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Introducing Hollie Rogers

For this second of a short series of interviews with artists appearing at this year’s British Country Music Festival in Blackpool, Hollie Rogers took some time out of her busy schedule to tell us about co-writing with a musical legend, crowdfunding for her upcoming album, and what it’s been like to play live again after so long.

Would you like to introduce yourself to our readers by telling us a bit about yourself and where you’re from?

I’m Hollie Rogers, a singer-songwriter from Penzance, Cornwall, where pirates come from (It’s no coincidence that my name rhymes with a famous pirate ship. Y’arr!) I write acoustic guitar-driven Americana/Folk/Roots music, usually about love – the noun and the verb!

Your latest single, ‘Love & Distance’, was co-written with Jamie Lawson and Robben Ford. How did the opportunity to write with them come about, and could you tell us the story behind the song?

We wrote ‘Love & Distance’ after the three of us were introduced by Chris Difford. Chris had invited us to one of his songwriting retreats and thought we’d make a good writing team. Robben Ford is, of course, a guitar legend so obviously I know his work, but I must admit I’d never seen a picture of him and had no idea what he looked like. He was introduced to me only as “Robben”, so as we got to know each other and I went on and on for about 15 minutes about my love of Joni Mitchell, I genuinely didn’t know who I was talking to. When I finally shut up, Robben coolly reclined in his chair and just said “Totally. I played with Joni from ’75 – ’79… she’s a great gal”. I died!

But then we wrote a lovely song, about being separated from somebody you love. It was written pre-covid, but I think the lyrics take on a whole new poignance in the wake of a global pandemic where so many of us were unable to be with our loved ones. Maybe that’s why it’s become my most popular release of all time on Spotify?

The single will feature on your upcoming album, ‘Criminal Heart’, due out on September 9^th. What can we expect from it?

Some big hooky bangers like ‘Criminal Heart’, the title track. Some old favourites like ‘Sinner’, reworked as you’ve never heard them before. And some more gentle tunes, including one with a verse in Cornish, which I don’t speak, but Cornwall Council have a free translation service that I decided to make use of. I have no idea if they translated my English lyrics correctly – I could now be singing about pasties and fishing for all I know – but it sounds pretty!

How important has the support from your Kickstarter campaign been in the creation of this record? Do you think the fan-funded model is the best way for independent artists to finance their music these days?

‘Criminal Heart’ literally wouldn’t exist without the Crowdfunder support. So for me, yes, it definitely was the best model, but I think it depends entirely on an artist’s individual situation. If they have the funds to support a project by themselves or with help from a funding body, then that’s certainly still worthwhile and might be better for some. But there is something about crowdfunding that makes a project feel more collaborative, too. As artists we often get to collaborate with other musicians, but to be able to actively collaborate with your own fanbase is quite special. I think it’s nice for the fans too, to really feel like they’re a part of the creation, rather than just buyers of a product.

With festival season now in full swing, how has it felt performing live again?

Amazing. I played on a huge stage with my band at Cornbury Festival recently. You can never be sure at a festival show how many people will turn out to see you, but the crowd was massive and as they sang my lyrics back to me, I had a bit of a moment… I just felt like I was exactly where I was supposed to be. I got all emotional and had a little cry mid-song!

You’re due to play at the British Country Music Festival in Blackpool in September. How excited are you to be on the bill, and why do you think country music has become so popular in the UK in recent years?

I’m really looking forward to the show; there are some great artists on the line-up and lots of friends, too, so it’s going to be a fun few days. I think more and more there is a blurring of lines between genres in the country/folk/blues/americana worlds, which is great – I don’t think any artists like to be pigeon-holed too much and if we can play to fans across different genre communities, it helps us to widen our fanbases and bring more people together.

Finally, if you could pick one female Country/Folk/Americana artist to write a song with, who would it be and why?

Laura Marling – I think she’s an absolute genius and I love everything she writes. In 40 years’ time I think she’ll have the same status as Joni. I’d be a proper fan-girl though and probably forget how to play/sing/write in her presence… so maybe it’s safer for me to go with The Spice Girls instead. They’re not Country, Folk or Americana, but I just mentioned that I’m all for blurring the genre lines and we could write a killer teen pop-folk hit. That’s what I want. (What I really really want.)

Twitter: @HollieRMusic

Instagram: @hollierogersmusic

Originally written for and published on Belles & Gals on August 16th 2022.

