When we last spoke with Nashville-based Emily Nenni in 2022, she had just released ON THE RANCH, an album written during Covid while she was in lockdown on a ranch in Colorado. Four years and two albums later, we caught up again with the California-born artist after the release of MOVIN’SHOES, her recently released record on the New West label. Spurred on by real-life and personal issues, the album delves deeply into how we interact with others and ourselves.
You’ve said your new album, MOVIN’ SHOES, isn’t strictly honky tonk, unlike your earlier records. In our review, we compared it more to Dusty Springfield than Loretta Lynn. Is that a reasonable comparison?
That is an incredibly flattering comparison! I’m sure it has something to do with Memphis, the gifted musicians I worked with, as well as Matt Ross-Spang and John James’ engineering and production. I have been a fan of Dusty’s from a young age, and it was only a matter of time before her sound made its way into my music.
Does this change in musical direction reflect your influences or signal a sound you plan to pursue?
I am influenced by all types of music. Country, soul, funk, R&B, rap, jazz, blues and bluegrass. I’d like to think my previous records have a little bit of everything mixed in, but with this record and the ones to come, I’d like to hear it a little more up front.
Working again with producer John James Tourville, did his familiarity help create a more relaxed recording environment?
I love working with John James primarily because he allows the musicians to play like themselves. Sometimes a producer will hear a specific part in their head and force a player to play something that isn’t natural to them, and you can hear it. I am so fortunate to play with all of these talented folks, and they all bring something different to the table. John James allows them to shine, brings great energy to the sessions, and yes, is someone I trust very much. He is a beautiful person who hears what I’m writing and takes the time to reflect with me.
You recorded in Memphis this time. Given the album’s country-soul feel, was that location an obvious choice?
We mixed my last record, DRIVE & CRY, in Memphis at Southern Grooves with Matt Ross-Spang. It was just me, John James and Ross-Spang. Firstly, the studio is so special. Matt put so much time, thought and energy into building it. Secondly, I saw those two working together while mixing and knew they’d record well together. I think my soul inspiration came before working in Memphis, but its rich history certainly didn’t hurt the sound.
How long did the recording take?
We recorded for about a week and a half. At the end of the ten days, John James and I talked about how easy recording felt. The band worked so well together, and Ross-Spang is such a pro; it made it feel like pure joy. Right after recording was finished, we drove from Memphis back to Nashville, then straight to Austin, Texas, for South by Southwest. It was a whirlwind of a time.
Did you record with your regular band players?
I have used Alex Lyon on bass for ON THE RANCH, DRIVE & CRY and MOVIN’ SHOES. Jack Quiggins has been on rhythm and lead guitar here and there for DRIVE & CRY and MOVIN’ SHOES. I also work with these two when I’m recording my demos, and they generously help me add any chord changes that don’t come naturally. I trust their ears. The rest were by Matt Ross-Spang.
Were the horn section local Memphis players?
Yes, local Memphis players. Art Edmaiston, Marc Franklin, and Kirk Smothers. They’re unreal players.
Much of your songwriting on your albums plays out like a ‘here and now,’ an update of your current state of mind. That appears to be a consistent in your style of writing.
Yes, when I sit down to write, it’s mainly about what’s on my mind. Some of that could still be stuff from years ago that I haven’t processed. I don’t have a journal or a diary; I just write songs. So, it’s a very public permanent diary for all to hear.
There are a number of ‘questioning’ songs on the new album, like Take My Money, What Have I Done Wrong, and You Only Said It To Hurt Me. Are these songs firsthand or fictional, or a mixture of both?
Take My Money is about a management company I worked with briefly right around the time DRIVE & CRY was released. They didn’t do half of what they said they would when they worked with me, and in the end, they wanted all of my money. None of what they worked for. What Have I Done Wrong and You Only Said It To Hurt Me are also autobiographical, but from a relationship I had in my early twenties. It was a very unhealthy relationship, and some of those experiences still affect me now.
Your song Living In Shame speaks of ‘body shaming’ that confronts women exclusively. It’s a topic that you obviously and rightly feel strong about.
I wouldn’t say body shaming, more body image. I think the public is too hard on women’s bodies, but I know that men and women alike are too hard on their own bodies. We all see ourselves and have days of a lot of self-love, and others of feeling not good enough. It can be a lifelong struggle for so many, and it’s exhausting. Life is a lot bigger than your pant size.
You included two covers on the album, Paul Simon’s Tenderness and Derrell McClinton’s Honky Tonkin (I Guess I Done Me Some). Both are interesting choices. What drew you towards them?
Tenderness reflects a lot of the subjects I discuss throughout the record. It just felt right to record it, and sonically it’s a beautiful blend of country and soul. Honky Tonkin’ is a song we used to close our sets with; it’s such a blast to play. I’m such a fan of Delbert McClinton. His cadence and stage presence are something I admire very much.
I’ve noted some of my favourite tracks on the album. Are there ones in particular that give you the most personal satisfaction?
Movin’ Shoes is one of my favourites, sonically and lyrically. I am very proud of the message and the groove.
After a decade of hard work in Nashville and blending modern and traditional country music, has the journey become any easier?
With every hurdle you clear, there will be ten more. Some days that’s overwhelming, and others it’s motivating. I’ve overcome plenty of the last ten years, and I’m glad I was able to navigate it. I know there is a lot more to come, and I know I can figure it out, whatever it will be.
You’re touring in Europe during the summer. What can we expect on your setlist?
You’ll get something from every record! I’m very proud of everything I’ve released, and no matter where I am, I aim to get people dancing. I hope to see some two-stepping out there!
Emily will be on tour in Europe in the coming months, including performing at The Static Roots Festival in Oberhausen, Germany, on 10th July.
Interview by Declan Culliton