Exclusives Archives - Page 9 of 47

Beyond Nashville: BRELAND

Leave a Comment / Exclusives / Rebecca Morpeth-Spayne

In the sprawling landscape of contemporary country music, one name is challenging the traditional boundaries and reshaping the genre’s landscape: BRELAND. Hailing from outside the typical confines of Nashville, BRELAND is a musical maverick whose unique blend of country, hip-hop and R&B has captivated audiences all over the world. Born in New Jersey and raised in Southern New Jersey, BRELAND’s (who’s birth name is Daniel Gerard Breland) journey to country music stardom is a testament to his versatility and vision. Growing up, he was immersed in the depths of musical influences, from the soulful sounds of Motown to the gritty beats of hip-hop. It was this eclectic mix of genres that would later become the cornerstone of his groundbreaking sound. Unlike many of his Nashville counterparts, BRELAND’s entrance into the country music scene wasn’t conventional. Instead of honky-tonks and cowboy hats, his musical upbringing was shaped by the bustling streets of New Jersey and the pulsating rhythms of urban culture. Yet, it was precisely this outsider perspective that would one day set him apart in an industry often defined by its traditions. BRELAND’s breakout hit, ‘My Truck’, is a perfect example of his genre-bending approach. With its infectious melody, catchy lyrics and seamless fusion of country twang and hip-hop swagger, the song became an instant sensation, earning him widespread acclaim and propelling him into the spotlight. The track eventually reached number 26 on the Hot Country Chart. In a genre known for its reverence for the past, BRELAND dared to break the mould and create something entirely new and refreshing. 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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The Hello Darlins: Tour de force

Leave a Comment / Exclusives / Rebecca Morpeth-Spayne

Manifesting is the key topic of conversation with Candace Lacina, frontwoman of The Hello Darlins. “I wish the sun was shining a little bit more today. This point in winter, I’m ready for the summer.” She laughs at me, “Just pretend it’s there and then so it will be…” She adds, suggesting that the tone of our interview will follow the pattern of hope and renewal. The Hello Darlins hail from Canada, although their collaborative efforts reach across the world, with musicians tapping in and out of the project as and when they can contribute. The main pair – Lacina and her husband Mike Little – are among the most highly requested session and touring musicians in the country, nay, in the world. As true professionals, they were on tour for a total of 187 days in 2023, with no view to stop in 2024. “Well, luckily this album was already in the works before we went on tour, so it was nice to just be able to plan for it. We had another record we were touring late [2021s ‘Go By Feel’] because of the pandemic. We hadn’t really had a chance to tour it, so this was an opportunity to kind of tour that record and also play some of the songs live in front of audiences.” Lacina explains. The ability to tour and create an album at the same time might not be unique in today’s music industry, but for The Hello Darlins, the two are intertwined: “I think ‘The Alders and the Ashes’, it’s a blend of a bunch of different things that we do live,” the music is reflective of that, with the double-LP taking the listener on a journey from acoustic, more intimate moments to the more fast-paced, bombastic anthems, Lacina reminisces, “We had a lot of midtempo, more reflective songs and our live show is very dynamic. It’s a combination of being really upbeat and playing all different styles of gospel, blues, country and even some rock. But then also the folk elements, the more acoustic sections, that are more heartfelt. We wanted an album that really represented more closely what our live shows are like.” As The Hello Darlins seek to represent their sound on record, it’s not just that that shapes their music, but also the influence of all the prestigious artists they collaborate with. “I think being a collective, from what we know from so many years of being touring musicians and being on the road is that lots of times a session and backup musician, they have a number of different gigs that they take and they may become artists themselves on their own,” Lacina’s understanding of touring life and session musicianship informs the way that her and Little work on their own music. 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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Encore: Podge Lane

