Nena Anderson

1. Beyond The Lights by Nena Anderson
A complete, well-rounded ear full of Americana music that features the sultry, understated vocals and songwriting ability of Nena Anderson. Anderson uses her soulful approach to pull you into her world of lost love laments with delightful ease. The songs are so well crafted, and with the help of her solid backing band, make up a gorgeous collection of material. It’s a record that I seem to keep going back to over the course of last year and I am sure, because of its depth and staying power, I will be spinning it for years to come. - Sd Rock N Roll

Nena Anderson’s new album Beyond The Lights is a handful of honky tonk lost love laments. The album’s ten songs focus on Anderson’s alluringly smooth vocals with the sturdy starter “I Fall In Love Too Fast” setting the table. Nena’s subtle vocal approach grabs your ear before its slow and sultry pace moves into a soft, swinging dance. She establishes her ability to tug at the heart strings early on, using an unassuming vocal style that lulls you into a comfortable listening place.
The second song “Daggers” starts to ever-so-slightly raise the vocal stakes as Anderson opens up and begins to push her range. It doesn’t hurt that she can lean on the fine playing of pedal steel guitarist David Berzansky as he creates a moody back drop. The rollicking “Daggers” also features the first of many of the album’s extremely tasty guitar solos from producer and guitarist Mike Butler.
In the third song “Sink or Swim,” Anderson wades through a bluesy shuffle with Butler dropping a quaint, jazzy flurry before the song fades into a whisper.
A few songs pass before the album finds its groove again, though song five “Long Goodbye” sounds like it can fit comfortably on any good Cowboy Junkies album. However, it’s “Promises” that cracks the whip and sets the album back on pace as the band jumps into a strong groove with Anderson pleading “Easy baby you don’t have to throw stones my way.”
It’s halfway through track number 8, “One More,” that I’m convinced of Anderson’s ability to craft multiple styles of music. Be it the heart-grabbing emotion she uses on the slower waltzes, or the punch she delivers to the up-tempo jumping jukes, Nena Anderson has a firm grasp on songwriting. She ends Beyond The Lights in style with a slow blues walk. The album closer starts with a sparse acapella before she and the boys use a slow, stinging blues pace to bring the title track home. Anderson’s ten song affair is a compelling alt country ride that casts a spotlight on a vocal and songwriting ability that is sure to last. - SD Rock N Roll

Encinitas native Nena Anderson, who opens, is worth arriving early to hear. She draws from the same styles as Holland, but is developing a distinctive and inviting sound of her own. Anderson's impressive debut album, "Beyond the Lights," indicates that she's a growing talent worth tracking. - George Varga 10/3/11 - SignOnSanDiego.com / San Diego Union-Tribune

“I Fall in Love Too Fast” is the new single from Nena Anderson’s debut album, Beyond the Lights, but it might as well refer to how quickly you’ll become enamored with her on first listen. Recently released to unanimous praise, the Encinitas native has fashioned a solid collection of gorgeous songs that sound like they’ve been spinning on turntables since the 60’s. And if the lead-off single somehow doesn’t do the trick, songs like “Sink or Swim” and “Daggers” will have you hopelessly hooked.



Maybe it’s the melodies that seem instantly familiar; or maybe it’s her voice – a sweet, tender, yet strong and soulful instrument full of both melancholy and resiliency. In an age of bombastic, belting wannabe-divas, it’s refreshing to hear a charming, understated and tasteful singer like Nena. Her new album could rightfully take it’s place as soundtrack de facto for the poor, broken-hearted souls drowning their sorrows in bourbon down at the local dive, but it could just as easily be a call-to-arms for those same folks to stand up and refuse to be miserable any longer; for every song on Beyond the Lights about a failed relationship, there seems to be one about bouncing back and moving on.

One can’t help but wonder if Anderson writes from experience – but if she does, it sounds like she’s doing quite alright. She’s been nominated for 7 San Diego Music Awards and besides her solo career with her backing band, The Mules, she also fronts the country band Brawley, and the rock outfit The Neverout. She was kind enough to answer some questions for us, between band rehearsals for her record release show at the Belly Up Tavern in Solana Beach on September 14th with Dead Feather Moon. Take our advice and catch her in concert, and be sure to pick up Beyond the Lights at Amazon.com, nenaanderson.bandcamp.com, or at one of her shows.





When did you start singing, playing music and writing songs?

I started singing at a very early age, mostly standing on top of the picnic table in our yard, belting out Go Go’s songs. That evolved into singing in school plays and eventually a rock band in Hollywood while I was in college. While I’ve been writing songs since I was 19, I never played most of them publicly until the last few years, when I decided to learn to play guitar too.

