Both Paige Wolfe and Katy Hurt have made a wish this weekend. On the one hand, their wishes are very different. Yet at the heart of both of their new singles lies the theme of acceptance. In the case of Katy’s‘Wish I Could Give You Up’, it is acceptance for the journey she has been on as a musician. Having come through the criticism, identity crisis, and doubt, she realises that being an artist is “in my blood”. There is something inherent within her that impels her to keep on singing and songwriting no matter how difficult or painful the creative life can be. It’s why the description “hurts so good” will resonate with those who, like Hurt, continue to make art. It captures the love-hate, high-low, gift-curse nature of embodied creativity.
Paige unpacks a similar kind of dichotomy in the context of a broken relationship. ‘Wish You Love’ is a demonstration of separation without bitterness; for a break-up to not become a fall-out but a friendship. She admits that “I took a shot at your heart/ just to see if you had one” but, in reflecting on long phone conversations, shared moments, and “actions said words without speaking”, she acknowledges that there were good things in their relationship which deserve to be remembered. She doesn’t throw the whole away but instead wants to “forget about it/ not about us”, and therefore “I wish you love”. There is acceptance that it didn’t work out, and we can choose to respond with love when that happens, not hate.
The soulful RnB vibes contribute to this largely positive message, with an infectious hook at the beginning that draws you in and makes the song instantly memorable. ‘Wish I Could Give You Up’ displays the same, though this track is much more guitar heavy, with a significant drumbeat in contrast to the electronic beats of ‘Wish You Love’. Both have a beautiful simplicity about them – Hurt’s in the lyrics and composition, Wolfe’s in the vocal and production. The former definitely has Nashville-level quality while the latter is knocking firmly at the door of contemporary UK female pop hits. This is not just wishful thinking. Both are deserving of mention. Both necessitate repeated listening.
Originally written for and published on Belles & Gals on May 26th 2022.
Absolute Radio Country has been celebrating its first birthday this month, with presenters coming together to share some of their favourite songs and highlights in a special show to mark the occasion. Since its evolution from Country Hits Radio to become part of the Absolute family twelve months ago, the station seems to have gone from strength-to-strength. When we* sat down to chat to two of its current presenters, Baylen Leonard and Lou Nash, this growth in popularity appears to be (at least in part) down to its ability to reach new audiences that might not have previously considered country music as a genre worth listening to. Certainly, Nash thinks that there is still a “perception that country music is old-fashioned” and “so we’re helping to break down those barriers” by playing more contemporary and modern stuff from across the spectrum.
That spectrum is a wide one, which Baylen Leonard is all too keen to celebrate. For anyone who has listened to his ‘Front Porch’ show on a Sunday afternoon will know that “one of the joys is being able to play all these different sounds”. He thinks that this has been of real benefit in making people realise that actually “they do love country music in some way”. Whether it’s more traditional, pop, blues, or roots, this “broad church” as Nash terms it allows audiences a way into the genre which, in turn, also opens up opportunities for artists to become part of the country music industry. Nash cites Sam Hunt as an example of how wide the borders now are, incorporating hip-hop as part of Country’s modern sound while “collaborations between solid country artists and those of other genres have helped country music gain more attention and wider recognition”.
Photo Credit: Marco Vittur
Baylen Leonard is under no illusion as he admits that “country is still quite niche [in the UK] but it’s amazing to be able to see it break through”. When asked what his highlights from Absolute Radio Country’s first year on air have been, it is this emergence of country music into the national consciousness that strikes a particular chord. Yes, interviewing Dolly Parton would be a highpoint in anyone’s career but, for him, it was walking into a barbershop and hearing country music playing on the radio that really made an impact. He also recounts “walking into my dentist and them having Absolute Radio Country on because, they said, ‘It’s the one station that plays music that we can all agree on’”. This is when you begin to understand country music’s appeal, and perhaps why it continues to gain new fans with each year that passes.
