Inside Music Stories: Niia Joins Buzz Knight to Discuss Her New Album and Creative Process

Summary

Podcast Summary: Takin' a Walk

Episode: Inside Music Stories: Niia Joins Buzz Knight to Discuss Her New Album and Creative Process
Host: Buzz Knight (iHeartPodcasts)
Guest: Niia
Release Date: December 2, 2025

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Overview

In this episode of "Takin' a Walk," Buzz Knight invites Italian-American jazz-pop artist Niia to discuss the making of her fifth studio album, V. The conversation dives into Niia's creative process, her roots, key collaborators, musical inspirations, and her quest to blend genres within a contemporary jazz landscape. The episode balances insightful artistic revelations with light-hearted, personal anecdotes, giving listeners an authentic look at an evolving musician navigating modern jazz.

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Key Discussion Points & Insights

1. Opening Reflections & Dream Collaborations (03:48–05:12)

• Buzz Knight kicks off with his signature question: who would Niia want to take a walk with, living or dead?
  • Niia: "Maybe with Ella Fitzgerald. I think she'd be a good one." (04:10)
  • Envisions a walk through New York City with the jazz legend, eager for her wisdom.

2. Roots and Upbringing (05:12–05:49)

• Niia grew up just outside Boston, in Needham, went to school in Newton, and honed her early music skills in the Boston area.
• Buzz and Niia share "Boston roots" creating instant rapport.

3. Making of V: A Personal Milestone (05:49–07:02)

• Niia declares V her most personal album yet.
  • "I was the boss." (06:48)
  • Learned to trust her instincts, recognizing when the record was truly finished, a departure from her past tendency to defer to others.

4. Collaboration and Producer Dynamics (07:02–10:10)

• Key collaborators: Spencer Zahn and Lawrence Rothman.
  • Lawrence described as "cutthroat, brutally honest, and radically determined." (07:39)
  • "Lawrence walks in with a cowboy hat, yelling at me, and then Spencer's more like, tell me about your feelings... yin and yang." (08:45)
  • Spencer brought melodic, ambient jazz sensibility, contributing an emotional, balancing touch to the project.
• On collaboration:
  • "I think sometimes being an artist, you're so...all about yourself, but you can lose perspective." (09:31)
  • "It's only therapy, really, you know, and it's the best." (09:31)
• Jazz ensembles taught Niia to listen and value those she works with; she seeks to be surrounded by people who challenge her (10:14).

5. Jazz Influences & Favorite Artists (10:59–12:07)

• Jazz icons like Chet Baker and Ella Fitzgerald loom large for Niia.
  • "Chet Baker gets me every time." (11:02)
• She reminisces about sneaking into jazz clubs in Boston with her mom, and studying under Rebecca Paris and Cassandra Wilson in high school.

6. Creative Process & Artistic Sensibility (12:07–13:20)

• Described as someone who "sings like a slow pour." Buzz explores how this patience shapes her process.
  • "I am a slow poor. It takes me a while to arrive at things." (12:27)
  • Niia emphasizes reflection over speed, preferring to "get in the shallow end first" before fully exploring creative depths.

7. Jazz as First Love & Genre Experimentation (13:20–16:35)

• Jazz was Niia's first musical love, though she explored other genres.
• She noticed a resurgence and modernization of jazz, feeling "jealous, but also happy."
  • "I wanted to find a bridge between the two [traditional and experimental jazz] and take some risks." (14:34)
• V intentionally balances live musicianship with electronics, avoiding a "throwback album" in favor of timelessness.
  • "I didn't want to make an album that sounds like it's from the 40s." (15:27)
  • Producer and player selection was "very important" to achieving this sonic blend.

8. Surprising Influences: Death Metal (16:35–18:52)

• Niia surprises Buzz by revealing a recent fascination with death metal.
  • "I've been listening to a lot of death metal recently, which is crazy. It surprises me every time." (16:42)
• Influenced in part by touring Germany and the visual/aural energy of the genre.
  • Example: "Mortician...they also incorporate a bunch of old horror, like, audio clips in their music." (18:22)
• Appreciates the raw, emotional expressiveness—even if it's diametrically opposed to her own style.

