In 2024, Bec O’Malley went on a hike in the Peak District with his friends. He’d taken his acoustic

guitar with him and decided to film a quick video of him covering Dylan Gossett’s ‘Coal’ while out on

the misty paths. In the short clip, the young musician forgets the words a few lines in, but there was

something about it that connected with those who saw it on their algorithm. Perhaps it was the

unpolished charm of the video – mistake left in, cut off before he could try again – or his resonant

vocals that hit in even just a few seconds, or a combination of the two. The likes quickly poured in,

more so than for any other video he’d posted on TikTok before, igniting interest in this unknown talent.

O’Malley’s name may have been undiscovered when that video was posted, but by that point, he’d

already been playing music and writing his own songs for years. Growing up in Stockport, he first

picked up a guitar aged 12, learning the basics from his cousin and fleshing out the rest from

YouTube tutorials. A few years later, his interest turned from simply playing others’ creations to

working on his own, first in bands with school friends, and then on his own. Along the way, his sound

evolved, pulling in new influences and building the foundations for the music he makes today. “I was

doing the indie stuff for so long, and I was just getting bored of it,” he explains. “I started listening to

more of the modern side of country – Zach Bryan, Morgan Wallen, those guys – and it just revamped

it in my head.”

Rather than jumping on the bandwagon of the surging popularity of country music in the UK, the

genre is something that’s always been around O’Malley. He comes from an Irish family where music

was always playing around the house and at family gatherings, and “they’d always play all the country

music – a bit of American country, Irish country”.

The 23-year-old’s material, though, is a balance – one that draws from a world of Nashville skylines

and pick-up trucks, but also from his lived experience in the UK. Instead of parodying the language

and topics of his American counterparts, he puts his reality front and centre, writing about things he

and the people around him have seen or been through. “You don’t see many trucks around here,” he

laughs. “It just wouldn’t feel right to [copy US country] – it’d feel like role play.” It’s an approach he

sees as having a unique allure to it: “No one in the States is going to sing it from a perspective that I’d

sing it from.”

Sonically, too, he merges two disparate parts – country and indie – and, rather than be seen as

someone predominantly in one lane, he wants to be known for his distinctive blend of them both. A

love for The La’s, Sam Fender and Oasis have fuelled the indie side of his writing, with the latter band

in particular having a huge impact on him – not just musically, but in attitude and ambition, too. The

Gallaghers’ hometown of Burnage is just down the road from Stockport, and their influence seeped

into O’Malley’s surroundings early on. “You see Oasis and how big they got when they’re from just

down the road, and it’s like, ‘If they can do it, why can’t I?’” he reasons.

While posting on social media, O’Malley also built up his following and learned his craft the old-

fashioned way, too. During his university course in Liverpool, he’d return to Manchester on weekends

to play in the city’s Irish bars, sometimes playing multiple sets in a day. Those venues proved the

perfect performance classrooms as he battled rowdy crowds and learned how to get them on his side.

“Sometimes you’ll get people who are quiet, but then as the night goes on, everyone gets a bit more

pissed and scream and shout,” he says. “We’ve learned how to deal with them – and have a night

with them, as well.”

Since those days, he’s been invited to play at Manchester’s Neighbourhood Festival, support Weston

Lonely and was scheduled to support Jeff Lynne’s ELO at their farewell show at BST Hyde Park, until

Lynne’s medical issues meant the gig had to be scrapped (more high profile bookings are set for

2026, with appearances at State Fayre, Kendall Calling, Country Calling Festival and Highways’

Songwriters Round at Royal Albert Hall in the offing). By November 2025, O’Malley had booked – and

sold out – his first headline gig at Manchester’s famed Deaf Institute. These bookings would be

impressive for any emerging artist, but become even more so when you consider that they all came

without O’Malley releasing a single song.

For a long time, the rising artist’s tagline has been “singer with no songs out” – a slogan that gets

more powerful when witnessed beneath ever-growing follower counts. Soon, though, that line will

have to change – first, following the release of his debut single, ‘Let You Go’, and later, with the arrival

of his first EP. “It’s the end of an era – although I might just change it to ‘singer with one song’. When

the Grammy comes, I’ll just say ‘singer with a Grammy’,” he quips.

Although only just officially released, ‘Let You Go’ has already had a big impact on O’Malley’s journey.

The first video he posted online of him playing the track was the first clip of original material to really

take off, racking up over 900,000 views. Every day since, users have asked him when he’s releasing

it.

As a first single, it captures the heart of O’Malley’s songwriting – inventive storytelling that’s woven

into a sound that feels both familiar and fresh, all delivered in his gravelly northern drawl. “I’d be crazy

to ever let you go,” he sings, a line that’s spurred fans on to use the track in wedding videos. In reality,

the track takes on the perspective of a stalker, detailing their thoughts as they watch from afar.

‘Let You Go’ highlights the storytelling that sits at the core of O’Malley’s engaging lyricism, something

he grew into on a writing trip to Nashville. “When I was first writing songs, I was all about melody,” he

explains. “Getting more involved in the country scene makes you think about words more, and I spent

a bit of time out in Nashville, and they’re all so clever with lyrics and how the story flows from start to

finish. It made me love the story side of it.”

‘Two People Talking’, a stomping earworm rich in detail, picks up on another angle of that way of

writing – rather than putting the musician in someone else’s shoes, it twists his personal experiences

into a tale shot through with wise takeaways. “Hearts get broke when hopes get higher,” he warns at

one point. “It’s saying, ‘Don’t get your hopes up too high because it’s not happened yet’,” O’Malley

says. The mellower ‘See It From Here’, meanwhile, paints a picture of romantic sunsets and peaceful

road trips.

As O’Malley properly kickstarts his path and becomes a singer with some songs out, he’s keen to

maintain the balance he’s already found: “I love the stripped back side of music where it can just be a

fiddle, guitar and some vocals, but then I love the poppy side of things too, so it’s about finding a good

middle ground. I don’t know where it’s gonna go, but it’s about putting out the songs that feel the most

me and seeing what happens.” One thing that is certain, though, is that he’s driving forward with an

unlimited sense of ambition. “The goal is to be the biggest artist,” he says confidently. “I just want to

play big shows.” With songs as strong as the ones in his arsenal, reaching the big heights seems

inevitable.