Leave a Comment / Exclusives / Rebecca Morpeth-Spayne

What was the first song you learned all the words to?   I’m 90% sure it was That Old Wheel by Johnny Cash and Hank Williams Jr. wore out my grandad’s greatest hits CD just rewinding that song over and over.   A live show that changed your life?   Father John Misty in 2018. It was just well written song after well written song, incredible stage presence and I believe the first show I had ever seen where the artist did not do a single cover song.    A song that reminds you of growing up?   I guess ‘Stan’ by Eminem. My parents shaped a lot of my early listening and while my grandparents listened to country music, my parents listened to anything from punk to R&B. ‘Stan’ was a song my Dad played a lot in the van growing up, so it makes me think about growing up, plus it’s just such a well written story song. I know so many country and folk artists who love this track.   A song you can no longer listen to?   This is probably the hardest question you could ask me, because it’s so hard for me to not like a song, if the intention of the song was to make good art. Obviously, if a song is being mean or hurting someone else unjustly, I’m not going to like it, but usually I kind find something cool in any and every song. Sorry for the non-answer!   An album that made you want to be a musician? ‘Live at San Quentin’ by Johnny Cash. Perfect mixture of humour, mistakes, passion and great songs. What’s the best salsa recipe? I am so glad you asked. Super simple, just tomatoes, red onion, garlic, lime juice (if you fancy like that) and coriander. What makes a big difference for me is adding some hot sauce. The hotter the better. I vary, but at the moment I’m using ghost pepper and mango hot sauce, but you need that kick, otherwise you’re just eating a slightly spicy salad. How has country shaped your music? Country as an idea has really shaped my music for the better, I think, it’s like my north star. I use a lot of different influences in my music, but I can always hone in on what makes my music feel country and it’s the story. I always make sure my lyrics are telling you something and that they are not just there to flavour the melody. A song for me should work with just a guitar as well as it is fully produced. That’s the feeling I’ve always gotten from country music. You’re incorporating more rock elements to your folk/alt-country stylings with ‘Down’, how do you think country music is changing as a genre? I think country music is always changing and always has been and that’s part of what makes it so great. Like I said before, I do believe at the heart of every country song is the story, but after that the flavours added can change so much. Look at artists like Buck Owens for example, a country artist through and through, yet the distortion and psychedelic style on ‘Who’s Gonna Mow Your Grass’ must have confused a lot of fans. Same with modern artists like Sturgill Simpson with Sound And Fury. Country music, even as far back as early Western Swing, strives on change and taking from what came before and what is becoming popular. That’s why it lasts, why it innovates and why it’s more exciting than ever with acts like Allison Russell, Adeem The Artist, Tyler Childers and so many others creating a scene and a sound I’m so happy to be around during. What’s been your proudest moment in your career so far?   When an artist I really admired grabbed a cassette of my first album and said, “Thank you for making this”. It was so simple, but as someone who just adored physical music, and adored studying musicians of this person’s caliber, having this said to me was my proudest moment so far.  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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The UFQ - Solsbury Hill Single photo (2)

Beyond Nashville: Urban Folk Quartet

Leave a Comment / Exclusives / Rebecca Morpeth-Spayne

In the vast realm of folk music, where authenticity and innovation intertwine, The Urban Folk Quartet (UFQ) stands out among the rest for their pursuit of a well-rounded folk sound that includes big band jazz, funk and north Indian music. Hailing not from the bustling streets of Nashville, but rather from the eclectic melting pot of the UK music scene, UFQ transcends geographical boundaries to deliver a sonic experience that captivates audiences worldwide. Formed in 2009, UFQ comprises of four talented musicians: Joe Broughton (fiddle, guitar), Tom Chapman (percussion), Dan Walsh (banjo, guitar) and Paloma Trigás (fiddle). Together, they create fiddle-led folk music, leaning on the tradition of Celtic and English traditional dance music. The band’s inspirations are multiple and varied. Undoubtedly, at the heart of UFQ’s enchanting sound lies a deep reverence for tradition. As well as their drawing inspiration from Celtic and English music, UFQ also rely on Eastern European and American folk traditions. The quartet pays homage to the rich musical heritage of the past while fearlessly pushing boundaries to create something entirely new. Their latest album, ‘True Story’, serves as a testament to UFQ’s boundless creativity and musical prowess. Released to critical acclaim, the album showcases the quartet’s versatility and virtuosity, taking listeners on a journey through intricate melodies, pulsating rhythms, and emotive storytelling. Tracks like ‘Ghost Fields’ and ‘East Avenue’ exemplify UFQ’s ability to seamlessly blend traditional folk elements with contemporary sensibilities. Through intricate instrumentation and dynamic arrangements, the quartet invites listeners to explore the intersection of old and new, tradition and innovation. With ‘True Story’, the band leans into their inspirations more than ever. The Middle Eastern music-inspired ‘Before Your Eyes/The Whiplash Reel’ uses the micro-tonal structure that is typical of Middle Eastern music. The banjo wheels around the ‘reel’ as the fiddle joins to add texture and interest as a countermelody. As the bass comes in later, the track finally flourishes into breakneck pace, just before coming to an end. Not all the tracks feature vocals – with the instrumental tracks truly showcasing exactly how entertaining UFQ can be even without lyrics. The album kicks off with a cover (although you’d never know) of Peter Gabriel’s 1977 track ‘Solsbury Hill’. The original song utilises the skill of the London Symphony Orchestra, whilst UFQ’s version gives the song a clear traditional edge (but doesn’t compromise the quality). It’s Birmingham that acts as the cradle for UFQ’s inception. It’s no coincidence that Birmingham (the UK city, not the Alabama one) is the place that UFQ originates, it’s one of the most diverse places in the UK. With influences as varied as UFQ’s, that mixture of cultures is all-important to serve as muse. The band came together as a collective of folk musicians from around the world. Originally Joe Broughton formed the Folk Ensemble, a group of anywhere up to 50 folk musicians who Broughton knew from Birmingham Conservatoire’s folk degree. Broughton is at the helm of the band, producing their latest album ‘True Story’ and playing more instruments on the record than it could be possible to identify. As for the rest of the band, UFQ suffered a loss nearly two years ago when bassist Sal Broughton passed away, however, the band goes on with the four remaining members. 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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Blast from the past: Nick Mulvey’s ‘First Mind’ turns 10