Introducing Our Atlantic Roots

In the first of a short series of interviews with artists appearing at this year’s British Country Music Festival in Blackpool, we* spoke to Laura Johnston, one half of Cornwall-based duo Our Atlantic Roots. She tells us about how they formed, their new single ‘Golden Hour’, what to expect from their next EP, and who they’d love to write a song with if given the chance.

Would you like to introduce yourself to our readers by telling us a bit about yourselves and where you’re from?

Of course! We’re Mac and Laura from the indie-folk and country duo, Our Atlantic Roots. Mac is originally from North Carolina – near to the Outer Banks – and I’m from Rotherham in South Yorkshire. We’ve been married for 8 years and singing together for 10. Though we formed the duo and officially started releasing music in 2017.

How did the two of you meet, and what was the inspiration behind the name Our Atlantic Roots?

I went out to the USA in 2008 as soon as I’d finished high school to take part in a gap year at a church. I had the time of my life and ended up staying for 5 years! We travelled around the States and got involved in lots of community projects, from supporting homeless shelters to running youth groups, and working in prisons alongside the chaplain. Mac and I met during my fourth year there and straight away had that music connection! We began song writing together for hours on end and the rest is history.

Our debut EP release ‘First Light’ was actually under the name Mac and Laura Johnston but as we began to gain traction, we pondered on the idea of a “band name”. That was not an easy task! Our Atlantic Roots is a bit of a mouthful, but it’s caught on over the years! We wanted a name that was earthy and relating to nature as a lot of our sound and lyrics are rooted within that (pardon the pun!). We live in Cornwall and see the Atlantic Ocean every day and it’s the thing that connects our homelands. It just felt right.

Your second EP ‘Little Bird’, released in 2019, was a huge success. Why do you think it connected with so many listeners?

Yes, we are still blown away by the figure: 1M+ streams! The production and feel of ‘Little Bird’ was bigger and in some ways more mainstream sounding than ‘First Light’, but still had quite a unique and indie undertone. The song that was particularly well received on the EP was ‘Carry On’. It was included on some big playlists and that helped it have that extra boost to reach more people, but ultimately, it was the simple yet direct and hopeful message that seemed to most engage and impact listeners. Mac wrote this one in a dark season, battling anxiety and panic disorder. As many know, poor mental health is unfortunately something that a lot of people deal with, and Mac has always been open about his journey in this area and how the song came from that place, authentically and in a time that he needed those words personally. We hope that it continues to impact and encourage listeners.

You’ve just released a new single called ‘Golden Hour’. Could you tell us a bit about the story behind the song?

Of course! We’re very excited to have finally been able to share this song with the world. The lyrics of ‘Golden Hour’ highlight and celebrate the constants in a rapidly changing world. It was written in the season of the covid pandemic when so much felt unstable and unreliable. The inspiration for the song came as we were out walking along the Cornish coastline as the sun set over the Atlantic. The constant push and pull of the tide and the sound of the skylarks and starlings – blissfully unaware of the chaos in the world – was a comfort and a reminder that some things do stay the same. The whole track has that dusky, late summer, relaxed feeling whilst carrying a motivating pulse that takes the listener on a journey.

This will be the first release from your third EP ‘Hold Every Moment’, due out in October. Could you give us an idea of what to expect from it?

There will be four tracks on this EP. They’re all quite cinematic, yet rooted in the classic Our Atlantic Roots folky/americana sound. We worked with talented producer Stian VedØy of Bristol-based “mountain-pop” band Firewoodisland, so there’s definitely little hints of his experimental sound throughout. Lyrically, the songs are poetic and rooted in a hopeful message but very much contemplative. Watch this space!

With festival season now in full swing, how has it felt performing live again? Where can we catch you playing this summer?

It’s been very tiring but SO MUCH FUN! We love performing live. Travelling and keeping up with the administration of being your own booking agent and promoter is very tiring but it’s all worth it when we walk out on stage and have great conversations after the gig.

We’ve already performed at a number of events and festivals such as Creation Fest and Beardy Folk Fest, and we’ve just supported a 40-piece orchestra on one of our local beaches here in Cornwall. You can still catch us at Between the Trees in South Wales on August 27^th, or if you fancy an adventure, we’re performing at Land’s End on August 30^th and Cornwall Folk Festival on August 29^th.

