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Dirt Songwriters: Rodney Clawson/Chris Tompkins Performed by: Florida Georgia Line Album: Anything Goes Star Rating: ★ Is this really the best country song around right now? It's number one in the charts, and this band will be one of the performers at London's Country to Country festival in March, but being in the charts does not inherently mean that this is a good song. It's obvious to see that at the surface, it sounds good. The melody and lyrics are repetitive, and make you want to sing along, and it will, no doubt, get stuck in your head. But just stop and think for a minute about what you are singing along to. The steel guitar hints at the country genre, but don't be fooled. The country tradition deserves more than childlike lyrics and banal rhymes, if, of course, ending each line with 'it' counts as rhyming. It's a shame, because the premise of 'Dirt' seems ideal for a country song - 'You know you came from it, and someday you’ll return to this.' However, the most the band develop this imagery is 'when it rains you get stuck on,' which isn't even grammatically correct, but that really is the least of their problems. I am not averse to change in country music. There are plenty of contemporary country artists who are making good music, still rooted in the country tradition - Brantley Gilbert, Miranda Lambert, Kacey Musgraves. These are artists that still care about the quality of the music they are producing, not just the image that goes with it. There is such potential with Florida Georgia Line, and they have opened up the country genre to those who may not have discovered it otherwise. So please, Florida Georgia Line, don't become a novelty act, and get your audience truly hooked with some good music that one would expect for a number one band.

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Chicken on a Chain Songwriters: M Callahan Performed by: M Callahan Album: Chicken On A Chain EP Star Rating: ★ ★ ★ ★ A song named after a rodeo bull - it doesn't really get anymore country than that. M Callahan resides firmly within the realm of the genre, and does not shy away from his roots. His performance at YeeHaw festival stood out for all of the right reasons, his low drawling vocals, slide guitar and humorous lyrics to match. Callahan has written this single around the clever and striking image of a 'chicken on a chain.' It vividly captures the excitement and anticipation of a new relationship, and the lengths that one will go to - even 'buying tampons at the stop and shop.' It's reminiscent of early Tim McGraw, with a little Merle Haggard thrown in, of course. The rock country arrangement works well with Callahan's style. Instrumentally, the focus is on the guitars, yet they make space for the vocal. The drums create a perfect beat for dancing, exactly what is needed for a summer festival. The honestly and raw emotion behind this song is easily apparent, and combined with a catchy melody, M Callahan has created a song that follows country tradition, but fits into our modern age. It is witty, and instantly memorable, and Chicken on a Chain is quickly becoming M Callahan's signature track.

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Chicken on a Chain Songwriters: M Callahan Performed by: M Callahan Album: Chicken On A Chain EP Star Rating: ★ ★ ★ ★ A song named after a rodeo bull - it doesn't really get anymore country than that. M Callahan resides firmly within the realm of the genre, and does not shy away from his roots. His performance at YeeHaw festival stood out for all of the right reasons, his low drawling vocals, slide guitar and humorous lyrics to match. Callahan has written this single around the clever and striking image of a 'chicken on a chain.' It vividly captures the excitement and anticipation of a new relationship, and the lengths that one will go to - even 'buying tampons at the stop and shop.' It's reminiscent of early Tim McGraw, with a little Merle Haggard thrown in, of course. The rock country arrangement works well with Callahan's style. Instrumentally, the focus is on the guitars, yet they make space for the vocal. The drums create a perfect beat for dancing, exactly what is needed for a summer festival. The honestly and raw emotion behind this song is easily apparent, and combined with a catchy melody, M Callahan has created a song that follows country tradition, but fits into our modern age. It is witty, and instantly memorable, and Chicken on a Chain is quickly becoming M Callahan's signature track.

