Bellah Mae is quickly emerging as one of the UK’s most exciting new country-pop voices, blending glossy pop hooks with country storytelling and emotional honesty that feels far beyond her years. Raised right in the middle of England before making the leap into Nashville’s orbit, Mae first began building momentum through a string of sharp, relatable singles and her 2024 EP ‘Never Waste A Heartbreak,' establishing herself as an artist equally comfortable writing heartbreak confessionals and carefree pop-country anthems. Every release since has pushed her sound further: bright, polished and melodic on the surface, but grounded in sharp self-awareness underneath.
That evolution comes fully into focus on her new EP ‘Keep It Peachy,' arriving today! (May 29) The six-track project, her first with Sony Music Nashville, leans into a philosophy of optimism even when life gets messy, pairing breezy production with songs about heartbreak, vulnerability, young love and personal growth. Produced by Brett Truitt, JANEVA and Steven Solomon and co-written entirely by Mae herself, the EP showcases an artist finding her lane in real time. Tracks like ‘Fast Lane' and ‘Kiss My Levi’s' bring infectious energy, while songs such as ‘Love Me Less' and ‘Home Safe' reveal a more introspective side. With growing buzz and a debut appearance at CMA Fest in Nashville next week, Bellah Mae feels like an artist standing right at the edge of a major breakout moment.
It’s really lovely to speak to you today Bellah, thank you for your time. I wanted to start right at the beginning, because your background is fascinating, coming from a musical family, with your grandfather involved in that Birmingham rock scene as a keyboard player. As someone who grew up loving that era, I’m really curious: what was that environment like to grow up in, and how much of that influence do you think still sits at the core of who you are as an artist today?
Yeah, I really did grow up in such a musical household, and I owe so much of who I am to that environment. My grandad was part of that Birmingham scene when it was just exploding creatively, around the time of bands like Electric Light Orchestra and Black Sabbath and it was such a special era because people were just doing it for the feel of the music. It wasn’t about branding or image or social media, it was purely about songs and how they made you feel.
That mentality has really stayed with me. Even though it wasn’t my era, it was my upbringing, and I think that kind of authenticity is in my bones now. My dad also plays, and that’s actually how my parents met, he was playing with my grandad, so music was just everywhere in our house. The first things I learned were really simple, like three-chord blues, and I think that’s probably why I lean towards country now. One of the first songs I ever learned was ‘Johnny B. Goode,' so it all started from that very raw, rootsy place without me even realising how much it would shape me later.
Can you remember a specific moment or age when you thought, “This is what I want to do for the rest of my life,” or has it always just been something that felt completely natural and inevitable to you?
I honestly don’t remember a time when I didn’t want to do it, which I know sounds like such a cliché, but it’s completely true. I was performing from such a young age, there are photos of me on stage with my grandad when I was three or four, and once that little performance bug gets into you, it’s very hard to replace that feeling with anything else.
From there, it just became this thing where I knew I wanted it, so I had to get good at it. I trained classically as a soprano from about six or seven years old for ten years, and I started writing songs too. Those early songs were awful (laughing) but that’s part of it, you have to go through that phase. I still write bad songs sometimes, that’s just how the process works! (laughing) But I was really lucky that my parents supported me the whole way and helped me nurture that dream.
At what point did Nashville start to become part of that dream? Because I know you first went out there around 18, and that’s quite a big leap from the UK. What sparked that connection, and what made you feel like, “This is where I need to be”?
Yeah, it’s quite a funny story because it wasn’t this calculated career move at first, it really came from something quite personal and, honestly, a bit unexpected. I was completely obsessed with Hannah Montana growing up, like, properly obsessed. That whole world of music, performance and living in Tennessee just got into my head really early, and I became convinced that was where I needed to be. It sounds almost silly now, but at the time it felt very real to me.
The actual trip happened when I was about 18, and it came about because my mum emailed Dolly Parton’s manager out of the blue. Somehow that led to us getting the opportunity to come out, and we flew to Nashville together. I remember landing and just having this immediate, almost overwhelming feeling of familiarity, like I already knew the place. It wasn’t even a question in my mind, it was just, “This is where I’m supposed to be.” And I think what struck me most was how alive everything felt creatively. Everywhere you went, there was music happening, people playing, writing, collaborating and it just felt like the kind of environment I’d always needed without quite realising it.