We’re very excited to be on this year’s British Country Music Festival line-up. There are always those die-hard country and folk fans, but I think there’s been a rise in engagement from audiences who have been introduced to the genre through bands that are more mainstream or mix in country with another genre such as pop. For example, Mumford and Sons and The Lumineers are two huge bands who caught the attention of the mainstream music market around 15 years ago and brought a more widespread appreciation for the use of instruments such as banjo and slide guitar; classically heard in country music, but in a less hardcore country sense. Also, music is more accessible to a wider market through the internet through streaming and YouTube, etc, so it’s easier for people in the UK to access it from the US and beyond.

Finally, if you could pick one female Country/Americana artist to write a song with, who would it be and why?

It would be Joy Williams, previously of The Civil Wars. Mac and I have always loved singing songs by The Civil Wars duo and have always been inspired by Joy’s very impressive vocals and song writing skills. She’s gone on to release solo work since ending The Civil Wars and I just absolutely love her style and she knows how to write songs that work really well for a duo too which counts for a lot.

Thank you so much for your time!

*Originally written for and published on Belles & Gals on August 7th 2022.

Shay Gaston – Since Seventeen

Take one listen to Shay Gaston’s ‘Since Seventeen’ and it’s hard not to become an instant fan. The Reading-based singer is surely one of the most exciting newcomers to the UK Country scene in 2022 with this, her debut single. There is a clear and obvious link to the music of Taylor Swift, of whom she is a big fan. But there are also strong comparisons to be made with the music of Catherine McGrath and Vic Allen. It is particularly reminiscent of Allen’s ‘Enough’ in terms of its sound, while favouring the kind of subject matter that McGrath deals with so well in her inimitable country-pop style. ‘Since Seventeen’ is instantly likable thanks to its catchy chorus line and infectious guitar riffs, with Gaston’s brooding vocals drawing the listener into a story of heartbreak and heartache that has never sounded so good. The official lyric video only adds to the narrative, capturing in its image that sense of yearning within its lines. As debut singles go, this is one of the best.

Originally written for and published on Belles & Gals on August 29th 2022.

Hawthorn Avenue – Ticket Home

Simplicity sometimes makes for the best songs. Hawthorn Avenue’s new single, ‘Ticket Home’, may have only a one-line chorus, but there’s something about its arrangement that captivates. The combination of tambourine, banjo, drums and guitar somehow work together to create a vibrant sound over which the duo’s gently flowing vocals sail. This extends to the song’s verses as well, which celebrate the perseverance, support and presence of another on the lost, lonely, hard and sometimes painful journey called life. They build subtly as the song progresses, from an intro that is reminiscent of ‘I Could Use a Love Song’ (Maren Morris) but without veering into pop territory, remaining ever-faithful to a distinct Americana sound that is as satisfying as the sunset on the cover image. This comes to define the beauty of this lovesong to some extent, the harmonies of Laura and Marcus contributing to a winning formula that is anything but complicated. It prepares the way for what is sure to be a charming new EP, if this title track is anything to go by.

Originally written for and published on Belles & Gals on July 26th 2022.

Featured Image (C) Hawthorn Avenue

Y Golau – S4C

For such a highly-anticipated Welsh drama, Y Golau seemed to run the well-worn tracks of what has become the genre’s favoured train: the psychological thriller. Given its all-star Welsh cast, I expected something much more original and distinctly different from previous Welsh noirs like Hidden and The Pact. As a result, I felt underwhelmed by its decision to present yet another murder mystery, complete with the same familiar tropes as its predecessors. Not that there was anything inherently wrong with the production. It just simply didn’t thrill and engross in quite the way that it might have done had it not been in the guise of similar series that had gone before.

*_{Joanna Scanlan as Sharon (photo by Alistair Heap)}*

The typically rural setting and small-town cast of characters is one thing; but the desolate landscape, solemn music, and gloomy figures present yet another side to Wales that panders to the bleak and pedantic detail of the crime subgenre. Iwan Rheon plays the haunted convict who is released from prison having served a sentence for the murder of the daughter of Joanna Scanlan’s haunted mother. He returns to the town that is still haunted by the events of 18 years previously, his presence disturbing an uneasy peace which is exacerbated further by the re-appearance of Alexandra Roach’s journalist, who is looking for a story. The three of them give ample performances for what are very rare appearances in a Welsh-language outfit. Yet none command the kind of screen presence that has come to be expected of them. In particular, the animated spark that enlivens Scanlan and Roach’s appearance’ in No Offence is largely absent here. Instead, vacant stares obtrude their presentations such that it becomes difficult to make a significant emotional connection to their characters.