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Slow it Down Songwriters: Dexeter Performed by: Dexeter Album: Somewhere to Run Star Rating: ★ ★ ★ ★ Dexeter are one of the stand out British bands who played at Yeehaw festival this weekend. Their blend of pop-country is focused around Dee's vocals and the simple, yet emotive lyrics. Slow it down is their latest single, and how far this band have come since their Country to Country performance is evident. The band are not overtly country, they describe themselves as Americana, but their instrumentation hints at the country genre. The upright bass, and steel guitar licks, combined with the close harmonies create a sound that is distinguishably 'Dexeter.' Slow It Down captures the feeling of a new relationship, and it is immediately relatable. The lyrics are of their time, they are modern, and the imagery is vivid: 'Keep checking my phone to see it's working fine;' with these simple words they have captured the essence of a modern relationship. Dexeter have swiftly become one of the top UK country acts to watch. Their latest single, 'Slow it Down,' is a shining example of the genre, and an exciting start to the much anticipated full album, Somewhere to Run, to be released in March. See an interview with Dexeter here: http://phillystockmusic.com/2014/07/06/dexeter-interview/

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Mr Brown Eyes Songwriters: Sasha McVeigh Performed by: Sasha McVeigh Star Rating: ★ ★ ★ ★ Within the country tradition, the very best songs are those that tell a story. This song tells the tale of an extraordinary romance, and it just so happens that this one is true. The story behind this Mr Brown Eyes only adds to the meaning behind it, and this young singers' delivery is incredibly engaging in its sincerity. Sasha McVeigh has a distinctive voice, and displays her impressive range with Mr Brown Eyes. The falsetto in the chorus brightens the arrangement, and creates a infectious melody that stays with the audience, long after their first listen. Even with this simple arrangement, the song stands strongly on its own merit. The apparent ease with which Sasha has transformed her own story into a song is astounding. Her powerful turn of phrase shows a maturity far beyond her years, and paints such a vivid picture, from 'sipping margaritas,' to the 'sunshine state.' This song displays Sasha's potential as both a songwriter and vocalist - she is about to embark on a UK tour, and is one of the very best of UK country music talent - an act not to miss! An interview with Sasha McVeigh will be appearing later in the week at www.phillystockmusic.com

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Day Drinking Songwriters: Jimi Westbrook, Karen Fairchild, Philip Sweet, Barry Dean, Troy Verges Performed by: Little Big Town Album: Painkiller Star Rating: ★ ★ ★ July is upon us, and it is the perfect time of year for Little Big Town's new single Day Drinking. It will no doubt become a sing-a-long summer anthem for the band. The instrumentation chosen keeps the song bright, and the lyrics are light hearted, and this, alongside the catchy chorus, completes their summer single. The band combine bluegrass inspired mandolin with their country rock feel, even incorporate whistling, and a marching band style drum. The drum and whistling bring a sense of nostalgia, and invoke memories of summer. The vocal melody is simple, easy to sing along to, and builds up to the catharsis of the chorus. There is nothing deep, or overly novel in these lyrics, but that is not what is needed in a song like this. They are, however, relatable; a long day at work, or 'waiting on Friday,' and finding relief in 'day drinking' is almost a modern Summertime Blues. The thought of the 'warm sunshine' and 'sip of something' is enough to make anyone smile, and this is exactly what this song sets out to do. This is another solid release from Little Big Town, their vocal and instrumental talent is clear, and they have truly captured a summer feeling. It is not a song that will go down in history, but it is a song that provides a light relief, a laugh, or a song to dance to; this will surely be another success for one of country's best bands.

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Sweet Amarillo Songwriters: Ketch Secor/Bob Dylan Performed by: Old Crow Medicine Show Album: Remedy Star Rating: ★ ★ ★ ★ At Even just listening to the first line of this song, Bob Dylan's influence is clear, and it is no surprise to discover that Dylan is in fact, a co-writer on this single. Old Crow Medicine Show's biggest hit, Wagon Wheel, was written when Ketch Secor found an unfinished song of Dylan's, and so the songwriter offered another unfinished song to the band. In is in the melody that his influence is most heard, and it suits this band's style. The instrumentation is representative of both country and folk styles with the accordion and fiddle taking centre stage. The track sounds more raw than one would expect from mainstream country, but this is an incredibly talented band, and the range of instrumentation gives a depth and richness to their sound, and is no doubt one of the reasons for their wide appeal. The lyrics are simple, yet emotive, drawing on imagery that is traditional in both folk and country ballads. It tells a story of a cowboy in the search for his love who 'rode off with the last rodeo,' the story feels timeless, and that is reflected in the instrumentation. You can hear the Dylan in this single, but it also shows off Old Crow Medicine Show's instrumental prowess. This collaborative pairing shows off the very best of each artist, and captures the same magic as Wagon Wheel. Sweet Amarillo is the first single from Remedy, which was released on July 1st.

