In an exciting nod to the past, country music singer-songwriter Max Jackson is breathing new life into a beloved piece of Australian music history. Jackson has re-recorded the iconic 1980s jingle “January – Country Music Month,” infusing it with her signature contemporary sound. The updated anthem comes just in time for the highly anticipated Tamworth Country Music Festival, which kicks off later this month.

The original jingle, a nostalgic tune that became synonymous with Australia’s love affair with country music, was first released in the 1980s to promote Tamworth as the heart of the genre in the Southern Hemisphere. For decades, the song evoked memories of country music legends and celebrated the artistry that has defined the Tamworth festival.

Max Jackson, known for her emotive storytelling and dynamic vocals, has put her unique stamp on the classic tune. Blending modern production with a heartfelt respect for its roots, Jackson’s reimagined version promises to captivate long-time fans and introduce the anthem to a new generation.

Tamworth Regional Council and festival organisers have embraced the project, incorporating the new version into this year’s festival marketing campaign. The track will also play a key role in promotional material, television ads, and live events throughout January.

The 2025 Tamworth Country Music Festival runs from January 17 to January 26, featuring over 700 artists across 100 venues. With Max Jackson at the forefront of this year’s celebrations, the festival is set to honour its rich heritage while embracing the evolving sound of country music.

The Australian music community is mourning the loss of Chad Morgan, affectionately known as “The Sheik of Scrubby Creek,” who passed away on January 1, 2025, at the age of 91. A pioneer of Australian country music, Chad’s career spanned over seven decades, leaving an indelible mark on the genre with his unique humour, infectious melodies, and unmistakable persona.

Chad’s ability to connect with audiences through his down-to-earth lyrics and comedic flair made him a national treasure. From his iconic toothy grin to his unforgettable stage presence, he brought joy and laughter to countless fans across Australia and beyond.

Inducted into the Tamworth Roll of Renown in 1987, Chad was celebrated not only for his contributions to music but also for his embodiment of Australian “larrikinism” and storytelling. He was a trailblazer who paved the way for generations of country artists.

Today, we remember Chad as a cherished entertainer, a loving family man, and a symbol of Australian culture. His music will continue to echo through the red dirt roads and scrubby creeks of our country, keeping his spirit alive for generations to come.

Rest in peace, Chad Morgan. Your legacy will never fade.

Australian honky tonk troubadour James Ellis has delivered a gem with his latest album, The Party Might Be Over. Packed with sharp storytelling and genuine emotion, Ellis brings his signature blend of wit and heart to this record, capturing the essence of honky tonk while giving it his own unique twist. Recorded remotely between Melbourne and Nashville during the pandemic, this album is a testament to Ellis’s dedication to his craft and his ability to adapt and thrive even in challenging times.

Ellis’s voice is at its finest in Lonely, Sad and Blue, one of the standout tracks on the album. It’s a soulful exploration of heartache that channels the spirit of classic honky tonk but with a modern sensitivity. Ellis’s rich, emotive voice brings out the raw pain in the lyrics, while the subtle twang of steel guitar gives the song a timeless feel. It’s the kind of track that feels both intimate and universal—a tune that makes you want to drown your sorrows in a dimly lit bar, yet find solace in knowing you’re not alone in your heartache.

Another highlight is the cheeky Don’t Drink By Yourself (If You Can’t Be Drunk Alone), a honky tonk anthem with a wink. The song combines clever, playful lyrics with an infectious rhythm, creating a tune that’s both entertaining and oddly comforting. It’s a lighthearted reminder not to take life too seriously, with an upbeat energy that’s impossible to resist. The rhythm section, recorded by some of Nashville’s top talent, drives this track with precision, adding to its barroom charm. This song is honky tonk at its best—fun, relatable, and brimming with personality.

Producer Micah Hulscher, known for his work with top Nashville acts, deserves immense credit for shaping the album’s sound. Hulscher brought together a stellar lineup of Nashville musicians, including legends like Fats Kaplin, Chris Scruggs, and Lillie Mae, who added their own magic to Ellis’s songs. Recorded at the legendary Creative Workshop Studios in Nashville, the album has a warm, rich sound that makes it feel like a live honky tonk performance, even though it was recorded remotely. The musicianship on each track is flawless, supporting Ellis’s storytelling with nuanced, heartfelt instrumentation.

The Party Might Be Over marks a significant evolution for James Ellis since his previous album, Country Lion. While Country Lion showcased his talent and raw potential, this new album feels more polished, more intentional, and more self-assured. Ellis has refined his voice and his storytelling, creating songs that are both relatable and timeless. He’s moved beyond the role of honky tonk storyteller to become a true artist, delivering songs that feel authentic and memorable.

In The Party Might Be Over, James Ellis has crafted an album that celebrates the highs and lows of life with humor, heart, and a whole lot of soul. It’s a must-listen for fans of honky tonk and classic country, and a promising indication of even greater things to come from this talented Australian singer-songwriter.

Listen to the Country HQ Spotlight On Podcast with James Ellis.