It is Ifan Huw Dafydd that gives the best performance here. He strikes a menacing veneer over his character Huw that is justifiably unsettling. It is no surprise that his growing presence onscreen and involvement in the central narrative coincides with the more compelling and intriguing parts of the drama. If anything, the return of his estranged daughter Shelley (played by Rhian Blythe) is the catalyst for the twists and turns that follow in the final two parts of the series. This is where Y Golau becomes gripping in a way that its shortcomings, up until this point, can be forgiven. It enters a similar phase to that of Yr Amgueddfa, whereby its web of disparate characters start to become interconnected, drawing the various strands of the narrative together to create a big grand finale. But whereas Fflur Dafydd manages to maintain interest in the opening episodes in spite of the expositional setting up of the story, Regina Moriarty’s script doesn’t possess the same hooks with which to retain the audience’s attention. The result is a requirement to persevere in order to be rewarded rather than being kept sufficiently entertained throughout.

In the end, Y Golau aims a bit too high. Issues of abuse and power are dealt with admirably. The final episode ensures the series ends strongly. But I expected more from this drama, not least because of the roster of Welsh stars that appear in its cast. Scanlan, Roach, Rheon, Hannah Daniel, Aneirin Hughes and Sian Reese-Williams, all lend it an air of quality that meant expectations were high. To then find a characteristic S4C offering in the mould of an Ed Talfan production that didn’t quite utilise the talent involved left me slightly dissatisfied. As a result, Y Golau lit up the screen but wasn’t a roaring success.

Click here to watch the series on iPlayer.

Originally written for and published on Get the Chance on 20th June 2022.

Featured Images (C) BBC

Twinnie – Welcome to the Club

When Twinnie says, “I am either trying to break your heart, make you dance or both at the same time”, she means it. One need only listen to her new EP ‘Welcome to the Club’ if further proof were needed. She wraps loneliness, heartbreak and regret in catchy rhythms, pop-fuelled beats, and feelgood vibes that require you to dance through the hard times. It is another deeply personal record from the British Country music sensation whose debut album ‘Hollywood Gypsy’ contained the same profound emotion as in this latest offering. The only difference is, Twinnie confided in our recent interview with her, that the album “was an insight into who I am [whereas] ‘Welcome to the Club’ is a statement of what I am about”.

The title track tells us that Twinnie is an artist who is inclusive, inviting the outsiders; the broken, the burdened; the lost and the lonely into a space where “worries disappear”. This is the place for those who don’t feel like they belong to get caught up in the powerful sound of a song with a powerful message. Draped in luxurious country-pop tones, it both reflects her own feelings of insecurity and uncertainty while speaking to a universal experience of searching for acceptance and embracing personal identity.

Her penchant for clever lyricism coupled with infectious rhythm continues into ‘One Heart’. The song throws you into some delightful strumming of an acoustic guitar before exploding into a chorus that is big and bold in its presentation. It rises from the kind of sound associated with a Shires song to feeling, by the end, like a Carrie Underwood production. Twinnie’s vocals burst with emotion but always remain softly restrained rather than breaking out into a powerhouse performance. It means that the song retains a heartrending core so that, even as it makes you want to dance, there remains a pain present within it.

Third track ‘Something or Somebody’ definitely invites the listener to the dancefloor. It contains some seriously likeable guitar riffs and the kind of cheerfully happy “woohoos” that would make Thomas Rhett jealous. Twinnie copies his brand of country-pop down to a tee here, once more inviting the listener to relate to specific experiences that speak to universal feelings of loneliness and regret: for “We’ve all got something or somebody that we’re trying to quit”.

It is not easy to quit listening to Twinnie though such is her ability to convey truth and honesty through her songwriting. The final song on the EP, ‘Dying Inside’, is a real root-and-branch example of what she’s about. Through some gorgeously-crafted lines cut into an expansive and atmospheric soundscape, we hear the two sides of a story in which “to everybody else it looks like / I’m alive but I’m dying inside”. The pathos of the narrative marries perfectly with the music to continue Twinnie’s winning formula of outpoured emotion with absorbing sound. It is this combination that ensures ‘Welcome to the Club’ sits comfortably alongside ‘Hollywood Gypsy’ as a record that seeks real connection with her listeners.

It is a welcome addition to her already-incredible catalogue of music.

Originally written for and published on Belles & Gals on June 13th 2022.

