Mia Ramo is a new face to the UK Country scene. And she has opted for a classic trope as part of her debut offering. ‘Mud on Your Boots’ is a typical cheating song. The lies unfolding to leave sadness, heartbreak, hurt and exasperation in their wake. Ramo weaves a simple story of how signs like “the smell of perfume and cheap red wine” feed the growing doubt around the stories and excuses told. Until eventually “I’ll leave you this time” because the evidence is overwhelming. The electric and slide guitars ensure that the pain of such experience is at the forefront. Mia Ramo opting not for an ass-kicking but rather quietly-enraged take on the breakdown of a relationship. Such emotion keenly felt on a track that represents a promising start for this aspiring singer-songwriter.
Nia Nicholls is no stranger to the heartfelt ballad. Her latest single ‘If I Were a Song’ is up there with her best. A love-song in the particular sense, it also speaks more universally to anyone low on confidence and self-esteem; to those who have been shaped by the opinions of others or focus too readily on their flaws. Here, Nia presents a beautiful counteraction. Full of encouragement. Not least in a set of lovely images that line the chorus. Chief among them,
If you were a planet then you’d be the moon /
Because, baby, my tide is pulled in by you”.
Her use of metaphor is, as always, uniquely creative. The calm and measured tempo and delivery inviting inward reflection. Like a sea washing up on the shore of hearts that need to hear such positive affirmation. Very different, in some ways, from her last single. But with the same sincere truth at its heart.
There is much to like about ‘Meandering River’, the new single from Ezmay Grace. Above all is its gentle charm. Telling the story of one longing to meet with their love again through a reflective composition. Guitar, cello and violin blending beautifully to capture both the hopeful heart of the protagonist and the apt metaphor of the song’s title. The chorus is especially sensuous in its description of “where fresh water meets salty blue ocean”. Helping to paint a vivid picture at journey’s beginning. Transforming from pipedream to a determination to make it happen, thanks to a surprising sea shanty ending. It poses much promise for this Cornish singer-songwriter, whose debut album, ‘Lien Gwerin’, is excitingly forthcoming.
See Emily Play has produced one of the most authentic and original EPs that I’ve heard in a while. Combining alt-country with punk-rock and contrasting with balladeering-pop, ‘Still Playing’ is a highly entertaining amalgamation of sounds and experiences tied together with threads of self-acceptance. Whether in the “rapid and rocky sounds of contemporary bluegrass” to chronicle her journey with body dysmorphic disorder (‘What the Hell is BDD’) or channelling the wonderfully off-kilter vocal of Kate Bush to address the end of a problematic relationship (‘I’m Bowing Out’), Emily traverses the contradictions of millennial life, in her own words, with humour and poignancy. It is this balance between sincerity and playfulness which gives the EP an undeniable charm. Her carefully-crafted orchestrations adding layers of meaning, thrusting the listener into their emotional depths. ‘Do You Love Me’, for example, swirls with increasing desperation. A superb performative piece shrouded in a wonderful cacophony of sound. It is this combination of lyrical creativity and musical ingenuity that makes See Emily Play such a unique artist on the contemporary scene. Someone I can’t wait to see live given the dynamism displayed on this latest record.
Vic Allen’s first single of 2025 is a kindred spirit of all that has come before. With ‘Ended in a Song’ featuring a highly infectious Country-Pop sound alongside adept lyrics straight out of the Nashville playbook. This time, she leans into a percussion-heavy production, weaving in classic tropes that tell the story of a breakup that turns into a songwriter’s dream. For such an experience always has the potential to be converted into new material. And here, it’s this very process that is made the subject matter of the song. With Vic Allen’s innate ability to distil her narrative into an instantly memorable chorus on display once again. Making ‘Ended in a Song’ another excellent addition to an already impressive catalogue.
The debut EP from Robyn Red underlines her promise as one of the UK’s rising stars in Country Music. ‘From Caledonia, With Love’ may sound stereotypically Scottish but it’s infused with a thoroughly modern sound. This is Country-Rock with a dash of trad-Folk. Complete with powerhouse vocal and emotional storytelling to boot.
After a solid opening, in which ‘Caledonia (Looking Good on You)’ reverberates with a mischievous wink, Robyn Red takes us through the heart’s journey from love to pain and back again. ‘10 Years On’ is a beautiful ode to a long-term relationship. Told against an acoustically-driven backdrop that overflows with deep affection. Equally, the heartache on ‘Between the Two of Us’ surges with regret. Sadness at the fact that “you could have stretched an ocean / between the two of us” keenly felt. Not least as a result of a richly-powerful vocal that is Robyn Red’s greatest strength.
Her versatility is measured between this and ‘My World is Yours’ – a ballad of heartfelt originality. Much more measured in its delivery, the result is a greater focus on the lyrics. None more imaginative than these:
“you took the black out my eyes / and took a paintbrush / and painted them back to blue”.
Final track ‘Just Need the Wine’ then offers an exquisite chorus wrapped in a very different style. A drinking song that returns the EP to a rockier vibe. Add in a highly energetic fiddle, and the result is a very British tale told in a distinctly Scottish style.
Having released each song as separate singles throughout 2025, in her own words, they ‘keep getting better and better’, with ‘Just Need the Wine’ at the top of my own list. If this is a sign of what is to come then Robyn Red is undoubtedly going to be a mainstay of the British Country Music scene. The only way is up for this Scottish starlet.
You can purchase ‘From Caledonia, With Love’, as well as find out more about Robyn Red, via her website here.