At that point, I didn’t move straight away, but something had definitely shifted in me. I went back home with this very clear sense of direction that I hadn’t had before. It was like, “Okay, now I know where I’m heading.” Over the next few years, I kept coming back, building relationships, learning how the songwriting culture worked and gradually figuring out how I could fit into that world. So when I eventually made the move properly, it didn’t feel like a leap anymore, it felt like the natural next step in something that had already started the moment I stepped off that plane at 18.
What is it about Nashville that’s been so important for your development, particularly as a songwriter? Because it’s such a unique place in terms of how songs are created there.
The people, honestly. Nashville is like nowhere else in the world if you love songwriting. It’s like Disneyland for songwriters. Everyone is so passionate about music, and it creates this environment where you’re constantly inspired.
Co-writing was a huge shift for me. I’d always written on my own, but when you’re in a room with other writers, it’s not that they write the song for you, it’s that they unlock something in you. Someone might play a chord or say something you’d never think of, and suddenly it opens up a whole new direction. I’ve now got a really close group of collaborators, and they understand how I work. I can walk in with a concept and they help bring it to life in a way that feels bigger than what I could do alone.
I’ve always wondered how British artists adapt to that environment, because culturally we’re not always the most emotionally open, whereas Nashville songwriting really thrives on that kind of vulnerability. Did you find that challenging at all, or did it actually suit you?
Yeah, I love that question because it’s so real and it’s something I became aware of almost immediately when I started spending proper time in Nashville. There’s definitely a cultural difference. As Brits, we tend to be a bit more reserved, a bit more guarded with our emotions. We don’t always say exactly what we’re feeling straight away and there’s often a layer of humour or understatement over things. Whereas in Nashville, especially in songwriting rooms, it’s the complete opposite. People are very open, very direct and very willing to go straight to the deepest, most personal parts of their lives without hesitation.
But interestingly, for me, that didn’t feel uncomfortable: it actually felt like I’d found the right environment. I’ve always been quite an emotional person, even as a kid. I used to get called ‘intense; a lot because I had all these big thoughts and feelings and didn’t really know where to put them. Songwriting became the place where I could process all of that, and then when I got to Nashville, it was like walking into rooms where that kind of emotional depth wasn’t just accepted, it was encouraged. People were like, “Yes, let’s go there, let’s talk about that properly,” and that was really freeing for me.
I do think there’s still a part of me that’s very British in how I approach things. I love our dry humour, I love that slightly stubborn, understated way we communicate, and I think that actually brings something different into the room as well. Sometimes I might phrase something in a more subtle or indirect way, and that can spark a different kind of idea creatively. So I don’t feel like I had to lose that part of myself to fit in. If anything, it’s about balancing the two: bringing that British perspective into a space that’s very emotionally open. I think that combination has actually helped shape me as a writer, because I can tap into both sides: the deep honesty that Nashville thrives on, and the slightly more nuanced, observational way that I think comes from being British.
‘Boyfriend of the Year' felt like a real turning point for you. It blew up online and suddenly introduced you to a much bigger audience. What did that moment teach you about yourself as an artist?
Yeah, that whole moment with ‘Boyfriend of the Year' was honestly a bit surreal, because it was the first time I’d really put something out into the world in that way. Up until then, I’d been writing constantly, building up this catalogue of songs, but they were kind of living in my own little bubble. When I posted that song online, I didn’t have any huge expectations, I was just sharing something I believed in. And then suddenly it took on a life of its own.
When it started to go viral, everything moved really quickly. I had labels reaching out, people wanting to talk and there was this shift where it went from being something personal to something that other people were connecting with on a big scale. I think the biggest thing it taught me was confidence, not in a superficial way, but in a much deeper sense of, “Okay, I really am capable of this.” As an artist, you spend so long questioning yourself, wondering if your instincts are right, if your songs are good enough, if you’re actually cut out for it. And then when something like that happens, it’s like this external validation that lines up with what you’ve been hoping internally.
It also made me realise that I had more than just one song. I had a body of work that I believed in. It kind of flipped a switch in my head where I stopped thinking of myself as someone who wanted to be an artist and started seeing myself as someone who is an artist. That distinction is really important. And from a practical point of view, it also taught me a lot about how music can live online: how people discover songs, how quickly things can spread, and how important it is to be ready for that moment when it comes.