What made you want to pursue music?

It’s always been a part of my life. It keeps me sane. There never really has a been a definitive thing that made me want to pursue music…it’s just what i do. I did make a career change a few years ago to make music my career (as opposed to working full-time and playing music). I decided it was time to put 100% of my energy towards it for a while and see what happens.

What are your influences these days? Do you listen to anything in particular; are there more recent inspirations?

Influences are all around. I’m influenced by people and their stories, or the stories I envision them to have. Musically, it’s all over the place. Most recently, I’ve been sorting through my parents’ record collection (which is now mine) and remembering stuff I had forgotten and LOVE…Ventures, Byrds, Hoyt Axton, Joni Mitchell, BB King.

Tell us about Beyond the Lights: when was it recorded and where?

Recorded in March 2011. Rhythm tracks were recorded at White Horse Recorders. Vocals and guitars at Big Fish Studios, both in San Diego CA.

Was it a quick process or did it take quite awhile to put together?

It was quick. I had already been working these songs for a nearly a year and we recorded everything as live and spontaneous as possible.

When you were writing songs for the album – did you know right away that they were going to end up on the record, and not for use in one of your other projects – or is everything you write basically fair game for whoever you play with?

It’s all fair game. Some songs I do write specifically for a project, but most of the time, they fit across genres. And I’ve tried them all with the different instrumentation and players, just to see what would stick! In the end, for the album, several songs got cut because they didn’t fit into the flow of the album as a whole. And when we recorded the record, I tried to include the best elements from my other projects into it as well.

Was there a particular sound (era, genre, specific records, etc) you were aiming for?

I wanted this album to be Americana/Roots Rock, reflecting my influences in country, jazz, blues, and rock…without being any one of those things. At the same time, I wanted a really timeless classic soulfulness to the record yet with modern production and appeal. In pre-production, I did reference a little of Lucinda Williams’ “Car Wheels on a Gravel Road,” Ryan Adams and Chris Isaak for ideas and tones.

A lot of the songs on Beyond the Lights seem to be about broken relationships – or your approach to them in general – are the songs autobiographical or do you piece ideas or different thoughts together?

I do both. Often things start out autobiographical or biographical and then I develop the song around an idea or hook. Having been a vocalist long before I really delved into writing, people often think the song I’m singing is autobiographical…I try to interpret every song as if it is when I perform.

As a fan of your music, it’s easy for me to hear a song of yours and think ‘That is just a great song!” But when you were recording the album – did you have that same reaction after you were done with each song?

I am always amazed that people connect to my music or like my songs and I’m always surprised by what songs strike them the most. I’ve never felt any of my songs were ‘great’ by any means…I’ve always had a really difficult time in listening to myself recorded. Maybe that’s why I’ve performed for nearly 20 years and this is my first album! In recording Beyond the Lights, the songs did take on a new life…I give all the credit for that to my producer Mike Butler, and to the band, for adding their knowledge and talent to making these recordings exceed my expectations.

Does the title have a particular significance to you?

The album is named after one of the tracks. ‘Beyond the Lights’ refers to the idea of comfort and loneliness in the spotlight, or just as a musician or artist. In a way, most of the songs on the album were written out of sadness and comfort.

You’ve recently filmed a video for “I Fall in Love Too Fast” – and it seems to fit the mood of the song perfectly. Tell us a little bit about it; how did that come together?

I recently met director, D David Morin, at a birthday party for a mutual friend. He fell in love with the song and wanted to make a video for it. From the beginning, he completely understood the vibe of the song and how we would interpret it. We spent one day scouting in downtown LA and the following week, spent a day shooting it. It was great fun, and considering that I’m painfully camera-shy, he made everything work beautifully.

“I Fall In Love Too Fast” – NENA ANDERSON from d. david morin on Vimeo.



You’ve played shows around San Diego for awhile and people can see you pretty regularly at the moment – are there any favorite places to play in town (and why)?

My favorite places to play are also some of my favorite places to see bands.

1. Belly Up: Aside from it’s big stage and amazing sound system, Belly Up is my hometown venue. I even won a ‘battle of the bands’ contest there in the 90's. They’re part of my musical family and whenever I play there, I definitely feel the love!

2. Casbah: the most fun place to play loud and have that energy from the crowd right in your face. And there’s something about the idea of knowing I’m played on the same stage as some of my punk, grunge and rock heros that makes me want to really put on a kick ass show when I hit the stage.

