Lainey Wilson’s latest album, “Whirlwind”, is a testament to her growth as an artist and her ability to blend traditional country with modern influences. Released in August 2024, this album showcases Wilson’s signature “bell-bottom country” style, a unique mix of Southern rock, soul, and classic Nashville sounds.

“Whirlwind” is Wilson’s third major-label album, and it reflects her journey and evolution in the music industry. The album is bold, fun, and deeply personal, with Wilson’s confidence shining through in every track. From playful tunes to heartfelt ballads, “Whirlwind” offers a diverse range of songs that highlight Wilson’s versatility as a singer and songwriter.

“Country’s Cool Again” is a nod to the recent resurgence of country music’s popularity. With its upbeat tempo and catchy lyrics, Wilson celebrates the genre’s return to the mainstream. The song’s playful nature and Wilson’s enthusiastic delivery make it a standout on the album.

Further into the album, “Bar in Baton Rouge” is a powerful ballad that showcases Wilson’s vocal prowess, this song delves into themes of heartbreak and resilience. The lyrics are poignant and relatable, capturing the essence of hitting rock bottom and finding the strength to rise again.

Looking for an inspiring anthem? Then head towards track twelve, “Middle of It”, a motivational anthem that encourages listeners to keep pushing through tough times. Wilson’s empathetic and knowing tone makes it feel like she’s singing directly to anyone who’s ever faced adversity.

“Counting Chickens” is filled with charming lyrics and a catchy melody. It’s one of the more playful tracks on the album, showcasing Wilson’s ability to blend humour with heartfelt storytelling, reminiscent of Shania Twain’s “No One Needs To Know”.

The fiery “Ring Finger” is all about empowerment and moving on from a toxic relationship, with its strong beat and assertive lyrics, Wilson delivers a powerful message of self-worth and independence.

The album also features some impressive collaborations. Notably, Miranda Lambert joins Wilson on the wistful track “Good Horses,” adding another layer of depth and emotion to the album.

“Whirlwind” is a masterful blend of country storytelling, modern influences, and classic charm. The production is polished, with each track featuring a mix of traditional instruments like guitars and fiddles, alongside more contemporary sounds. Wilson’s brassy soprano voice is the star of the show, capable of conveying a wide range of emotions from joy to sorrow.

Lainey Wilson’s “Whirlwind” is a compelling and dynamic album that solidifies her place as one of country music’s rising stars. With its blend of traditional and modern elements, heartfelt lyrics, and strong vocal performances, the album is a testament to Wilson’s talent and growth as an artist.

Over the October long weekend, nestled in the tranquil countryside of Lower Belford, NSW, the Dashville Skyline Festival once again offered an unforgettable experience for music lovers, gathering a passionate crowd under the theme of cosmic country, alt-country, and roots music. Now in its 10th year, the festival delivered a captivating blend of local Australian talent and international acts, keeping true to its reputation as one of the most eclectic celebrations of Americana-inspired music in the Southern Hemisphere.

Set in the picturesque Dashville venue, the festival had a relaxed and earthy vibe, with gum trees framing the stages and the aroma of campfires lingering in the air. Dashville is a space designed for music lovers to kick back, enjoy quality live music, and immerse themselves in the festival’s homely, unpretentious atmosphere. As always, the weekend brought a diverse lineup of seasoned performers and emerging artists, leaving no corner of the alt-country genre unexplored.

William Crighton, one of Australia’s most revered contemporary roots artists, was among the weekend’s most highly anticipated acts. Crighton’s powerful presence commanded attention as he took to the stage with his signature fusion of folk, rock, and storytelling. The performance was a spellbinding journey, with Crighton weaving darkly poetic narratives about Australia’s landscape, its people, and environmental struggles. Tracks like “Stand on the Outside” and “Your Country” left the audience in awe, his voice booming with a deep, earthy resonance that felt like it rose from the very soil beneath our feet. His set was spiritual, raw, and unyielding—a true reflection of his artistic vision.

The energy shifted up a notch with Good Corn Liquor, a high-octane bluegrass band from Australia. Their set was lively, filled with blistering banjo licks and tight harmonies that brought a smile to every face in the crowd. Drawing on both traditional Appalachian influences and their own original compositions, they delivered a toe-tapping performance that had festivalgoers dancing in front of the stage and spilling into the surrounding fields. Their chemistry on stage was infectious, and the precision with which they navigated the complex rhythms and melodies made them a highlight of the weekend.

Shane Howard, the iconic Australian singer-songwriter and former lead of Goanna, graced the stage on Sunday night, creating an atmosphere of reflective, emotive storytelling. Howard, with his decades-long history in folk music, performed timeless hits like “Solid Rock” and “Let the Franklin Flow,” while his band added a fresh dynamic with harmonies and instrumental prowess. There was a sense of reverence in the audience as Howard’s words resonated deeply, drawing attention to Australia’s cultural history and environmental issues, while the songsmiths iconic songs still infuse energy into every performance.

International acts added a thrilling variety to the weekend. Uncle Lucius, the Southern rockers hailing from Austin, Texas, delivered two powerful and soulful sets. Their gritty, blues-infused sound was a perfect fit for Dashville’s cosmic country aesthetic, with fan favourites like “Keep the Wolves Away” resonating deeply with the crowd.

British singer-songwriter Grace Petrie brought something different to the lineup with her politically charged folk anthems. Armed with just her guitar and razor-sharp wit, Petrie won over the audience with songs that blended vulnerability, defiance, and hope. Her candid and conversational stage presence made the set feel deeply personal and connected, leaving many festivalgoers newly converted fans by the end.

