Leah Martin-Brown of Evol Walks – The NAMM Show 2026 Interviews

Leah Martin-Brown of Evol Walks – The NAMM Show 2026 Interviews

The floor of the Anaheim Convention Center was buzzing as this year’s NAMM Show brought together musicians, creators, and innovators from every corner of the industry. In the middle of the chaos — surrounded by gear demos, artist signings, and the constant hum of creativity — we caught up with Leah Martin‑Brown, the powerhouse vocalist behind Evol Walks and the newly released solo album Love and Other Crimes.

Fresh off the momentum of her Frontiers Music Srl debut, Leah opened up about the making of the album, her collaborations with legendary producers, the stories behind key tracks, and the return of Evol Walks after a long hiatus. From career advice for young artists chasing endorsement deals to her favorite microphones on the NAMM floor, Leah brought her trademark honesty, humor, and intensity to our conversation.

What follows is our full interview, recorded live at NAMM 2026.

We’re here with Leah Martin-Brown at The NAMM Show. First of all, what have been some of the highlights for you so far this year?
NAMM has already been such a blur. I was here yesterday and it was so busy that I barely got to look at anything. So honestly, seeing everybody has been a highlight. I’ve also been asked by Audix—who endorse me—to partner with them on a giveaway. Today I’m helping them promote one of their mics that’s being given away, so I’m trying to let as many people know about that as possible. And of course, checking out some of the new Gibson stuff. Every year you get to see so many cool people and cool gear.

How has it been being on Frontiers so far?
I’ve really loved being on Frontiers. They’re a great label, and I love the entire team. They’ve been super supportive of the music, and the album is doing really well. I definitely feel like I’ve found a good home there.

Your new album is called Love and Other Crimes. What’s the story behind that title?
The idea came from a lyric in one of the songs. In Hysterical Love, which was one of the first songs I worked on for the album, there’s a line that says, “It’s a love crime when you might die in her fire.” I thought it was a really fun lyric, so I used it as a play on words. And at the time, I wasn’t particularly fond of anything related to romantic relationships, so Love and Other Crimes felt fitting—because back then, love kind of felt like a crime.

Who produced Love and Other Crimes?
The producers were Mutt Lange and Tony Nilsson, who were also the co-writers. Tommy Denander came in as well—he did all of the guitars and finalized the production. He’s now listed as one of the co-producers too.

What was it like working with all of these legends?
It was amazing. I worked directly with Tony Nilsson and with Mutt Lange when I first went to Sweden to start the project. It was a dream come true. It was also very challenging—I’ve never worked on something this demanding—but in the best way. It absolutely made me a better artist.

Let’s talk about a few of the songs. Last time we spoke, only one track was out. Now we’ve got a bunch. Let’s start with “Mr. X.” Who is Mr. X?
Mr. X is more of an idea than a person. It’s about your “next” relationship—wondering whether this person is going to be good for you, whether they’re serious, or whether it’s just another waste of time. Are they actually in it for a relationship, or—as the lyrics point out—are they just in it for sex? I wanted the performance to feel a bit more melancholy than the original version, which is why I delivered the vocals the way I did.

Next up is “Are You Chicken,” which came out as a single. Tell me about the inspiration behind that one.
Are You Chicken is about someone who talks a big game—whether it’s over text, on the phone, or in person. They overpromise, and you’re calling them out on it. Like, “Okay, you’ve said all these things… now are you actually going to follow through, or are you wasting my time?” It’s very tongue‑in‑cheek.

“Clooney” — who’s that?
Clooney is basically about every musician dude you meet in Hollywood when you’re in your twenties. They’re all kind of the same — they’re down for a good time, they love the party, they love having you along for the ride… but they’re not looking for anything real. They’re chasing that Peter Pan syndrome. So Clooney is really just your typical Hollywood boy.

Why don’t you pick a few songs and tell me what inspired them?
Sure — but before I do, I want to be very transparent. These songs already existed before I came into the project. That said, they absolutely mean something to me, so when I talk about inspiration, I’m talking about what I took from them and how I approached the performance. I just want to make that clear.

Hysterical Love is a big one for me. It presents itself as a love song, and it is, but I also interpret it as being right on the edge of madness — that feeling when you’ve been waiting for the right person for so long, and then you finally meet them, and you’re trying not to lose yourself in it. That’s what Hysterical Love feels like to me.

I also think Levitate is really beautiful. That performance is very much about finding someone you’re obsessed with — someone who makes you feel like you’re literally levitating.

I’m sure you’re already working on new material. What can you share about what’s coming next?
Absolutely — I’d love to talk about new things. Evol Walks had to go on hiatus while I worked on this album, because a project with Mutt Lange deserves the proper time and respect. Now that it’s done, I’m fully back on the Evol Walks train.