3. Riviera Supper Club: best jukebox, drinks, tots, and grill your own steaks. I love that the audience can relax in a booth while the band plays. It’s the kind of place that I’m comfortable playing a quiet intimate set, or rocking it out with the band.

4. Bar Pink: always an eclectic crowd! Room for dancing and I’m loving the revitalization of the North Park area.

Any stories about a particularly horrible (or great!) show that you’d like to share?

My first solo show (without a band) was both horrible and great! I opened for Raul Malo at the Belly Up for a seated show. The place was packed: full balconies, tables set out all around the dance floor and dead quiet. These people were there for a show…and I was used to the comforting ambient noise of the bar and chatter. I was terrified. When I booked the show, I hadn’t really considered that I had only been playing guitar for a short amount of time…and that usually that was with a band. One whiskey later, I stepped out on stage and literally trembling, got through the first song. Then something kicked in, and the performer in me took over. Someone said that I even cracked a few jokes, but honestly it was mostly a blur! The great part? …it was far from my best performance, but I managed to sell over 40 EP’s that night and it encouraged me to continue to work on my solo show.

If there was one artist or band you could open for, over the last 60 years – who would you choose and why?

Only one?! That’s impossible! Would it have to relate to my music? Etta James. The Clash. Willie Nelson.

Lastly, now that your record is out and the response has been stellar – what’s next for you?

Promoting Beyond the Lights, playing more shows, filming more videos, writing, and working on the next record! And working on more collaborations… - ThreeBzine.com

I’m thrilled that you agreed to this interview, I have followed you for a while and I am unashamedly a fan and as curious about you as all your fans and soon to be fans, so with that caveat let’s get started.

You have been on this music train for quite a while – tell us a little of your journey.

I’ve been singing since I was a little girl, but started to find my voice when I was in our 6th grade class musical. In high school I didn’t sing much, but I was the school DJ, spinning records for events and pep rallies so I got my musical fix there. In college (UCLA) I sang in a band in Hollywood that played classic rock covers. We rehearsed a lot, but never had a show. After singing in various bands and experimenting with house music, I started singing blues. I was surrounded by incredible talents very early on: Billy Watson, Nathan James, Robin Henkel, and others…people that encouraged me and helped me hone my craft as a blues singer. For the first time as a vocalist I really found my niche…it was very natural! Shortly after I started a jump blues band called Lucky Scandal & The Many Shades of Sin, later changing the name to 47combo. The band had wonderful players that were in essence like mentors to me (Eric Lieberman, Jonny Viau, Sue Palmer). We had a great run of 5 years or so, playing everywhere from the Derby to The Casbah and Belly Up. I learned so much from that experience, booking and managing a band as well as working on my vocal style. By the time the “swing craze” had wore itself out, so had I… I was working a full-time creative job while singing 5-6 nights a week…so I took a few years off to regroup and decide what my next evolution would be. A few years later it became jazz. Gilbert Castellanos encouraged me to sing at Onyx room jam sessions and I did for a while until I put together a band and started singing standards at local venues and parties. I love jazz…it always keeps me on my toes, listening and stretching my abilities.

Jazz people called me a ‘blues singer’ and blues people called me a ‘jazz singer.’ I always thought I was both…and neither. For many years it was strange to me to be singing jazz & blues & americana…my father used to play that stuff on the radio kpbs when I was a growing up, and I hated it back then. I was a new wave kid, going to punk and ska and rock shows! And now I really love all of that music, and I think that it all has a place in my influence, whether in music or attitude!

So I’ve been mostly singing jazz for the last 10 years. I decided to learn to play guitar around 4-1/2 years ago because I wanted to be able to communicate my original songs to my players in a better way. I’ve written songs since the very beginning, but I was always either afraid/self-conscious about them, or felt they were improperly translated by the musicians I tried to teach them to. By learning guitar I was able to play the song as I heard it in my head. One of these songs, “Say You’ll Be Mine,” was recorded and appeared on several compilations in Europe and Asia. Getting that first royalty check gave me the courage to write more and take my songwriting more seriously. I’ve never considered myself a songwriter. It still seems kind of strange…

From that point on I started writing songs for my record “Beyond The Lights.” Most of the jazzier tunes got dropped in favor of a more modern sound. I still play many of them live, but they didn’t fit the vibe of the record. For the last year or so I played most of these songs in 4 different bands and styles (The Neverout – rock, Nena Anderson + The Mules – solo band, my jazz trio and Brawley – country/honky-tonk). It helped me to shape the songs how I thought they would sound best and best represent me, as well as pull elements from each style. I figured if the songs could hold up to the different genres, everything was good! And they did…earning me SDMA nominations for best jazz, best country and best new artist in 2010 for those projects.

