Top Picks

The 13-track album from Liverpudlian singer-songwriter John Jenkins is packed with powerful tracks. Jenkins vocals, as soft and smooth as caramel, deliver well written lyrics addressing regret and broken dreams. Though it might sound sad, there is plenty to smile about as the record transports you through these emotions, from the gentle production to the stories and characters Jenkins creates. The imagery is clear on the tragic ‘The Last Train From Baltimore,’ but Jenkins voice is soothing as he reflects on these events. A sonic shift occurs on ‘The Wrong Side of Sadness’ as a more rousing production ensues. He is joined by Alison Benson on ‘Strangers on a Train’, the production is stripped back giving the pairs delicate vocals room to deliver their message. ‘If You Can’t Forgive, You Can’t Love’ is a fantastic record that, for all it’s regret and sorrow, delivers an important message of forgiveness and freedom. Jenkins proves to be one to watch with both his vocals and songwriting on point for this album. 

As a mainstream country music fan, I was surprised I enjoyed this album as much as I did. This latest record comes after a difficult couple of years for Felix but he’s channeled his trials and tribulations into his songwriting, taking this record to some dark places at times. With the theme of driving, he recalls ghosts and coping mechanisms of the past as he tries to deal with losing his Dad. With cinematic and hypnotic soundscapes as a backdrop, the album plays host to thought-provoking lyrics and inspiring melodies, focus song ‘Let Your Love Rain Down On Me’ is an example of this. Another favourite comes in the form of ‘Think I’m Alright Now’, featuring laid-back percussion, the song focuses on the emergence of hope – a light in the dark, so to speak. Felix’s baritone voice is the centrepiece of the whole record. There is a clear evolution for Curse of Lono on this third album but the trajectory of the band looks promising.  

Paul Benoit has had a varied and successful career as both a singer-songwriter and a composer who has had a number of film soundtracks credited to his name. His latest ten song collection fuses americana, folk and rock and features some lovely slide guitar playing. The highlight of the record for me is the duet Benoit does with Amilia K Spicer on the love song Beautiful Lies. Their soft vocals convey the emotions perfectly, you can feel it tugging at the heart strings. Benoit draws influence from the likes of Nick Drake on atmospheric songs such as Smoke, a rawness evident in Benoit’s vocals. Meanwhile, Let’s Pretend We’re in Love draws inspiration from the pandemic, there’s something theatrical and haunting about this tune, the effects on the electric guitar sending shivers down your spine as you listen. Though a cohesive collection of songs resonates on Beautiful Lies, there’s also enough variation and dynamic changes to keep it fresh and inviting to the listener. A solid production and effective use of slide guitar help bring it all together.  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

‘All Alone’ faces the trials and tribulations of the world, head on as Steven Graves explores the universal themes of loneliness, fear and anger caused by the pandemic whilst also asking tough questions to each and every listener about their impact on topics like climate change. You’re The One is an upbeat track with a finely tuned production, the addition of the B3 organ really contributes an extra dimension. The track is uplifting and the chorus hook is catchy but not in a throw-away pop kind of way. There is a simple charm to the song that sets it apart. Graves use of different textures and timbres to accompany his message is unusual within the genre but thats not a complaint as the title track and Always Here play host to a horn section and saxophones that help to bolster the arrangement. The album concludes with Good People, a bright, cheerful song to finish the album which has taken you on a bit of a rollercoaster ride through the facts of life. His vocals are natural and raw in his delivery and despite his ability to tackle difficult subjects head on he does it with a sense of hope and optimism.  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

Upon first listen I am drawn to the level of musicianship on display from Steve Bonham and The Long Road. From the opening track Ballad of Duane and Billy Marie, where they utilise every aspect of the acoustic guitar including the harmonics, to the closing track, Western Requiem with the delicate piano cutting through the bright chords strummed on the guitar – it’s well arranged. The harmonies too are a real selling point of this record whilst lyrically it is born out of adventure with songs such as Interstate 25 and American Wilderness written about real stories Bonham heard whilst travelling around the States. The lyrics themselves are very literal and descriptive as they recount the tales of times gone by. My favourite on the record is the love story Wrapped Up in You which became a hit on UK Country Radio. The track has a simple yet catchy pay-off line and lovely acoustic guitar solo. The group play with their sound a little for the theatrical If There’s A God Out Here, which delves into a darker subject matter, once again influenced by Bonham’s travels. All in all it’s an intriguing record, there is clear chemistry within the group and the production is sonically pleasing.  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

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