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New Interviews Show Indie Jeremy Nash to be "fearless when it comes to writing music, even if he experiences anxieties in everyday life"; Nash evokes comparisons to Jackson Browne, and imbues a bit of Paul Simon's subtle edge into many of his songs
(Published: November 17, 2015)


For Immediate Release                                                                                           
November 16, 2015
"As a singer-songwriter, he digs deep into himself to draw from personal experiences that reflect the kind of pressures that we all face - using music to bond listeners to our, often times, forgotten shared struggles"

New Interviews Show Indie Jeremy Nash to be "fearless when it comes to writing music, even if he experiences anxieties in everyday life"

In new interviews, indie songwriter Jeremy Nash reveals himself to be ""fearless when it comes to writing music, even if he experiences anxieties in everyday life." The authenticity of his emotions comes alive on his debut LP, ‘Getaway Driver', out now. Nash evokes comparisons to Jackson Browne, and imbues a bit of Paul Simon's subtle edge into many of his songs. Watch Nash's video for the title track, here: https://www.youtube.com/w...

Recent interview are below:

By Laurie Fanelli - 10/27/15
Exclusive Q&A: Jeremy Nash shares the inspiration behind 'Getaway Driver'
Jeremy Nash is fearless when it comes to writing music, even if he experiences anxieties in everyday life. As a singer-songwriter, he digs deep into himself to draw from personal experiences that reflect the kind of pressures that we all face - using music to bond listeners to our, often times, forgotten shared struggles.
With Getaway Driver, Nash's upcoming new album which will drop later this week, he explores going forward and moving on with sincere lyrics and consummate compositions. The brand new video for the album's title track - which can be seen above - is vulnerable with its stripped down acoustics allowing for Nash's passionate vocals to take center stage.
AXS got a chance to learn about Nash's biggest influences, his love of full-length LPs and his approach to writing Getaway Driver in an exclusive Q&A.
Laurie Fanelli (AXS): Congrats on the upcoming release of your new album, Getaway Driver. What are you most looking forward to as the album is set to drop on Oct. 30.
Jeremy Nash: Thank you! Getaway Driver has been years in the making, so I'm excited to share this deeply personal work with an audience beyond my close family and friends.
LF: The first track off the album is also called "Getaway Driver." Why did you choose this song to share a name with the release?
JN: I felt that the song reflects what, to me, are the two major themes of the album - a life of anxiety that has constantly kept me on the run emotionally, and the intense wanderlust I was feeling while making the record. Those two ideas run through all 11 songs to some degree, so naming the album after that song felt right. I think it also has a cinematic quality to it, especially pointing toward the golden age of Hollywood and the era of bank heist movies.
LF: How does this album differ either stylistically or thematically from your 2012 debut Too Far Apart?
JN: In the simplest thematic terms, Too Far Apart was an album of arrival while Getaway Driver is an album of departure. I wrote most of TFA during my early years in New York, settling into the big city after my years at a small, insular liberal arts college, Connecticut College in New London, CT. I was writing songs about late-night diner excursions, making eyes (or failing to) with pretty girls on the subway and struggling with self-expression in the land of the hipster elite. My producer, Breck Alan, and I were going for a fairly straightforward singer-songwriter sound with minimal studio wizardry, reflecting the Greenwich Village folk scene in which I'd found myself.
By contrast, I teamed up with producer Jeff Fettig for Getaway Driver with the intention of bringing a more contemporary approach into the mix. Most notably, we embraced the electric guitar in a way I'd been hesitant to the last time around. I found myself playing more electric than acoustic during these sessions, which was a new and exciting experience for me.
LF: As a former resident of New York City who currently calls Nashville home, I would love to know how those two very musical cities have influenced you as an artist?
JN: When it comes to this album specifically, I actually recorded it before I left Brooklyn, and to me it feels very married to the sounds I heard living and working there - I was a food runner at famed music venue Brooklyn Bowl from 2009 - 2014. I will say, however, that the songs I've written since moving to Nashville have really reflected my experiences there, both positive and negative. I also began focusing much more on my solo acoustic playing, buying a "new" guitar right before moving - a 1950 Martin 00-15 - and really learning how to distill my music down to just what's important. Whether or not I record that way in the future, it's been a hugely important step in my constant musical evolution.
LF: Speaking of influences, who are some of your favorite musicians?
JN: Some of my earliest memories are of listening to cassette tapes by The Beatles, Paul Simon and James Taylor in my parents' car. When I was 10 years old, I bought my first CD at the local Sam Goody - Counting Crows' August & Everything After. To this day it's still the most influential album on me as an artist. The level of self expression in Adam Duritz's songwriting was a revelation to me at the time. Once I got to college, I joined an a cappella singing group, which opened me up to a lot more classic music than I'd previously embraced, and I also got into folk singer-songwriters such as Ryan Adams, Josh Ritter and Glen Phillips, which began my trajectory toward American roots music.
LF: You have been very firm in your support of the LP. What are some of your favorite full-length albums of recent years?
JN: My favorite LPs are able to strike a balance of feeling like one cohesive work while offering up distinctive and memorable individual songs. To that end, the recent album that's made me the happiest - is there any better way to define a good album - is Blake Mills' Heigh Ho. I have a really hard time walking away from that one once it's started. I'd say my favorite from this year was Punch Brothers' The Phosphorescent Blues. Any album that can combine bluegrass standards, Beach Boys-level vocal harmonies, interpretations of Debussy and Scriabin, and T-Bone Burnett's legendary production is going to be a keeper in my book. And from a pure songwriting perspective, it's hard to get much better than Jason Isbell's Southeastern, Josh Ritter's So Runs the World Away or Anais Mitchell's Young Man in America.
LF: You are returning to New York for your CD release show on Oct. 27. What can fans expect from the performance?
JN: The CD release show will be my first with a full band in almost a year, so in that regard it will be a special occasion. I was able to bring together most of the band from Getaway Driver for the show, so fans can look forward to hearing how those songs translate to a live setting.
LF: Is there anything else you'd like to share with AXS readers?
JN: If you're reading this interview (thanks!), you probably already know this, but there is a mind-blowing amount of good music being made these days. I sincerely hope you listen to and enjoy my new record, but that's just the tip of the iceberg. It's never been a better time to be a music fan - I know from experience.
Pick-up Getaway Driver when it drops on Oct. 30 or pre-order it now on iTunes . Keep reading AXS for more music news, interviews and tour announcements.