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Invisible Songwriters: Hunter Hayes/Bonnie Baker/Katrina Elam Performed by: Hunter Hayes Album: Storyline Star Rating: ★ ★ ★ ★ Hunter Hayes performance of his latest ballad, Invisible, was one of the highlights of the ACM awards last Sunday. This is a challenging song to sing, but Hayes performs the song with passion - this song clearly has a message that he wanted to pass onto his fans. Hunter Hayes is a young artist, at the age of twenty two, he's not too far away from high school age, makings the track all the more pertinent and believable. He is gentle with his words, explaining that some people's 'confidence is quiet,' but these are the people who will go on to do something great - they won't always be 'invisible.' It is an uplifting ballad that is universally appealing, not just to those at school, as implied by the first verse. The simple piano part leaves space for the vocal, and although this song is 'country,' it is not overtly so. The chorus has a larger sound, but the song really picks up toward the middle eight and the blistering guitar solo that follows. His talent is remarkable for someone so young. This song is sincere, and I'm sure it will appeal to almost all of Hunter Hayes' fans. The collaboration with these songwriters shows the progression of the craft, and gives us a taste of his latest album, Storyline. It is Hayes' delivery that ensures that it will continue to move this song towards the top spot on the charts. His pleading with the audience, his adamance that things will get better, will no doubt earn him numerous new fans that relate to his message.

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I Drive Your Truck Songwriters: Jessi Alexander/Connie Harrington/Jimmy Yeary Performed by: Lee Brice Album: Hard 2 Love Star Rating: ★ ★ ★ ★ This Lee Brice's single, I Drive Your Truck, won song of the year at the ACM awards on Sunday. It is a song that is based in truth, inspired by an interview in which the father of a soldier killed in Afghanistan, explained that he would drive his son's truck to feel close to him. It is a heartfelt ballad that tells a story that many people will resonate with. It is the little lyrical details that make this song, from the 'eighty nine cents in the ashtray,' to the 'half empty bottle of Gatorade' and 'country station' that the radio was tuned to, just as his brother left it, paint an incredibly realistic picture in the audience's mind. It also emphasises the connection with his brother, these memories are still strong, raw, and real. The instrumentation is relatively simple, but works perfectly for this type of overtly emotional ballads. A somber, military style drum beat immediately indicates to the listener the subject matter of the song. However, it is the lyrics, the story, that is most important here. During the verses, the instrumentation is low and minimal, which allows the song to burst into a big, powerful chorus. This fuller sound keeps the song from becoming too dark, the chorus is emotional, but it provides a sense of light, despite the heavy subject matter. There is a pleasant release as the final chorus is partially acoustic; there is a vulnerability in Brice's voice that draws in the audience, before ending on the fuller style chorus. The lyrics and instrumentation are paired well together; the music is respectful of these words. Brice's delivery is heartfelt, and really displays the best of his vocal. Winning song of the year is an indicator that this song will not fade away with time - it is a song that will appeal to so many in similar circumstances, and earns Lee Brice a place in country music history.

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It Ain't The Whiskey Songwriters: Greg Barnhill/Jim Daddario/Cole Deggs Performed by: Gary Allan Album: Set You Free Star Rating: ★ ★ ★ ☆ There is a startling honesty in this single, that Gary Allan delivers sincerely with his low gritty vocal. He tells a somber tale of heartbreak and addiction, not shying away from potentially challenging subjects. The instrumentation reflects Allan's signature style - guitar led, modern country. The detailed lyrics form a traditional story telling ballad; it is essentially a variation on a love song, but told in a unique way. The song begins in an addiction meeting - 'the church of broken people,' that leads to his confession that 'it ain't the whiskey that's killing me.' The songwriters have balanced the heavy nature of the lyrics with beautiful and poetic imagery, it incites a strong sense of empathy within the listener. This is accentuated by Allan's delivery - genuine, and filled with emotion that can be heard in his voice. The track follows a basic verse chorus structure, and only has a short middle eight, which tends to make the song feel just slightly too long, not showing enough variation in melody. However, this is redeemed somewhat by the guitar solo, adding tension before the catharsis of the final chorus. This single follows in the footsteps of many a successful Gary Allan ballad. These lyrics coupled with Allan's delivery create a hugely emotive and touching ballad, and the instrumentation is simple, yet, on the most part, effective. This is another solid release from Set You Free; Gary Allan has yet again proved himself as one of country's most consistent veterans.

