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jess and the bandits

Spotlight: Jess And The Bandits

Can you tell us more about how Jess and the Bandits came together? What drew you to collaborate with the British members of the band?  I started working with a British music producer in 2012. He brought me over to the UK to write and record my first album, which was called ‘Permanent’. I started promoting the album in the UK and developed a great fanbase here. Later, on the release of my second album ‘Loving This Day’ I was invited to go on tour as the support for The Overtones and made friends with the musicians who played for them. We all bonded over a love of country music and before long, Jess and the Bandits was born. Between their British charm and my Texas flare, I think we found something really special!    Your music blends country, pop and rock elements. Who are some of your biggest musical influences in these genres?  As a teenager I listened to everything from Garth and Trisha, Reba and Dolly… to artists like The Bellamy Brothers and George Jones, Tammy Wynette… and on the other side of things, I listened to Pearl Jam and a lot of Nineties grunge, as well as Boyz II Men, Céline Dion and Mariah Carey! My taste was so varied and I think I bring a little bit of it all with me in my music and my live shows! (Maybe not so much of the grunge… we will leave that with 90’s Jessica!)   Congratulations on your upcoming album! Can you give us a sneak peek into the themes or stories behind it?  Thank you so much. I am so excited to finally get this collection of music out there. This time around I decided to write a bit… but also go ahead and use songs that writers in Nashville have given me over the years. It feels like a huge compliment that they would trust me with some of these songs… as they write for some of the biggest artists out there. The stories vary, from love and heartbreak to the loss of my father and the ups and downs of my musical journey so far. There’s a lot in there!    What was the creative process like for this new album?   The creative process was so much fun this time around. It has always been fun but different this time. I have spent the whole of my career from Jessica Clemmons to Jess and the Bandits trying to prove myself as a writer… this time I chose songs based on what I am going to love and what other people are going to love. I recorded the album in Texas which was new for me… I normally record in Nashville and am used to a super quick turnaround. This time it was slower, more precise, more a labour of love… and I loved it.   With the new singles and album release, what do you hope your fans take away from your music?  I called the album ‘Jessica’ because I feel that this record is almost like a rebirth for me. The last album was made before I became a wife or a mother. Now I have two children and my life looks very different. My father, who was my greatest supporter and biggest fan passed away last year after a long illness and it has all shaped me. The things that mattered before matter less. I’m not concerned about pleasing people the way I used to be or willing to make the same sacrifices. I just want to make music, and if you love it, than great!   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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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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chinatoappalaicha

Beyond Nashville: From China to Appalachia

In the heart of Maryland, within the vibrant creative nucleus of Strathmore, a profound musical connection has blossomed between three extraordinary musicians, transcending geographical boundaries and cultural divides. Grammy Award winners Cathy Fink and Marcy Marxer, alongside Chinese dulcimer virtuoso Chao Tian, have embarked on a captivating musical journey culminating in their eagerly awaited album, ‘From China to Appalachia’, set for release on August 16, 2024.  This ambitious project serves as a testament to their deep-seated commitment to cultural exchange, blending the rich tapestries of American and Chinese folk traditions with finesse and passion. Cathy Fink and Marcy Marxer, renowned for their musical partnership spanning over three decades, are celebrated for their mastery across a spectrum of instruments, including guitar, banjo, ukulele, and mandolin. Their repertoire transcends genres, encompassing everything from classic country to the spirited rhythms of gypsy jazz. Their performances have graced a myriad of stages, from intimate folk festivals to prestigious venues like the Library of Congress, earning them a steadfast reputation as musical trailblazers.  Chao Tian brings a unique voice to the trio with her virtuosity on the yangqin, a traditional Chinese hammered dulcimer revered for its shimmering tones and versatility. Tian’s journey with the yangqin began at the Middle and High School Affiliated to China Conservatory of Music, where her passion for traditional Chinese music took root. Today, as a PhD student at Boston University, she continues to push boundaries, exploring innovative intersections of music, dance, and visual art.  ‘From China to Appalachia’ is not merely an album but a celebration of shared heritage and a testament to the universal language of music. The album weaves together a rich tapestry of songs, seamlessly blending traditional American folk tunes such as ‘High on the Mountain’ and ‘Ruby Are You Mad At Your Man’ with evocative Chinese melodies like ‘Nan Ni Wan’ and ‘Yongjun Yangko’. Each track serves as a musical bridge between two cultures, harmonising in ways that speak to the shared human experience across borders.  The trio’s collaborative efforts have garnered widespread recognition, culminating in the 2024 Wammie Music Award for Best World/Global Artist-Group from the Washington Area Music Association. Their performances, which have captivated diverse audiences and even gained viral acclaim on platforms like TikTok, exemplify their ability to unite listeners through their distinctive blend of musical styles.    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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Beyond Nashville: Odin S