It’s not just the exportation of country music from across the pond that is of note in the last few years. The emergence of Absolute Radio Country as a station has come at a time when the UK has developed its own country music “ecosystem”. Leonard believes that ARC is “right at the heart of it”, alongside C2C which Nash declares is “not like a festival in many ways”. It was her first time attending the event in 2022, and she found the experience both strange – “It’s the middle of winter, you’re indoors at the O2, and your surrounded by all these crazy super-fans in cowboy hats and boots” – but “so brilliant”. When asked whether she’d spotted anyone on the outside stages that might be the next breakthrough act, she cites as many British artists as US ones. Twinnie, Jade Helliwell and Jess Thristan all get a mention alongside Brittney Spencer and Breland. This could be seen as evidence that the genre is slowly expanding after finding a place in the UK through acts like The Shires, Ward Thomas, and The Wandering Hearts, which both Nash and Leonard mention when asked about the scene here. Kezia Gill is also a name that rolls immediately off Leonard’s tongue when talking about the best of British, while Lou Nash suggests Jake Morrell as one of her top picks.
Not only has Absolute Radio Country been supporting the UK scene and helping to push country music out into wider society since its launch, it has also been showcasing the brand-new talent coming out of Nashville. Baylen Leonard gets particularly excited when describing the upward trajectory that Morgan Wade has been on, and how the station “has been there from the very beginning of her journey, playing her on the first show of the first day”. She has subsequently been playlisted and featured in a special Songwriters Round alongside another up-and-coming female artist in Callista Clark. Lou Nash on the other hand speaks passionately about Tenille Townes, describing her as “a wise old owl” who has “taken everything your nan taught you [as a child] and put it into a song”. Apart from Kelsea Ballerini, Townes is the one person Nash would love to sit down with for an in-depth interview.
Photo Credit: Marco Vittur
Interviews have been an important part of Absolute Radio Country’s content, particularly in the form of documentaries. Lou Nash’s highlight of the station’s first year has been its series on ‘Women of Country: Through the Decades’. She compliments Ashley McBryde on her excellent presenting skills, and commends the way the six shows reveal the fascinating stories of some of the female trailblazers in the genre. It went some way, she believes, to “addressing some of the polarity that exists in the US”, which most people here in the UK “don’t realise the extent of the issue”. This could be true of race too, which is perhaps why Baylen Leonard felt it a deeply personal responsibility to work on ‘Our Own Country’, a series which will be returning in the near future, focusing this time on LGBTQ+ artists in country music. Documentaries like these, Leonard argues, are important “because it’s [part of the] conversations that were having in society”.
If this a taste of what’s to come over the coming months, then Absolute Radio Country is going to continue to win new listeners across the UK. After twelve months, it seems that Baylen Leonard, Lou Nash, et al, have firmly cemented Absolute Radio Country as a radio station that is here to stay.
Click here to listen to ARC’s special anniversary episode. Listen to Absolute Radio Country on DAB, online, via the Absolute Radio mobile app or voice-activated device.
Interviews originally undertaken and article originally written for Belles & Gals (published May 26th 2022)
Rachel Walker Mason is not a name familiar to many but her reputation extends far and wide within the music industry. The award-winning Bristol-based songwriter has penned songs for artists right across the spectrum, including country music. But she has saved three for herself which have just been released as the EP ‘Colour Me Violet’. Taking on a strong folk ethic, merging at times with soft pop, it is an intimate affair telling three stories of different relationships.
The first, ‘Magpie Heart’, is a love letter to her husband. It contains a striking second verse, beautiful in its imagery, in which she talks about them dancing together to Radiohead while holding their as-yet unborn baby in each other’s arms. The closeness of their relationship is captured perfectly; the magpie metaphor spoken of playfully as they steal the hearts of one another.
The second, ‘Pieces of You’, is more fragile. This gentle piano piece with conspicuous drumbeat describes a fractured and breaking relationship in which “I don’t know how to hold these pieces of you / without my own hands bleeding”. It resembles ‘Bruised and Burned’ by Jess Setterfield insofar as it describes being hurt by the brokenness of another. Yet here there remains the hint of a determination to keep going rather than let go; of one last chance on the brink of giving up. If it is the subject of ‘Grey Man’ however, then that chance has already gone.
This final song on the EP describes the results of a controlling relationship that is sobering yet holds a quiet power. Rachel Walker Mason sings in almost-soprano range vocals that “I’m wasted in your wasteland”, and challenges the draining effect of this person by positively affirming that “I’ll be kaleidoscope, carousel, painted shell / Might as well wave me goodbye”. The soft delivery of these words as part of the delicacy that imbues this whole track makes them gently authoritative. It underlines the intention of the record which, for Walker Mason, is “to show others who might be struggling in their relationships that they deserve love for being just who they are.” I think she achieves this with ‘Colour Me Violet’, and more.