Leave a Comment / Exclusives / Rebecca Morpeth-Spayne

A decade has elapsed since Nick Mulvey’s debut solo project, ‘First Mind,’ emerged onto the music scene, leaving an indelible mark on listeners worldwide. Transporting ourselves back to the dynamic landscape of 2010, Mulvey’s decision to part ways with his jazz ensemble, Portico Quartet, was laden with both risk and possibility. It marked a pivotal juncture in his artistic trajectory, a leap of faith into the realm of solo artistry where he would redefine his musical identity and carve out a distinctive sonic niche. At the heart of this transformation lay Mulvey’s intimate relationship with the guitar, an instrument that would become the cornerstone of his solo endeavours. Departing from the resonant tones of the hang drum, which had defined his sound with Portico Quartet, Mulvey embarked on a journey of musical exploration, harnessing the intricate plucking, picking and strumming of the strings to create a sphere of sound that was uniquely his own. Central to Mulvey’s artistic vision was the fusion of diverse musical influences, a testament to his deep immersion in the study of ethnomusicology at university and beyond. Drawing inspiration from the rich heritage of global soundscapes, Mulvey delved into African rhythms, Oriental melodies and the vibrant harmonies of Cuban music. His time spent living and learning amongst different cultures served as a crucible for creativity, infusing his compositions with a kaleidoscope of cultural hues and thematic depth. The result was ‘First Mind,’ an album that transcended genre boundaries, seamlessly blending South American rhythms with the soulful strains of folk music to create a distinctive strain of folk/Americana. Each track served as a testament to Mulvey’s multifaceted musicality, deeply exploring themes like the human condition, spirituality and identity with a depth and nuance that belied his years. Upon its release, ‘First Mind’ was met with resounding acclaim, its infectious melodies and introspective lyricism captivating audiences and critics alike. Reviews lauded Mulvey’s virtuosic musicianship, citing his deft guitar skills and irresistible hooks as hallmarks of the album’s appeal. Yet, beyond mere technical proficiency, it was Mulvey’s ability to evoke a sense of stillness and introspection through his music that truly set him apart. In a world consumed by noise and distraction, Mulvey’s songs served as a sanctuary of calm, inviting listeners into a space of contemplation and reflection. Each note seemed to carry the weight of lived experience, resonating with a profound emotional authenticity that are now a signature of Mulvey’s work, but one that he had established right out of the gate in his solo endeavours. 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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Behind the song: Trannie Anderson is rising