The first thing that comes to mind when I hear you sing is your lovely vocal stylings, I went right to Google and pulled up names and voices I had heard in my childhood – Billie Holiday, Bessie Smith, Sarah Vaughan, Ethel Waters, Rosemary Clooney all such amazing voices and talents. Your voice is in that good company and your blusey original songs give a big nod to those that came before you. Was that a decision you made when you started your career?

In the beginning, it wasn’t a decision…it just WAS. When I found out how much I loved blues and jazz and how natural it was for me to sing it, I studied, and I dug deep. I had never heard Billie Holiday or any jazz or blues really up until that time. I love Big Maybelle, Lil Green, Big Mama Thornton, Dinah Washington, Anita O’day, Peggy Lee, King Cole Trio, Lightning Hopkins, Joni Mitchell, Patsy Cline, Etta James, Sam Cooke…the list is endless. As I studied and sang, it always was in my mind to imitate only to learn…and to always work to keep my own voice and style, while honoring the real emotion of those great vocalists. As for my originals, I think all of those influences are so ingrained in me that the songs just come out that way.

Now having said that – you give nods to country greats as well. What is the appeal to you?

Country music is blues too, sad music that makes you feel good, and many of the country and blues/jazz vocals covered the same material…making it their own. I always try to do the same. I spent quite a few years swing dancing years ago, and got really into two-step and honky-tonk in particular. Same as blues, when I really started to discover country music, I dug deep into the old stuff. When it really comes down to it, it’s not so much the genre that grabs me, it’s the songwriting and delivery. That stuff is genuine and not ‘produced’ in modern terms.

You also do pop tunes. Why work in all these genres?

Exploration. Fun! Sometimes I just want to play loud! I believe if my songs hold up to different genres, then the songwriting is solid. Some of my favorite influences are artists such as Dave Alvin, John Doe, Lucinda Williams, Johnny Cash and The Paladins … Americana / Roots artists that can play country, blues, folk, rock…and blend those in their original music.

Let’s talk about songwriting. You are a wonderful storyteller and I’m impressed in how assessable and deceptively uncomplicated your lyrics are – there is a wonderful clarity, and getting beautifully to the point in most all your songs. Well done that. What makes a good song for you as a songwriter?

Wow! Thank you!! I usually think my songs are too simple…that people won’t get it. I always wanted to write beautiful storytelling songs like Willie Nelson or Neil Young or Leonard Cohen. I realized early on that is not my style. A good song for me is short and to the point. 2-4 minutes, nothing extraneous in regards to instrumentation or lyrics. Something that you feel in your gut…whether you hate it or love it…it should make you FEEL something.

What inspires you to write?

Many things. Love and life. Relationships of all sorts. A good song. Interactions between people and their stories. A good line. Poetry. I love to see live music…it inspires me always to listen, watch, learn. I try to see live music as often as I can!

I have been asking this question lately and I am often surprised by the answers. Do you have any rituals you do before sitting down to write?

Not really. Sometimes it revolves around which guitar I chose to write with. Or, depending on my mood, sometimes I’ll pour myself a glass of bourbon to sip while I work.

How about before you go on stage?

No rituals before a show either. I don’t like too many people backstage. I need my mental space before a show and I like privacy.

You want to turn hipsters into two steppers. I’m sure I got that wrong – how close was I?

Ha! Converting hipsters to honky-tonkers.

You work all the time and in so many different musical expressions. One band – ‘Brawley’. Second band – ‘Neverout’. Third band – ‘Nena Anderson and the Mules’ – Fourth- Duos and now a solo CD ‘Beyond the Lights’ coming out soon. Would you give us an overview of each group, and introduce everyone to all the players?

Brawley – California Honky-Tonk — standards & originals

members: Me: rhythm guitar/vocals, Adrian Demain (Lee Rocker, Billy Bacon): guitar/vocals, Jim Austin (Smith’s Ranch Boys): upright bass, David Berzansky (Hacienda Brothers): pedal steel. Our drummer, John Kuhlken, passed on earlier this year.