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Automatic Songwriters: Miranda Lambert/Natalie Hemby/Nicolle Galyon Performed by: Miranda Lambert Album: Platinum Star Rating: ★ ★ ★ ★ Miranda Lambert announced recently that her fifth studio album, Platinum, will be released in June. The first single, Automatic, is already climbing the country charts; it has Miranda's signature sound, standing out amongst its peers, and that's no bad thing. The song sounds modern - the instrumentation is guitar lead, but combined with the synth, and the traditional rise and fall of verse and chorus, it could be any genre. Lambert takes the very best aspects of country music - poetic, meaningful lyrics, and a simple melody to sing along. The lyrics focus on a familiar country theme- reminiscing on the 'good old days.' It could become cliched, but the imagery used is comfortingly familiar, particularly to its target audience: 'Seems like only yesterday I'd get a blank cassette, Record the country countdown 'cause I couldn't buy it yet.' The song does romanticise the past, but it sets a beautiful backdrop for 'Automatic.' The idea of slowing down is encapsulated in a few simple lines, such as: 'Come on let's take a picture, the kind you gotta shake.' The implied comparison to the present day reinforces the idea of everything becoming 'automatic;' it's clever, and will undoubtedly appeal to a wide demographic. The sound that Miranda Lambert has created - modern, incorporating aspects of country, and often with a deeper message - can be easily seen in this single. Her style is distinctive and refreshing, consistently delivering at a high standard, as she continues to pave the way for young female country artists.

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Country to Country took place last weekend at the O2. It is a two day festival showcasing eight of country music's brightest stars, numerous pop-up stages with dozens of upcoming country bands and artists, including Emma Jade and Striking Matches, and the Town Square Market featuring stalls reflecting the country theme - CD's, Cowboy Boots, Clothing and so much more. Zac Brown Band The Zac Brown band are clearly buzzing with excitement at their EP The Dave Grohl Sessions. They described Grohl as a 'creative force,' who 'took a chance' on the band, and are eager to work with him again. The band have watched these new songs become popular in America, and the band are 'talking about touring right now' with the rock legend. Within the band, different backgrounds help form their unique sound, with a melting pot of influences, constantly 'inspiring each other with different musical tastes.' When writing, each person has an 'unspoken place,' everyone bringing their talent to form 'a part to the puzzle.' The band's 'biggest strength' is that someone can bring their grandfather to a show, or that 'three generations get it.' They credit this to the 'meaning behind the lyrics,' a timeless country trend. The performance of the Zac Brown Band seemed somewhat at odds to their earlier 'family friendly' comments; their performance was rock heavy - not that grandfathers or children wouldn't appreciate a Metallica cover, but it felt, at times, as if they had almost missed their demographic, and were not as noticeably 'country' as other acts on the bill. It is, however, important to experiment with a genre - it is vital for any sort of progression, and should be embraced. The band played more songs than any other artist, and experimented with various different sounds; whatever style they decided to play, they did so impeccably. They always returned to country, it is the underlying theme of their music, and is noticeable in their lyrics, vocal style and instrumentation. There are seven members of this band, and that is everyone on stage. With regards to writing, recording, and live performance, this is a collaborative effort, and this culmination of seven styles forms a striking band. This band have played stadiums before - they know what works, and each song, of the twenty-one they played, was carefully chosen. We saw everything in this set, From the beach themed Toes, the the upbeat country Chicken Fried, haunting ballad colder weather, to the skeletal extravaganza of Uncaged, this was cutting edge country music. Brad Paisley Brad Paisley has been quoted as a role model for many of the artists at Country to Country, and he is arguably the most successful contemporary country artist in the UK. He has played at the O2 before, and encourages other country artists to start the process of touring this country early, and not to 'fear the building process.' He agreed that country music could potentially be perceived as old fashioned, but perfectly explained how this was no bad thing: 'Have you watched Justin Beiber lately? He's living a George Jones song!' And Paisley is right, the tradition of country music has carried the same themes throughout the decades, and they are still just as relevant now. Brad Paisley is another artist who has experimented with country music, and his blend of humour and thought provoking material have proved a success with UK fans. As soon as Brad Paisley stepped on stage the audience knew they were in for a performance - the lights formed patterns on the ceiling of the venue, the screen was illuminated, and within seconds Paisley very impressively threw his guitar across the stage, to be replaced by an electric (the guitar was caught and unharmed, but there was a definite sigh of relief from the audience). His signature white cowboy hat and paisley guitar were the centre of attention, but he utilised his surroundings to put on the performance of the weekend. During This is Country Music, images of the songs mentioned were showed on the screen behind Paisley, and when George Jones appeared for 'He Stopped Loving Her Today,' a message appeared on screen, 'We Miss you George,' followed by 'You were Country Music;' It seemed fitting that the legend was mentioned, as this is the largest country music event in the UK since his death. His level of interaction with the audience is perfect for this age of social media. At one point he took a fans phone and shot a video (turns out he did this in Dublin too, and the video can be found here.) He also moved through the audience to a stage further back, apparently because when he used to go to shows like this, he could never afford to sit at the front. He comes across as charming, and puts on a performance that is hard to beat. Incorporating Chris Young and The Band Perry into his set, yet again added to the audience's excitement. The performance seemed so effortless, yet still had the audience on the edge of their seats throughout the night. From Star Wars, dubious British accents, to the epic sing-a-long Mona Lisa, Brad Paisley ensured that he would not be forgotten at Country to Country 2014. Zac Brown Band and Brad Paisley headlined the main stage on Saturday and Sunday respectively. My review of C2C for the Telegraph can be found here.