By RJ Frometa, 11/2/15

Hi Jeremy, welcome to VENTS! How have you been?
Thanks! I'm doing really well. I'm back in Nashville after a week in New York for my album release show, which was an absolute blast.
Can you tell us more about the story behind your latest track "Getaway Driver?"
"Getaway Driver" was initially an attempt at writing a fun country-rocker in the Steve Earle vein, but as I started working on it, I saw a lot of parallels between a getaway driver and my lifelong struggles with anxiety and constantly running from intimacy. It wound up taking a turn in a much more personal direction, despite it being deeply buried in this bank robber metaphor.
Did any event in particular inspire this song?
I see songwriting as an amazing cathartic tool, but more than working through specific experiences, like a breakup for example, I use it to hopefully connect to listeners on a deeper level. I'm not always the most articulate at expressing myself off stage, but through my writing I think I've found a way to at least partially express whatever fears and neuroses are bouncing around inside my head.
Why did you decide to name the album after this song?
To me, the album has two separate yet related themes. On the one hand, many of the songs deal with these fears and anxieties that I've mentioned, whether they're about chronic over-thinking ("Everything Is As It Seems"), abandonment issues ("Waiting for the Fall"), or even Seasonal Affective Disorder ("Killin' It in California"). But I'd like to think there's also a hopeful quality to many of the songs, as they address a yearning to get out and explore; a sense of wanderlust, if you will. "Getaway Driver" fully embodies both of those ideas, so it felt like a perfect choice for a title track. Fans can check out the song here: http://www.elmoremagazine...
How was the recording and writing process for the album?
Having made two albums now, it really seems to me like each album you make is a direct reflection of your previous experience. I actually wrote the bulk of these songs while working on my debut LP, Too Far Apart, but it was important to me to spend a couple years with these songs playing them with a band and letting the arrangements develop organically. When it came time to record, I chose Brooklyn-based producer Jeff Fetting, whose contemporary aesthetic contrasted with Too Far Apart's more naturalistic approach. We put a band together that combined members of my live ensemble (bassist Bryan Percivall and keyboardist Dominic Fallacaro) with fantastic new additions Ray Rizzo (drums), Scott Metzger (guitar), and Tommy Bohlen (pedal steel). Jeff and I also spent many hours trying out ideas and coming up with parts on our own, fleshing out the recordings with textures such as pump organ, vocal choirs, lap steel, and Rhodes. All in all, it was a thrilling process!
In what ways has Jackson Browne influenced your sound and/or the album?
Jackson Browne's influence affected me later than some of his contemporaries that I listened to as a child, such as Paul Simon, James Taylor, and the Beatles. I do remember really enjoying his 1993 album, I'm Alive, when that came out, but it wasn't until college when I got his greatest hits for my birthday that I truly grasped the depth of his talents. I was obviously not alive in the 60s and 70s, but he has this way of making you feel like you were right there in the thick of it, even after all these years. Whether he's reflecting on personal memories ("Fountain of Sorrow") or broader generational issues ("Before the Deluge"), the guy just taps into something truly extraordinary.
Where did you find the inspiration for the songs and lyrics on this record?
I tend to write about my own struggles and experiences, but as far as inspiration goes, I'm also a lover of all things pop culture. For example, I was writing one of the more emotional songs on the album, and when I got to the end of the first verse, my mind jumped to Bill Paxton in the movie "Aliens" yelling "Game over, man! Game over," and it ended up becoming the title of the song. I think the most important part of writing lyrics is finding your own unique voice and staying true to who you are. For me, I'm constantly quoting movies and TV shows, so I try to embrace that whenever it's appropriate (and even sometimes when it isn't).
What things did you want to express on this new album?
It's funny, while I was making the album I really thought it was a breakup album with New York, but in the time since, I've realized that it was a breakup album with my 20s. All of the aspects of New York that I thought were weighing me down were actually holding me up. I guess it suggests that the album may be more universal than I anticipated, since I hope it can apply to anyone's need for change.
Did your move to Nashville influence the album in anyway?
I actually recorded the album before moving, which was important to me since New York is where I'd written these songs. Even something as simple as my trip to and from the studio informed the direction of the album to a tremendous degree. I will say, however, that my first year in Nashville really opened me up as a songwriter. As cosmopolitan as Nashville is, it's still a massive transition moving to the south after 30 years in the northeast, and I was able to mine that culture shock for some moving new tunes. I also began co-writing to a greater degree than I ever did in New York, and you can really learn a lot about your writing habits when you put yourself in a co-writer's shoes for a few hours. I'm looking forward to recording these new songs sometime in the near future.
Why did you move there from NY/NJ?
I touched on it earlier, but I got to a point where I'd been essentially living the same life for most of my 20s, and as I left that decade I felt like I needed a change. Nashville offered an appealing alternative to the hustle and bustle of NYC while providing a creative atmosphere in which to take my music career more seriously. I do miss New York like crazy now that I'm away from it, but I've started a new chapter in my life and I can't wait to see what's in store.
Any plans to hit the road?
I don't have anything concrete yet, but I'm working on putting some dates together for early 2016. I've never really booked a full tour, so it'll be interesting to see how folks outside of New York and Nashville respond to my music. Keep an eye on https://www.facebook.com/... and http://jeremynash.bandcam...
What else is happening next in Jeremy Nash's world?
I've only recently come back to Tennessee after a summer back east with family, so I'm really looking forward to a new beginning, not just with the album, but with life in general. Thanks so much for taking the time to chat, and I'm hoping that Getaway Driver will contribute to an already spectacular year of music.