The Neverout – Indie Rock — originals?members : Me: rhythm guitar/vocals, O (Olive Lawn, Fluf, Reeve Oliver): bass, Mike Butler (The Boxmasters, Billy Bob Thornton): guitar, William Driskill (Buckfast Superbee): drums

Nena Anderson + The Mules (solo band) — this is the band on the “Beyond The Lights” cd, with a couple of guest players

members: Me: rhythm guitar/vocals, Mike Butler: guitar, Patrick McClory (Alex Woodard Band): bass, Brian ‘Nucci’ Cantrell (Jack Tempchin): drums, and me :)

Duo / Trio — Jazz & Americana — standards & originals

members: ”duo” with Adrian Demain: guitar, me: rhythm guitar/vocals . “trio” with the addition of Rob Thorson: upright bass

Solo — on rare occasions I play solo, just me and guitar

The new CD ‘Beyond The Lights’ is your first full-length album, tell us a little about getting that project and getting it going.

I’ve been performing live for all these years and never made an album. I suppose the time just wasn’t right. So a few years ago I quit my day job to pursue music full-time for the first time in my life. Essentially…I had no excuse not to make this record! It all fell into place when I met Mike Butler. Finally, I had found the producer I was looking for…someone with high level professional industry experience, amazing chops, and who totally understood what I do, without wanting to change it. Everything he brought to the project made it better while keeping in my vision. I partially funded the project with a pre-sale of cds on Kickstarter.com.

What is wonderful is to look at the evolution of a song and how an artist interprets it. One of your most popular songs ‘I fall In Love To Fast’ is on a vid on YouTube, with you singing solo with a guitar, then fans will hear it produced on the new CD with a wonderful country feel. Tell us about writing this song and its evolution.

The feel of this song came from playing with Brawley. I had been playing lot of slow country shuffle-y songs and that worked so well with this tune. I had written the hook/chorus lyric for this song nearly 6 months before I wrote the song, and the version I sing with Brawley is twice as long as the “Beyond The Lights” version. It tells more of the story originally, but edited it to what was important for the album version. I don’t like long songs.

What for you is the best thing about what you do?

The best thing is being able to reach someone emotionally. I often have people tell me that they love my sad songs…because they make them feel better…that someone feels something they’ve experienced. When someone tells me a song made them cry, it’s beautiful…it moved them.

‘Daggers’ slide guitared 1-4-5 right into my country heart. Great piece – love the banjo on the way out. This cut defiantly has an old time, clean drum, feel. How did the arrangement come about?

“Daggers” was a blues song…it’s been played every which way…2-beat, vamp, shuffle, swing. In recording it with The Mules, I wanted to give it a sound that was definitively not a traditional or ‘bar band’ blues feel…wanted it dark and swampy. Already the minor to major changes gave it a little different vibe. All the rest was created by my producer/guitarist, Mike Butler. He played the banjo, guitar and lap steel on the song.

‘Sink or Swim’ great hook great tune. Tell us about the writing of this song.

I wrote this song quickly. I didn’t play it out for a long time because I had intended on changing some of the lyrics in the chorus. After revising it a few times, in the end, it sounded best just the way I initially wrote it.

‘Roses and Kisses’ a little rock, a little honky-tonk, and a lot-o-fun. Clean perfect vocal and wonderful musicianship – probably my favorite, here you wrote a sad song that makes you feel good listening to it. Tell us something of the decision to arrange this song the way you did.

My demo of this song is stark – single strums that ring out and the vocal. It sounded like it was recorded in the 1930's. Messing around with it in the studio, we let the drummer, Brian run with it, Mike’s direction being: “let’s give it a Ray Charles vibe.” It’s such a simple song, it works well fast, slow, jazzy or upbeat, and this version of it is my favorite.

“It’s so bitter sweet to be by your side
I want you to stay and I want you to go
You keep telling me that you’re just a ghost
But we all are, honey, don’t you know
It’s a long goodbye”

‘Long Goodbye’ is a lovely homage to another dancing cheek-to-cheek time. Great lyrics. How did this song come to be?

This song was crafted. It was the first song that I wrote that didn’t just write itself. I pieced together several songs I was working on over several months.
It was based on my own experiences and those of friends…the sadness of a relationship changing and sometimes how we extend the ‘goodbye’ or ending of relationships.

‘Promises’ A bit of ‘Crazy Horse’ styled country rock with Nena nailing a cool vocal. Love this song.

Nice reference. I love that this song is difficult for people to classify. It expresses a sentiment that I think many of us have felt…losing part of yourself or changing how you act when trying to salvage a relationship.

‘Give me one more night
Give me one more kiss
Give me one last time to remember this
Give me one turn around
Tomorrow I will be leaving this town’

‘One More’ time to get up and dance – Nena play this one more time and then again and again. This one is my favorite on the CD, one that deserves to be a national country hit, and make you a STAR. You did everything right on this one. Nena tell us about this song and what you intended in the writing and recording of this one.