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Country to Country took place this weekend at the O2. It is a two day festival showcasing eight of country music’s brightest stars, numerous pop-up stages with dozens of upcoming country bands and artists, including Emma Jade and Striking Matches, and the Town Square Market featuring stalls reflecting the country theme - CD’s, Cowboy Boots, Clothing and so much more.

Dixie Chicks

The Dixie Chicks were shrouded in mystery at the O2 this weekend, they were one of the only acts who did not have a press conference, their set was shorter then anticipated, and their future as a band is up in the air. It was not all that long ago that Natalie Maines spoke of her disdain for country music, and was busy recording a solo album, as the Courtyard Hounds, formed of Martie Maguire and Emily Robinson, released their second. Nevertheless, the band recently toured Canada, and their appearance at Country to Country was highly anticipated.

It seemed fitting that they began the set with Taking the Long Way - ‘It’s been two long years now, since the top of the world came crashing down.’ It was of course in at a show in London, in 2003, during the Top of The World tour, that The Dixie Chicks made comments that would forever change their place in country music. This was only briefly alluded to, Natalie quipped, ‘London has always had a special place in our hearts, and that all started eleven years ago,’ and the reaction to Not Ready to Make Nice was astounding. The room exploded, and it certainly felt as if every single person in attendance was belting out the lyrics with the band. They did not dwell on the past however, and a surprise cover of Miley Cyrus’ Wrecking Ball fit well with the sound the band created on their last album, Taking The Long Way. Although they still incorporate the banjo, fiddle and mandolin (they were, of course, originally a bluegrass band), the electric guitar has become more prominent, and takes after the rock genre, as opposed to country. The set was peppered with tracks from the bands heyday including Goodbye Earl and Wide Open Spaces, but some seemingly obvious choices, such as fan favourite Traveling Soldier, were conspicuous by their absence. The high level of musicianship throughout their varied repertoire was evident, they were defiantly country, but with an edge that gives the Dixie Chicks their unique appeal.

Rascal Flatts

There was a wide range of country music represented at Country to Country this year, Rascal Flatts were more polished, pop-country than many of the other acts. This is no bad thing by any means - their presence rounded out the lineup, and provided a more authentic cross section of country music. This band are experienced, and this is evident in their live performance - their tight harmonies, and seamlessly merging from one song to another. They make live performance look so easy, allowing fans to just enjoy the music. They tease the audience with elongated intros and snippets of music hinting at their most loved hits.

Rascal Flatts were one of the first bands on the stage to make real use of the screen backdrop, playing videos that reflected the lyrics of their songs - this was a Rascal Flatts show, a large scale production, not just a live performance. Every note of Gary LeVox’s remarkable falsetto was flawless, and their songs sound just as good, if not better, live. There is a banjo present, but the instrumentation is not overtly country, but then again, fans of this band would not expect it to be. There is little sense of ‘rawness’ with this band - they have worked hard to perfect their craft. However, they managed to convey a sense of vulnerability through songs such as God Bless The Broken Road, when LeVox ad-libbed a gospel riff featuring impressive vocal acrobatics. Rascal Flatts consistently deliver exceptional live performances, this weekend was no different - they represented pop-country in style.