9. Cultural Identity and Emotional Expression (19:19–20:31)

• Her Italian-American upbringing seeps into her music through emotional expressiveness and a love of cinematic, dramatic soundscapes.
  • "I grew up...listening to a lot of film scores. Ennio Morricone, Nina Roda...I love the drama." (19:28)

10. Aspirations & Perspectives on Provocation (20:31–22:46)

• Dreams of scoring a film or contributing to movie soundtracks.
• On being labeled a "provocateur":
  • Sees herself as an introvert who takes risks in her art, inspired by the rebelliousness of jazz greats.
  • "[Jazz] has gotten so buttoned up that I really wanted to shake it up a little and make it a bit edgier and explicit, because that's the jazz I was taught, you know, it's hardcore to some degree. It's a bit punk." (21:27)
  • Wants her album to "bridge the gap between traditional jazz and...how it can show up now in like, you know, 2026 almost." (22:42)

11. Reception & Fulfillment (22:46–23:17)

• Buzz congratulates Niia on V. She reflects on its release:
  • "I never really got into music to share it. It was always kind of the thing that helped me. And now it's just so exciting to see how people respond and the right people get it." (23:01)

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Notable Quotes & Memorable Moments

• "I was the boss." – Niia on taking charge creatively. (06:48)
• "Lawrence walks in with a cowboy hat, yelling at me, and then Spencer's more like, tell me about your feelings. So I got kind of the yin and yang of the best balance." – Niia, describing her producers’ contrasting energies. (08:45)
• "It's only therapy, really, you know, and it's the best." – Niia on the collaborative artistic process. (09:31)
• "I am a slow poor. It takes me a while to arrive at things." – Niia on her creative approach. (12:27)
• "I've been listening to a lot of death metal recently, which is crazy. It surprises me every time." – Niia, on her current musical obsessions. (16:42)
• "Jazz has gotten so buttoned up that I really wanted to shake it up a little and make it a bit edgier and explicit, because that's the jazz I was taught." (21:27)

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Important Timestamps

• 03:48–05:12 – Dream walk with Ella Fitzgerald
• 05:49–07:02 – Creative control on V
• 07:02–10:10 – Collaboration with Lawrence Rothman & Spencer Zahn
• 10:59–12:07 – Jazz influences and beginnings
• 12:07–13:20 – Niia’s artistic temperament and process
• 13:20–16:35 – Jazz experimentation and studio process
• 16:35–18:52 – Surprising playlist choice: death metal
• 19:19–20:31 – Italian-American influence
• 20:31–22:46 – Provocation in jazz and album’s purpose
• 22:46–23:17 – Album release reflections

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Final Thoughts

This episode spotlights Niia's journey as a jazz artist unafraid to experiment, embrace vulnerability, and connect deeply with collaborators. Her thoughtful reflections illuminate the modern jazz landscape and what it means to honor tradition while pushing creative boundaries. Fans of jazz, genre fusion, and artistic process will find her story particularly inspiring.

Transcript

[Narrator]

Taking a Walk.

[Nya]

This record was all about everyone together. Obviously it's about me, but it was much more than that.

[Buzz Knight]

I'm Buzz Knight, the host of the Taking a Walk podcast. Now they say good things come in fives, and for the artist by the name of Nya, that couldn't ring more true. The Italian American jazz pop provocateur is pouring out her fifth studio album, V, like one of her signature slow, sultry melodies. After years of experimenting where electronic dreams meet jazz tradition, she's returned to her first love with an album the New York Times might describe as a slow pour worth savoring. We'll talk to Nya next on Takin a Walk.

[iHeart Podcast Announcer]

This is an iHeart podcast.

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[Narrator]

Taking a walk.

[Buzz Knight]

Hi, Nya. Welcome to the Taking a Walk podcast.

[Nya]

Thank you for having me. I'm excited to be here.

