Just Jayne are an emerging all-female country trio based in Nashville, made up of singer-songwriters Taylor Edwards, Rachel Wiggins and Jillian Steele. The three first met while studying songwriting at Belmont University, where a co-writing session quickly revealed a natural chemistry that led to the formation of the group. Blending tight three-part harmonies with emotionally honest, diary-like songwriting, they have built early momentum through a mix of streaming success and strong social media engagement, positioning themselves as one of the most exciting new voices in the country-pop space.
Since their debut, Just Jayne have developed a distinctive sound that bridges modern pop sensibilities with classic Nashville storytelling, exploring themes of love, heartbreak and self-discovery with a fresh, female-driven perspective. Their growing profile has been boosted by placements beyond the traditional country world, including their song ‘Climate Change' featuring in season two of the hit Netflix show ‘Nobody Wants This,' introducing their music to a wider global audience. With a rapidly expanding fanbase, touring experience alongside established acts and a clear artistic identity, Just Jayne are quickly establishing themselves as a breakout act to watch. We interviewed them last December about their origins at Belmont University in Nashville and you can read that initial interview right here.
It was great to catch up with them again at the C2C festival in London this month.
How are you finding the trip so far—and more importantly, what was the game plan for beating jet lag on the flight over?
Honestly, we went into it with a full plan… and then it kind of depended on who you ask as to how well that plan worked. One of us absolutely nailed it—took gummies, got comfortable, and slept the entire flight from wheels up to wheels down without opening her eyes once. That’s the gold standard. Another managed a few hours with melatonin and magnesium, and one of us didn’t sleep at all—just couldn’t get comfortable, so it ended up being a very long flight.
The idea was to treat it like a proper red-eye, get some rest, and then fully commit to UK time as soon as we landed. And to be fair, once we arrived, we did exactly that. We powered through the day, got outside, saw a bit of London, and kept moving. There was definitely a moment where we were tempted to just go to bed early, but we know that’s always a mistake. So we pushed through, did the London Eye, and embraced it. It’s all part of the adventure.
Welcome to the UK. Last time we spoke, you mentioned goals around touring and international travel—how does it feel to be ticking those off already?
It feels amazing. It’s one thing to say those goals out loud, but to actually be living them is really special. We’ve just come from shows in Florida and Georgia, and those were so much fun. We were out with Maddox Batson, and his audience was honestly our dream crowd—so many young fans, some of them at their very first concert, just so excited to be there.
We’d wave at them and they’d scream like we were the coolest people they’d ever seen. It was surreal in the best way. It gave us a little glimpse of what that connection can feel like, and we’ll take that all day long. Those shows really reinforced how much we want to be out on the road. That’s where everything clicks for us.
You’ve got some big tours coming up—how important is live performance to what you’re building right now?
It’s everything. We’ve spent a lot of time writing and recording, but the live shows are where it all comes to life. We’re heading out with artists like Nate Smith and Josh Ross, and we’re so excited because those crowds are going to push us in a new way.
We always say touring feels like a girls’ trip—we’re travelling, hanging out, doing what we love—but at the same time, it’s where we grow the most. Every night you learn something new, and every audience is a chance to connect with people who might not know you yet.
When you’re playing to new audiences and festival crowds do you have a go-to cover in the set that wins people over?
We do. We’ve had this mashup in our set since the beginning, and it never fails. It blends ‘Cowboy Take Me Away' by The Chicks with ‘No Scrubs' and ‘Say My Name' and people always sing along.
It’s fun, it’s familiar, and it kind of sums us up—country roots with that girl-group energy. It’s one of those moments where you can feel the crowd come with you, even if they didn’t know who you were at the start of the set.
Let’s talk about ‘Death and Taxes.' The song—and especially the visuals—feel like a big creative step forward. How important is that visual side to you?
It’s hugely important to us. With ‘Death and Taxes,' we actually came up with the video concept the same day we wrote the song, which doesn’t always happen. But we were so excited about it, and we could already see the whole world around it.
We’re really hands-on—we made the costumes ourselves, built vision boards, and treated it like a full creative project. We want every release to feel like a moment, not just a song. It’s about giving people something they can see and feel as well as hear.
Where did the idea for the song come from?
It started as a conversation in the room. A lot of our earlier songs were about going back to someone, and we realised that energy had shifted for us. We were like, “Wait… why aren’t we writing about them coming back to us?”
Then the phrase “death and taxes” came up—things that are inevitable—and we thought, what if we applied that to relationships? It just clicked. It’s something everyone understands, but with a confident twist.
That confidence feels like a new era for you—are you consciously leaning into that?
Definitely. We still love writing songs that sit in that hurt-meets-healing space, but we’ve got a lot more to say now. There’s a new confidence coming through—more playful, more self-assured, a bit more attitude.
We’ve been teasing songs like ‘Love a Loser' on our socials recently and they carry that same energy. It feels like a natural evolution of who we are right now.
I noticed in ‘Love a Loser' there are lyrics that mention losing “his dumb friends and his mother”… so who’s dated the worst mom?
That’s such a funny question because it really is a thing. We’ve definitely had a mix—some amazing moms who were completely on our side, and others where it felt like you were almost in competition with them, which is… a strange dynamic. (laughing)
There’s definitely that type of mom who’s a little too attached, and you’re like, “Wait, am I competing with you right now?” It can get weird. But honestly, sometimes we liked the moms more than the guys—we’ve definitely had moments where we were like, “I’d stay for the mom, not the relationship.” So it’s been a full spectrum of experiences.
You also perform beautifully in stripped-back settings—do you prefer that intimacy or the full band energy?
We love both. The full band shows are so fun—we can move around, bring in choreography, really build a big moment. But the acoustic sets take us back to how we started. That’s how we write—just the three of us, focusing on lyrics and harmonies.
Songwriting is at the core of everything we do, so it’s important to show that side as well.
Last time we spoke, we joked about me writing a TV drama for Netflix set around the music classes at Belmont University—if that ever happens, who’s playing you? (Interview Here)
We love this question. Honestly, we’d take anyone from a dream list—Sydney Sweeney, Florence Pugh, Anya Taylor-Joy, Millie Bobby Brown, Sadie Sink, Sophie Turner, or Hailee Steinfeld—we’re not picky!
If we had to choose, we’ve had people say Jillian looks like Hailee Steinfeld, Rachel like Canadian actress Nina Dobrev, and there's maybe even a Jennifer Love Hewitt comparison in there. But honestly, we’d probably just play ourselves if we could—that feels the most fun. Consider this our official audition (laughing)
Your song ‘Climate Change' featured in the Netflix series Nobody Wants This—what kind of impact did that have?
That was huge for us. It brought in a completely new audience—people who might not have found us otherwise. We definitely saw a spike in streams, but more than that, it gave us exposure in a totally different space.
It was also just really cool to be part of that soundtrack alongside artists we admire. Seeing our name in that mix was one of those moments where you stop and go, “Wow, this is real.”
Looking ahead, what does the rest of the year look like for you—and what are you hoping to have achieved by the next time we speak?
We want to keep building—more touring, more music, hopefully a full EP this year. Right now, we’re just writing constantly and following the songs that feel right.
We’d love to have a song really take off at radio, especially internationally. Hearing one of our songs playing over here in the UK would be incredible. And dream collaborations? Absolutely—working with Kacey Musgraves or The Chicks would be amazing.
More than anything, we just want to keep the momentum going and keep having fun with it.
Thanks so much for your time today. Check out Just Jayne in all the usual streaming places. You can watch their ‘Death and Taxes' video further up in the interview and keep an eye out for the release of ‘Love a Loser.'
