First of all a couple of minor differences to the site. A different entrance to surprise new arrivals on Friday afternoon and a re-location of the Travelling Medicine pop-up stage These apart there were very few things on the surface to separate the festival's logistical dynamics in recent years. It still starts on the stroke of 5 on Friday and closes at 2:30 on Sunday. Handy this year as I had an evening date with The Chicks in Birmingham.
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| Carter Sampson |
A festival is a great place for balancing your diet of new and known artists. On Friday the balance was perfectly struck with a personal schedule flagging three newbies from the off then a trio of known acts including a couple of long term favourites. Banjo Jen had the honour of kicking off this year's personal bill. This Sheffield-based banjo player, no clue there, had a name that rung a bell from the boards last year, but this was her first billed appearance. Operating as a trio, she proved an astute find mixing a host of country-Americana fuelled songs with some fine picking and an entertaining step dance that sadly has to be cut back these days. Apparently she has been active for over a decade, but a performance like this shows that new admirers can be lured at any time. She opened the Peacock stage which operates on Friday and Saturday evenings as well as during the whole of Sunday's brief exposure. In essence, it dovetails the outside stage on the Green. Following the introduction to Banjo Jen, it was likewise for Michael James Wheeler in the Barn, the stage that hosts acts for the festival's entirety. You can never get enough ultra interesting and heart warming singer-songwriters at Maverick framing the archetypal country-Americana style. Vermont was the original location for this artist returning to the festival since a duo performance in 2014, but his songs took you anywhere on the vast American continent. The final new act on Friday absolutely set a high bar for festival discovery. The Lone Hollow are a male-female duo from Nashville. Yes, I know there are many, but these cut the mustard and knew the songwriting ropes throughout. I detected a slice of Angeleena Presley in the style of vocalist-guitar player Rylie Bourne, while the Don Gallardo styled-look was a precursor to similar talents displayed by guitarist Damon Atkins.
Friday's conclusion began with the return of Evangeline Gentle bringing her beautiful vocals and stylish act to the Moonshine stage for a set this time solo as opposed to last year's duo format. There is a crusading LGTBQ theme to this Canadian's music as she proudly proclaims her community. The song 'Gay Bar' with its important message resonates and lingers in the memory bank. This performance proved a stylish set up for one of Maverick Festivals most enjoyed twin back-to-back pairings.
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| Christina Martin |
Tom Russell was effectively the Friday headliner in the Barn, although that term is a loose attachment for Maverick with its sense of communal cordiality. It was a pleasure to catch the songs of this esteemed writer who is one of the greatest advocates of the American South West and its diverse rich land, history and people. He is such a distinguished performer and the architect of many great songs. You feel his legacy is intact and destined to grow stronger in the future. It was a treat to hear the song 'Guadalupe' twice in a month by two different artists who seemingly co-own it. Gretchen Peters' take was immense in Birmingham recently, while Tom - the writer - stunningly turned on its hypnotic taps. This set has inspired me to dedicate a day to the great man's music and stories from records such as HOT WALKER, THE ROSE OF ROSCRAE and OCTOBER IN THE RAILROAD EARTH.
I discovered the music of Tom Russell and Sara Petite around the same time circa 2007. Here the similarity ends unless you hone in on the great song. Sara has seemingly got the bug back to touring the UK and has put together a new tour after visiting the festival in September 2021 where she also strung a few dates around the country. On Friday she closed the Peacock stage with a barnstorming display of high octane San Diego driven honky tonk rock 'n' roll. Helped by a trio of handily adept English musicians in guitarist Joe Coombs, bassist Scott Warman and drummer Jamie Dawson, she teased, enthused and sung her guts out for gone past an hour. Pure sassy class and a side to Sara Petite that we knew existed, but hadn't quite seen yet. The songs from her new album THE EMPRESS have hit the tracks running and should be on the to-get list for any fan of her style of country music.
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| Laura Cantrell |
From the highs of Friday night this year, you would have thought the Saturday start would be more sedate. Absolutely not as from the early pre-noon hour of 11, full band music starts on the Green and straight off we were served two bands spinning their take on homegrown alt-country rock. Palomino Kings had detectable southern roots in their accents, while The Bondurants announced their Leeds base alongside travel travails of the A1. Both got a memorable day underway with some ramped up fare to set the tone in one direction.