[Buzz Knight]

We like to open with this question. I wish there was some suspenseful music to lead up to the question, but anyway, Nya, if you could take a walk with somebody, living or dead, who would you take a walk with and where would you take that walk?

[Nya]

Oof. That's a great question. I think I would take that walk right now. Maybe with Ella Fitzgerald. I think I'd want to take a walk with her right now. I think she'd be a good one.

[Buzz Knight]

Yeah. Where do you think you'd go?

[Nya]

I think I would take her. I mean, it'd be fun to just walk through New York City with her. I think just through from downtown to uptown. Maybe just go straight and see where we go.

[Buzz Knight]

Yeah. Do you ever recall seeing the commercial she used to do? The glass breaking commercial?

[Nya]

No, but that sounds amazing. I need to see that.

[Buzz Knight]

You gotta see if you could find that. It's probably available, but yeah, it was an incredible demonstration of the power of her voice and her personality. For sure.

[Nya]

I believe it. Yeah. I mean, I think she's gone through so much, nothing would phase her walking down the streets of New York. I could get some wisdom out of her.

[Buzz Knight]

I agree. Now, did you grow up in Boston?

[Nya]

I did. I grew up, grew up right outside of Boston, but I went to school in Newton and did a lot of music stuff that was kind of in the Boston area.

[Buzz Knight]

So what part of Boston did you grow up?

[Nya]

I grew up right outside in needham, maybe like 20 minutes from the city. And oh yeah, went to school in Newton.

[Buzz Knight]

This is all the territory where I'm in. I'm outside of Boston actually. The next town over from Concord.

[Nya]

Oh, amazing. Concord. So beautiful.

[Buzz Knight]

Yeah. So we've got the Boston Roots.

[Nya]

Yes. Love it.

[Buzz Knight]

This is great. So congratulations on your. Your fifth album.

[Nya]

Thank you.

[Buzz Knight]

And you've said that this is your most personal album to date. What did you learn about yourself in the making of the record that you didn't know before?

[Nya]

I think something I learned with this one especially was just I knew when to keep going and I kind of knew when to stop. I think that was something I struggled with in the past, you know. Cause when you work with so many people, you take into account their time and their energy and just how the music shapes itself and leads and, you know, you have a certain amount of. Certain amount of days in studios, you kind of want to get it all done and you think you might have it. But I really trusted myself this time and there were definitely moments where I was like, I'm not sure this is going to work, but I really did show up and kind of decide, no, I have to see this through. And that was really important for me. So I'm proud of myself for kind of deciding when it was time to be done and when it was complete, which I don't usually do. I usually listen to other people a little bit more. But this one, I really. I was the boss.

[Buzz Knight]

Well, you work with Spencer Zahn and Lawrence Rothman, and I know Lawrence's work. I don't know Spencer's work, but Lawrence's work. I know because I've had Amanda Shires on the podcast a couple of times. I know she just absolutely adores working with Lawrence and sort of really gets pushed by Lawrence into these great places. Tell me about the different energies that Spencer and Lawrence brought to you and to this project.

[Nya]

Yeah, I mean, they're both such heavy hitters. You know, Lawrence, he's been doing this for a while. I remember. You know, his artists discography is incredible. I think he's one of the best songwriters living personally. And he was the one that really encouraged me to make my, you know, NYA Jazz album. And he, he's cutthroat, he's brutally honest, and he's radically determined, you know, and he loves a challenge. And he has this way where he really knows how to guide you, but not lead in a sense. And, you know, he works with a lot of women, which I really like. And he's funny, but, you know, he means business. You know, you can't kind of bring your B minus with him. You gotta show up and work hard. But he's really easy to collaborate with. And I usually tend to write specifically with females. And it wasn't really a choice, it just kind of happened naturally, I think maybe. Cause I'm so emotional and we just kind of all gather together. But Lawrence and I, he really Helped me with my lyrics, which was a real gift, you know. And Spencer is a bit more, I want to say, you know, he's, I think, from Massachusetts, too, but he's newer to the scene. He's more in the ambient jazz, kind of more emotional, melodic side. And he had just the sensibility to know what was kind of missing from maybe the stuff me and Lawrence had worked on. And just the three of us kind of found this perfect pairing of how to balance everything and give it all the colors that we needed. And working with Spencer's great, too. He's a bit more emotional, quiet. So it's the best of both. Lawrence walks in with a cowboy hat, yelling at me, and then Spencer's more like, tell me about your feelings. So I got kind of the yin and yang of the best balance.

