that hasn’t been buffed smooth. Zimmerman has credited artists like Morgan Wallen and Post Malone with helping him find a voice that could carry both country grit and contemporary urgency. He’s said that genre lines don’t interest him as much as emotional clarity, and that what matters is whether a song feels honest enough to hurt. That outlook has shaped his blend of country, rock and modern pop, helping him carve a lane that resists pigeonholing. To read the full article, 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

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