Nikki Lane has been getting some rave reviews for her latest disc, "All or Nothin'," and the singer-songwriter admitted to Billboard that it definitely beats the alternative.
“It’s a good thing to be on the good side of the press,” she said. “It’s been flattering to see the way people have responded to it. It’s my second record, so I think maybe some people were at least slightly aware that I existed prior to last month, and the association with Dan Auerbach (who produced the record). It seems that everyone has had something nice to say, so it’s been awesome.”
The sound of the South Carolina native’s music has caused many in the industry to compare her to a modern-day Wanda Jackson. She told The 615 that she is flattered with that comparison, but there’s a lot more to her sound. “I appreciate the comparisons to other artists, but I think that in general, people like to look to what other female artists that I sound like. Of course, that’s flattering to me, because Wanda Jackson is such an amazing singer. However, production-wise, I think there is a lot of differences. People feel the need to compare me to other female artists, and there are only so many that I would want to be compared to. But, there are a lot of male artists that figure into my influences, as well.”
One male influence on the album was Auerbach. The Black Keys frontman provided a calming effect on making "All or Nothin’, says Lane.
“Working with him was so easy and so natural for me. Being in the studio for me is a very vulnerable moment, because I am putting everything down for the record and deciding what everything is going to sound like at that moment. Working with Dan and his professionalism on top of his creative capabilities is so great… to watch him bring together such a wide variety of artists - legends like Kenny Vaughan, who is such a guitar bad ass, and Russ Pahl. Just watching him work with all those people, is such an inspirational experience.”
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Lane was also inspired by the presence of the McCrary Sisters – who added their identifiable harmonies to “You Can’t Talk To Me Like That,” which Lane said was a powerful experience. “We were so nervous. Dan had only played them the chorus of the songs, because we worried that they might not want to sing on a record where there was so much cussing and talking nonsense. But, they came in and did their job, and were probably only in there for twenty minutes. They work so much in Nashville, but it was so great to have them come in there and ice the cake a little bit.”
Lane says she definitely wanted to offer listeners of the record a look inside to her own life and feelings. “For me, that’s kind of the point. I think every artist has their own approach and does things the way they see it to be, but for me, it’s about being realistic. When I was making the record, it was a vulnerable place, and a lot of intense personal stuff was going on that I didn’t know if I wanted to visit. Now, I’m ok with it – not only because the time that it has taken to give closure to all the people that the record was about, but to go out on the road, and meet women and men that are going through similar things in their lives. They pull me aside after the show, and let me know that my tracks have helped them get through.”
Since the disc was a personal one to Lane, that’s why it features many layers and sides of her emotions. “'Sleep With A Stranger' and 'Love’s On Fire' are two examples of how and artist can visit two identities within the same project. ‘Sleep With A Stranger,’ obviously, is about a wilder person, and ‘Love’s On Fire’ is something that I totally experienced first-hand – a pair of musicians trying to make it as a couple, and how hard it can be to get through the insecurities of life and loving somebody on the road versus ‘Sleep With A Stranger,’ which is about pushing all that aside and misbehaving. That’s my goal – letting the listener roll through the different personalities of me.”