[Buzz Knight]

How much of working with a great producer is like a therapy session?

[Nya]

Oh, my gosh, it's only therapy, really, you know, and it's the best, you know, everyone. I really believe in collaboration. I think sometimes being an artist, you're so. You have to be kind of all about yourself, but you can lose perspective of how it sounds or, you know, I'm so determined to make the lyric make sense. For me, it has to be true to me. So it's nice to have other people to bounce ideas off of or, you know, stop me if I'm spiraling in ways that aren't serving myself musically or as the artist. So, yes, they've heard a lot of therapy stuff from me, probably.

[Buzz Knight]

Now, who taught you the art of collaboration?

[Nya]

I think that was just jazz growing up. And, you know, I studied classical piano and then started doing jazz and was thrown into some jazz ensembles in Newton, Cambridge. And I think it was just so vital to understand, especially as the singer of a band, to listen to the other players. And I think that's where a collaboration. I think you're as good as the people you surround yourself with. And I also don't want to do it all alone, you know, and this record was all about everyone together. Obviously, it's about me, but it was much more than that. So I think it just kind of happened naturally where I knew I wanted to just continue to be around people that were better than me or that could really challenge me to help my music grow.

[Buzz Knight]

What are some of your favorites to listen to? Jazz.

[Nya]

Ugh. Chet Baker gets me every time. I love Chet Baker. You know, Ella Fitzgerald, I used to love. Just because I was such a, you know, student of jazz. And vocally, you know, she's One of the top pinnacles of accuracy. You know, all her scatting was something I would transcribe in college and things like that. So I listened to her a lot. Chet Baker, Blue and Green, just the song Blue and Green, I'd listen to forever, so.

[Buzz Knight]

And any particular places that you would go to take in jazz, whether, like, let's just say in New York City as an example.

[Nya]

Yeah, in New York City, there were so many places, you know, there was the vanguard, the blue note, the 55 bars, smalls, all the little places, which is crazy. And then even in Boston, I remember I wasn't old enough to go, but my mom would sneak me in and we'd go to the Regatta Bar or just, you know, places like that, where even my vocal. I was taught by Rebecca Paris and Cassandra Wilson in high school. I was so lucky to get to sneak and see their shows when I was little. So.

[Buzz Knight]

Yeah, I love this description of your singing. She's someone who sings like a slow pour.

[Nya]

That's great.

[Buzz Knight]

How does that sensibility and that patience shape just not your. Your. Your vocals, but your entire creative process?

[Nya]

Well, I think I'm. I am a slow poor. You know, it takes me a while to arrive at things. You know, I'm a slow writer in. In contrast to other artists. You know, people write really quickly. You know, there's a lot of urgency of getting music out, but the process to me needs to take as long as it takes, you know, And I think I've learned I'm a bit more reflective instead of impulsive. I'll take a little too long to respond or answer, which could be bad, I don't know. But I think it's just kind of my way. I've always been a little bit more introverted and shy, which I think then kind of breeds a bit of spacing and taking my time with things, because it can be scary to release music, create music. There's a lot of power in it. So I always want to kind of get in the shallow end first before I jump fully.

[Buzz Knight]

You've called this return to your. Your first love, jazz. What holds you back and what does jazz give you that other genres maybe don't?

