Rochelle Mills

Tré Burt’s melancholy vocals ring out on this unique album. The tenacious musician sticks to his guns and addresses numerous thought-provoking observations he’s made about his home country. By The Jasmine is very topical and a true story about what he’s experienced as a black man living in America. The narrative isn’t angry – who could blame him if it was? – just leaves the listener with something to think about. Meanwhile, Carnival Mirror an upbeat, carefree song that makes the statement along the lines of ‘freedom don’t come free’. The album speaks of loss but not in a desolate way, Sammi’s Song talks of the heightening of his senses on the day of her funeral. There is positivity within it, a light in the dark so to speak and Burt has done a wonderful job with the lyrics. Dixie Red is another nod to a friend who went too soon. Through the hard hitting topics, Burt delivers the record with a sweetness to the arrangement and of course his vocals. The follow up to Caught It From The Rye is a thoughtful album which deserves to be heard, far and wide.  To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

Phil Odgers fifth studio album had a rocky start with his funding campaign thrown into doubt due to the collapse of Pledge Music and the pandemic preventing him from getting in a studio with producer Jim Knight. However, the resilient Odgers managed to push on through the setbacks and has delivered a record with a diverse range of topics set to a tight, alt-country production. The former front man of The Men They Couldn’t Hang, has a relaxed approach to the delivery of his smooth caramel-like vocals, whilst there is a sense of wistfulness and nostalgia which runs as a common theme throughout the record. The title track has a theatricality about the arrangement whilst The Serpent, The Maiden and The Bear brings Odgers back to his folk roots. A highlight is Brooklyn Bridge, which draws inspiration from a piece of literature; the poem ‘Motorways’ by Joe Solo. There is a small element of spoken word in the track alongside the singing but it’s the detail in the lyrics that makes the track stand out, it really helps to paint a clear picture in the listeners mind. It would have been easy for Odgers to throw in the towel after his series of setbacks but the struggles of the last few years have surely been worth it.  To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

Mad Twenties is the debut album from Taylor Rae. It looks to address the life lessons learnt in her twenties, set to a polished production. The relaxing undertones of ‘Fixer Upper’, one of the single’s off the 12-song collection, boasts a beautiful melody sung by her gentle, wispy vocals. The soft tones of the B3 organ audible under the arpeggiated acoustic guitar only add to the sweet, folk influenced track. Meanwhile, Rae shows off the power of her vocals on songs like ‘Forgiveness’ which starts of small and grows bigger as the track progresses, Rae steps up to the plate as her voice comes into it’s own towards the end of the track, whilst ‘Home On The Road’ draws upon the B3 again, very effectively. The use of backing vocals should be praised here too. ‘Taking Space’ brings the album full circle, the raw, wake-up call is the perfect finale. To summarise, the concept album is tied together well by the stories of Taylor Rae’s twenties. Her vocals are what makes this album stand out, her ability to channel that vulnerability in the softer songs and the power she exhibits in the bigger numbers mean she has a promising future.  To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

The follow up to Grant Maloy Smith’s critically acclaimed ‘Dust Bowl American Stories’ features some of Nashville’s finest musicians and it certainly shows. The production is well thought out and rather atmospheric. The instrumentation perfectly matches the traditional themes that lie within Smith’s lyrics. From the rise and fall of the coal industry on the opening track, The Coal Comes Up to the In This Twilight, a song about a harrowing night with a drug addict, the tales Smith tells are supposed to be a snapshot of the things the region has been through over time. All the while, Smith’s husky and raw vocals, authentic in their delivery add to the weight and emotion of these tunes. Through the sometimes heavy subject matter though are light hearted, up-beat songs such as Gas Station Chicken which help to break up the intensity of the record whilst songs such as I Found Faith address the religious way of life there. That song in particular is effective with the addition of gorgeous backing vocals from Kim Fleming and Kim Mont whilst Smith’s vocals find another gear that we haven’t heard before. Credit should also be given for the thoughtful presentation of the collection, in this digital age, packaging and artwork has been an after thought for most but there’s nothing better than unboxing an album and reading the liner notes. Smith takes it one step further as a forty page booklet takes you through the stories behind each song.   To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