Leave a Comment / Exclusives / Rebecca Morpeth-Spayne

Trannie Anderson, a songwriter hailing from the heart of Waco, Texas, has been making waves in country music. As is often the case with songwriters, you might recognise the tracks Anderson has written before her name rings any bells: ‘Heart Like A Truck’ by Lainey Wilson, ‘3 Feet Tall’ by Cole Swindell and ‘taylor did’ by Alana Springsteen were all written or co-written by Anderson, who is stepping into the role of a major Nashville hitmaker. Anderson might not be the person you’re expecting when you think of a Nashville songwriter. For one, she’s a woman – which is still a rarity in the writing room – and secondly, she isn’t exactly from a musical background. Born into a family where music wasn’t the focal point, Anderson’s early years were imbued with a different kind of rhythm – that of determination and ambition instilled by her mother, a professional golfer. Anderson’s mother is one of her biggest inspirations, as a female professional golfer, her ability to strive for respect and be valued for her work in a field dominated by men proved to be the fire that Anderson needed to break into an industry with comparable challenges. Despite the absence of a musical lineage, Anderson’s innate talent for storytelling found an outlet in her early compositions, which centred around church music and themes of faith and spirituality. As she navigated her teenage years, Anderson’s songwriting underwent a transformation, mirroring her own personal growth and experiences. Initially drawn to themes of young love and romance, her early works leaned more towards gospel than the distinctive country sound she would later embrace. She started her songwriting journey with the father of a friend who just so happened to write songs. In third or fourth grade, as Anderson recalls it, she would sit and write songs with her friends father guiding her, showing her the structure and composition process of songwriting. These after-school lessons would form the basis of her knowledge of writing, as well as inspiring her to pursue songwriting as a career. It was during her university years in Waco that Anderson’s journey took a pivotal turn. A summer internship in Nashville beckoned, offering a glimpse into the heart of country music. Despite the practicality of pursuing a sensible career path, Anderson’s heart beat to a different tune – one that resonated with the allure of Nashville’s vibrant music scene. Following her graduation, she made the bold decision to uproot her life and chase her dreams in Music City. In Nashville, Anderson’s resilience and tenacity became her greatest assets. A chance encounter led her to become a dog sitter for country music luminaries Jennifer Wayne and Caroline Hobby, providing her with invaluable connections within the industry. It was her dog sitting company – aptly called Pup Stars Pet Services – that would, through Hobby and Wayne, lead to her first publishing deal with Catch This Music Publishing Company. Anderson found herself in the midst of Nashville, poised to become a professional songwriter, where each wag of a tail and each bark of a dog brought her closer to realising her dreams. Eventually, Catch This Music Publishing Company was dismantled. For Anderson, her first professional songwriting job had come to an end. It was in 2018, on her honeymoon with her husband, that she signed with Sony Music, a milestone moment that marked the beginning of a new chapter in her career. Teaming up with renowned songwriters, including Adam Doleac, Anderson honed her craft and honed her skills, contributing to a string of chart-topping hits that left an indelible mark on the country music landscape. 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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Brooke Eden is more necessary than ever

Leave a Comment / Exclusives / Rebecca Morpeth-Spayne

Brooke Eden is nearly crying. One could say that it’s a bad sign when your interviewee starts to tear up, but this particular conversation demands it, as we speak, my eyes get misted too. “I’ve had to learn how to take control of my emotions when I’m performing it [the song ‘All My Life’]. Especially as that was our first dance song, so my wife and I danced to it at our wedding in front of all the people we loved the most.” There’s no bad feeling behind the tear ducts, as Eden discusses all the hardships she faced coming out, all the arguments she had with her now-wife along the journey to becoming a queer and out country music artist and all the relief that she experiences every day now that she can wear her heart openly. It’s an emotional conversation all round, except for the part about dogs. It was impossible to get into the Saloon Stage at C2C for Brooke Eden’s performance. There was a queue going around the side of the entrance, every person vying for a spot inside the medium-sized venue. Luckily for us, we had the magic of press passes to slip inside and take a peek, only to find that inside, up the four staircases to the bar venue, there was another queue of people waiting to get in. Eventually, someone had to leave and we took their place. It was short-lived, there was nowhere left to stand and no one wanted to give up their spot in the crowd to make way for some pesky journalists. We quickly resigned ourselves to leaving, the space far too cramped for someone of my stature (shout out to the short people at concerts who can never see and almost always get lost amongst heads in a crowd). I have to admit when I meet Eden later in the day that, try as I might, I didn’t hear her sing a single song. “No way! I wish we would’ve known, I would have pulled you in,” she effuses, it’s hard to not sense her aura lightening when she finds out how many people were packed into the room to catch her set. Her kindness wasn’t lost on me, but I tell her I’ll catch her next time she’s in the UK. “I’d love to back another time this year, whether it be for another festival or for my own headlining show or both. I’d definitely love to be back this year.” I agree, the UK demand for Eden’s particular brand of country music is higher than ever, if the queues are anything to go by. The Queers That Came Before Eden was last in the UK five months ago, playing a show at G-A-Y, the famous gay nightclub and performance venue. She’s a huge fan of Soho nights out with her country music colleague, Fancy Hagood, “We have a group in Nashville, we call ourselves the CowGays. It’s three artists, two managers and a photographer. We’re all queer in country music, so I really feel like this queer country dance party is just getting started!” Eden shares, I tell her that in the UK the movement has been given the name ‘Pink Country’ and her delight is instantaneous, “I love that!”. There’s been a notable rise in the amount of queer people who are taking an interest in country, not just the cowboy/cowgirl/cowperson aesthetic, but also in the music. Artists like Willie Nelson have created a niche for queer people who have always loved country music, but who have often felt that it didn’t represent them. The recent uptick in queer-targeted country music events across both sides of the pond further betrays the obvious truth: whatever name you want to call it, queer country music is here and it’s staying. 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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Alana Springsteen is still learning