The Rose City Band, a psychedelic Americana outfit from Portland, Oregon, took the audience on a trippy, sun-soaked journey. Their extended jams, lush melodies, and hypnotic rhythms were mesmerizing, offering a perfect soundtrack for a chilled afternoon. In contrast, Buck ‘N’ Stuff brought their Southern-fried swagger and rollicking country rock to the stage, firing up the crowd with loud guitars and gritty vocals.

Ross Wilson, the legendary frontman of Daddy Cool and Mondo Rock, brought a dose of classic Australian rock and roll to Dashville. His set was a hit parade of nostalgic gems, with songs like “Eagle Rock” and “Come Said the Boy” eliciting massive singalongs from the crowd. Despite his decades-long career, Wilson’s energy was as infectious as ever, proving that he’s still very much a force to be reckoned with on stage.

The Melbourne-based rock band Kingswood added a sharp, electrifying edge to the festival with their mix of rock, blues, and country-tinged tunes. Their hard-hitting performance, marked by tight musicianship and energetic stage presence, was a contrast to the more laid-back sets, injecting a bit of grit and edge into the weekend’s proceedings.

Meanwhile, Jeb Cardwell’s performance stood out for its masterful guitar work. The renowned guitarist and singer-songwriter, known for his ability to blend blues, rock, and country, delivered a searing set. His bluesy licks and soulful vocals left a lasting impression, earning him a new wave of admirers by the end of his performance.

Camille Trail’s haunting, smoky vocals and introspective songwriting made for one of the most captivating sets of the weekend, accompanied by the ethereal guitar and harmonies of Riley Catherall. Her ability to blend Americana with a distinctly Australian storytelling style is rare and refreshing. Andy Golledge, known for his rambunctious, beer-soaked alt-country style, had the crowd singing and stomping along to his lively tunes, creating an atmosphere of joyous rebellion. James Ellis & The Jealous Guys, bringing honky-tonk charm and twangy guitars, provided a refreshing dose of classic country music with a modern twist.

Ella Hooper, formerly of Killing Heidi fame, proved her versatility as an artist, stepping into the alt-country realm with grace. Her set was raw, emotive, and bursting with energy, showcasing her growth as a solo artist. Hooper’s powerful voice and charisma captivated the crowd, marking her transition from rock queen to a country star on the rise.

A festival at Dashville wouldn’t be complete without the presence of hometown heroes Magpie Diaries. Known for their soulful and nostalgic take on cosmic country, their performance was both a homecoming and a celebration of community. Magpie Diaries brought warmth to the stage, blending soulful harmonies with thoughtful lyricism. Their set featured songs from their album “Sanctuary”, which felt like an ode to the very spirit of the festival—heartfelt, reflective, and steeped in a love for music and storytelling.

Dashville Skyline 2024 was a triumphant celebration of music that defied the boundaries of genre, offering a platform for both seasoned artists and new talent to shine. The festival’s commitment to creating an inclusive, down-to-earth environment was palpable, making it a haven for cosmic country, roots, and Americana music in Australia. where each act brought something unique, ensuring that everyone left with memories of a weekend filled with music, community, and the timeless spirit of storytelling.

The debut album by the actress most known for her role in “Almost Famous” and “How to Lose a Guy in 10 Days“, Glorious is an unexpected and fun trip into the musical field, wherein Kate Hudson shows her love of music and her ability to mix genres to produce an interesting and unique sound combining country, pop, and rock.

With the breathy rock tune “Gonna Find Out,” Glorious establishes the tone as the album opens. Real feeling is shown in Hudson’s somewhat gruff voice as the song’s lyrics explore ideas of independence and self-discovery. Like “Live Forever” and “Romeo,” this song shows her ability for simultaneously expressing sensitivity and strength.

The first single on the album, “Talk About Love,” is most likely the most commercially sensible decision. Thanks for its strong chorus and unforgettable riff; this song is a terrific way to hear Hudson’s sound. Though it clearly reflects the deeper meaning in the words of the whole album¹, the commercial sensitivities of the song are clear.

Hudson collaborated with well-known producer Linda Perry since the album’s sounds polished and consistent. Songs like “Lying to Myself” reveal synth-driven melodies that define Perry’s work and basslines evocative of the 1980s. With its introspective lyrics and appealing rhythm¹, this song distinguishes itself as a spiritual sibling when compared to “Talk About Love.”

One of the best things about Glorious is Hudson’s deft blending of musical forms. The CD alternates between country and soft rock, with appealing pop tunes strewn around. Prime instances of Hudson’s ability to combine genres are songs like the romantic ballad “Live Forever” and the boot-scootin’ country hit “Romeo.”

Hudson’s voice is the one thing truly shining on this CD. Her somewhat raspy voice not only balances the rock edge of many songs but also communicates the emotion needed for the more delicate moments. Her vocal performance highlights this paradox in songs like “Gonna Find Out” and “Lying to Myself,” giving the words’ depth and passion.

The lyrics on the record are also really remarkable. Common subjects in Hudson’s reflecting and beautiful music are love, self-discovery, and human development. She examines the subtleties of romantic relationships with an intellect and experience suited for an experienced artist’s first release in the song “Talk About Love,” which most obviously illustrates this.

Hudson has given Glorious her heart and soul, so transcending mere song performance. In interviews, she has shared her lifetime love of music and revealed that she put off following her passion out of anxiety over rejection. Overcoming that anxiety results in a sincere and real self-assured debut on this album.

At last, Glorious shows Kate Hudson’s skill and versatility in full measure. Listening to the album is fun because of its unique mix of country, rock, and pop sounds. Here Hudson’s extraordinary vocals and songs really shine, therefore this is a great debut that will help her musical career. Whether you know her from her acting or are only now discovering her music, listening to Glorious is a great idea.