Sydney singer-songwriter MAY-A has unveiled a powerful and transformative cover of Stevie Nicks’ iconic 1981 anthem, "Edge of Seventeen," as part of her appearance on triple j’s revered "Like A Version" segment. The 24-year-old artist, whose real name is Maya Cumming, presented a grunge-infused, guitar-driven interpretation that eschewed the original’s instantly recognizable riff in favor of a raw, recontextualized soundscape. This rendition, performed live on Friday, March 20, showcased MAY-A’s evolving artistic identity and her deep appreciation for the lyrical prowess of the Fleetwood Mac co-founder.
The performance began with a deliberately restrained, vocally-focused arrangement, allowing MAY-A’s distinct vocal timbre to take center stage. As the song progressed, the arrangement swelled, building into a cathartic, distortion-laden second half. This heavier iteration was punctuated by intricate guitar and bass solos, demonstrating the musical dexterity of MAY-A and her live band. The strategic reimagining not only honored the emotional core of Nicks’ original but also provided a robust platform for MAY-A’s own vocal delivery, which artfully balanced moments of tenderness with a raspy, rock-edged intensity.
Central to the success of this particular arrangement was guitarist and collaborator Chloe Dadd. The duo reportedly engaged in extensive experimentation during rehearsals, meticulously shaping the sonic landscape of the cover. "When we started playing around with the idea of this song, we just played it in so many different ways," MAY-A explained in a statement following the performance. "And my guitarist Chloe, she sort of built out the tracks." This collaborative approach underscores a commitment to artistic innovation, moving beyond a mere faithful reproduction to create something entirely new.
MAY-A’s choice of "Edge of Seventeen" was a considered one, stemming from a profound admiration for Stevie Nicks’ unique ability to articulate themes of loss and grief. "I haven’t seen someone write about grief and loss in such a powerful and strong way," MAY-A remarked, characterizing Nicks’ songwriting as "unique and inspiring." This thematic resonance with Nicks’ work speaks to a deeper connection beyond just musical admiration, hinting at the personal significance the song holds for the emerging artist. The anticipation for this cover was further amplified by triple j’s pre-release tease on Instagram Stories, which humorously referenced a scene from the film School of Rock, subtly signaling the energetic and possibly unconventional nature of the upcoming rendition.
This "Like A Version" appearance was part of a broader segment that also included MAY-A’s performance of "Last Man on Earth," a standout track from her debut album, Goodbye (If You Call That Gone), which was released on February 20. The release of her debut album marked a significant milestone in MAY-A’s career, signaling a move towards a more introspective and genre-bending sound. In a recent interview with The Music, Cumming elaborated on her journey into the rock genre, identifying formative influences such as Sonic Youth, Bikini Kill, Paramore, Hole, and Evanescence.
Her candid reflection on this transition revealed a personal evolution: "I was never from this scene – I was always a Taylor Swift pop girl – so when I got into rock in my teens, I felt like a fraud," she admitted. "These women made me feel seen, and made me realise I didn’t need to fit into all of these moulds I’d made for myself. I had to carve my own space." This sentiment highlights a conscious effort to forge an authentic artistic path, unconstrained by preconceived notions of genre or audience expectation.
Regarding her debut album, MAY-A articulated a deliberate artistic stance against commercial pressures. She described Goodbye (If You Call That Gone) as a "slow burn," requiring listener engagement rather than immediate gratification. "I deliberately didn’t make it hi-fi, or really catchy and full of hooks. This was as raw as I could make it," she stated, emphasizing a preference for authenticity and emotional depth over mainstream accessibility. This artistic philosophy is evident in the textured, often emotionally raw soundscapes that characterize her recent work.
The Goodbye (If You Call That Gone) tour is scheduled to commence on April 2 at The Princess Theatre in Brisbane, with subsequent dates planned for Sydney, Melbourne, Fremantle, and Adelaide. This tour promises to offer fans an immersive experience of MAY-A’s latest musical output and her dynamic live performance capabilities.
The "Like A Version" segment itself has become a significant platform within the Australian music landscape. Established in 2004, the segment has consistently provided a stage for artists to showcase their interpretive talents and expand their creative boundaries. Triple j’s decision to expand its weekly output for "Like A Version" throughout March, offering both Friday and Tuesday sessions for the first time, reflects the program’s enduring popularity and its role in fostering musical discovery and innovation among a broad audience. This expansion allowed for a greater diversity of artists and musical styles to be featured, further solidifying the program’s cultural impact.
The impact of such a platform extends beyond the immediate exposure for the performing artist. "Like A Version" covers often reintroduce classic songs to younger generations and offer fresh perspectives on beloved tracks for long-time fans. MAY-A’s interpretation of "Edge of Seventeen," with its distinct grunge-inspired edge, has the potential to resonate with a new demographic of listeners who may be drawn to its heavier, more experimental sonic qualities. Furthermore, the collaborative aspect of the performance, particularly the integral role of guitarist Chloe Dadd, highlights the importance of creative partnerships in developing unique artistic visions. The intricate arrangement and solo work suggest a band operating with a high level of musical synergy, a testament to their collective dedication to the project.
The broader implications of MAY-A’s "Like A Version" performance are tied to her burgeoning career trajectory. As an artist who has spoken openly about carving her own space within the music industry, this cover serves as a powerful statement of her artistic confidence and her willingness to reinterpret established works in her own distinctive voice. By taking on a song as iconic as "Edge of Seventeen," MAY-A not only demonstrates her technical proficiency but also her conceptual understanding of music, choosing a track that allows for emotional depth and a powerful sonic reimagining. This strategic move positions her as an artist who is both respectful of musical legacy and boldly innovative in her own right.
The original "Edge of Seventeen" by Stevie Nicks, released as part of her debut solo album Bella Donna in 1981, was a commercial and critical success. The song, known for its driving rhythm, Nicks’ distinctive vocal delivery, and Joe Walsh’s iconic guitar riff, reached number 11 on the Billboard Hot 100. It has since become a staple of classic rock radio and a touchstone of 1980s pop culture. Nicks’ lyrical themes on the song, which touch upon themes of youthful angst, betrayal, and resilience, continue to resonate with audiences decades later. MAY-A’s decision to tackle such a well-known and beloved track underscores her ambition and her ability to connect with the emotional weight of the original while infusing it with her own contemporary sound. The successful execution of this cover suggests a promising future for MAY-A as an artist capable of both respecting musical heritage and forging her own distinct path.
