Sydney singer-songwriter MAY-A delivered a powerful, distortion-laden rendition of Stevie Nicks’ iconic 1981 hit "Edge of Seventeen" for triple j’s highly anticipated "Like a Version" segment. The performance, which aired Friday, saw the 24-year-old artist reimagine the classic rock anthem with a decidedly grunge-infused aesthetic, stripping away the original’s instantly recognizable guitar riff and rebuilding the track with a raw, guitar-driven energy.
MAY-A, whose real name is Maya Cumming, presented a compelling interpretation that highlighted her vocal versatility and her band’s instrumental prowess. The rendition began with a more subdued, vocally focused arrangement, allowing Cumming’s voice to take center stage. As the song progressed, however, the performance escalated into a heavier, more intense soundscape, culminating in a cathartic second half characterized by searing guitar and bass solos. This dynamic shift underscored MAY-A’s artistic vision, transforming a familiar pop-rock staple into a statement piece reflecting her own evolving sound.
The decision to cover "Edge of Seventeen" was a deliberate one, stemming from MAY-A’s admiration for Stevie Nicks’ lyrical approach to themes of loss and grief. "I haven’t seen someone write about grief and loss in such a powerful and strong way," Cumming remarked, emphasizing the unique and inspiring quality of Nicks’ songwriting. This connection to the emotional depth of the original song provided a strong foundation for MAY-A’s transformative cover.
Collaborating closely with her guitarist, Chloe Dadd, MAY-A explored numerous arrangements during rehearsals to arrive at the final grunge-inspired interpretation. "When we started playing around with the idea of this song, we just played it in so many different ways," Cumming explained. "And my guitarist Chloe, she sort of built out the tracks." This experimental process allowed for the development of a sound that felt both respectful of the original and distinctly MAY-A.
The "Like a Version" performance was not the only offering from MAY-A during her appearance on triple j. She also performed "Last Man on Earth," a standout track from her debut album, Goodbye (If You Call That Gone), which was released on February 20. This pairing of an original work with a reimagined cover demonstrated the breadth of MAY-A’s artistry and her ability to connect with audiences through both established and new material.
MAY-A’s foray into rock music has been a significant aspect of her artistic journey. In a recent interview with The Music, she discussed her transition from a self-described "Taylor Swift pop girl" to a burgeoning rock artist. She cited influential figures such as Sonic Youth, Bikini Kill, Paramore, Hole, and Evanescence as pivotal in shaping her musical identity. "I was never from this scene," she admitted, reflecting on an initial feeling of being an outsider. "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."
Her debut album, Goodbye (If You Call That Gone), was intentionally crafted to resist immediate commercial appeal, aiming for a more enduring and raw listening experience. "This album is a slow burn; you have to sit with it," MAY-A stated. "I deliberately didn’t make it hi-fi, or really catchy and full of hooks. This was as raw as I could make it." This artistic philosophy suggests a commitment to authenticity and a desire to create music that resonates on a deeper, more personal level.
The "Like a Version" segment, a long-standing tradition on triple j, has become a significant platform for Australian artists to showcase their creative interpretations of popular songs. The program has a history of launching artists and cementing their place in the national music conversation. For MAY-A, this appearance offered a valuable opportunity to reach a wider audience and demonstrate her capabilities as a versatile and innovative musician. The segment’s expanded schedule in March, featuring both Friday and Tuesday sessions, allowed for more artists to participate, further amplifying the reach of the platform.
The triple j team itself hinted at the upcoming cover by sharing a scene from the film School of Rock on their Instagram Stories earlier in the week, building anticipation for the performance. This playful nod to a movie known for its embrace of rock music resonated with MAY-A’s own artistic leanings and the nature of her chosen cover.
MAY-A’s Goodbye (If You Call That Gone) national 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 will provide fans with an opportunity to experience her debut album live, further solidifying her presence in the Australian music scene. The success and critical reception of her "Like a Version" performance are likely to generate increased interest in her upcoming live shows and her evolving musical trajectory.
The transformation of Stevie Nicks’ "Edge of Seventeen" into a grunge-anthem by MAY-A represents more than just a cover song; it is a testament to the enduring power of classic songwriting and the ability of contemporary artists to imbue familiar melodies with new life and meaning. By infusing the 1981 hit with her signature raw energy and a modern rock sensibility, MAY-A has not only paid homage to a legendary artist but also firmly established her own distinct artistic voice within the vibrant Australian music landscape. Her performance serves as a compelling example of how musical heritage can be reinterpreted to resonate with new generations.
The choice to lean into a grunge aesthetic for a song as iconic as "Edge of Seventeen" is a bold move that speaks to MAY-A’s confidence as an artist. The original track, with its distinctive opening riff and driving rhythm, is deeply ingrained in popular culture. By opting to deconstruct and rebuild it with heavy distortion and extended solos, MAY-A signaled a departure from the expected, embracing a sound that aligns with her stated influences and the emotional undercurrents she sought to explore. This approach allowed for a more visceral and emotionally charged rendition, moving beyond a mere replication of the original to offer a fresh perspective.
The inclusion of guitar and bass solos in the latter half of the song further emphasized the band’s musical chemistry and MAY-A’s willingness to showcase instrumental talent. This extended instrumental section provided a canvas for the musicians to express themselves, adding layers of complexity and intensity to the performance. It also served to highlight the collaborative nature of the project, with each member contributing to the overall sonic tapestry. The synergy between MAY-A and her band was palpable, creating a performance that was both technically proficient and emotionally resonant.
MAY-A’s artistic development, as evidenced by her debut album and her "Like a Version" performance, suggests a conscious effort to forge a unique path in the music industry. Her resistance to conventional commercial pressures and her commitment to raw, unfiltered expression are characteristics that often define artists who achieve long-term critical acclaim and a dedicated fanbase. The "Like a Version" appearance, therefore, acts as a significant milestone, not only in her career but also in her ongoing dialogue with the music that has inspired her. It demonstrates her ability to engage with the past while confidently forging ahead into her own artistic future.