This is the third full length album from Lauren Alaina and follows two critically acclaimed EP’s released in 2020. Alaina, who says this record is about “a dreamer becoming an achiever,” co-wrote 14 of the 15 tracks alongside some of country music’s finest writers, Lori McKenna, Liz Rose and Hillary Lindsey to name a few. Alaina’s vocals are in fine form as they soar throughout the record whilst the production is well polished. The single, Getting Over Him, which is climbing up the country charts, sees Alaina team up with Jon Pardi. It begins with a notable guitar riff before the songstress works her way to the chorus where the pair sing in unison through the catchy melodies. It opens out into an arena ready anthem. Alaina immediately shows her more vulnerable side on Good Ole Boy, her vocals wavering slightly with the emotion. The lyrics bring a vivid image to mind; “If you took care of me like the cowboy boots that made you over six feet tall.” As each line lands, the cleverness takes your breath away. The pedal steel helps to deliver the emotion. To summarise, this may be the best we’ve heard from Lauren Alaina – she presents us with the full package, the lyrics, the melody, the production is flawless.  To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

Mississippi native, Jameson Rodgers, has been dreaming of the day he can finally release his debut album after working hard to achieve it for 11 years in music city. Now that day is finally here and Rodgers delivers his own fresh take on country rock with epic, arena-ready productions across the 15 tracks. The opening number, One Day has an incredible outro with big drum hits and electric guitar solos ramping up the energy, giving us a taste of what’s to come. The stripped back Merle Haggard and Good Dogs meanwhile, show Rodgers versatility and a softness and vulnerability is audible in his voice. One of the highlights is Rodgers top 10 single Cold Beer Calling My Name which features label mate Luke Combs. In this song, Rodgers displays a likeness to early Jason Aldean, I like the electric guitars and the subtle addition of the banjo in the chorus, following on from that is Some Girls which was a number one hit on the country airplay charts. It’s easy to see why with the clever lyrics and rhythmical melodies in the chorus. To conclude, the new kid on the block has delivered with his debut album and just like the recently released singles, I expect this record to do very well in the country albums chart.  To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

Steeped in tradition, Lynch draws influence from the likes of Merle Haggard and George Strait on his latest album. It opens with Starting Now – a fitting title for an opening track! We hear the story clearly and get a feel for the characters as Lynch begins in spoken word as a pedal steel softly meanders its way through the song underneath the vocals. Lynch’s vocals have an authentic twang to them, a clear tone, they smoothly tell the stories he’s so eloquently crafted. His songwriting throughout draws upon the sensibilities that the genre was built upon. My Heart and Yours is a standout on the 12-track album. The duet ballad shows off his vocal range in the beginning as he swoops into his lower register. The lyrics are simple but to the point. Meanwhile, You Can’t Do This No More, the closing track leans upon the pedal steel once again as the vocal Melodie intertwine with the steel or guitar riffs. Lynch’s ability to tell a story, to paint the picture of these characters in your mind is what sets him apart. The production and arrangement frames these tales perfectly too.  To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

Dennis Roger Reed’s ‘Down at the Washington Hotel’ boasts an authenticity and sparseness about its production. He drafts in some of the finest players from California to accompany him. The 17-tracks are self-penned and for the most part, there is a relaxed feel to the album. Although he has a lovely tone to his voice, I feel I want to hear slightly more conviction in his delivery especially in the more emotive songs. I love the backing vocals in I Need You and the guitars bright, crisp tone. Wishes Were Horses is my favourite track on the album, again there’s a lovely acoustic guitar sound – the dominant accompanying instrument throughout the record in fact. There is lots of space for each line to linger. He also showcases the lower end of his vocal register towards the end of each section. The record closes with Such A Long Long Time, again a simple, to the point lyric is at the centre of this love song. It’s a tune that is sure to bring a smile to your face.  To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com  

15 time GRAMMY award-winning banjo pioneer Béla Fleck returns to the bluegrass genre with ‘My Bluegrass Heart’. After venturing off, unlocking the instrument’s potential in other genres, this latest 19-track collection marks Fleck’s homecoming in style. The album brings together some of the genres finest musicians and bridges the generational gap as he teams up with collaborators who were a part of his classic album ‘Drive’ as well as new faces such as Billy Strings. There is a high energy throughout the album, from the opening track, the apprehensive Vertigo which has a questionable time signature in parts, to the very last note of Psalm 136. A stand out track for me is Hunter’s Moon, with it’s eeriness and intensity, it feels delicately crafted with a well thought out arrangement and production. It’s an enjoyable listen which will see your foot tapping along throughout to this instrumental master-class.  To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com