At just 16 years old, Odin Sokac, also known as Odin S, is making a name for himself in the Blues music scene. His passion for this beloved genre is palpable and he believes that anyone who feels deeply can sing and play the blues, regardless of their age. This sentiment is encapsulated in his latest single, ‘Mannerist Blues’.      The title ‘Mannerist Blues’ carries a dual significance, both of which are crucial to understanding the song’s essence. Historically, ‘Mannerist’ or ‘Mannerism’ refers to a 16th-century artistic style characterised by artificiality, elegance, and the sensuous distortion of the human figure. This art form was known for its emphasis on exaggerated and often complex poses and compositions.     In the context of Odin Sokac’s debut single, ‘Mannerist’ reflects a different aspect of human behaviour—the tendency to live, speak, and behave in habitual ways that often become the norm. This mannerism can symbolise a stagnation that starkly contrasts with the Blues’ rootsy and improvisational nature. The blues, after all, is a genre born out of genuine human emotions and spontaneous expression. ‘Mannerist Blues’ delves into the rebellious spirit of those who reject societal norms in favour of embracing real human emotions. It celebrates originality, imagination, and positivity in dealing with life’s everyday challenges. This theme perfectly encapsulates Odin Sokac’s mission to spread a message of positivity through his unique interpretation of the blues.     Odin Sokac was born in 2008 in Zagreb, Croatia. He began playing the guitar at the age of eleven, and within two years, he had already written 26 songs. His music balances soul, emotion, technique, and chops, demonstrating a maturity beyond his years.     In 2022, Odin released his debut single, ‘The Wild West War,’ through Dancing Bear Records. That same year, he opened the fourth edition of the Thrill Blues Festival in Croatia, marking his entry into the live Blues scene. His performances have taken him all over Europe and the USA, earning him a reputation as a prodigious talent in the making. A significant milestone in his career was his participation in Little Steven’s Blues Camp in Notodden, Norway, in 2023, made possible by a scholarship from the European Blues Union (EBU). This opportunity allowed him to hone his skills and network with other young blues musicians. In 2024, he competed in the International Blues Challenge in Memphis, further cementing his place in the blues community.     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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karleyscottcollins