Leave a Comment / Exclusives / Rebecca Morpeth-Spayne

What happens when you marry the rock guitar chops of Bonnie Raitt and the songwriting honesty of Lindsey Jordan? Alana Springsteen, that’s what. In an ever-growing genre like country music, it can become increasingly hard for artists to stand out among the crowd, but Springsteen (no relation to Bruce that we know of) brings together stadium-level sound and intimate moments on her debut album ‘TWENTYSOMETHING’. We caught up with Springsteen at C2C, where she was doubling as a co-host alongside the legendary Bob Harris and a performer on the Saturday night afterparty on the BBC Radio 2 stage. “I hear you guys like to get rowdy out here in London…so we will see.” Springsteen appears to thrive in the challenges she sets for herself. It’s her first-time hosting but she doesn’t seem fazed at all; “I’ve never hosted anything before! But I love hanging out. I love talking!” She laughs, completely at ease. “I feel like as long as I don’t mess up any of the information, we’ll be okay. I have cue cards, so they’ll keep me on track.” She confesses, there’s an air of confidence and self-assurance around her, it’s nearly infectious as we talk. Springsteen is probably at her best on an intimate level, in songwriting as in hosting. Her back and forth with Bob Harris over the weekend (even though, when we spoke with Springsteen on the Saturday, she confides that “we [Harris and Springsteen] just met for the first time last night”). On her album, the standout tracks revolve around more acoustic arrangements that allow her voice and songwriting skills to shine. The title track ‘twenty something’ in particular captures the essence of growing up, becoming an adult in your own right at the same time as feeling unprepared for the responsibilities that fall on you. For someone who is now only 22, Springsteen is able to condense an almost universal experience of early adulthood into a 2:40 track, with all the changes set to Springsteen’s mature-beyond-her-years voice and a subversion of expectations when it comes to the chorus. The track feels like it’s going to explode into overproduction the first time the chorus comes round, but Springsteen smartly turns the idea on its head, instead the backing almost stops completely, bringing the focus on the ‘twenty something’ line. As the song moves on to the bridge, Springsteen weaves imagery as she steps between tones, making the listener perk up and listen to the unusual melodic choice – it’s another signifier that Springsteen has the maturity and confidence to create music that isn’t cookie-cutter country. Both Chris Stapleton and Michael Tenpenny make features on her debut, Springsteen settles herself among country music veterans. As well as singing alongside country legends, Springsteen also worked alongside writers Shane McAnally, Ryan Beaver, Liz Rose and Sasha Alex Sloan, some of the best in country music. She confides that despite the veneer of confidence, she still suffers from imposter syndrome; “sometimes I walk out there and I’m like, ‘this is insane!’ It doesn’t compute, but I’m just so grateful. I’m grateful for the community.” For someone so young, Springsteen has her head screwed on and her eyes on maintaining a long-term career to rival that of the legends she’s already working with – performing and hosting. 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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Lauren Watkins makes dream country