Maverick Festival is good for tip offs especially as many artists have multiple slots across the weekend. One such recommendation sent me to the Moonshine on lunchtime to catch a set from Kentucky-based singer-songwriter Grayson Jenkins. He is nothing more-nothing less than your rambling folk troubadour inspired enough by John Prine to add a cover to each set. My lucky pick was 'Angel From Montgomery', standard but always welcome. I was more than happy to pass the recommendation on. That's how it works, isn't it?
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| Michele Stodart |
Back to the Green outside stage and three familiar faces in Joe Coombes, Scott Warman and Jamie Dawson once more This time the adept trio were backing Karl Bray, an artist hailing from the creative hub of Brighton. Erasure covers may not be widely heard around Maverick or shouted from the rooftops, but the one here was re-worked with innovation and nestled alongside a series of other well-received songs. If you call yourself Maverick, expect a little off-piste stuff. Joe, Scott and Jamie may well have stayed on stage, for the next time time I visited the Green it was time for Sara Petite round 2. Still a full-on show, but slightly tamer than the previous evening's raucous rodeo. A handful of new additions from her back catalogue infilled this set including 'Tiger Mountain', which comes from her record of the same name in the mid 2000s. The heights of the previous evening were not quite scaled due to circumstance, but the appreciation for this long-term artist has ratcheted up. Look out Birmingham when Sara Petite returns on July 13th. Not sure there's room for drums in the Kitchen Garden, but the stringed accomplices and great songs will be there.
In between Karl Bray and Sara Petite, I headed over to the Barn for the first time on Saturday to catch the set by Doug Levitt. This all-encompassing troubadour from Washington DC famed for his Greyhound travels and tales has a prestigious UK tour lined up. Black Deer had already been played and Cambridge Folk is on the horizon. In the meantime he is opening for Laura Cantrell and had recently played the Union Chapel in London, as we were humorously reminded several times. On each occasion, I thought - and yes, you're playing the Kitchen Garden on Monday. His set was intense and engrossing. Clearly an artist with the ear and skills for an inspired song, not afraid to tackle dark subjects as well.
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| Robert Vincent |
The final band caught on the Green this year was Canadian outfit Hello Darlins. It was apparent that they were the most accomplished musicians playing in Suffolk on Saturday. Front person Candace Lacina enthusiastically introduced the latest line up of this fluid entity that houses past and present some of Canada's finest session musicians. The class of their virtuoso style shone brighter than the intermittent sunshine and prized effortless musicianship was there for all to see as the day's activities gathered pace.
My appreciation and fandom for the music of Carter Sampson is well entrenched. Despite seeing her the week before in Birmingham, the Maverick set in the Barn was inked in and she truly delivered with a faultless performance that raised the bar even further than previous shows. The sound was immaculate with a distinctive vocal style marrying perfect songs mined deep and wide. This festival appearance was part of her combined tour with Amelia White who also appeared at the festival but was one of many fine artists suffering from the inability of fans to be in three places at the same time. Hopefully Amelia and Carter have a wonderful and fruitful tour to inspire them to return.
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| Sara Petite Band |
The Peacock stage opened with a difference on Saturday evening. Canadian artist Tara Maclean is also an author and began her set with a reading from her new music-inspired novel. Upon concluding the scene setting excerpt, this talented vocalist and songwriter from the Canadian Maritimes set about showing how she has mastered the music side as well. She was very much from the folk side of Americana and one of several artists celebrating their nation's most important day in rural Suffolk.
There was no need to leave the Peacock after Tara Maclean as the inimitable Age Connolly took to the stage to continue his re-emerging journey since, like most artists, getting de-railed by the pandemic. You don't need more than one song to re-kindle the essence of this country artist who understands the genre a million times more than your average hat 'n' cap act. For his current delve into the archives, he has just released an album heavily influenced by the Tex-Mex border sound. Many of these songs are work-in-progress on the live front, but there is a healthy back catalogue of road tested country originals to call upon that expose the niche of an artist that isn't American or Oxfordshire - just country. A timely reminder to conjure up some kind comments for the new record.
