Raised in Nashville by a background singer mother and session guitarist father, Savannah Conley's musical education was deeply ingrained from a young age. She started performing at the age of seven and by nineteen she was taking home the John Lennon Songwriting award. Her debut EP, Twenty Twenty, was produced by Grammy Award-winning producer Dave Cobb (Brandi Carlile, Jason Isbell, John Prine) and released in 2018 to critical acclaim from Rolling Stone, NPR, Ones To Watch, and Refinery29. Rolling Stone praised the EP as an "emotionally rich collection of tracks full of moody instrumentation and whip-smart lines" and named Conley as one of their 'Artists You Need To Know.' If you've ever wondered what the sonic lovechild of Oasis and Dolly Parton would sound like, look no further than Savannah Conley. Combining nostalgic musicality, unavoidable Southern charm, and a healthy dose of cross-genre inspiration, Conley has carved out a sound that feels both fresh and timeless. Her ability to transcend genre boundaries has led to an impressive resume of gigs supporting Ben Folds, Brandi Carlile, The Head and the Heart, Willie Nelson, and Ruston Kelly, just to name a few. As NKD Magazine once aptly put it, Conley's music "sounds how a worn-in vintage jacket feels."

For Birmingham native Hays Ragsdale, songwriting became second nature early on, however it was a creative outlet that he mostly kept to himself. His outlook changed, however, after moving to Nashville in the fall of 2014, when family friend and Nashville music veteran Chas Williams convinced him that his songs had an audience. So Hays decided to seek out a group of experienced musicians and naturally turned to fellow Nashville transplants formerly involved in Birmingham's tight-knit music community. Luckily, he found some familiar faces: Longtime friend and bassist Parker McAnnally was recruited first, who soon suggested accomplished guitarist Jack Thomason and his college classmate, Houston-raised drummer John Wood. All drawn to the musical environment in Nashville for similar reasons, the four-piece quickly discovered a common vision and formed The Prescriptions.  While The Prescriptions may come by their Southern style of narrative storytelling honestly, they refuse to rest on the laurels of their musical heritage. Songs like “She Is Waiting” prove that they’re just as comfortable launching into a heavy, alt-country breakdown as they are a world-weary lyrical stream of consciousness. The Prescriptions channel a broad range of influences, from the aching, unaffected honesty of ‘70s folk titans like Neil Young, to the guitar-driven melodies of The Strokes’ early recordings and the experimental energy of Wilco. The band is set to start recording their first full length album at the legendary Sound Emporium Studios this spring. It’s clear that The Prescriptions are somewhat of a rarity in the modern musical landscape: a group of close friends that are more concerned with pushing each other’s creative boundaries rather than pushing a sound you’ve heard before. - Hilli Levin

For Briston Maroney, it’s been a journey to arrive at the current moment. A mental, physical, emotional, and musical one. But it’s left him equipped: not only with a deep understanding of self, discovered through life’s trials and errors, but just as important, with a piece of art that reflects his personal growth. Sunflower, Maroney’s debut album, is the culmination of the past decade of the now-22-year old’s life. “It’s all of the things I’ve been stoked about since I was 12 coming together,” the wise-beyond-his-years, Nashville-based singer-songwriter says with a laugh of his striking album. “It’s been a literal and physical relationship with the record as far as coming to a point where I understand what parts of me it represents, what it means to me as a person and what it means for my entire life.” Recorded between the summer of 2019 and early 2020 in LA with acclaimed producer John Congleton, Sunflower is “definitely a milestone,” Maroney admits. “I’d be lying to say I didn’t feel a little bit of that. And why not let yourself enjoy it?” It’s also a gut-punch of fuzzy power chords (“Sinkin”) and genteel acoustics (“Cinnamon”); deftly-composed pop songs (“Freeway”) and hard-charging rockers (“Rollercoaster”). “I put all of myself into it,” Maroney adds of the 10-track LP. In retrospect, he adds, “I definitely have this sense of calmness now. I did what I was capable of doing and I’m just glad I was around my friends and my people to help me get to this point.” An energetic live performer with a craft first honed in basements, living rooms, and jam-packed clubs, Maroney quickly developed a style steeped in the sweat and sounds of Nashville’s DIY scene. After self-releasing his 2017 debut EP Big Shot and amassing a strong local fan base, Maroney ultimately attracted the attention of Canvasback Music. After signing with the label, his subsequent releases – Carnival (2018), Indiana (2019), and Miracle (2020) – remained entirely self-written with just a single producer credited on each project, namely Grammy Award-winning producer Tone Def and UK-based producer Jim Abbiss (Arctic Monkeys, Adele).  