Originally written for and published on Belles & Gals on May 15th 2022.
Anne Wilson is a name that may not have reached the ears of most country music fans thus far. Yet her southern upbringing and admiration for the genre runs through the core of her debut album ‘My Jesus’. The title track has already proved to be somewhat of a breakthrough hit for Wilson, recording over 13 million streams since its release in 2021. Given that it has just been nominated for Top Christian Song at the Billboard Music Awards, placing her alongside the likes of Carrie Underwood, Hillary Scott and Dolly Parton as past nominees, it shouldn’t be too long before this 19-year-old from Kentucky advances into the mainstream.
The album demonstrates a wide variety of influences, and slides along the breadth of country music with ease. The opening track ‘Scatter’ affords her a booming entrance after a short prelude that builds the anticipation nicely before announcing itself in heavy rock style. It then settles into a recognisable Southern Blues rhythm, complete with deep twang, hand claps, and the odd toll of a bell. It is very different from the title track, which changes the pace and mood quickly with its soft piano and reflective vocals. It leans unreservedly into elements of Contemporary Christian Music whilst also showcasing the sounds of Modern Country. It is this tightrope that Wilson seems to walk most keenly, which is no surprise given that these are the two musical wells that she draws most of her inspiration from. ‘Devil’ and ‘Hey Girl’ reveal that she is happy to step off that line when she wants to however. The sonic rock of the former creates a lovely bit of Southern Gothic while the RnB touches on the latter contribute to the unapologetic message that is very Maren Morris in tone.
Sandwiched in between these two songs is what could be regarded as the best song on the album. ‘Sunday Sermons’ is storytelling at its finest, and represents Wilson’s personal faith testimony. It is to her what ‘Woman at the Well’ is to Olivia Lane and ‘Something in the Water’ is to Carrie Underwood. Its infectious country-pop rendering ensures that it’s as memorable as both of those hits, with the additional burst of electric organ at the end of the fabulous chorus line contextualising those “heart-stirring, Spirit-moving Sunday sermons” nicely. It prepares the way for a couple of tracks that borrow from scriptural references. ‘Mansions’ presents a particular image of heaven that is community-oriented whilst ‘This House’ also directly covers part of an old hymn made familiar to Wilson’s generation by the band Hillsong.
The album then takes a little break from its Gospel focus to first celebrate mothers and then reflect on a loved one. ‘Mamas’ features Hillary Scott of Lady A, whose vocals add a gentle touch and marry well with Wilson’s own. Together, they produce not a rip-roaring declaration a la Gabby Barrett so much as to say that “Jesus and my Mama love me” through an ambling guitar-led reflection on a few relatable attributes, including “arms to fall into”, “phone calls saying ‘Don’t forget/ I’m always in your corner’”, and “the heart that makes a house a home”. This home is treasured on ‘No Place Like Home’ in respect of its reminiscences on childhood days spent with her brother. It is a heartfelt and touching tribute to her older sibling who was tragically killed in a car accident at the age of 23, and represents country music’s innate ability to be a channel through which to process pain. What makes this song extra special is the way in which Wilson communicates hope and light amidst her experience, the final verse bringing a tear to the eye such is its poignancy and utter tenderness.
Wilson returns to reflect on the core of her faith and beliefs on the last part of the album. ‘God Thing’ is close to evangelical in its telling, both in terms of its lyrical content and guitar arrangement. Meanwhile, ‘That’s What We Need’ is a rousing call to Christian love while ‘Something About That Name’ has more in common with church worship than country music. Its familiar refrain, complete with choir and big drums section, means that, like the rest of the album, this is not trailblazing. Anne Wilson is far from being a one-hit wonder however. There is some good solid stuff to be found on this debut record which contains some beautiful instances of personal songwriting mixed with music that holds commercial and popular appeal. She may be on the edges right now but ‘My Jesus’ is sure to cause some sort of stir in Nashville. Country-Gospel at its finest.
It doesn’t take long to listen to Tenille Townes’ new EP and realise that its title is full of irony. Far from putting on a disguise or pretending to be someone else, ‘Masquerades’ presents a new level of honesty for the Canadian singer-songwriter. She moves from observational storyteller to highly personal introspection, removing the mask to become decidedly vulnerable but incredibly relatable in the process. Fans have already responded positively to the single releases that form part of this 7-track collection. And they will not be disappointed to find similar on the remaining songs, which all feature Tenille’s inimitable vocal style and broad country-pop brushstrokes.