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| The Hangover Club |
Laura Cantrell has an extensive UK fanbase for whom she realises need more tours and visits. The Peel legend plays on one side, while on the other she is quintessentially a highly acclaimed and wholly authentic country artist. She brought a four-piece band of three Americans and a drummer from Yorkshire for her Barn, and Maverick debut. You could tell these guys were crack performers and they guided Laura through a fifty-minute display of elegant purity when it comes to sourcing or writing genre tight songs. A broken string was a mere interruption that led her to just strum through her famous Kitty Wells tribute while a replacement guitar was sourced. That was eventually borrowed from Rich Hall, who was due up next. She opened the floor for the final song and was flooded with requests for 'The Whiskey Makes You Sweeter'. The Barn choir duly obliged the co-singalong.
There are usually many pop-up sets on the Travelling Medicine stage by artists booked and those who just turn up (obviously of a decent standard) or maybe band members fancying a solo slot. There was no mention of Our Man in the Field in the line up this year, but they commandeered this space on Saturday evening for an impromptu band set with the inclusion of fiddle by Chris Murphy. These events conjure up the spirit of a festival. Alex and his bandmates - existing and temporary- held court to enable a moment for some to chill to a band that have that feeling in their repertoire.
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| Tom Russell |
The Moonshine was the next call and a chance to catch up with the music of Christina Martin for the first time. Live shows and recorded music from this Canadian - yes a theme is developing - have been on my periphery without breaking through, Often not the fault of the artist just an overcrowded existence. However a dedicated listening spot at a festival can act as the breakthrough. She came across quite roots-infused in her singer-songwriter style and added a touch of character and humour to her performance. Her guitarist was no mean player as well, adding a wealth of panache to the mix. The next time new music or a Midlands show crosses my path, harking back to Maverick 2023 should get it over the line and into the schedule.
So a long day arrives at the point of the final artist to effectively headline or at least close the Barn. This year the honour went to Robert Vincent who is firing on all cylinders as a rocking out festival act this year. Ramblin Roots were blessed with his talents earlier this year and if truth be said he excelled that excellent show with a totally dominant performance at Maverick. The Scouse wit prevalent since first discovering him in 2013 is still there and likely always has been. The songs old and new bed down and grow like blossoming trees. When you have Joe Coombs, yes him again, and Matt Owens either side you just have to let them rip, duel and play their hearts out. Whether in the background or the foreground, Robert Vincent controls the show and is now adept at controlling the audience. On one hand you feel greater riches may be around the corner, on the another there is a sense that he knows where his people are. At Maverick 2023 the people spoke with their attention, adulation and sense of belonging.
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| Banjo Jen |
In the words of Kriss Kristofferson, the 3rd day of Maverick is often 'Sunday morning coming down'. It was a shortened day this year hampered by an off-site issue for me, but still time for three hours music before the long drive home to that date with Natalie, Emily and Martie. Thumping drums, white attire and a sound wholly maverick, there was a lot to admire when drifting into the Peacock set from the appropriately named The Hangover Club. No cobwebs could be seen when this trio of drifters formed in Bristol took to the stage. So maybe it wasn't so 'Sunday morning coming down' this year.
Michele Stodart knows how to rock. In her other guise as a flourishing singer-songwriter we are beginning to see something special appear - a more sedate and quietly accomplished performer. This side briefly flourished a while back and another expedition away from the Magic Numbers is brewing towards an album release in September and a growing list of live dates around the country. Although some confidence and assurance is invited from the stage, there is no need for any concerns as the output is impressive and fetching. Ramblin Roots and Maverick have set the scene. Moseley Folk should do likewise. Then it's all systems go for an autumn to remember. Also there is a little thing like the Magic Numbers to keep active with. Although appearing solo, you can't take the collaborator out of the performer and fellow festival players Baucat accepted the invite to join in.
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| Doug Levitt |
As Maverick Festival 2023 wound down the honour of closing things was split between two artists clashing on the Moonshine and the Barn. What better way for the Weeping Willows to leave a parting gift of two songs before they head back Down Under. 'House of Sin' is their regular show opener and 'Singing the Blues' is their best - pure Plant 'n' Krauss. The car was almost revving up before a final listen to the ever distinctive vocals of Suzie Ungerleider. Forever a 'girl in teen city' for me and sadly a casualty of Maverick adopting the Austin Texas motto - so much music, so little time.
The date is set July 5th, 6th and 7th 2024. Hopefully see you there.