When Maroney began to tour the US and Europe alongside other artists, co-writing sessions became commonplace as they created music together while on the road. It was at this point he made the conscious decision that he would seek out additional songwriters and producers to work with on his debut full-length project; as Maroney’s music world grew, so too did his desire for collaboration.  While Maroney is the first to admit he was ‘terrified-in-a-good-way’ to be working alongside top-notch talents with the likes of Manchester Orchestra’s Andy Hull and venerated songwriter Dan Wilson on the creation of Sunflower, over time he came to understand a simple lesson. That being, “If you’re approaching what you’re doing from a place of love and kindness and passion you can be as open and flowing artistically as you want to be with your collaborators,” he says. “I learned a ton from writing with those people,” Maroney continues. “I think the biggest thing I took away is you get to decide how open you want to be, and you get to decide how much of a stage you want to set for emotions in songwriting.” If there was a sense of apprehension heading into such sessions, it’s only because songwriting, for Maroney, has long been such a highly personal process. “It’s been my journal for a really long time,” he explains. “There’s a beauty in songwriting. It’s a scrapbook. It’s a photo album. And if you’re really putting your heart into what you’re doing and writing songs for the right reasons, every one of them should take you back to a very specific place.” For Maroney, the songs that comprise Sunflower take him along the long and winding path to the present, from his time as a young, upstart-tween musician busking at the Knoxville farmer’s markets to playing dank basement gigs, sobering up amid personal struggles, and finally arriving right now at his most fully-realized self.  “Hopefully this record is representative of my journey,” Maroney says, singling out the opening track “Sinkin” as summing up the record to him in a single cut. “Here’s 100 percent of who I am,” he says of the brash and bursting song. “It feels the most connected to my heart.” “I hope that people hear the record and see the songs as windows into what I’ve been experiencing and hopefully they’ll relate to that,” Maroney says, continuing. “I know these songs will continue to do that for me.” Working with producer John Congleton, Maroney explains, was about learning to trust his impulse. While Maroney had long been the first to question initial instincts, Congleton taught him to respect his gut. “He communicates really directly and really taught me a lot about speaking precisely and speaking about what you want to accomplish with a song and a record,” Maroney recalls. “Whereas I have a tendency to be really abstract. I learned to be able to switch into that mode. He had my back the whole time.” Maroney gushes as he reflects on the session with Congleton that resulted in “It’s Still Cool If You Don’t.” Their initial stab at writing together, “was the first experience of really letting go,” Maroney contends of the song. “Just coming in and having a silly idea and being down to see where it goes.” Working on “Cinnamon” alongside seasoned songwriter Jenny Owens Young, which Maroney describes as a “quieter more low-key song,” was by contrast an exercise in “being all gushy” and exploring his feelings on love. “That was really fun to write a love song with someone else who was also in love with a person,” Maroney offers.  Where “Rollercoaster,” an older track that Maroney and his band typically closed out their sets with, was his attempt at getting a bit raucous, the track “Deep Sea Diver,” which Maroney penned with Dan Wilson, was a far more meditative affair. Or as Maroney says with a laugh, “It’s like, well, if this really pissed off angry rock thing doesn’t work here’s my best attempt at trying to be John Prine.” If anything, the process of assembling Sunflower was the best way Maroney learned to take his foot off the gas a bit and ease into his life in a more gratifying way. Where he admits at times throughout the recording process he was “squeezing it so hard,” completing a brilliant debut album to him “was so much about just learning to be a little more laid back,” Maroney says with a smile. “I still feel really connected to it, but I’m so stoked to share it and especially one day play it live,” Maroney adds of Sunflower. “Right now, I am just so thankful and happy.”