ELMORE MAGAZINE - Exclusive Song Premiere


October 7th, 2015
Getaway Driver is Jeremy Nash's new album, set for digital release on October 30th.
Nash credits the raw, emotional elements in his songwriting to years of listening to Counting Crows and Ryan Adams. His authentic lyrics and catchy tunes also bring to mind bits of Jackson Browne and Paul Simon- not a bad combo. After spending close to a decade in New York City's folk scene, a move was made to Nashville where he has the ability to truly shine as a writer and performer. Following 2012's debut, Too Far Apart, Nash wanted to dig deeper into his feelings and depict 21st century experiences through anxieties, isolation, and our longing for human connection. Getaway Driver is the result. "I'm not the best at expressing myself in "real life," so for me, songwriting gives me a chance to connect to people on a deeper emotional level," Nash has said.  Stream the title track off Nash's new album below. He says it's a happy accident of a song. "Every once in a while, I set out to write a happy song, but it rarely goes the way I expect it to. I was listening to a lot of Steve Earle and thought it'd be fun to write a song about a getaway driver in his country-rock style. Turns out I had a lot more to say about living with fear and anxiety, and it ended up with the unusual distinction of being both intensely personal and broadly accessible." For more on Jeremy Nash, visit Facebook or bandcamp .

On ‘Getaway Driver', Nash emerges as an engaging storyteller with a healthy respect for the LP format and for the cathartic release offered by songwriting - especially for someone who is admittedly uncomfortable in his day-to-day skin, and often haunted by crippling anxiety. He comments: "I'm not the best at expressing myself in "real life," so for me, songwriting gives me a chance to connect to people on a deeper emotional level. Most of the songs on the album see me trying (and sometimes failing) to make these connections, fighting through various fears and anxieties in the process.  Even though my songs frequently appear to be talking about the hopes, challenges and heartbreak of romantic relationships, very often the romance I refer to is really a metaphor for dealing with issues of trust, commitment and belief applicable to many other aspects of life. In many ways, the record to me really was a breakup album with New York, though once I moved to Nashville I realized it was more about breaking up with your 20s."

Nash's journey has taken him from New York/New Jersey to Nashville, and his geographical roots are evident on the polished 11-song folk-rock album. From the quiet isolation and envy of highlight track ‘Killin' It in California' to the propulsive Americana-infused title song, ‘Getaway Driver' (inspired by Steve Earle,) to the resignation and yearning of ‘Game Over', Nash aims to "explore our longing for human connection and the often crippling apprehension that goes along with it."

A U.S. tour is in the works for the months ahead, with details to be announced soon.


More Information: http://https://www.facebook.com/jeremynashmusic

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