I’ve got shows coming up, and I’ve been working on new Evol Walks music for five or six years. It’s still heavy rock, but with a lot of ’90s influence — not quite grunge, but definitely that hard, heavy rock and roll people expect from us, with a modern twist.

I have a bunch of new songs ready. There’s one in particular I’ve been working on with Hiram Hernandez that I’m really excited about. We also just started a TikTok, and we’re almost at 10,000 followers after only two months.

On February 16th, I’m releasing an acoustic version of Gun & a Crucifix — just to cleanse the palate. I recorded an acoustic EP back in 2023 that I had to pause releasing, so I’m putting those songs out to kickstart the Spotify algorithm again. Then I can drop the heavy stuff.

Do you have any other projects you can share at this time?
Nothing else at the moment. Leah Martin-Brown as a solo project is still something that’s signed, but I’m not sure yet whether I’ll be able to fold that into Evol Walks. I’m always looking for new opportunities, though. I just love working on music — all aspects of it.

Compare your home base in Hollywood to your home base in Australia. What are the differences?
It’s hard to compare the two. In Australia, everything feels calmer. It’s easier to relax, it’s more grounded, and you have more time — which means more space to create organically.

But when it comes to actually putting plans into action — recording, playing shows, getting things moving — it’s easier for me in the U.S. because I’ve spent most of my adult life here. I have a network, I know the venues, I know the people. Australia has a vibrant music scene, but because I’ve dipped in and out of it for about 12 years, my connections there aren’t as strong.

Australia is a great place to go when everything here becomes overwhelming. I can go home, reset, do some soul‑searching, and come back with a clearer idea of what I need to do for the next year or the next few months.

Everyone at NAMM is seeking an endorsement deal. What advice would you give a young musician trying to land one?
That’s a tough one — there are so many factors. I can only speak from my own experience, and everyone’s path is different, so I want to put that caveat out there.

First, you need to understand that brands are looking for artists who can showcase their product. If you have a wish list of companies you’d love to work with, think about how you can create an ecosystem around that brand — how you can add value.

And here’s the big thing: you might be the best musician they’ve ever seen, but if you’ve only played in your bedroom and there’s no evidence of your talent, it’s going to be tough. It’s very rare that someone sits down at a NAMM booth, shreds Stairway to Heaven, and walks away with an endorsement. I’m sure it happens, but it’s rare — especially now, when social media plays such a huge role.

So have a wish list, understand what’s realistic for your current level, and then work toward it in the year leading up to NAMM. If you want a guitar endorsement and you’re an incredible guitarist, start building your online presence across multiple platforms. Show people how good you are — not just by playing an amazing solo, but by breaking down how you did it, teaching, creating content, and finding different ways to stand out.

There are so many insanely talented musicians in the world. NAMM is full of them. So you need to identify what sets you apart and show brands why partnering with you makes sense. It’s about offering something of value to them, not just hoping they’ll hand you something because you’re talented.

Since we’re at NAMM, let’s talk gear. What microphones do you like and recommend?
I’m endorsed by Audix, and honestly, they’re the best mics I’ve used. I used Shure and Sennheiser in the past, but I’m firmly in the Audix camp now. I love their OM series — the AUDIX OMX E is the specific mic I use live. It suits my voice perfectly.

I also use their recording mics, which I really enjoy. They’ve just released a new wireless system where you can swap out the capsules depending on which model you prefer, which is very cool. They’re definitely the brand I stick with now.

Last question — do you have any messages for fans of your two projects who are reading this?
First of all, thank you for reading. And thank you to everyone who supports what I do — whether it’s the hard rock side or the pop side. I’m incredibly grateful for anyone who listens, follows along, and connects with the music. If you enjoy what I do, thank you so much. I couldn’t keep doing this without you, and I don’t take that for granted.

In Conclusion

As the crowds continued to surge through the halls of NAMM, Leah Martin‑Brown stepped back into the whirlwind with the same fire that fuels both her solo work and Evol Walks. Love and Other Crimes marks a bold new chapter for her — one shaped by legendary collaborators, emotional depth, and the kind of artistic growth that only comes from pushing yourself to the edge.

Whether she’s fronting a heavy rock band, crafting pop‑leaning solo material, or offering hard‑earned advice to the next generation of musicians, Leah remains unapologetically committed to the craft. And judging by the excitement surrounding her new music and the resurgence of Evol Walks, this is only the beginning of what promises to be a massive year for her.

If NAMM is about celebrating innovation, passion, and the people who keep music moving forward, then Leah Martin‑Brown embodies all of it — and we can’t wait to see where she goes next.

(Interview by Ken Morton – Photos by Karyn Burleigh of Rock Edge Photography)

Leah Martin-Brown on Instagram