The Dixie Chicks and Rascal Flatts were the third act on the main stage, on Saturday and Sunday respectively. Tune in tomorrow for Zac Brown Band and Brad Paisley. My review of C2C for the Telegraph can be found here.

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Country to Country took place this weekend at the O2. It is a two day festival showcasing eight of country music's brightest stars, numerous pop-up stages with dozens of upcoming country bands and artists, including Emma Jade and Striking Matches, and the Town Square Market featuring stalls reflecting the country theme - CD's, Cowboy Boots, Clothing and so much more. Dierks Bentley Dierks Bentley really does have impeccable timing; his latest single I Hold On was the number one song on the American country chart during the festival. Bentley's latest album Riser focuses on the past two years of his life - and he has not had an easy ride. During the process of writing and recording songs for the album, Dierks Bentley lost his father, and had his third child, a son. Bentley freely admits that it was an 'emotional time,' and the album touches on heavier subjects, but the process was somewhat of a 'cathartic release.' Despite this turbulent period of his life, he continued to acknowledge the need for songs that are just 'fun,' to balance an album or set, and that difficult emotions can often be worked out on stage. From 5-1-5-0, that gets fans on their feet and dancing, to I Hold On, utilising the country form of 'very personal verses and a universal chorus,' connection with the audience is Dierks Bentley's forte. 'Country has a new home' were almost the first words from Dierks Bentley's mouth as he took to the stage; he is clearly passionate about his relatively newfound fans. His set initially felt slightly more somber than that of Martina McBride, but during tracks such as Riser, What Was I Thinking and Sideways, the energy levels were high, and Bentley used the large stage to his advantage, interacting with as many fans as possible. In closing he promised to tell his friends 'Luke Bryan, Jason Aldean, and Miranda Lambert' about the festival, and the audience erupted in shrieks of enthusiasm. More so than any other artist, Bentley seemed excited about the potential of the UK country music market, which was quickly noticed and embraced by the audience, and he became a definite highlight of the weekend. The Band Perry The Band Perry describe being on stage as 'one part therapy and two parts recess' - this band lives for live performance. As a young band they have taken the time to develop their stage presence, recording 'almost every show' to improve their craft. They are influenced by rock bands in their performance, which is clear to see in both their manner and stage attire. Their latest album, Pioneer, already includes familiar tunes to the country audience, as this is The Band Perry's fourth visit to our shores. In fact, the album is called Pioneer thanks to some London fans. Apparently they played the track for the very first time in Manchester, informing fans that it was a new song. They played in London the next day, and a group of women from the Manchester show brought signs with lyrics from Pioneer, they were so humbled by their passion, that Pioneer became the title track. The thumping beat of DONE opened the set, and set the tone for the high energy performance that was to come. Kimberly Perry's voice was far more striking in person than it is on their albums; the young singer's range is impressive, and the power behind her voice was evident during the ballad If I Die Young. The band were engaging and funny, and Neil certainly does put the 'man in mandolin.' There was the slightly awkward moment when they began to play the national anthem and wave a Union Jack - the audience were unsure whether or not they should join in, and ended in a slightly half-hearted 'God Save The Queen,' but the gesture was surely well meaning. They quickly redeemed themselves with a rousing cover of Queen's Fat Bottomed Girls. As a relatively young band, the effort that they have put into their performance is clear - their selection of songs represented their full range of material and influences, whilst still keeping their performance fresh and exciting. Dierks Bentley and The Band Perry were second acts to take to the main stage on Saturday and Sunday respectively. Tune in tomorrow for The Dixie Chicks and Rascal Flatts. My review of C2C for the Telegraph can be found here.

