“a vixen vocalist whose voice slyly creeps through the air like a sliver of cigarette smoke that coyly searches its way through a New Orleans jazz lounge. Her stage presence is a picture of delicate elegance as the diminutive singer coils around her microphone, delivering searching songs that traverse folk, jazz, country and electro pop.”
Blessed with silky tones and sassy poise, svelte chanteuse Kezia Nell has arrived in America. Originally from New Zealand she is a recent import to Asheville, North Carolina by way of Miami.
A uniquely old soul, Kezia was reared on a solid vinyl diet of 60’s soul, folk and psychedelia which is reflected in her upcoming debut album; which moves from sultry soul to rockabilly with a pop and was recorded at Redbull Studios, Auckland NZ. While Kezia’s voice recalls the powerfully husky sounds of Loretta Lynn and Elkie Brooks it retains a distinct identity of its own.
A common flair for Burlesque inspired performance ensures a visual as well as aural feast. While drawing on this cabaret style she retains her rock in roll sensibilities, interacting with her band and the audience. Her style has been coined ‘Marilyn Monroe meets Blondie’.
Her first release, Kezia & The Seven Year Itch EP featured the support of some of Wellington, New Zealand’s finest musicians, was released nationwide through Peachy Keen Recordings. The first single Pretty Baby, an upbeat, sexually- charged foray into electro pop- rock, received radio play nationwide on the bnet stations and was used in arts programme “The Gravy”.
No stranger to musical success, Kezia has played in the same circles as NZ The Phoenix Foundation, Video Kid, Lawrence Arabia, New Telepathic's, Fly My Pretties, The Black Seeds and UK indie luminaries Cornershop, Dodgy and Super Furry Animals
With a refreshingly confident approach to her art, she reflects: “On the whole I write love songs, but more along the lines of personal interaction and process. I don’t have a set sound, nor would I want one, I find the whole genre thing limiting, I just know a good song when I hear one, and a great album to me is one that has diversity’” when asked her view on live performance “I think it’s important to give the audience the whole package, both visual and aural, to take them on a journey to another time and place”