Nana Wu
Sydney, Australia – Australian singer-songwriter MAY-A, born Maya Cumming, has captivated audiences with a powerful and distinctive take on Stevie Nicks’ iconic 1981 classic, "Edge of Seventeen," during her recent appearance on triple j’s renowned Like A Version segment. The 24-year-old artist offered a distortion-heavy, guitar-driven reinterpretation that meticulously stripped away the original’s instantly recognizable riff, rebuilding the song’s sonic architecture from the ground up to align with her burgeoning rock-infused identity. This performance, which premiered on Friday, March 20, 2026, comes on the heels of her critically acclaimed debut album, Goodbye (If You Call That Gone), and serves as a significant statement of her artistic direction.
A Bold Sonic Transformation
MAY-A’s rendition of "Edge of Seventeen" was a masterclass in reinterpretation, moving beyond mere homage to craft something uniquely her own. Accompanied by her live band, the performance commenced with a deliberately restrained, vocally-led arrangement, allowing the raw emotionality of Nicks’ lyrics to take precedence. MAY-A’s voice, balancing a delicate tenderness with a raspy, rock-edged delivery, commanded the initial moments, drawing listeners into the familiar narrative of loss and resilience. This understated opening soon gave way to a dramatic shift, as the track expanded into a considerably heavier, distortion-laden second half. The soundscape swelled with intense guitar and bass solos, showcasing a gritty, grunge-inflected aesthetic that starkly contrasted with the original’s shimmering, ethereal rock. The strategic removal of the original’s signature guitar riff was a deliberate artistic choice, creating space for MAY-A’s contemporary rock sensibilities to shine through without directly competing with Nicks’ legendary arrangement.
Central to the reimagining was the collaborative effort with guitarist and frequent collaborator Chloe Dadd. MAY-A revealed that the arrangement was the product of extensive experimentation during rehearsals. "When we started playing around with the idea of this song, we just played it in so many different ways," she stated, emphasizing the iterative process. "And my guitarist Chloe, she sort of built out the tracks." This collaborative spirit and willingness to deconstruct and rebuild underscore MAY-A’s commitment to artistic authenticity and innovation.
The Enduring Legacy of "Edge of Seventeen"
Stevie Nicks’ "Edge of Seventeen" holds a revered place in rock history, a testament to its powerful lyrics and distinctive sound. Released in 1981 as part of her debut solo album, Bella Donna, the song quickly became one of Nicks’ most enduring hits. Its evocative lyrics, famously inspired by the deaths of her uncle and John Lennon within a short period, explore themes of grief, loss, and the bittersweet transition from youth to adulthood. The iconic "white-winged dove" refrain, a misheard reference to "a white-winged pharaoh," has become synonymous with Nicks’ poetic storytelling. The original track is characterized by its driving drum beat, prominent bassline, and the distinctive 16th-note guitar riff, which has been sampled extensively in popular music, most notably in Destiny’s Child’s "Bootylicious."
MAY-A’s choice of "Edge of Seventeen" was deeply personal and intentional. She expressed a profound connection to Nicks’ unique approach to songwriting, particularly her ability to articulate grief and loss. "I haven’t seen someone write about grief and loss in such a powerful and strong way," MAY-A commented, describing this quality as "unique and inspiring." This insight highlights a shared thematic resonance between Nicks’ classic and MAY-A’s own introspective and often raw songwriting, providing a foundational link for her reinterpretation. By selecting a song so intrinsically tied to emotional depth and vulnerability, MAY-A not only showcased her vocal prowess but also reaffirmed her artistic identity as a storyteller exploring complex human experiences.
triple j’s Like A Version: A Platform for Artistic Reinvention
triple j’s Like A Version has long been a cornerstone of the Australian music landscape, serving as a vital platform for both established and emerging artists to showcase their creativity through cover songs. Launched in 2004, the segment has grown into a cultural phenomenon, with its weekly Friday morning performances eagerly anticipated by millions of listeners and viewers. The segment’s YouTube channel boasts hundreds of millions of views, demonstrating its immense reach and influence in breaking artists and offering new perspectives on beloved tracks. For artists like MAY-A, an appearance on Like A Version is more than just a performance slot; it’s an opportunity to reinterpret a classic, to introduce their sound to a broader audience, and to make a definitive artistic statement. Past performances, ranging from Gang of Youths’ emotional rendition of The Middle East’s "Blood" to Ocean Alley’s smooth take on Player’s "Baby Come Back," have often gone viral, significantly boosting artists’ profiles and sometimes even overshadowing their original material in popular consciousness.
