The Oxfordshire country songwriter makes his Belladrum debut on the Trailer Trash stage, bringing traditional country, sharp storytelling and a new album on the way.
Ags Connolly has built his reputation on traditional country music, direct songwriting and a determination to mean every word he sings.With new album Yesterday’s Man due later this year, he makes his Belladrum debut this summer. We spoke to Ags about finding his place in country music, the influence of James Hand and what Bella can expect from his first appearance at the festival.
You’re coming to Belladrum for the first time this summer, playing the Trailer Trash stage on the Saturday. What kind of introduction to Ags Connolly do you want that crowd to get?
Well whenever I play to a new crowd I’m very aware that I need to introduce myself properly…I try to give people an overview of the different types of songs I play, whilst explaining who I am and why I play the music I do. I have no doubt the Belladrum crowd will get what I’m doing.
Moose Hollow brings roots music, country, Americana and a bit of “Cosmic American Music” together in one place. Does that spirit feel close to the world your own music comes from?
To be honest, anyone trying to bring this music to people in the UK is fine by me. Rob Ellen – the man behind the Moose – knows exactly where this music comes from and how people respond to it. So yes, it’s very much the same ‘conversation’ I have with audiences all the time.
Oxfordshire is not the obvious starting point for someone so deeply connected to traditional country, Texas honky-tonk and border sounds. What was it about that music that first made you think, “That’s where I belong”?
I can’t say exactly. But songwriting has always been the most important thing for me, and at some point I realised that the songwriting in traditional country music suited me best – it was very direct, and simple in the most challenging way. I didn’t grow up with it but when I found it, I know it was what I had to do.
You’ve often been described as someone who defends the traditional roots of country music. At a time when country is reaching bigger pop and rock audiences, what does “real country” mean to you now?
Country music has always been a feeling above anything else. It has very strong links to American folk and blues but there is a specific feeling about country music. I think when it gets diluted with other genres you lose some of that feeling. Some people think country is a specific sound or look, but it’s more than that. It’s hard to put your finger on, and to be honest I think it’s getting harder to find as time goes on.
Siempre leaned deeply into Texas music, Tejano sounds and barroom waltzes. Looking back on that record now, did it change how you thought about the boundaries of traditional country?
I don’t think it changed how I thought about it – those were always sub-genres of country in my mind. For example, tejano music is very often lively with sad lyrics, exactly like Texas honky tonk. My aim with that album was really just to celebrate all the things I liked in Texas country.
You’ve spoken before about the importance of James Hand, and then made Your Pal Slim: Songs of James Hand. What did his writing and performing teach you that still sits inside your own songs?
James Hand was a very singular artist and person. He wasn’t the perfect musician or technical songwriter, but there isn’t a single word in any song he wrote that he didn’t mean. That’s very important to me.
A lot of your songs live in bars, small towns, missed chances and moments of regret, but they never feel overplayed. How do you keep that sadness honest rather than sentimental?
I think the key is to address the situation that the song is about, rather than trying to create a contrived world that sounds like the setting for a country song. I’m not sure I totally avoid the sentimental bit, but I’m aware of not overdoing it.
You’ve said songwriting is at the centre of what you do, and that songs can take months to properly settle. How do you know when an Ags Connolly song is finished?
I tend to trust my instincts on things like that. And if they’re telling me a song isn’t finished I then need to sit down and work out why. Those instincts in songwriters come from practise, yes, but also years and years of listening to other people’s songs and figuring out what works and doesn’t.
You’ve played across the UK, Ireland and Europe, where audiences can have very different relationships with country music. What do you think a Scottish festival crowd might bring to these songs?
In my experience, Scottish crowds are very well-versed in country music. I can make references to some of the older artists and people actually know who I’m on about… Plus I’ll be 100% expecting some banter!
Across your original albums, Siempre and the James Hand tribute, you’ve built a very clear musical world. As you arrive at Belladrum, where do you feel you are creatively now?
I’ve just finished my next album, Yesterday’s Man – due for release later this year – which is an album where I focus even more on my songwriting. I intend it to be the first of a run of albums like that. That might sound obvious, but to me it’s very important that every record I make is as strong as it can be. I’m very aware of leaving a legacy that means something.
Ags Connolly talks about country music as a feeling rather than a sound or an image. That comes through in everything here, from the lasting influence of James Hand to his refusal to create a contrived country world simply because it fits the genre.With Yesterday’s Man beginning what he hopes will be a new run of songwriter-led albums, Belladrum gets Ags at an interesting point: looking forward, but still fiercely connected to the music that brought him here.
Expect honest songs, traditional country and, apparently, plenty of Scottish banter.
Ags Connolly plays the Trailer Trash stage at 7pm on Saturday 1 August at Belladrum 2026.