But more than anything, it gave me this sense of reassurance. It was like, “No, this isn’t just a dream I’ve been chasing blindly, there’s something real here.” And that gave me the confidence to take the next steps, to trust my writing, to trust my instincts, and to really step into my identity as an artist in a much more grounded way.
You had interest from labels at that point, but you chose Sony Music Nashville. What was it about them that made you feel like that was the right place to take your music forward?
It felt very natural for me. I’d actually built relationships with people at Sony Nashville before I was signed there. I’d been around Nashville a lot, going to shows and events, and they were always incredibly welcoming.
What really stood out was how collaborative they are. When I had my first meetings, the whole A&R team was there, and they all knew who I was and what I was doing. That doesn’t always happen, usually you’re just assigned one person. But they all wanted to be involved, and that made me feel really supported. It felt like a proper home for my music.
Let’s talk about ‘Keep It Peachy.' The title feels really sunny and optimistic, but there’s also a suggestion of something deeper beneath that. What does that phrase mean to you in the context of this project?
Yeah, ‘Keep It Peachy' as a title really sums up where I am right now, both as an artist and just as a person. On the surface, it does feel very bright and optimistic: it’s colourful, it’s fun, it’s a bit playful, and that’s definitely a big part of me. I think people often see me as quite smiley, quite upbeat, quite positive. But what I love about that phrase and about the imagery of a peach itself, is that there’s more going on underneath.
A peach is sweet and soft on the outside, but at the centre there’s that stone, that core, which is a lot tougher, a bit more grounded, a bit more real. And that’s how I see myself as a songwriter. A lot of the songs on the EP might sound fun, catchy or light at first listen, but when you really sit with them, there’s usually something a bit more honest, a bit more vulnerable, or even a bit gritty underneath. So the title felt like the perfect way of capturing that duality: who I am on the surface versus what’s really going on at the core.
I also love the phrase “keep it peachy” in terms of what it represents emotionally. To me, it’s not about pretending everything is perfect or ignoring difficult things, it’s more about resilience. It’s about going through life, through relationships, through all the ups and downs, and choosing to keep moving forward with a sense of optimism. Like, things might be messy, things might hurt, but you’re still saying, “I’ve got this, I’m going to keep going.” That mindset is something I’ve really leaned into while making this project.
And I think that’s why the EP feels quite cohesive to me. Even the sadder songs or the more vulnerable moments are still presented in a way that feels accessible and, in some way, hopeful. I never want to make music that leaves people feeling stuck, I want it to feel like something you can take with you and come out the other side of whatever you’re going through. So ‘Keep It Peachy' became this kind of guiding idea for the whole project: feel everything, be honest about it, but keep your head up and keep moving forward.
Are there particular songs on the EP that you feel really capture who you are right now as an artist, either musically or emotionally?
I think ‘Fast Lane' is a big one. It was the first track from the project, and it really captures the energy and the style I want to lean into. It has that immediacy where it just clicks straight away, which is such a hard thing to achieve as a songwriter.
And then ‘Home Safe' is probably one of the most vulnerable moments. It’s about that feeling after a breakup where your routine changes and suddenly something as simple as someone checking you got home safe is gone. It sounds like a small thing, but it actually means so much, and I think that’s why it connects with people.
I have to say, one of the standout tracks for me on the EP is ‘Kiss My Levi’s.' It feels fun, confident, a little bit sassy, but still very much rooted in that country-pop world you’re building. What was the idea behind that song, how did it come together in the writing process, and what does it represent to you within the overall feel of ‘Keep It Peachy?'
I’m so glad you picked that one because I absolutely love ‘Kiss My Levi’s.' It’s one of those songs that just felt really natural from the start, and I think sometimes those are the ones that end up being the most fun and the most “me.” I’ve always loved titles that make you smile a little bit or make you do a double take, and that one just instantly had that energy. It’s playful, it’s a bit cheeky, but it still says something: there’s a bit of attitude behind it.
When we were writing it, I really wanted something that captured that confident, slightly tongue-in-cheek side of my personality. It’s not about taking yourself too seriously, it’s about owning who you are, knowing your worth, and being able to say that in a way that feels light and fun rather than heavy. I think that’s something I’m really drawn to as a writer, finding ways to express something real, but wrapping it in a line or a concept that feels fresh and a bit unexpected.
I also love the imagery of it. Bringing in “Levi’s” instantly gives it that country texture, that visual of denim, of classic Americana, but then pairing it with that phrase gives it a modern twist. That’s very much where I sit as an artist: somewhere between those traditional country references and a more pop-driven, contemporary feel.