One to watch: Karley Scott Collins

Karley Scott Collins’s music is instantly identifiable by one thing: her love of an electric guitar. Collins’s passion for the instrument originates in another love for her, heavy rock and metal music. As Collins releases her brand new EP ‘Write One’, we take a look at her career so far, her rise to playing the main stage at C2C and where she is going next.   “There’s a song that I’ve just recorded that is going to have a really cool feature on it, but I’m not allowed to tell you who it is yet. That will probably have the most rock influence that I’ve done so far,” Collins tells us at C2C in March. Now, we know that feature is none other than country music superstar Keith Urban, taking on the titular song of the EP – it’s not surprising, knowing how excited Collins was about the feature. Urban’s electric guitar contributes heavily to the rock side of the track – a facet of country music that women are woefully lacking in visibility. Collins might not have told us who the feature was, but she definitely drops some hints about Urban’s take on the track saying, “I watch people, say, Slash or something and I’m just like, ‘oh my God!’ Or Keith Urban even. I mean, he’s amazing.” Upon reflect it’s a little mischievous, Collins exerting her control over information to subtly imply what’s coming next. A sign of confidence not only in her music, but in her dealings with the media. It’s a powerful move, as powerful as her voice.     Rock royalty  For Collins, country rock music is a natural choice. She is a country rock fan, so she makes country rock music, it’s simple logic. “Guns ‘N’ Roses is my dad’s favourite band of all time. He’s actually here he is wearing Guns ‘N’ Roses shirt tonight, as funny as it is. So, when I was growing up and when I started singing, he used to tell me to put a little Axel Rose on it.” Collins is only 24 years old at the time of writing this piece, so her knowledge of rock annals comes in handy to inform her own sound. As she shapes her career around her, Collins looks to the greats of the past to inform her future.   As we move on to discuss her love of UK artists, Collins is quick to bring up the punk rock influences that have shaped her own writing: “I was listening to literally only UK people this morning when I was getting ready. Well, right now I’ve been into the Sex Pistols vibe because I was down on Brick Lane. I was like, it just felt like that was what I should be listening to. But I love The Cure, I love The Smiths. I was listening to the Rolling Stones, too. I like Royal Blood a lot. None of them are country, sorry!” Collins might point out that none of her favourite UK artists are country, but it’s clear to see where they help to curate her tastes. The unifying force between the bands she names is their ability to create a unique electric guitar sound. It’s a theme that comes up again and again, as she tells us she wants to learn how to “really shred. I think would be awesome, it looks cool too”, it’s clear that one of her aims is to stand out as a woman writing, playing and eventually shredding in country music. That unique guitar sound might not have found its feet in Collins’ repertoire as of year, but there’s no doubt that she will continue to strive for it, seek it out and play around with her music until she does.       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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baileyzimmerman

Behind the song: Bailey Zimmerman’s ‘Where It Ends’

Bailey Zimmerman’s ‘Where It Ends’ is a bombastic track that mixes country with pop punk. It’s hardly surprising, looking at the team that put the song together though; there’s the producer, Austin Shawn, alongside three writers, Zimmerman himself, Grant Averill and Joe Spargur (also known as Joe London). Debuting at number seven in the Billboard Hot Country Songs chart, the 2023 single stands out amongst the other tracks on Zimmerman’s ‘Religiously. The Album.’ LP. It’s thoroughly country rock, unlike the softer tracks on the record, and shows off Zimmerman’s more growling, intense vocal abilities. It is, however, connected to the rest of the body of work by Zimmerman’s ability to express raw emotions, whether loving or that ‘I’m-through-with-this’ swagger that ‘Where It Ends’ embodies. It’s no wonder the track is a fan favourite.     Zimmerman himself describes the inspiration behind the track as “wasted energy” on a relationship that is doomed to fall apart and finally walking away from it. There’s a sense of enjambment to the lyrics; Zimmerman doesn’t seem to need to breathe between the lines – perhaps a suggestion that the intensity of his emotions means he needs to ‘spit it all out’ or that he’s venting.  The songwriting team behind ‘Where It Ends’ deserves special mention. Grant Averill, known for his ability to weave heartfelt narratives into his lyrics, brings a depth to the song that resonates with listeners. His background in country music is evident in the way the story unfolds, capturing the essence of heartbreak and resolution. Joe Spargur, or Joe London, adds his own flair to the mix. As a seasoned songwriter and producer with a knack for creating chart-topping hits across genres, Spargur’s contribution to ‘Where It Ends’ is palpable. His experience in blending different musical styles is key to the track’s unique sound, merging country with an edge of pop punk seamlessly.     As for the production, it’s loud and somewhat violent (not in a bad way). Shawn is renowned for big drums, defined, clear vocal lines and memorable melodies. Shawn collaborates heavily with Zimmerman, producing his first radio single ‘Fall In Love’ and working together on Zimmerman’s debut EP, ‘Leave The Light On’. The special relationship between the two highlights the country elements in Zimmerman’s career; Shawn hails from Fort Worth, Texas, an area renowned for providing great country musicians. The Red Dirt influence is clear in Shawn’s production; it’s grittier than Nashville country, usually defined as ‘country with an attitude’ – and ‘Where It Ends’ certainly has buckets full of attitude. Shawn’s production style in ‘Where It Ends’ complements the rawness of the lyrics. The use of heavy drums and sharp guitar riffs amplifies the emotional weight of the song. The track’s arrangement allows Zimmerman’s vocal delivery to shine through, making the listener feel the intensity of every word. The synergy between the production and the songwriting is evident, creating a powerful listening experience that sticks with you long after the song has ended.     Currently, Zimmerman is captivating audiences on his completely sold-out international headlining tour, ‘Religiously. The Tour.’ The tour’s success is fuelled by the nearly four billion streams of his music globally, a testament to his widespread appeal. Fans are drawn to his authenticity and the raw emotion he brings to his performances. ‘Where It Ends’ is a highlight of his live shows, with audiences connecting deeply to the song’s message of letting go and moving on. The success of ‘Where It Ends’ can also be attributed to its relatability. Many listeners have experienced the frustration of investing time and energy into a relationship that ultimately fails. Zimmerman’s ability to capture this universal feeling in his lyrics makes the song resonate on a personal level. The track’s anthemic quality, with its catchy chorus and driving rhythm, invites listeners to sing along and feel a sense of catharsis.    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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Beyond Nashville: No Thee No Ess