For stalwart fans, Katy Hurt’s debut album has been a long time coming. And she knows it. Its title ‘Gimme a Break’ is a cheeky nod to its journey. Yet, brewed like a fine breakfast tea or percolated coffee, the time taken to release it has ensured a strong, rich flavour. Tasting as good as one imagined. Perhaps better.
Some of the songs will be familiar. Singles released over the last couple of years that are already staples of her catalogue. Others have made an appearance at various live performances while one or two arrive completely new. Opening track ‘Dreamers’ is one of those that proffers vague recognition but, by the end, is as memorable as her best material. With a catchy hook and roaring riffs ensuring the album gets off to a banging start.
Underneath this rock-infused starter is a theme that echoes through the record. The realities of what it means to pursue music as an independent artist in Britain today. It is by no means easy. But Katy remains “a believer”. So much is it a part of her identity that though she wishes “I could give you up / … you’re in my blood”. And as ‘Sounds Good in a Bar’ so deftly conveys, she is at peace with it. ‘Feather’ captures this sentiment so well. Taking the skeleton parts of pandemic single ‘Face to Face’ and imbuing it with emotional release. False narratives and expectations dissipating amidst blossoming violin and soaring piano.
This is one of a number of moments that transfix. Touching tracks like ‘Oh Girl’ and the album’s closer, ‘Seasons’, being gently sublime pieces of reflection and introspection. These are balanced with rousing records like ‘The Kiss’ and ‘Rather Be’ to ensure a mixed palette of emotions all marked by Katy’s signature style. This includes her powerfully versatile vocals and carefully-chosen guitar. Pedal steel, acoustic and electric weaving their way through and into each song. Conveying a wide range of influences, from classic rock to contemporary soul and modern country.
Katy Hurt is, like the best of her contemporaries, not bound by the walls of genre. Reaching out to create a sound that is uniquely hers. For those who have followed her a while, traces of such can be found on her last EP, ‘Unfinished Business’. On the title track, the words “I sure hope there’s more to this” became an unofficial anthem that has now, on this album, come to fruition. ‘Gimme a Break’ has been well worth the wait and is also worth savouring.
‘Gimme a Break’ is released on 23rd May 2025, and can be purchased, along with associated merch, at Katy’s online store here. She is also off on tour during June 2025, more info on which can be found here.
‘Forgiveness Juice’, the new EP from April Moon, confirms them as champions of the alt-country scene in the UK. What has come to be termed Americana is splashed right across their music. Rockier elements filtering through from time to time. They evoke the old school classics whilst putting a contemporary spin on things. It is, to all intents and purposes, roots music for the present day.
Opening track ‘Long May We Roam’ is emblematic of this mix. With drumstick beats lead by a banjo and electric guitar riffs seeping through, the stripped back joins with the techno to create a track that is joyous in both its sound and subject. April Moon chasing a life of simplicity in their campervan which echoes “the dreamer [who] looks around and longs / [and] wanderer he sails beyond” of the chorus.
‘Part of the Game’ pushes into the fluid borders of Folk. Drawing on the fiddle for old-time swing but a Paul Heaton-esque vocal to ensure the focus remains firmly on the lyrics. Such intent serves them well, especially when it comes to ‘Echoville’. The poetic words by the late Edmund Hudson combining beautifully with Jason’s raspy vocal to create a real sense of place.
April Moon are never too far away from what they term “homespun warmth and charm”. This is epitomised in the delightful neotraditional country tune ‘Uptown Lady Life’. It becomes, in the context of this EP, another example of their musical breadth, partnering with ‘Second Guess’ to showcase their penchant for the old and new. The latter is much more modernist in its Country flavour. With elements of rock mixed into a polished production that feels more mainstream than the songs that have gone before.
They play with this notion on the final track. Taking a ‘90s classic and spinning it through the wheel of Country to create a much darker thread to its subject matter. ‘I Want It That Way’ becomes almost unrecognisable amongst the deep riffs and baritone vocal. But I guess that’s the point. April Moon doing what they do best: playfully subverting through the Americana form.
You can purchase ‘Forgiveness Juice’ here, or stream via Spotify.
The return of Rosey Cale with new music could not be more well-timed. For ‘Blue Skies and Tan Lines’ is a luscious soundtrack to what is turning out to be an early summer. Its laid-back vibes are very different to the usual pumping club anthems of the season. Yet the simplicity of its riffs and beats is ideally suited to the picture painted by Rosey in the lyrics. She evokes a sense of place so well. The chorus being the epitome of her scene setting. Where you really can “enjoy the view”. It becomes, whether intentional or not, a love letter to coastal Pembrokeshire. Communicated in a delectable vocal reminiscent of Corrinne Bailey Rae. RnB mixing with Country-Pop to produce something distinctly fresh from this Welsh singer-songwriter whose musical talents have never been in doubt.
Rebecca Richards blossoms with a quiet confidence on ‘Woman That I Am’. The Welsh singer-songwriter delivering a unique take on this latest single by adopting the persona of her future self. Beginning with a reggae-like beat that exudes self-assurance, she speaks to her present with such encouragement that listeners cannot fail to be lifted by it too. The lovely, guitar-led melody adds to an inspirational message that is big on belief, hard work and perseverance. Key ingredients that will lead her, “a decade out from now / [to] figure out the woman that I am”. It also presses into the personal with a softness that is becoming Rebecca Richards’ trademark. And this track is, perhaps, her best one yet.
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