Biography

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On ‘Preservation’ (2017)

“One of the year’s landmark releases” - **** MOJO

“Simply breathtaking” ***** - Record Collector

“Pretty much off the scale” - The Line Of Best Fit 8/10

“…Continues Reid’s graceful trajectory…” - Uncut 8/10

“‘Preservation’ proves that whatever she discovered on her journey, it was very much a worthwhile undertaking.” - Loud & Quiet

 

On ‘Listen to Formation, Look for the Signs’ (2015)

“Inspired debut by a young New Zealand singer-songwriter you’ll feel you’ve known forever.” **** MOJO

“Nadia Reid’s impeccable debut will maybe set a wider orbit in motion” **** Uncut

“The self assurance of Reid’s voice, artfully undermined by the lyrics, announces an artist wise beyond her years.”Sunday Times (UK)

“For a new artists, her confident grace is all the more remarkable” Pitchfork

“Album Of The Day” BBC 6 Music

**** Sydney Morning Herald

“When I hear a young artist making an album as soulful and rich and self-possessed as ‘Listen To Formation, Look For The Signs’, I feel so thrilled not only for the existence of that record but for all the music they will make over all the years to come”. The Guardian (UK)

“Nadia Reid paints a picture wise beyond her years” Line of Best Fit

“Just listen and lose yourself in it, for it is often glorious.” – themusic.co.au

“Reid’s voice cuts a determined path across the dark and at times stormy sea below.” – The Listener (NZ)

“…Gorgeous and engrossing. A wonderful stand-alone gem.” – Simon Sweetman (NZ)

“Love is sold on the promise that it’s better than any solitary satisfaction, so you might as well bet everything on it, time and time again. On “Call the Days”, New Zealand songwriter Nadia Reid cuts to the heart of this deception: “I was happy on my own,” she sings in a plainspoken lilt. “I would call the days as they were known.” Yet there’s no trace of vengeance in her deep, capable voice, and the surface of her gorgeous song remains steady, as a raga-like drone anchors rolling acoustic guitar and languid cello. Instead, like Laura Marling or Joan Shelley, the self-assurance Reid had once cultivated acts as its own safe harbour, turning the event into a meditation rather than a rupture. For a new artist, her confidant grace is all the more remarkable.” – Laura Snapes, Pitchfork

http://pitchfork.com/reviews/tracks/17678-nadia-reid-call-the-days/

“Love is knowing what’s best for yourself. We grasp at straws trying understand what that is, but even in that knowledge, we betray our best intentions to get stupid about another person. On “Call the Days,” New Zealand folk artist Nadia Reid sings, “I was happy on my own / I would call the days as they were known” with a knowing yip, against a droning backdrop of closely mic’d acoustic guitars and longing cello. It’s a heartbroken song, but made self-assured by Reid’s warm, marbled alto. Phoebe Mackenzie and Emily Berryman direct this beautifully shot video for “Call the Days,” as the characters Nadia and Ross travel through New Zealand roads, forests and countrysides. Its muted palette is in keeping with the song’s calm, yet gray skies; they betray the days ahead.” – Lars Gotrich, NPR

http://www.npr.org/2015/09/22/442214396/songs-we-love-nadia-reid-call-the-days