‘When You Need It’ ft. Wrabel is a delightfully delicate opener. It is a touching take on friendship that immediately lifts the soul. Touching on issues around mental health and wellbeing, it acknowledges the darkness whilst offering companionship. It values the simple things, like “just to hold your hand and say ‘Keep breathing’”, in times of greatest difficulty. Lines like “When the sun comes up and you don’t see it” really capture the sense of hopelessness metaphorically while the simple refrain of the chorus, “I’ll be there when you need it”, conveys the transformative effect of presence succinctly.
The presence of another, or rather their absence, is the subject of ‘When’s It Gonna Happen’, an infectious country-pop song about singleness previously reviewed here, and ‘The Sound of Being Alone’. The imagery that Tenille uses on this third track is as haunting as the atmosphere created by the strings and singular beats of the music. The ticking clock, rain on the window, the washing machine, and the silent phone help paint an almost ghostly picture of the single life that is tempered by the question “is it a bad thing that I’m good on my own?” It is the kind of wondering which hangs neatly in the air thanks to Tenille’s courageous ability to voice her experience and thus challenge convention.
‘Villain in Me’ does this on an intensely personal level. The acoustic recording of this song only adds to its sense of intimate revealing of the darker parts of Tenille’s self. She admitted when releasing this as the lead single that “this song terrifies me”. But by delving deep into the uncomfortable and hidden depths of herself she has struck a chord with fans appreciative of this exposé. Its brooding and reflective nature is reminiscent of an Emmylou Harris or Mary Chapin Carpenter record. It is beautifully moody. Meanwhile, ‘Shared Walls’ adds a touch of pop production to the acoustic guitar to make it more of a slow-tempo Swift-style track. This duet with Breland pushes that longing for connection back to the forefront, not only in the lyrics but through the high vocals. It is mysteriously enchanting.
The EP ends with the anthemic ‘Same Road Home’, a thoughtful crowd-pleaser that confidently delivers its universalist message, and ‘Light in Your Eyes’, a gently romantic driving song that captures a Glen Campbell/John Denver-esque sound. Both seem to veer away from the introspective quality of the earlier songs and back toward the classic observational material of ‘The Lemonade Stand’. This makes them no less welcome however on an EP whose success lies in its heart-on-sleeve approach. ‘Masquerades’ may have been made in the grip of lockdown but its material speaks of a state of being that goes beyond the pandemic experience. This is why it will last, and why Tenille Townes continues to gain a reputation as one of Nashville’s best.
Originally written and published on Belles & Gals on April 21st 2022.
Sunflower Thieves are one of the best discoveries I’ve made in 2022 so far. Their lo-fi, indie-folk sound really is something to savour. It makes their debut EP ‘Someone to be there for’ a delectable delight to listen to. The five tracks carry you away into an almost dream-like state, floating on the duo’s soulful harmonies and drifting down the river of their gentle guitar-led sound. It is easy to get lost in the mystical atmosphere that surrounds their lyrics, the choruses of which in particular are exquisite.
I love the incongruity of “sirens” and “silence” in opening track ‘Sirens’; the mix of wonder and strangeness in ‘Lichtenberg Figures’; the simplicity and profundity of ‘I Don’t Know Why’. It is these thought-provoking lines from ‘34 Days’ that stand out for me though – “People have tried to be there for me, I know it’s kind/ But daffodils drown in the water if there is no sunlight” – and which mark them out as fantastically-talented songwriters.
The poetic quality of their observations alongside their luscious sounds has given them a winning formula for success, and places them firmly and deservedly among their contemporaries. These include Rona Mac, Wildwood Kin and First Aid Kit, fans of which will be highly amenable to the music of this Leeds-based band. Their impact is sure to stretch far wider than that with this EP however, which for me is simply stunning.
There is an argument that Megan O’Neill has changed direction with her new EP ‘Time (Thought You Were on My Side)’. Yet I prefer to think that she is simply building on what has gone before. This latest release may have far more electro-pop production than we have witnessed previously but she does not completely sidestep the eclectic nature of her last album, which had Americana running through its core. Storytelling is still the essence of her songs here, which also display similar themes to those on ‘Getting Comfortable with Uncertainty’.