It was initially intended as a ‘throwaway” song for Brawley. A song that was upbeat and fun…something for the dancers. It was inspired by my good friend and Brawley bassist Jim Austin (although I don’t think he knows that!) because he loves to dance and play songs to get dancers moving. As the song evolved (we also played in The Neverout – it took on a more Social Distortion kind of sound) I wanted to blend the country and rock elements for my album. And David Berzansky is an amazing pedal steel player that just rocks this song!

For me, this song will forever be dedicated to our drummer, John Kuhlken, who passed away earlier this summer. It was his favorite of the songs I wrote for Brawley and I still tear up when I sing “give me one more chance to hear that sound” … I think all of us in the band wish we had one more chance to hear him drumming with us.

A wonderful homage.

‘Over You’ a slow danceable heartbreakin’ lament to fall in love to. The old rock style B3 licks are terrific. I can feel that you love singing this one. The lyrics have a modern bent, while the music is giving homage to the kind I danced to in the early 60s – how about giving us a little workshop on this song?

This song was written late one night, after several glasses of whiskey. A little drunk, very sad, and dealing with a difficult heartbreak. It was originally titled “Driving and Crying.” I must have reworked this song 3 or 4 times before I got the arrangement right. Mike Feldman “took it to church” as we like to say with the organ pads.

‘Hush’ A lovely sad lullaby, an angelic vocal , and old style county riffs on the low strings. What made you write this song?

This song was written for a cd compilation project that will be released in October 2011. I was given a letter and asked to write a song about it…the mother of an infant that had lost her husband in the line of duty. I had never written a song based on something given to me before. I couldn’t wrap my head around it. One day, after a month or more of working on it, Alex Woodard (who gave me the letter and co-wrote/arranged the song) said to me “Roses & Kisses is a perfect song…write it like that. Go home and do it now!” So I did…I scrapped what I had before and wrote “Hush” in a matter of minutes. My take on the letter was as a mother soothing her infant with a lullaby…part apology, part love letter, part reassurance.

Your cover of Helen Thompson’s ‘Going Down To Big Mary’s’ a live jazzy/ blues number really shining a modern rocking light and nodding lovingly to another time. A movie rolled in my head – 1953, inner city outskirts, moonless dark, old cars, cool local dive, low lights, smoke, bad whiskey, Rosemary Cloony on the jukebox. Songwriting gold this one. Loved it. Tell us about this fantastic song.

This is a cover of a cover! And NOT ON THE ALBUM. This was a secret, live bonus track that only comes with download on my site. Recorded live at the Belly Up. This was always one of my favorite songs played by The Paladins…still is.

‘Beyond The Lights.’ Picking this as the title for the CD was spot on. Nena, here I think you are at your best, singing root blues and R&B. This one rocks me. I have a hard time figuring out what I like best – you as a country Diva, or you melting an audience with blues and R&B. Where does your heart lie? Where do you see yourself as an artist?

I see myself continuing to blur the lines. This is American music…blues, jazz, rock, country.

You do it all well, indeed. You’re having a CD release party soon. tell us where and when.

Belly Up, Sept 14th my set is 9pm. tickets are $8 advance / $10 door, doors open at 7:30pm. Two other great bands playing: Old Tiger warms it up at 8pm and Dead Feather Moon will close out the evening at 10pm

Is there anything else going on that we should know?

Solo acoustic showcase for The San Diego Music Thing 9:50pm at Claire De Lune. Big show coming up at The Museum of Making Music Oct 7.

Is there anything you want your fans, and future fans to know about Nena Anderson that they don’t now know.

I just released my first music video for “I Fall In Love Too Fast.” You can watch it on vimeo or youtube. More music videos are in the works for “Daggers,” “Sink or Swim” “Roses & Kisses” and “One More” and…I’m available for house concerts!

I had the best time listening to your CD. Nena, this CD will surly make you a bigger star than you already are. You are an artist to be reckoned with. I feel privileged to have had this time with you. Dave and I wish you the very, very, best. - SanDiegoAcoustic.com

“I was raised in the idyllic beach town of Encinitas, the daughter of a surfboard shaper,” says singer/songwriter Nena Anderson, known for her soulful vocals, distinct phrasing, and charismatic stage presence. “Blues players like to call me a jazz singer. Jazz players like to call me a blues singer. I am both and neither. I write a lot of country songs.”