The significance of MAY-A’s performance was subtly teased by the triple j team earlier in the week, with an Instagram Stories post featuring a scene from the film School of Rock. This playful hint generated considerable anticipation among fans, underscoring the segment’s ability to create buzz and engage its dedicated audience. This particular Like A Version appearance was also part of triple j’s expanded March programming slate, which saw the station double its weekly output of cover sessions to include both Friday and Tuesday performances throughout the month. This increased exposure further amplified the impact of MAY-A’s contribution, placing her performance within a curated series of high-profile reinterpretations.
MAY-A’s Evolving Artistic Identity and Debut Album
The Like A Version performance arrives at a pivotal moment in MAY-A’s career, coinciding with the release of her debut album, Goodbye (If You Call That Gone), on February 20, 2026. The album has been lauded for its raw honesty and deliberate departure from mainstream pop conventions, reflecting MAY-A’s journey of self-discovery and artistic consolidation. In a recent interview with The Music, Maya Cumming offered insights into her musical evolution, tracing her path from a "Taylor Swift pop girl" to a distinctive voice in contemporary rock.
"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 confessed. This sense of being an outsider, however, fueled her exploration of rock music, leading her to discover a pantheon of influential female artists. She cited iconic acts such as Sonic Youth, Bikini Kill, Paramore, Hole, and Evanescence as formative influences that provided her with a sense of belonging and empowerment. "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," she elaborated. This journey from pop to punk-adjacent rock underscores the authenticity of her current sound and her commitment to forging her own artistic path.
Goodbye (If You Call That Gone) embodies this philosophy, with MAY-A deliberately resisting commercial instincts in its creation. "This album is a slow burn; you have to sit with it. 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 asserted. This commitment to rawness and emotional depth is evident throughout the album, positioning it as a profound artistic statement rather than a collection of radio-friendly singles. Alongside her "Edge of Seventeen" cover, MAY-A also performed "Last Man on Earth," a track from her debut album, further cementing the album’s presence in the public consciousness and offering a direct contrast between her interpretive work and her original material.
Implications and Future Outlook
MAY-A’s bold reimagining of "Edge of Seventeen" carries significant implications for her career trajectory. The performance not only showcased her considerable talent and versatility but also solidified her artistic identity as a rock-inflected songwriter unafraid to tackle classics with a fresh perspective. Appearing on Like A Version frequently introduces artists to new demographics, and her particular take on Stevie Nicks could resonate deeply with fans of classic rock, grunge, and alternative music who might not have previously encountered her work. The exposure gained through Billboard’s coverage further extends her reach beyond the Australian market, positioning her as an artist to watch on an international scale.
The timing of this high-profile performance, shortly after her album release, is strategically crucial. It provides a powerful promotional boost for Goodbye (If You Call That Gone), encouraging listeners drawn in by the cover to explore her original material. The consistency between her Like A Version performance and her stated album philosophy — a raw, emotionally resonant, and rock-influenced sound — reinforces her artistic authenticity.
Looking ahead, MAY-A is set to embark on her Goodbye (If You Call That Gone) tour, which is scheduled to commence on April 2, 2026, at The Princess Theatre in Brisbane. Subsequent dates will take her to major cities including Sydney, Melbourne, Fremantle, and Adelaide. The momentum generated by her Like A Version appearance, coupled with the critical reception of her debut album, positions these tour dates as highly anticipated events for fans eager to experience her powerful live performances firsthand. As MAY-A continues to carve out her unique space in the music industry, her "Edge of Seventeen" cover stands as a definitive marker of her artistic courage and a testament to the enduring power of musical reinvention.