For example, ‘Fail Better’ continues the positive take on failure of ‘Sometimes I Learn’; whilst her cover of Jim Croce’s ‘Time in a Bottle’ seems to have opened a path to explore the subject of time more with ‘Change Everything’ and ‘Time’. What may feel distinct about this EP in terms of its pop sensibility also has its roots in the past. I would argue that her shift sonically is not so much a new sound as bringing to the fore what was kept in the background on her debut album ‘Ghost of You’. The difference with this new record seems to be a more purposeful exploration of that which sat beneath and lent itself to the vocally-led performances of her early days. The effect of this sees O’Neill having more in common with someone like Mabel, as indie-pop comes to define her sound far more than country-pop or contemporary folk. This change shows an artist who is comfortable and more than capable of pushing the boundaries with her sound. ‘Time (Thought You Were on My Side)’ remains driven by her passion for story even as she chooses to tell them through a slightly different emphasis musically.
Originally written for and published on Belles & Gals on April 12th 2022.
It is the North West that seems to be in the Welsh TV spotlight recently. The final series of Hiddenhas begun, Rybishhas returned, and a brand-new series called Stad has just completed its run. Set on a council estate near Caernarfon, it combines the drama and comedy of the aforementioned to create a slightly off-piste narrative similar to Enid a Lucy. This has made it lightly entertaining and surprisingly engrossing; a series that does not make you want to binge from the off but, by the time it reaches its final episode, leaves you desperate for more.
Stad is not strictly original, coming ten years after its highly-popular predecessor Tipyn o Stad ended on S4C. Viewers of that series will recognise the return of a few familiar characters, not least the Gurkha family. However, no prior knowledge is needed to enter this new chapter in the life of Maes Menai, described as “North Wales’ most colourful housing estate”. The opening scene might feel a bit overwhelming and thus confusing for those, like me, entering this world for the first time. But it does not take long to adjust to its tragi-comic genre and realise that the historic connections between some of these characters are no barrier to its accessibility. Instead, one becomes steadily intrigued by the issues, situations and circumstances that arise within the first episode and as the series progresses. Mental health is but one subject which is tackled with a surprising sensitivity, particularly in respect of trauma and loss. Elen Gwynne, for example, gives the most acute performance as Susan whose struggle with bereavement is portrayed onscreen in such a way as to be funny without being derisive.
The writers Manon Wyn Jones, Angharad Elen and Daf Palfrey have pitched the darkness and light of this drama to perfection. There is a bit of a Breaking Bad influence that seems to hang over it in more ways than one. There is the obvious connection to the selling of drugs for financial security, but it is also the hapless nature of the partnership between Ed Lovell (Bryn Fôn) and Dan (Sion Eifion) that strikes chords with the father-son relationship of Walter White and Jesse. The two also find themselves in sometimes absurd situations, like being held hostage by a crossbow-wielding farmer by the name of Iona Kebab (Janet Aethwy). Such wild, crazy scenarios end up contrasting nicely with the far more real-world dilemmas of other characters, like Alaw. Begw Rowlands ensures a real likability towards her character, playing her with a confidence that is tinged with a deeper, hidden vulnerability. It draws much sympathy when she discovers that she is pregnant, and makes her gently blossoming relationship with Kim (Gwenno Fôn) all-the-more sweeter.
Stad can feel a bit pedestrian at times, measured and paced, with no rush to excite or entice viewers into a suspenseful or twisting narrative. It prefers to operate at the most basic level of human drama even as some of its storylines take on a surrealist edge. This means that we get to know the characters themselves in the context of their ordinary lives and is what makes the final part of the series so unexpected and heightens the tension around it. We come to really care as Alaw attacks her dad Keith (Rhodri Meilir), with seemingly-terminal ramifications, and Ed Lovell finds himself trapped in the basement of a burning house. It ratchets up the anticipation before running into the closing credits to devasting effect. Suddenly, it is edge-of-your-seat stuff. A second series is demanded.
Stad becomes a series that gradually wins your heart and then has the power to break it.
Whether you’re a relative newcomer to country music or have been an avid listener for decades, Absolute Radio’s documentary series Women of Country is a must-listen. Taking a journey through the history of the genre from the female perspective, it marks the infamous milestones of the greats whilst recounting the hidden stories of those often ignored in its retelling. This is what makes it more than simply a Beginners’ Guide to Country. The usual suspects may make an appearance but it is the history of Black artists and LGBT+ representation in the genre that makes this a documentary from which any Country music fan can learn.