[Nya]

Yeah, I think, you know, jazz is what I really first fell in love with when it, you know, when it comes to singing genre, songwriting, everything. And I fell head over heels just fully down a rabbit hole when I was young. And then I think I kind of got distracted by other genres, which I think are really important to explore. But I think where I'm at now or where I was when I started this record. I was starting to see other artists really transform what their definition of jazz was. There's a big, big modern jazz scene happening again. And I felt, you know, jealous, but also happy that jazz was kind of coming back in its own way. And I thought, I don't see that many singers trying to bridge the gap between, you know, more of this, like, ambient experimental jazz that I see in more of these, like, instrumentalists or bands. And there seems to be just a separation of traditional vocal jazz and then the kind of modern experimental. And I really wanted to try to find a bridge between the two and take some risks, but still be true to what I love about jazz, which is the songwriting, the singing, and just kind of the mood it invokes. So, yeah, I think it was just kind of that I wanted to figure out what jazz means to me now as, you know, an adult woman.

[Buzz Knight]

The album, it sits at the. The intersection of elect electronic, experimental, pop and. And live jazz musicianship. How do you navigate that balance in this studio? And what do you know, to lean into, you know, sort of organic versus, you know, kind of synthetic?

[Nya]

Totally. I mean, I think that's really where collaborating is vital, you know, And I think for me, I really knew I didn't want to make a throwback album. I think it's important, you know, if I want to listen to that kind of music or something that feels old, I'll listen to an old record. You know, I don't want to make an album that sounds like it's from the 40s. So it was really important to me to make sure we had elements that. That feel modern, you know, and I think that's where minimal electronics or just even the composition could be a bit more forward than just so traditional, like a jazz standard. And yeah, I think there's a line, you know, when you can identify synths or instruments, you're like, oh, that synth is from. It represents like 2024. I really wanted my music to be timeless and not be able to remind you too much of the past and not too much of the future. So that was really important, how we kind of put all the ingredients together. And picking the players was very important in that role too, of who's the right player, who has the same sensibilities and sonic choices and arrangement. And again, having a Lawrence or a Spencer is helpful because they also are the co pilots here to really make sure we're staying in our range.

[Buzz Knight]

Tell me about what would be surprising to the audience that's on your playlist right now.

[Nya]

I think what would be surprising is I've been listening to a lot of death metal recently, which is crazy. It surprises me every time. Yeah, I haven't fallen in love, but I've become slightly drawn to this genre because it's so foreign to me.

[Buzz Knight]

How did you discover it?

[Nya]

I think that I was touring in Germany this last month, and, you know, a lot of the venues that we crossed over were kind of these, like, punk, jazz, intersecting things. So there was a lot of band posters everywhere. And I just kind of took some photos because their imagery was amazing. And I just started finding these strange bands. And, you know, I've never sung into them or screamed into a microphone. And I take all this care of my throat. You know, I'm such a psycho for throat care to make sure my voice is healthy. And here they are, these people screaming into a microphone. So I was just. I think what scares me sometimes I can be very drawn to, you know, and I also can be a bit of a snob. And when I actually listen to some of this music, I'm like, this is pretty cool. You know, there's something interesting here. I don't know if I'm gonna listen to this for the rest of the night, but it's good to. To keep your ears open sometimes. So, yeah, I would say death metal right now would be the most surprising shuffle through my Chet Baker Sade, you know, other artists.

[Buzz Knight]

Are there any. Not that I would necessarily recognize them, but are there any particular artists or bands that you. That you can highlight?

[Nya]

I mean, there's this one that's been around forever called Mortician that everyone's obsessed with, and it sounds as terrifying as that name, you know, they also incorporate a bunch of old horror, like, audio clips in their music, so there's a bit of this kind of humor with horror and gore, but it's very playful and it's very intense, you know, at the same time. And I love seeing how other people present and express emotion, I guess. And it's the only genre I probably won't embark into, but there's potentially ways to learn from them. You know, even their lyrics are pretty. Pretty out there.

[Buzz Knight]

I reckon that Amanda Shires made mention of finding a way to incorporate fiddle with death metal.

[Nya]

Yeah, I mean, I get that. Totally. Totally. Yeah. You never know where inspiration will find you. I think that's kind of the silver lining with this stuff. I listen to a lot of different music, but death metal is definitely the most surprising.

[Buzz Knight]

But you do have to Be open. That's the key.

