We chat with Annie Dressner about touring, writing - and speaking up

In true touring artist fashion, Annie was in the back of her van when I caught up with her. We spoke about the themes of her new single, early musical influences, and getting started in New York.

Have you visited Nottingham before, Annie? 

Yes, I have been there a few times, supporting the fabulous band The Trials Of Cato. We played at The Bodega, and I had a great Donburi bowl at the Sushi restaurant down the street. There’s no mobile phone service in there, so it’s a peaceful, non-phone-addicted pre-show treat.

How are you feeling about the tour with Danny & The Champions of the World?

I'm really excited about it. I’m currently in the van with the guys... I’m loving it so far. We woke up in the Isle of Wight [one day] and in Exeter [the next]. Danny and the Champ’s show is so good—truly one of the best live acts I have ever seen. They’re seriously talented and just such a joy to watch. I even get to sing and play tambourine, which is a highlight of the night for me.

It’s such a privilege to be invited to play on a stage with such talented musicians—what could be more fun than that?

Tell us about what inspired your new single, For The Thrill Of It?

I thought of things people could do that aren’t blatantly illegal or moral but that they can get away with, even if they’re not the right thing to do; such as touching art at a museum, smudging window panes, taking single items from a multi-pack, and so on.

When thinking of the album cover, I came up with an image that I felt suited the song - me sitting on a grocery store floor, drinking straight out of a carton of milk. I thought it made me look like the way I see men who feel that they can do what they want to women - like an a**hole.

Was there a specific incident that led to the writing of the song?

There was an incident that led to me writing For The Thrill Of It, though honestly, it’s been a serious series of events just by being a girl and then a woman in the world that led to this song. I actually wrote two that day, and the other one is going to be on my upcoming record, which is being produced by Peter Bruntnell.

I often write songs in a conversational way that feel a lot more personal than this song - but as I was sitting around still feeling upset about what had occurred the day before, I started to think about what could be going through someone’s head who touches women inappropriately, and I just thought of the line “do you touch art at museums?” and then couldn’t think of a justifiable reason - so thought, they must just do it “for the thrill of it.”

The issue is so pervasive and affects so many people that I felt a responsibility to speak out about it in the hopes that it would help someone. I don’t want what’s been done to me and other women done to anyone else. Learn, men, learn.

You worked with Liverpudlian singer-songwriter Kathryn Williams on the song, how did the collaboration come about?

I met Kathryn Williams through my good friend, singer-songwriter, Polly Paulusma when we were on a co-headline tour back in 2020. Kathryn was super nice and had us stay over. I met her again with my friend David Ford on our tour, where Kathryn made us a delicious breakfast and coffee.

We have kept in touch since then and forged our friendship. When I wrote For The Thrill Of It, I sent it to Kathryn to check out, and she really liked it. Since she is such a great singer, I thought I would see if she had any interest in singing on it, and lucky me - she said “yes.”

You’ve drawn praise from the likes of Gideon Coe and Marc Riley on BBC 6Music, what does that recognition mean to you?

It’s really nice to have my music acknowledged. I worked hard to put this song out as a self-release, and it feels good to see how much I can achieve. I am really grateful for the support from Gideon Coe, who has supported my music since 2020 and premiered For The Thrill Of It through Gideon. Marc Riley started to play my last record, I Thought It Would Be Easier, and  has continued to support this song.

How was it creating music in New York back in the late 00’s and 2010’s?

I am from NYC originally and started playing open mics in 2008. I had already performed as I grew up doing theatre, but playing my own songs from my perspective was an entirely different beast, and I found it scary.

I wound up spending most of my evenings at open mics for years and slowly getting more confident and comfortable in performing my own music. My friend Anthony Rizzo offered to produce a record for me, and that is who made Strangers Who Knew Each Other’s Names. We spent 10 months working on the record around our full-time jobs, mine being assisting the photographer and filmmaker Neil Leifer.

My mom died in the middle of recording, and I think making that record saved me a bit. The only reason I was able to finish it was because my mother would have wanted me to.

I wound up putting the record out a few weeks before hopping across the pond and moving to Cambridge. In terms of influence, I grew up in Manhattan on 20th and Avenue C in Stuyvesant Town—Peter Cooper Village, so New York is very much part of who I am and all I knew.

Finally, who were your early musical influences? 

My mom bought me a Walkman and the cassette tape of We Didn’t Start The Fire by Billy Joel for my eighth birthday, and I was given a Discman for my 10th Birthday with the CDs of Counting Crows’ August and Everything After and Natalie Merchant’s Tigerlily. I don’t remember the first album I bought, but one of the first was Pete Yorn’s Musicforthemorningafter.

Annie Dressner is on her current tour until the end of March, with more dates coming up later in the year.

@anniedressner