Ashley McBryde is the perfect host to introduce listeners to the rich and diverse legacy of women in country music. She offers a warm and relaxed tone as she introduces her interviewees and their associated music, proving accessible and insightful as she explains key moments and events that led to certain artists and songs making an impact. What is most interesting across the six episodes is the way that seemingly contemporary issues are actually part of the tradition, McBryde’s measured delivery bringing clarity rather than surprise to this fact. It makes the call for change in the industry even more urgent, knowing simultaneously that progress can never be taken for granted. “We’ve come so far”, as Dolly Parton says in the final episode, “but we’ve still got far to go”.
It wouldn’t be a documentary on female country music if Dolly didn’t feature. Here, she turns up in pretty much every episode. From her church roots and getting her first single cut in the ‘60s to appearing on stage at Glastonbury in the 2010s, her trajectory is somewhat of a mirror to the history of women in country music. Therefore, it makes sense to reference her alongside other giants of the industry. Among them are Jeannie Seely, the first female host of the Grand Ole Opry, whose clothing choices helped liberalise the genre’s fashion; and Sylvia, who defied the supposed wisdom of male executives that “women don’t put butts on seats” by scoring a hit record with ‘Nobody’ that did just that in 1982. Alongside them are the usual suspects, like Patsy Cline, Bobbi Gentry and Tammy Wynette from the early days, Shania Twain and Carrie Underwood at the turn of the millennium, and Maren Morris in the present day. Each in their own way have made an impact on country music; and together, they represent an authenticity that has been forever challenged by the patriarchy.
Recent debates over radio play and genre-blending are exposed as nothing new in this series. Patsy Cline crossed over into pop way back in the 1960s, way before Taylor Swift arrived on the scene. Loretta Lynn was addressing taboo subjects before anyone had ever heard of Martina McBryde. And we hear songs from Crystal Gayle and Carrie Underwood as evidence that Cam’s mega-hit ‘Diane’ was by no means the first cheating song to be sung by a female in country music, despite the opinions of gaslighting male producers. What is new though is to hear the history of Black females in Country Music. From Linda Martell to Alice Randall, Frankie Staton to Rissi Palmer, these were women who had to fight doubly hard within a predominantly white industry to get themselves not only heard but recognised as legitimate Country artists. It uncovers the extent to which systemic racism has run through the genre, putting the challenges faced by Mickey Guyton in a long historical context that once more reveals the ongoing struggle for equality in country music.
Women of Country ends with a fascinating response to the question ‘What is Country?’ All of the interviewees give an eclectic and sometimes paradoxical reply. It turns out that there are as many definitions as there are women in country music. Such varied answers are not the basis for conflict however but solidarity, showing women to be the real trailblazers of the genre. From the Carter scratch to the Swift effect, if there was any doubt that women have been the ones driving innovation in country music through the decades, this six-part series has dispelled it. They are at the forefront of the country music scene. Always were, and always will be.
Click here to listen to the series.
Originally written for and published on Belles & Gals on March 31st 2022.
Welsh singer-songwriter Paige Wolfe has started how she means to go on. She has dug deep into her soul to co-produce her first release, ‘Why Can’t My Heart?’. Borne out of personal experience of domestic abuse, Wolfe acknowledges the part played by Millie Bloom in “digging right down to the furthest root, pulling it out, untangling it, and making a beautiful piece of art”. The result is not just that, but also an articulate expression of an often-taboo subject; a sincere telling of an emotionally-complex moment in which the heart grapples with its own deceit. The song dances on the edges of RnB while being firmly rooted in the acoustic guitar of Country. This allows the lyrics to gain an intensity without losing the earnestness of Paige’s quavering voice.
There are touches of Maren Morris, Dua Lipa and Louise Parker on a track that strives for honesty in both strength and brokenness, conveying a merry-go-round of emotion captured most acutely in the repetition of the bridge: “Why can’t my heart just give it a rest? I need my heart to give it a rest”. Despite the tangled nature of her situation here, there is a thread of hope that runs through the song. ‘Why Can’t My Heart?’ becomes as much a reflection as it is a representation, Paige giving voice to her feelings at the same time as finding freedom beyond them. Her raw and mature songwriting is to be much admired. As far as debut singles go, they don’t come much better than this.
Originally written for and published on Belles & Gals on March 20th 2022.
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