Within the EP, I think it represents that front-facing side of ‘Keep It Peachy' really well. It’s fun, it’s bold, it’s the kind of song you want to play with the windows down in the summer. But underneath that, it still has that message of confidence and self-awareness, which ties back into the whole idea of the project. So yeah, I’m really proud of that one: it just feels like a perfect snapshot of that side of me.
It feels like country music has changed a lot in recent years: there’s more space now for artists who blur genres and bring different influences in. Do you feel like you’re arriving at the right moment for what you want to do?
It’s changed massively, and not just a little bit around the edges, but in a really fundamental way. If you go back even ten years, country music felt a lot more defined. There were clearer boundaries about what it should sound like, who it was for, and where it lived geographically. Even five years ago, when I first started going out to Nashville, it still felt like there were certain lanes you had to stay in, especially as a new artist trying to break through.
What’s happened since then is that those boundaries have opened up in a huge way. Sonically, you’re hearing so many more influences: pop, rock, indie, even hip-hop elements, and it’s not seen as “breaking the rules” anymore. It’s more like, if it feels authentic to the artist, then it belongs. That’s been a really important shift, because it means artists aren’t trying to fit into a box as much, they’re building their own sound instead.
I also think the global side of it has played a massive role. When I was younger, I was one of the only people I knew in the UK who listened to country music, and it wasn’t always seen as ‘cool' either. But now, you look at something like BST Hyde Park with artists like Morgan Wallen drawing tens of thousands of people, and you realise just how much the audience has grown internationally. That demand outside of the US has almost fed back into Nashville itself, encouraging it to be more open and more inclusive in terms of sound and style.
At the same time, I think the way people consume music has changed everything. With streaming and social media, listeners aren’t tied to one genre anymore. So as an artist, you’re not creating for a really narrow audience anymore, you’re creating for people who are already used to that diversity.
For me personally, that’s really exciting, because it means I don’t feel like I have to label myself too strictly. I don’t sit down and think, “This has to be a country song” or “This has to be pop.” I just make music that feels honest to me, and it naturally sits somewhere in that country-pop space. And I think that’s where the genre is heading more and more: it’s less about definition and more about feeling.
So overall, I think country has gone from being quite contained to being this much bigger, more open space. And that doesn’t take away from its roots, it still has that storytelling, that emotional core, but it gives artists the freedom to express that in new ways. And for someone like me, coming from the UK and bringing in different influences, that shift has made it possible to actually carve out a place within it.
Finally, in today’s industry, how do you balance being a songwriter first with the realities of social media, which has become such a huge part of breaking an artist?
Yeah, I think it depends on which side of me you’re asking, the songwriter or the artist, because I do see it slightly differently from both perspectives. If you’re asking me purely as a songwriter, then no, social media isn’t the most important thing. The most important thing will always be the song itself: how honest it is, how it makes people feel, whether it connects. That’s the foundation of everything I do and I don’t think that should ever change.
But if you’re asking me as an artist trying to build a career in today’s industry, then social media is undeniably important. It’s just part of the landscape now. I don’t really view it as this negative thing or something that takes away from the music, I see it as a tool. The reality is, the industry has always required you to find ways to get your music in front of people. Years ago, that might have meant spending 250 days a year on the road, playing small venues and gradually building an audience face-to-face. That’s still a valid and amazing way to do it but now you also have the option to reach thousands, even millions of people, in a matter of minutes through something like TikTok.
For me, it’s about perspective. I don’t go into social media thinking, “I need to be an influencer,” because that’s not who I am. I’m a songwriter first and foremost. But I do want people to hear the songs I’ve spent so much time creating, and social media gives me a direct way to share that. It removes a lot of the barriers that used to exist between artists and listeners. Someone can stumble across a clip of a song, connect with it instantly, and then go and explore everything else you’ve done: that’s incredibly powerful.
At the same time, I try to keep a healthy relationship with it. I don’t want it to define me or dictate what I create. The music always comes first. Social media is just the vehicle that helps deliver it to people. And I think when you approach it like that, when it’s about connection rather than validation, it becomes something really positive. It’s just another way of telling your story and inviting people into your world, rather than something you feel controlled by.
Check out Bellah Mae's new EP ‘Keep it Peachy' which is out today in all the usual places.
