A Quote by Nina Nesbitt

Working with other artists and writers over the past couple years has really given me a clear idea of my strengths and weaknesses and what is unique about me as an artist. I figured it's my storytelling lyrics, falsetto range and tone of voice, so I write songs to utilize those.
The biggest challenge we all face is to learn about ourselves and to understand our strengths and weaknesses. We need to utilize our strengths, but not so much that we don't work on our weaknesses.
I never was one to go into an office and write. For one thing, I had a job. I was cleaning the ashtrays and setting up the studios at Columbia for a couple of years and working every other week down in the Gulf of Mexico flying helicopters. I didn't really get to just write songs for about five years.
You're always moving and thinking about a whole bunch of things. But those traits work well for me in studios and in meetings about creative ideas. If you listen to the songs I write, they are the most ADHD songs ever. They have five hooks in one and it all happens in three minutes. I figured out a way of working with it.
You definitely go through a stage, most coaches do, where you see a good player and you get enamored, you really like what the player does, but then when you put him into your system, it's not quite the same player that he was in another system. He has some strengths, but you cant utilize all those strengths. If you try to utilize all his strengths, you end up weakening a lot of other players who are already in your system.
I have a general feeling that writers and artists who are in this peculiar situation, of being a persecuted artist, all anyone ever asks about is the persecution. It may well be that's the last thing in the world they want to talk about. There were many years in which every journalist in the world wanted to talk to me, but nobody wanted to talk to me about my work. That felt deeply frustrating because I felt there was an attempt to stifle me as an artist. The best revenge I could have was to write.
We must begin looking at each other as brothers and sisters...and not walking brochures. We must see each other's strengths and encourage those strengths....We must see each others weaknesses and be patient with those weaknesses... sometimes even look beyond what we see as "weaknesses" and move on with compassion and love and respect. That takes true faith.
I count myself as not only just an artist, not only as a singer, but a business woman. I write my own songs; I write my own video treatments, manage other artists. I write for other artists; it's not just about getting on stage and singing a song.
Throughout all of the changes that have happened in my life, one of the priorities I've had is to never change the way I write songs and the reasons I write songs. I write songs to help me understand life a little more. I write songs to get past things that cause me pain. And I write songs because sometimes life makes more sense to me when it's being sung in a chorus, and when I can write it in a verse.
I know what I would do if I were coach. I'd determine our strengths and weaknesses and utilize them. And it's pretty clear what our strength is.
Although love could grow in times of peace, it tempered in battle. Daddy told me once - when I'd said something about how perfect his relationship with Mom was - that I should have seen the first five years of their marriage, that they'd fought like hellions, crashed into each other like two giant stones. That eventually they'd eroded each other into the perfect fit, become a single wall, nestled into each other's curves and hollows, her strengths chinking his weaknesses, her weaknesses reinforced by his strengths.
I'm a natural baritone, so I had challenges in that middle range, which would be that tenor area, singing in my natural voice. And I worked on that. But basically the falsetto thing, I didn't even know it was a falsetto until a music teacher commented on it, that I had a very nice falsetto. I didn't even know what it was. I said, 'Oh, OK.'
I've definitely become more commercially successful. I think everything has changed over the past two years. People seem to take me seriously now as a songwriter for other artists and as an artist, which is funny to me because I always thought I was good. I guess that's the main change, which is pretty interesting.
I really enjoy writing and producing for other artists. Some people save their best songs for their own albums. I'd rather give another artist one of my songs. At the end of the day, it still represents me.
Usually I will hear a sample, think of a theme and then it will take me a couple of days to write down some lyrics. Then I will decide that I hate those lyrics and rewrite. Then I will change all the music around. Then I will rewrite all the lyrics again. I am a bit of a perfectionist although you would never know it because all my songs are like chopped up and @#$%& up, but you see that's on purpose.
I sit and I write automatically. I don't really try to write. My subconscious mind takes over and writes the songs for me. Songs come very easily for me. When I'm inspired, it takes me 20 minutes to write a song.
I used to write songs that mimicked other songs that I would hear as a kid, cos I was 12 years old when I was writing those, right. And you hear a radio so all I'd write about was [sings] "hey girl, look at you", you know what I mean. I think that even doing that made it easier for me to write non-personal songs because, from a kid, I never wrote personal songs, they were always like mimicking. And now I'm just trying to understand my writing and where it's coming from.
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