Leave a Comment / Exclusives / Rebecca Morpeth-Spayne

The best way to describe Lauren Watkins is probably smooth. Every note she sings is like honey, sweet even when she’s talking about smoking Camel Blues or taking shots of tequila. Watkins takes on the neotraditional genre of country, with a twinge of Kacey Musgraves’ acoustic sound (as well as her penchant for writing wistful country tracks). A Nashville Native It’s not often that country stars actually come from Nashville, but Watkins is the break with the rule. In fact, Watkins isn’t the only one in her family to work in Music City in country, her sister, Caroline, is a songwriter too. Despite finding careers in music, the Watkins sisters claim that their parents were music appreciators, not creators. However, they were encouraged from a young age to pursue their dreams and both learned to play guitar and sing from early on. Making country music wasn’t always on the cards for Watkins, though. After finishing high school, she attended college at the University of Mississippi. During the pandemic, her classes went remote and Watkins began posting short videos of her singing songs she wrote and playing guitar in her university bedroom to Instagram. Watkins’ posts caught the attention of none other than fellow Nashville songwriter Rodney Clawson, whose wife, Nicolle Gaylon had coincidentally set up the Songs & Daughters record label. It wasn’t long before Watkins was back in Nashville, meeting with Gaylon and was thrown into the world of country music songwriting. Six months later Watkins had signed a publishing deal, swiftly followed by a record deal with Songs & Daughters and Big Loud. The rest, as they say, is history. Making ‘dream-country’ Following her record deal, Watkins got to work improving her songwriting skills. Eventually, Watkins would end up working alongside legendary country music producer Joey Moi. Moi has made a habit of working with up-and-coming Nashville stars in recent years, producing MacKenzie Porter’s latest tracks and Watkins’ Big Loud labelmate Griffen Palmer’s first releases. By 2023, Watkins was ready with two EPs to give to the world; ‘Introducing: Lauren Watkins’ and ‘Introducing: The Heartbreak’ – and what an introduction they were. The first taste of Watkins’ particular brand of country music was April 2023’s ‘Introducing: Lauren Watkins’. The track ‘Ole Miss’ is a tribute to her college, using its nickname to delve into her college experience of heartbreak and recovery and pedal steel to set the scene that the track is a traditional take on the storytelling that makes country music so special. ‘Introducing: Lauren Watkins’ doesn’t have a lack of pedal steel throughout the EP, adding to the traditional feel, but combined with Watkins gravelly and comforting voice, the tracks aren’t an impression of days gone by, but a modern take on the traditions of country music that Watkins loves. By focusing on acoustic instrumentation, Watkins creates an EP that plays on the more dreamy, folksy side of country music. Her wordplay on tracks like ‘Camel Blues’, ‘Grain of Salt’ and ‘Shirley Temple’ is reminiscent of an early-career Kacey Musgraves, with her jangly, upbeat style and sweeping sadder 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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Charley Crockett: Enigma, musician, man

Leave a Comment / Exclusives / Rebecca Morpeth-Spayne

After speaking with Charley Crockett, I am in a daze. Crockett is wild, even through video call. Never to be underestimated and always unexpected, Crockett calls me from a vintage convertible in a California canyon, wearing sunglasses, a wide-brimmed hat and chewing on a toothpick. The image in itself is startling in its glamour and surrealism – and that’s before Crockett deigns to open his mouth to speak. Make It Cinematic “I’m always coming back to ‘Midnight Cowboy’,” Crockett confesses, the 1969 John Schlesinger film – for those who don’t know – tells the tale of a vagabond con man, travelling around the US in search of what can only be called the American Dream. A life of stability and dignity often alludes the main character, Dustin Hoffman’s Ratso. The film is now deemed historically significant and is preserved by the United States National Film Registry as a cultural artefact of American life. “I was born in a small Texas town and cut my teeth in some regards on the streets of New York City.” Crockett aligns with the central character, a man who has travelled extensively across the world, only to feel misunderstood: “I come out here to California and I love it out here, but there’s always people that are speaking to me as if I’ve never left the state of Texas in my life. They’re letting me know the world’s bigger than Texas, as if I didn’t know that. That alone will make you pretty rebellious.” The frustration in Crockett’s voice is evident, it’s completely understandable for someone who has lived and experienced more places than he can care to list in our time talking. It’s also surprising, as Crockett comes across well-rounded and considerate, not someone who you think people would be so quick to judge. Crockett’s musical and cultural intelligence shines in his work, too, in making the video for ‘Flowers Of The Killer Moon’, Crockett worked with artist Paul Ribera to create a video that is intriguing, unusual and has the general smell of someone who collaborates with people based on talent, not namesake. “We saw some of his work by chance, I think on YouTube,” Crockett tells me, “We were really blown away. I was really amazed by his ability to tell stories visually and that unique style that he has.” Ribera certainly has that, the finger-zoom style of his videos (which are often music videos for country music songs he loves), echoes the deep mystery that Crockett embodies. It feels like a perfect match. “The cool thing about that [visual storytelling] is when somebody makes a visual, we’re talking about cinematic, visual songwriting, it can be really hard to find somebody that can take the written down words in a story and heighten them with the visuals. It’s like how they always say the book is better than the movie, but in the case of Paul, he might’ve one-upped me with his visuals. He might’ve told the story better than I did and I’m real grateful for that.” 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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