Psychedelia and country aren’t often the best bedfellows, but Cardiff band No Thee No Ess have managed to create an album that highlights the best of both worlds. The band are leaders, not followers, pushing the genre of country to exciting and intriguing new places.     Perhaps intriguing is the best way to describe ‘Distant Country’. It feels like an invitation in; laid-back, easy to listen to but also sonically interesting. It’s an album every country music fan should listen to – and every musician should aspire to.     Described by Andy Fung, one half of the band’s core duo, ‘Distant Country’ is portrayed as a “journey on a wagon, a waltz through the country genre.” This album stands out with a truly singular set of sounds, featuring an array of guest musicians who join the band around the metaphorical campfire. Among these talents are Gareth Bonello (The Gentle Good) on banjo, Kate Ronconi (Lost Tuesday Society) on violin, and Rhodri Ratatosk on pedal steel, contributing to the album’s unique and immersive atmosphere.     No Thee No Ess represents a long-standing collaboration between visual artists and musicians Paul Battenbough and Andy Fung. Both have a distinguished history in the music scene, with previous projects including Derrero, Cymbient, and The Cosmic Array, showcasing their diverse artistic capabilities. Their partnership has culminated in ‘Distant Country,’ produced and collaboratively crafted with Frank Naughton.     Following their 2022 psychedelic release, ‘Dimmer Switch,’ ‘Distant Country’ marks a shift towards a more laid-back and dreamy feel, infused with country influences. The album retains the band’s signature aesthetic while introducing more traditional song structures and acoustic instruments, offering a fresh yet familiar sound for their listeners.     The album was engineered and produced by Frank Naughton and No Thee No Ess at Ty Drwg studio in Cardiff. The inclusion of exceptional guest musicians such as Frank Naughton on bass and piano, Rhodri Viney on pedal steel, Gareth Bonello on banjo, Kate Ronconi on violin, and Sarah Passmore on vocals elevates the album, reflecting the band’s enduring love for alternative country music.     Tracks like ‘All Angelic’ stand out as stoner country hits, and there’s an element of poetry to each song, a philosophy through music. It’s a body of work that could seem out of time, but thanks to the impeccable production – that easily balances light touches with skilled instrumentation – and sound design, it is unmistakably current. It’s probably No Thee No Ess’s greatest work so far, which isn’t to say their previous work was lacking. With blended-out guitar riffs that slip into tracks like ‘Don’t Try Too Hard,’ it maintains interest throughout.     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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