Since 2008, her various band projects have earned seven San Diego Music Awards nominations, including Best Jazz, Best Acoustic, Best Americana (with Brawley), and Best New Artist (with the Neverout).

Anderson’s new full-length Beyond the Lights, her first solo album of all-original material, was recorded locally at Transfer’s studio (White Horse Recorders) for her Kalinda Record Company label. Produced by contributing guitarist Mike Butler (Low Volts, Blackout Party), the project was partially funded via donations solicited at Kickstarter.com. A sample lyric from the title track reveals a recurring theme behind most of the ten tracks: “When I’m here/ I let the stage drown me/ So that I can’t see beyond the lights.”

“It’s about how playing music can be the loneliest and yet most comforting thing at the same time,” says Anderson. “Like the blues. A sad song that makes you feel good.”

Anderson designed and produced the album artwork, with photography by Frank Lee Drennen (Dead Rock West, Loam, Hatchet Brothers). The Belly Up hosts Nena Anderson’s CD-release party on Wednesday, September 14, with Americana bands Old Tiger and Dead Feather Moon also performing.

WHAT’S IN YOUR MUSIC PLAYER?

1) Etta James, Etta James Rocks the House. “Etta in her early years. This record makes me want to dance and sing.”

2) Crazy Heart, soundtrack. “The movie was just okay, but the soundtrack is great. I swoon for Jeff Bridges and Ryan Bingham.”

3) X, Beyond & Back: The X Anthology. “Sometimes you just need to crank it up and sing along to ‘White Girl.’”

WHAT DO YOU LISTEN TO FOR INSPIRATION?

“The Byrds, Sweetheart of the Rodeo. Gram Parsons and the band play soulful country music, which is a great inspiration when I’m writing songs.”

MOST EMBARRASSING SONG IN YOUR PLAYER?

“Poison’s ‘Every Rose Has Its Thorn,’ but I plan to countrify it as a two-step and play it with Brawley.”

WHERE DO YOU GO TO RELAX?

“Swami’s Meditation Gardens in Encinitas. Lush, serene, and with an amazing sunset view.”

FAVORITE CONCERT?

“The Mexican band Maná, 1990 at the San Diego Sports Arena. They’re like the Latino version of the Police. It was a packed house, and everyone was dancing and singing so loud that the whole place roared.”

FIRST TIME DRUNK?

“I was 16 and playing a beach-volleyball tournament in Baja, and we would drink tequila off the bottle between each serve. I don’t care much for tequila now.”

WORST GIG EVER?

“One night at Arterra in Del Mar I was singing with a jazz quartet. They had remodeled and decided to move us from inside the lounge to outside, next to the pool, in the middle of winter. We played for three hours in damp weather…must have been around 40 degrees. I was wearing two scarves, a wool hat and coat, boots, and gloves, and still ended up losing my voice for two weeks. We quit the venue after that.”

ANY FEARS OR PHOBIAS?

“I get claustrophobic in nightclubs.”

WHO SHOULD PLAY YOU IN A MOVIE?

“Audrey Hepburn. Or maybe Maggie Gyllenhaal.”

EVER BEEN A CRIME VICTIM?

“I had my car broken into last month in L.A. They left all the good stuff — the stereo, sunglasses, a vintage suede jacket — but they took a bag of fireworks I bought for the Fourth of July.”

BEST EATERY TO TAKE OUT-OF-TOWN GUESTS?

“Karina’s Taco Shop or Jorge’s Mexicatessen in Encinitas.”

THREE THINGS WE DON’T KNOW ABOUT YOU?

1) “I’ve been surfing since I was seven years old.”

2) “I collect glass star lanterns.”

3) “I hate to be photographed.”

4) “I have a cooking and food blog.”

5) “I can’t count. I think that was four things.” ¦ - San Diego Reader

The magician appears onstage and starts producing rabbits from hats whenever Nena Anderson’s jazz-informed phrasing is answered by Demain’s perceptive colorings. Moving between jazz standards, original and vintage country material and ensembles, Anderson’s been turning into a world-class vocalist. It’s the kind of growth that’s exciting to watch, especially now that engaging chanteuse Romy Kaye’s become a local memory (she’s now in N’awlins).

