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Natalie Henry was born on the 21st of June 1981, destined to be a Gemini tangled between the dualities of wild love and burning chaos. Mama taught her young what it was to watch someone leavin’, but from the warmth of the sleeper cab in her Papas truck, her bright young eyes fixed on the road ahead. Willie Nelson and The Highwaymen rode on static out of the stereo. 17 and invincible saw Henry drink drive right into a taxi cab; reckless energy meets powder yellow. Papa mumurs down the phone line, “take a taxi home, I’m too drunk to drive to the hospital”. 19 and nothin’ to lose saw her pondering God as the policeman keeps the drugs he found but lets her loose. Henry sits on the pavement thinking, “this life aint’ got any boundaries, for better or worse.” The Woman emerges and she thinks she’s found the 1950’s dream; the man, the ring and the three babies neatly packaged and tied with a bow. But just as dreams are want to do, it fades in the sobering light of day. He’s sleeping on someone else’s couch, she’s watching the empty wine glass on the kitchen bench. The silence is deafening, but not for much longer. Songwriting stakes its claim on Henry’s tomorrow; two heel clicks lands her in the heart of the Country Music scene at 34, with a lifetime of stories burning a hole in her throat. And her bird can sing. The tornado of change keeps whirring until, like the eye of the storm, Henry finds her feet in the promise of new love. There’s a Pride Flag tucked in her back pocket she hadn’t unfurled yet, but she dusts it off and flys it free for all the world to see. Women keep her warmer at night. Country Music’s beating heart is stronger for having her truth. The Apple and Pride era has arrived. But the eye of the storm doesn’t last forever. Henry is no stranger to chaos. The lovin’ and the leavin’ keep her high and wild. When love walked away once more Henry was sucked into the undertow of a thrashing new destructive and empowering energy, where the electricity of it all borne a brand new album. 218 people stood in a room and threw loose change into her ten-gallon. $15,000 later and they had championed Henry’s next chapter into existence. In 2021, Henry signed with Beverly Hillbilly Records, the legacy label of industry legend Catherine Britt. She spent a week sweatin’, cussin’ and cryin’ in a studio, tucked away in the hills of Byron Bay. Michael Moko of ARIA-chart renown banded with Britt to produce the record, and with a first-class band on board helped to bring this next record kickin’ and screamin’ into the world.