Beth Keeping – Plane Tickets

You wait forever for a song about singleness and then two come along in quick succession. The latest, ‘Plane Tickets’, by Beth Keeping, comes hot on the heels of ‘When’s It Gonna Happen’ from Tenille Townes. But whereas the latter reaches for some kind of romantic ideal, Keeping remains firmly focused on her experience of being single. Both tracks allude to friends getting married and, in Beth’s case, “starting families”, leading to feelings of being “left behind” and being “the odd out”. Tenille Townes addresses this situation by questioning and imagining a day when she will meet her match. Beth Keeping, on the other hand, heads straight for the departure lounge, “going somewhere I can turn it off”. Her logic is simple: “lonely can’t find me when I’m filling my time with buying plane tickets”. Escapism is the key to “not counting the heartaches”.

The song is as much about being fed up with the old adage that “we’ve all got to find the piece we’re missing” though as it is with trying to combat the loneliness that can come with living the single life. As a result, Keeping veers off in a completely different direction to Tenille, and turns up the pop production to boot. ‘Plane Tickets’ captures much more of an RnB sound than country, making it similar to a Rachel Jane track rather than a Vic Allen record. It holds to the principles of honest storytelling and vulnerability of Nashville songwriting in that sense more than being defined as country music per se. But it is this honesty and openness that fans of Country will appreciate from Beth Keeping, whose partnership with producer Kaity Rae continues to yield excellent results.

Originally written for and published on Belles & Gals on 31st May 2022.

Celebrated Virgins – Theatr Clwyd

If Katie Elin-Salt was in any doubt then the opening night of Celebrated Virgins was a moment to feel assured. Her excellent play, telling the story of the Ladies of Llangollen, was received by way of rapturous applause at its conclusion. And deservedly so. For this exploration of the relationship between Sarah Ponsonby and Lady Eleanor Butler, for the first time from their points of view, is full of heart, humour and hope.

It is to all intents and purposes a costume drama. Yet it is also much more than that. The whole creative team have worked hard to ensure that this is a truly immersive experience. The audience is transported immediately back in time thanks to the glorious attention to detail. From the dark oak wood stage to the corseted costumes, the realism of the props to the flute- and mandolin-infused soundtrack, the representation of the story’s 18^th century setting is second to none. But it really comes to life under the direction of Eleri B. Jones, who utilises all of these elements within the intimacy of Theatr Clwyd’s new performance space, The Mix, to create a show that feels both authentic and contemporary. Such is the vibrancy that Jones injects into Elin-Salt’s script that the audience does not simply see the characters on stage; they come to share in their experience. This ensures maximum empathy, which is also a strength of the first-person narrative.

In placing Sarah (Heather Agyepong) front and centre from the beginning, Elin-Salt ensures that this first-person perspective remains the focus throughout. She subtly reveals the ways in which wealth and patriarchy attempt to take over her story through Sarah’s adoptive parents William (Seán Carlsen) and Lady Betty (Emma Pallant). An incident with the former, which rightly comes with a trigger warning, is a particularly visceral moment that is deeply uncomfortable to witness. Yet from or in spite of these moments, the quiet strength of Sarah persists in both determining her own self-defined path as well as forging a relationship with Eleanor (Victoria John). From their first meeting, it is clear that there is a spark between them. Agyepong and John allow the two to bounce off one another with ease, the dialogue zipping between them with a playfulness that captures the gentle blossoming of romance. There is a montage early on that is wonderfully cinematic that contributes enormously to the beautiful development of their love. Both characters have their vices and virtues, and both actors tease these out in ways that strengthen their relationship. For example, the prim and proper façade of Eleanor is broken at times by a vulnerability and fear, brought about by Sarah’s emergent steeliness from behind a more sensitive and considerate guise. They open one another’s eyes and hearts not only to themselves but others. It is lovely to watch, and draws admiration aplenty.

Emma Pallant is deserving of special mention for her star turn as the Ladies’ housekeeper Mary. Her monologue at the beginning of act two is hilariously unbecoming, gutturally frank, but also delightfully poignant. It’s a real scene stealer which will also strike a particular chord with listeners of The 98% podcast. For Katie Elin-Salt’s sardonic wit and truth-filled personality can’t help but burst through the pages of the script here. They are delivered masterfully by the exuberant Pallant who appears to relish the chance to address the audience with this most excellent of dialogue. It is but one instance in what is a superb whole: a story that Elin-Salt declares “has taken nearly 300 years for it to be put on a stage”. This may be a bewildering fact, but on this evidence, I should think that it was just waiting for the right person to come along to tell it.

Originally written for and published on Get the Chance on 25th May 2022.

Featured Image (C) Theatr Clwyd

Paige Wolfe and Katy Hurt – A Joint Review

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’s 1st Anniversary

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”.

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.

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)