Later I tell Anderson that I look forward to her moody, compelling originals (an unusual situation when musicians favor covers) and she confides, “That’s what everyone says.” As she cries the refrain to “Changing My Ways (to be there for you)” the TV behind the bar is screening Pygmalion, the film in which guttersnipe Eliza turns herself inside out for Professor Higgins. It’s the scene where Leslie Howard (as Higgins) shows some dismay as he realizes Eliza’s gone. I know where she is, and that the gods are smiling on Anderson and, by extension, Brawley. - San Diego Entertainer

Nena Anderson’s career is like a layer cake. The 37-year-old whose bourbon-smooth voice sounds like a blend of Lucinda Williams and Billie Holliday started off singing the blues nearly two decades ago and now fronts three bands whose songs range from cocktail-hour jazz to grittier Americana.

All three of her bands—the more countrified Brawley, rock-influenced The Neverout and her eponymous quartet— were nominated for 2010 San Diego Music Awards and include respected musicians like Adrian Demain, Mike Butler and O. On the stage, Anderson exudes the enviable self-assurance of someone who’s exactly where she’s supposed to be. It’s surprising, then, that her Kickstarter.com profile opens with this: “I’ve struggled with my musical identity most of my life.”

(Kickstarter is a website that artists and musicians use to raise money for projects. Last month, Anderson launched a fundraising campaign to record her first proper album.)

It’s a challenge, she admits, to blend all the elements that have influenced her musically throughout the years—especially when it comes time to put those songs to tape.

“Right now, it’s been about trying to make it all flow together,” she says, “especially for the album, so I can have all of those things in there without it being disconnected.”

The Encinitas native says she didn’t feel any sort of calling to play music until she was 21 and joined some friends— all of whom were just learning to play—at an open-mic at a Carlsbad coffeehouse.

“I just went to hang out with my friends,” she says. “I wasn’t planning on doing anything.” But when she started singing, “something clicked,” she says.

“And everybody was like, ‘You were a blues singer in another life! You were a large black woman in another life! Where did that voice come from?’ “When I started singing blues, it just fit,” she recalls. “It was like magic.”
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For eight years, Anderson fronted a swing band, playing regular gigs at The Derby in Los Angeles. She got married, had a baby and started performing with acclaimed local Latin-jazz musician Gilbert Castellanos during his jazz-jam nights at the Onyx Room.

“It pretty quickly evolved into me doing a jazz gig and singing a lot of standards because it was a challenge,” she says. “I hadn’t really done anything like that. After I did that for awhile, then, I kind of, again, I got bored.”

This is a thread that runs through the narrative of her career. Those three words, “I got bored,” mark the spots where she decided to change things up. And, it’s not about changing things just a little. Anderson, who works as a freelance art director, has an innate drive for perfection.

“I work really, really hard,” she says. “And the minute I master something, or I’m bored with it, I find something new to challenge me.”

Three years ago, she decided to learn to play guitar—she was frustrated, she says, that no one could interpret her music exactly the way she heard it in her head. To force herself to practice and feel more comfortable performing for an audience, she’d go to an open-mic night in La Mesa.

“I figured it was safe because it was really far from home: No one will know me; I can just hack away,” she says. “It forced me every week to practice and play because I knew I’d be there in front of people struggling through a song.”

She knows that with her natural jazz-and-blues-singer voice, she could make a decent living doing corporate gigs and regular bar nights. But that’s not what she wants. It’s a challenge, but for all the wrong reasons.

“There’s good money in doing that,” she says. “But, again, to me, I can only do so much of it. It makes me hate music. And not because I don’t like the music I play, but because, just, six or seven hours at an event…. It’s just that it’s a really hard life and a really hard lifestyle.”

She launched her Kickstarter fundraising campaign on Nov. 11 and hit her goal—$3,000—on Dec. 6 with four days to spare. She’s recording at White Horse Recorders, the studio owned by members of local band Transfer.

Though she’s midway through recording the album—she hopes to release it in early spring—in January, Anderson’s going on a 10-day tour with Cash’d Out, the local Johnny Cash cover band, performing June Carter songs. Normally, Cash’d Out’s Junes do a few songs with the band and that’s it. But Anderson recognized a new challenge.

“I was like, ‘I want to open the show, I want to do the duets and then I’ll do a couple songs after that,’” she says. “Then they go, ‘Do you want to play rhythm guitar with the band, too?’ And I was like, ‘Yeah, because I would way rather be on stage and playing than sitting around watching you guys.’

“But, all of a sudden, within a month, I’ve got to learn a lot of songs,” she laughs. “It’s a challenge and it’s something to add to my own music, having that knowledge.”


Nena Anderson will perform at Lestat’s on Friday, Dec. 17. Brawley will perform at Bar Pink on Thursday, Dec. 16. nenaanderson.com
- San Diego CityBeat