For more than a decade, Australian outfit Kingswood have carved out a reputation as one of the country’s most enduring and genre-defying bands, blending heartland rock, country soul and Americana into a sound that feels both timeless and road-worn. Multi-Platinum and Gold ARIA-certified, ARIA-nominated and four-time Golden Guitar nominees, the band have amassed more than 80 million global streams while continually reinventing themselves without losing the grit and storytelling at the core of their music. Somewhere between the widescreen heartland of Tom Petty and the dusty swagger of Lynyrd Skynyrd, Kingswood have found a lane entirely their own: one built for open highways, dive bars and late-night reflection and quite a long way from where they started on debut album ‘Microscopic Wars' back in 2014.
That spirit runs deep through their latest album, Midnight Mavericks, a mature and purposeful record written in the lonely hours after the lights go down. Produced by Alexander Laska, the album leans into themes of ambition, restlessness, belonging and escape, wrapped in warm country-rock melodies and lived-in storytelling rather than glossy polish. Preceded by singles including ‘Lovin’ A Girl,' ‘Last First Kiss,' ‘Highway Signs' and the hook-heavy ‘Faith,' the record further plants Kingswood’s boots firmly in Americana territory, echoing the influence of artists like Neil Young and Gram Parsons while sounding confident in its own identity. Arriving alongside touring dates with Counting Crows, ‘Midnight Mavericks' feels less like a reinvention and more like the defining next chapter of a band operating at full force.
Kingswood waste no time setting the tone on ‘Midnight Mavericks,' opening with ‘Two Lovers,' an urgent, driving slice of pop-country that immediately establishes the album’s sonic palette. Sitting somewhere between the melodic warmth of Crowded House and the timeless glide of Eagles, it’s a song built on movement: both musically and emotionally. The addition of Steph Greenwood on the second verse adds a fresh dynamic, her voice providing a counterpoint as the narrative unfolds. “Past the crying and saying goodbye in the dark,” they sing, capturing the quiet devastation of two people drifting apart. It’s catchy, yes, but there’s a melancholy core that gives the earworm chorus real weight.
‘Lovin’ a Girl' keeps the tempo high but shifts the mood slightly, leaning into jangly, 90s pop-Americana that recalls The Rembrandts, Gin Blossoms and Scottish band Del Amitri. Built around a repeating guitar motif and buoyant rhythm section, it’s a road song at heart, dreaming of a love that hasn’t yet arrived. “Lovin’ a girl that I haven’t met,” they admit, before the hook lands with “Slow down, take my hand, got a one way ticket to Neverland.” It’s sun-drenched, melodic and instantly memorable, one of the album’s most immediate highlights.
That breezy energy continues into ‘The Action,' another uptempo track that blends barroom storytelling with that same 90s sheen. There’s a bluesy, slightly western edge creeping into the guitars here, giving it a bit more grit beneath the gloss. “I’m trying to get a piece of the action, trying to get a piece of your heart,” they sing, watching from the sidelines as desire and frustration collide. The harmonica solo adds texture, reinforcing that late-night bar vibe, while the narrative twist in the closing lines gives the song an extra kick.
‘Highway Signs' marks the album’s first real pivot, trading electric jangle for acoustic textures and a more reflective tone. It’s a road song in the truest sense: lonely miles, fading daylight and the constant pull of home. The imagery is vivid, full of sunsets and winding roads, while the addition of female backing vocals adds depth and emotional layering. Mandolin and bluesy electric flourishes give it a rural, almost folk-like feel, grounding the record in something more organic after its high-energy opening run.
‘Mary Jane' pulls things back into darker territory, blending that Crowded House-meets-Eagles aesthetic with a more shadowy lyrical edge. “One more dance with Mary Jane” becomes the central refrain, but whether Mary Jane is a woman or something more escapist is left deliberately ambiguous. “She’ll run through the woods just to follow the stars,” they sing, painting a portrait of something wild and untouchable. The bluesy guitars and moodier melodies give this track a late-night, almost hypnotic quality.
At over five minutes, ‘Jenny' is the album’s centrepiece: a sprawling, full-throttle rocker that leans heavily into Americana storytelling. It bursts out of the speakers with urgency, tracing the life of its titular character through love, work and the inevitable passage of time. “Nothing lasts forever,” they remind us, as slide guitars and twangy textures add a southern edge. There’s a sense of distance in the narrative too, as the protagonist watches Jenny from afar, never quite part of her story. It’s expansive, lived-in and one of the record’s most compelling moments.
‘Faith' eases things back again, settling into a laid-back groove that channels Tom Petty’s heartland cool with a touch of Crowded House melodic charm. The rhythm is simple, the guitars understated, but it allows the songwriting to shine. “I call her baby, everybody else calls her Faith,” they sing, elevating her into something almost symbolic, a source of light and meaning. It’s understated but effective, a breather that still carries emotional resonance.
‘Pouring Rain' is one of the album’s standout tracks, tapping into a darker, more cinematic sound. There are clear echoes of Roy Orbison, Johnny Cash and Chris Isaak here, particularly in the haunting melodies and western-tinged slide guitars. “I loved you on the corner in the pouring rain,” they sing, revisiting a love that burned bright and fast. The layered harmonies and rockabilly undercurrent make it both nostalgic and immersive and arguably the album’s most evocative moment.
‘Joanie' returns to that driving heartland rock energy, telling another tale of unattainable love. “Joanie was a killer, man, I wish you could have seen her,” they sing, building a picture of an almost mythical figure: part dream, part memory. There’s a strong sense of Americana storytelling here, wrapped in warm harmonies and a sound that again nods to Gin Blossoms and Crowded House. It’s catchy, urgent and full of character, just like ‘Joanie' herself!
Closing track ‘Last First Kiss' brings the album full circle, blending heartland rock with polished Americana pop. It starts simply before building into a bigger, harmony-driven chorus, buoyed by female backing vocals that add richness to the sound. “I don’t ever want to stop this train,” they sing, capturing that rush of new love and possibility. A bluesy guitar solo adds a final flourish, sending the album out on a hopeful, forward-looking note.
Across ‘Midnight Mavericks,' Kingswood continue to evolve, leaning further into American heartland, folk and country influences while still retaining their indie rock DNA. The result is a rich, varied record that moves effortlessly between jangly 90s Americana, darker western tones and classic melodic rock. It’s a heady mix: part Crowded House, part Eagles, part Orbison but it works. More importantly, it feels authentic. These are songs built for long drives, late nights and loud stages and it’s easy to imagine them taking on an even bigger life in a live setting.
Tracklist: 1. Two Lovers (feat. Steph Greenwood) 2. Lovin' A Girl 3. The Action 4. Highway Signs 5. Mary Jane 6. Jenny 7. Faith 8. Pouring Rain 9. Joanie 10. Last First Kiss Release Date: 22nd May Record Label: ABC Country Buy ‘Midnight Mavericks' right here
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