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Country to Country took place this weekend at the O2. It is a two day festival showcasing eight of country music's brightest stars, numerous pop-up stages with dozens of upcoming country bands and artists, including Emma Jade and Striking Matches, and the Town Square Market featuring stalls reflecting the country theme - CD's, Cowboy Boots, Clothing and so much more. Martina McBride Martina McBride is often known as the Queen of modern Country; since the early nineties her incredible vocals have been a prominent feature of the country charts. She has been a role model to young female artists such as Kacey Musgraves, as she was one of the first country females to talk about 'challenging' subjects, in the hope that the issues resonated with her fans (including Independance Day and Concrete Angel that focus on domestic violence). Her new album, Everlasting, will be released in the UK on April 7th. It is her second album of covers, but as opposed to 2005's Timeless, these are not country songs, but classic soul tunes injected with her own style. It it a 'more confident' release, rather than staying entirely faithful to the original versions of the tunes, Martina makes them her own. Martina McBride was the first to take the stage at this years Country to Country festival at the O2. The crowd erupted as she burst into My Baby Loves Me, her powerful vocal delivered pop country at it's very best. There was a simplicity to her performance that was endearing - her vocal took centre stage, there were no gimmicks, just sheer talent. The highlight of the set had to be Suspicious Minds, an Elvis cover that will appear on her upcoming album. The cover was fun, and filled with attitude, and it rounded out the set. The ballads performed, including Anyway, and Whatever You Say, ensured that her vocal was truly appreciated in all it's glory, whilst the more upbeat tracks, including This One's For The Girls, had the audience on their feet and dancing. And if this wasn't enough, she even showed of her instrumental skills by playing the harmonica for Love's The Only House. It was a perfectly balanced set, the rise and fall of the tempo and mood sat well with the audience, and left them anxiously awaiting the next act. Chris Young Chris Young is by no means a newcomer in the country music world, he won Nashville Star in 2006, and he released his fourth studio album A.M last year, yet he described the process of coming over to the UK (this was his second visit) as 'starting over.' However, country music fans are loyal, and with YouTube, Spotify, and other social networking sites, country music is more accessible to its UK fan base, and it was through these social networks that was able to collate a playlist that 'people wanted to hear.' His sound is undeniably country - 'When I open my mouth I sound country, that's all I'm going to be, and I'm happy with that.' A.M is a well rounded album, containing a mixture of heartfelt ballads and songs with a 'straight up tempo, to make people drink.' His set opened the second day of the festival, and his fears of being unknown in the UK were unfounded, as the audience sang along. His presence on stage was striking, playing guitar on some tracks, only singing for others, giving him the chance to interact more intimately with the audience. The majority of his set are his signature ballads and story songs, from Voices, to Getting You Home, and Tomorrow, his deep country vocal captivated the audience. However, it was not until the party track Aw Naw, that the audience exploded with excitement. He managed to keep this atmosphere up, as he followed the track with a ZZ Top cover, Sharp Dressed Man. It allowed Young to display a rockier side, and this large venue was the perfect space to take his music to the next level. Martina McBride and Chris Young opened the main stage on Saturday and Sunday respectively. Tune in tomorrow for Dierks Bentley and The Band Perry. My review of C2C for the Telegraph can be found here.

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Country To Country at the O2

Country Music's biggest weekend in the UK - the Country to Country festival - took place this weekend. My review of the event can be found on the Telegraph's website. Throughout this week I will be posting reviews of each of the eight headlining acts on this website. Tune in tomorrow for Martina McBride and Chris Young, Wednesday for Dierks Bentley and The Band Perry, Thursday for the Dixie Chicks and Rascal Flatts, and Friday for Zac Brown Band and Brad Paisley.

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Give it To Me Songwriters: Sheryl Crow/Jeff Trott Performed by: Sheryl Crow feat Vince Gill and Ashley Monroe Album: Feels Like Home Star Rating: ★ ★ ★ ☆ Sheryl crow has always been on the verge of the country music, so it is no surprise that she has decided to embrace the genre with her latest album Feels Like Home. She is joined on this track by Vince Gill and Ashley Monroe, which is an instant way to gain respect from country fans, whilst still portraying her own version of 'country.' It is obvious that Crow is a fan of the genre, as there are musical references throughout this track that pay homage to older country music. The string section is reminiscent of the Nashville sound, but coupled with the modern pop country backing, it creates a unique vibe. Her voice leads this track, and Ashley Monroe's vocals add a sweetness and vulnerability to the large sound. Melodically and lyrically the track is a little predictable, especially on the second line of the verse: 'Or tell me you're just scared.' This improves in the chorus, adding interest, but it feels like all the effort on this track has gone into the production, rather than the song itself. Sheryl Crow is creating a distinctive sound for herself- a mixture of older country combined with her pop intoned past. Feels Like Home is a promising beginning for Crow, who will, no doubt, continue to be embraced by the country genre.