Born in New Jersey, Dayna Kurtz finds a home in New Orleans, a city that breathes soul, jazz, blues and folk. “A little bit of everything, like me,” she says, as she prepares for a small tour that begins next Tuesday in Altea and then arrives in Madrid and Estepona during the run.
They present her as the queen underground North American. Did you like the description?
I remember reading it about a dozen years ago. The exact wording escapes me now, but a journalist gave her that nickname, and it has stuck ever since. It feels poetic and a touch tragic at the same time. She may have wished to leave the underground sooner, but her career has always been defined by being an outsider, and that identity persists.
Celebrating the 20th anniversary of Postcards from Downton, her acclaimed debut album, how does she recall the moment these songs came to life?
It was the culmination of years of effort. She takes her time composing, letting melodies and lyrics emerge slowly. There were songs from the years leading up to the album as well. Love is getting in the way is among those that still shine in Europe and continue to define her. She recalls the excitement and anxiety of that period, noting that her career started later than many peers, and the memory of the magnificent mill where she lived during those years often returns to her mind.
So how does it feel to sing this song now? Has it changed or is it essentially the same?
Songs, like people, evolve. Will she sing them as she did before? She hopes to improve with time, yet believes the core remains intact. She still loves the material and truly enjoys performing some of it. It’s true she does not play these tracks every day, but twenty years on, it’s thrilling to see that audiences still remember and embrace them.
I can’t live without singing. It’s not a choice; it’s a necessity as fundamental as eating or breathing.
Many songwriters revisit early work or favor new material. Why return to the first album?
Not a matter of returning so much as honoring the early chapters. The journey felt brief in the blink of an eye, and the path is moving quickly. She remains proud of those compositions and still performs some of them, while others have faded away. That reverence is her way of honoring the songs that first opened doors to Europe and touched listeners’ hearts.
What is it like to sing solo with Robert Maché’s guitar?
A pleasure. Robert feels like a soulmate on stage, a first sight spark that lets her express herself and guides her voice with taste that never becomes shrill. He is a guitarist who grows with every note and makes space for the songs to reach listeners deeply. A true guitar scholar. The experience, she promises, will leave audiences speechless.
There are blues, jazz, folk and soul in his playing. Which genre do you feel most comfortable in?
She says she feels rooted in roots music. She can’t pick just one label or claim a single home for her sound. New Orleans left an indelible mark on her, a place where she feels permanently at home among its people, its history, and its traditions. Her music blends soul, blues, jazz and folk—each thread a little bit of her, all weaving together.
The sound—rich with bass and treble—has a story behind it. Is it natural growth or the result of hard work?
Her voice has matured over the years, shaped by experiences and the raw emotive power of classic blues and old poetry. The sonic texture reflects countless influences, including Leonard Cohen and Tom Waits, whom she admires for their raw honesty. Over time, these elements have deepened and become more nuanced.
Why does she sing at all?
There is no option not to sing. It is as essential as breathing and eating; a necessity that drives her life and art.
Dayna Kurtz INFORMATION
Do you think music should make you dance, cry or make love? Is that still how she thinks about it?
Yes, it remains a primal impulse. Music moves the body and the heart in ways words cannot always capture. It is an instinct we should follow, a force that invites us to feel deeply and freely. In explaining why she sings, she compares it to the human need for intimacy and vitality.
People sometimes compare her to Nina Simone or Marianne Faithfull. Are these influences meaningful to her?
Absolutely. Nina Simone is among her most admired voices, and not solely for the sound. Simone’s broader artistry continues to inspire her.
If she could resurrect one artist to keep listening, who would it be?
That is a tough question with many contenders. Donny Hathaway, Etta James, Prince, Jeff Buckley, Tim Buckley, Freddie Mercury—too many to choose from. It’s hard to pick just one.
I want to return to Spain regularly, to enjoy the sun and the food again.
Do people still connect with music as much as they did twenty years ago?
Not in the same way, yet it isn’t something that can be forced to change. The pace is faster now, and pausing to listen is essential. Whether it was better then or now is beside the point. Music remains a companion that travels with listeners through life, and songs stay with them when they need them the most.
Why open the tour in Altea?
Spain has always felt like a second home. The sunny days and vibrant cuisine are part of the appeal. Alicante has treated her like a goddess, and a previous performance at Palau Altea felt right to begin this new chapter. Her tour manager Gilbert lives in Alicante, which made Altea a natural opening choice.