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At the Cabaret

At the Cabaret

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About

“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 announced her arrival in America with her first US release  
My Miami- Kezia Vs The Lizard, a joint venture with Miami house producer British Lizard.

 

A uniquely old soul, Kezia was reared on a diet of 60’s soul and psychedelia, which is reflected in her upcoming debut album. She describes the album as ‘Eclectic” as it moves from sultry soul to rockabilly. The conception of this album and was recorded at Redbull Studios, 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 Zealands finest musicians, was released nationwide through Peachy Keen Recordings in late 2006.  The first single Pretty Baby, an upbeat, sexually- charged foray into electro pop- rock, received radio play nationwide on the NZ bnet stations and was used in arts programme The Gravy.

 

Her old recording band, The Seven Year Itch included Conrad Wedde (Producer), Will Ricketts and Sam Scott, all members of The Phoenix Foundation, with the live version including Wellington players Ryan Prebble and Mike Jenson. 

 

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”

 

Having spent two years working on music projects in Asheville, NC, she is now based in Miami FL, where she is putting the finishing touches to her album while writing and recording new material. You can see her perform weekly at The Cabaret South Beach

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