MAYA DE VITRY Nashville-based artist, songwriter, and producer Maya de Vitry is enjoying some hard-won creative flourishing. “I’m not just making different music now. It feels like I’m breathing in a different atmosphere,” she says, reflecting on her evolution from the acclaimed roots-Americana band The Stray Birds to her current solo journey. Produced by Maya de Vitry and mixed by Grammy-award-winning engineer Justin Francis (Madison Cunningham), The Only Moment(out July 12, 2024) is de Vitry’s 4th full-length record and is an unabashed blend of indie folk, indie rock, and indie pop, with elements of Americana and alt-country. Originally from Lancaster, PA, de Vitry’s 2019 debut Adaptations earned accolades from Rolling Stone Country, NPR Music, and No Depression and she has since attracted an organic and devoted following on the strength of her recordings and her live performances. She sings with a magnetic and hard-won sense of purpose that has landed her support tours in North America and Europe for artists like The Wood Brothers, Aoife O’Donovan, John Craigie, and Mighty Poplar. Her songwriting appears on albums by Molly Tuttle, Lindsay Lou, Bronwyn Keith-Hynes, and Steve Poltz, and her versatility as a multi-instrumentalist and harmony singer has enriched numerous Nashville projects. Despite her seemingly vigorous creative pace, the recording process for The Only Moment was unhurried. “It’s like I was making a long-exposure photograph, but with music,” she explains, having left the metaphorical shutter open for nearly three years to allow the songs themselves the opportunity to breathe. “I completely shelved this record for months at a time, on several occasions,” she recalls. “Each time I came back to it, I heard new possibilities. In today’s music industry, there’s pressure to share our process or turn it into ‘content.’ But I treasured keeping this record to myself and slow-cooking these songs on the back burner.” The resulting album is a refreshing testament to the generative simmering that underpins periods of reinvention and growth. JORDIE LANE Following on from the critically acclaimed album ‘Glassellland’ landing in many top 50 album lists, top 10 success on the Roots Music Report Chart and cracking the top 100 on the AMA/CDX Americana Chart, Jordie Lane returns with his new studio LP Tropical Depression slated as his first ever label release, August 16, 2024, via ABC Music Australia, along with being signed to Universal Music Publishing Group. Recorded in Nashville, Tennessee, with Grammy-nominated producer, engineer, instrumentalist Jon Estes (Kacey Musgraves, Dolly Parton, Rodney Crowell), and mixed by famed engineer Noah Georgeson (The Strokes, Devandra Banhart, Andy Shauf, Marlon Williams) and mastered by Juno Award-winning Phillip Shaw Bova (Feist, Father John Misty, Angel Olsen, Bahamas). Jordie Lane marks this new chapter with a sound that consistently defies genres, with his latest wandering somewhere close to the outskirts of Americana and 60’s inspired Folk while “creating a pathbreaking and inspiring sound” all of its own. With Irreverent wit and satirical commentary, the songs on Tropical Depression tackle (among other things) Lane’s own growing obsession with extreme weather (ignited by a close call with an EF-3 Tornado) and its eventual collision with his mental health battles. With lines on the first ‘Beatlesque’ single ‘The Changing Weather’ “My country was burnin’, but the world kept on churning, What new catastrophe’s on special tonight?”. Or the imposter syndrome self-talk that drives the cool summer vibes of ‘Biscuit House’, ‘I ain’t no gun-slinger baby, I’m a hipster eating gravy off a biscuit in a Nashville house, I ain’t no 4-leaf clover, I’m a wannabe drover, making jokes on my way down south.’ Many of the stories on Tropical Depression are layered with the extra dimension of social commentary in a post-pandemic new-world, grappling with changes in society and social structures, and humans’ equal ability to change or be in complete denial. Like in the rambling prose of ‘Back Out There’ reminiscent of Bob Dylan or Courtney Barnett with dry sarcasm lines like: ‘Yeah I’ll pay a publicist, everything I got, It’ll be so damn beautiful they’ll get me on some underground Norwegian blog’, Or ‘New Normal’, the classic crooner turned rock ballad which serves as a conclusion of sorts to the album, with the wrestle between the mind and nature itself, “It’s once in a century, we think we’re learning plenty, so how come this shit just keeps on piling on” Heavy themes juxtaposed with an upbeat playfulness grinning its way right through the album. Jordie Lane and his latest offering, Tropical Depression are an important addition to the ever-expanding Americana/Folk world as an Australian artist based in Nashville, Tennessee with a unique perspective and voice that may just become legendary while he’s still alive. Jordie Lane has continued to delight audiences around the world now for over a decade, performing major festivals in the US, UK, Australia, and Canada. He has toured with a wide range of international legends, from Gotye to Billy Bragg, Cat Power to Old Crow Medicine Show to Marlon Williams, Ruthie Foster to The Moody Blues and several tours with Aussie legends The Waifs. A career that has taken Lane from performing the role of the late Cosmic Country legend Gram Parsons in the stage play ‘Grievous Angel’, to the Beatles Rubber Soul/Revolver shows at Sydney Opera House, and becoming a composer for the screenwriting the Musical Score for newly rebooted adaption of the classic Australian comedy ‘Mother and Son.’ Jordie has appeared on the Australian TV show Rock Wiz singing with Grammy-nominated artist Mary Gauthier, and guesting on the hit Music Quiz show ‘Spicks and Specks’ along with CW Stonekin