Released at the end of last week 'One More Chance' is one feisty piece of raw rock'n'roll. Cassady's vocals have a little bit of 'don't mess with me' determination to them whilst the guitar driven song has a catchy and timeless feel to it - Beehive Candy.
Fans of rock guitar and vintage swagger, rejoice. Cassady Southern’s new single, ‘One more chance’, delivers a raw, riff-heavy throwback that echoes the sound of one of her biggest musical influences, the Rolling Stones.
Channelling the attitude and allure of Stones classics, like ‘Honky Tonk Women’ and ‘Miss you’, ‘One more chance’ explodes with country rock solos, gritty emotional vocals, rock’n’roll piano and a rhythm section that struts with unrelenting cool. It’s an ode to a golden era of music just as it is about making up and being given the proverbial ‘last chance’.
“We didn’t set out to emulate the Stones with this track but after being infused with this music throughout my childhood it has obviously seeped into my songwriting and performing”, Cassady said. “Luckily I have been able to play and record with great musicians who share a love for this same style of blues, rock, and honky tonk and who helped me bring the track to life”, she said.
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Nashville’s Caitlin Cannon has released her new LP, Love Addict. The album, a bold, genre-defying body of work produced by Misa Arriaga (Kacey Musgraves, Willie Nelson), blends dreamy Americana with classic country; think “cosmicana”—a sonic landscape as deep and evocative as Cannon’s storytelling. Its 10 tracks swirl with intergalactic pedal steel, gritty grooves, and raw, unguarded lyrics. Recorded live, the album captures the spontaneity of guitars bleeding into keys, drums, strings, and more, creating a sound that feels both timeless and fresh. While arguably more 'vibey' than some of her earlier work, Love Addict still delivers her signature sneak attacks with a wink.
Cannon’s songwriting expertly balances humor and vulnerability, satire and sincerity. Songs like album track “Let It Hurt Some” provide introspective moments and channel the authentic country sound of 60s and 70s Nashville.
Album track “You’re Losing Me” captures the quiet panic of losing a lover to apathy. “Not to genderalize, but have you ever known a man who’s stunned when a relationship ends, while the woman’s been emotionally checked out for months?” she asks. “I wanted to put it in simple terms for the guy exiting my life at the time, and give advance notice for anyone who might enter.” “Jesus Is My Lover” is Cannon’s sarcastic and seductively absurd journey into the depths of desire that begs us to take a ride into a world where the only real danger is taking oneself too seriously.
Lead single “Love Addict,” an immersive, slow-burn confession full of intoxication and reckless abandon, is equal parts romantic escapism and raw self-awareness. The video, filmed and directed by Jesse Weeden, features cameos from Pam Tillis, Logan Ledger, Oliver Bates Craven (Sierra Ferrell), along with Cannon’s studio band—Jon Murray (Miranda Lambert), Eddy Dunlap (The Grand Ole Opry Band, The Time Jumpers), and the album’s producer, Misa Arriaga.
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Welsh Garage Rockers 'The Family Battenberg' recently released their new single ‘Anteater,’ out now via streaming platforms. This track is an independent release by the South Walian four-piece. Written in just a day, it was recorded at Tom Rees’ (Buzzard Buzzard Buzzard) studio while he was on holiday. To master the recording the group sought out long-time collaborator Eddie Al-Shakarchi (Boy Azooga, Loathe, Swim Deep.)
Aligning with the soundscape that’s signature to them, ‘Anteater!’ is The Family Battenberg finessed. Drenched in fuzzy saturation, spacey vocals ricochet between a blistering guitar, all while a double-tracked mono drum plays like a call to action.
This is an anti-love song. When unhealthy adoration becomes a quest for romance, or approval in this case, we find ourselves doing strange things. In this story, the protagonist justifies total metamorphosis in the name of subservience. “It’s self-humiliation in the pursuit of a potential suitor’s attention,” as frontman Eliot puts it.
Anyone that has seen this band live before is sure to recognise it from past set-lists. The group have played it as an unreleased track amongst their own shows and a host of major festivals, namely, Green Man 2023, Trans Musicales 2024, Reeperbahn 2024 and ESNS 2025. As budding up-comers, the group have also supported the likes of Getdown Services, Panic Shack, Gruff Rhys and the Bug Club.
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