[Nya]

For sure. For sure.

[Buzz Knight]

Yeah. How does your cultural identity, your Italian American culture, cultural identity show up in your music, if at all?

[Nya]

I think it does. You know, I grew up, you know, listening to a lot of film scores. Ennio Morricone, Nina Roda, you know, watching a bunch of mobster films that I probably wasn't supposed to. And I think just kind of the cinema of music in some regard of just how it scores your life or big emotions, you know, in these old foreign films, I, especially the Italian cinema, I've fallen in love with. And, you know, I think it's just being expressive. I grew up in a family that's extremely musical. You know, we have big emotions, and I thought everybody did. So I think it's helped me kind of know that I have to share how I feel. And that was always celebrated and the norm in my household. So I feel lucky that I had that support and kind of encouragement to be an emotional person. And, you know, everyone thinks maybe Italians are a bit dramatic, but I kind of love the drama. You know, my mom's named after an opera, so there's a lot of drama in our house.

[Buzz Knight]

Could you ever envision your music being part of a movie score?

[Nya]

I hope so. I mean, I think that's a big dream, to score a film or write something specific for a movie. Yeah, I would love to do that. That sounds so fun.

[Buzz Knight]

You've been described as a provocateur. What are you provoking with this album and talk to people on why they need to hear it?

[Nya]

Yeah, I mean, I think, you know, back to our, you know, talking about Ella Fitzgerald or someone like that, these musicians and artists I grew up listening to shocked me. You know, some of them were drug addicts. You know, Ella Fitzgerald was such a rebel. She had to. She barely walked through the front door of some of these gigs. So I was always under the impression that you kind of had to be a provocateur or a risk taker in some way. And I think for me, I'm a bit of an introvert and shy at heart, but in my art is where I can really take the risks. And visually, I really love to explore there. It's kind of. It feels like the safest place. Place to hide in my imagery. And I also feel like jazz has gotten so buttoned up that I really wanted to shake it up a little and make it a bit edgier and explicit, because that's the jazz I was taught, you know, it's hardcore to some degree. It's a bit punk. These are rebels doing their own thing. And yeah, I think the provocateur I'll take. I don't know if I'm walking the walk, but I really wanted to jazz vocals and like a traditional singer. I studied jazz voice, like very traditional jazz voice, but I wanted to find a new space for that and not just like swing standards right now maybe that'll. I think that's where I'll end up as I get older, just swinging and doing some beautiful standards. But I wasn't ready to kind of do that yet, so I wanted to kind of find a way to exist now in jazz and shake it up a bit. So yeah, and I think that's why you should listen to it. Because my album, I. I hope I did it where I bridged the gap between traditional jazz and what that means to me at least, and how it can show up now in like, you know, 2026 almost.

[Buzz Knight]

Congratulations on V. Thank you. And it's an honor to talk to you. And I know you got to be excited to take this out and be in front of people with it, but it must be feel really good to get it out to the world.

[Nya]

Yeah, it's really exciting. You always, you know, I never really got into music to share it. It was always kind of the thing that helped me. And now it's just so exciting to see how people respond and the right people get it and the more I get to perform it, the happier I get, which I love.

[Buzz Knight]

I feel very grateful, grateful that you had the time to talk to us on Taking a Walk. Naya, thank you so much.

[Nya]

Thank you. Appreciate it.

[Narrator]

Thanks for listening to this episode of the Taking a Walk podcast. Share this and other episodes with your friends and follow us so you never miss an episode. Taking a Walk is available on the iHeartRadio app, Apple Podcasts and wherever you get your podcasts.

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Do it with Intuit. QuickBooks feature availability varies by product. Ulta Beauty's Big Holiday Beauty Sale is back with up to 50% off. Must have gifts shop irresistible deals like the Shark Beauty Flex Style and Benefit Cosmetics Travel size mascaras with new offers weekly same day pickup or delivery. And our trusted associates. We make holiday shopping effortless. Head into Ulta Beauty today. Ulta Beauty Gifting happens here. This is an I Heart podcast.

[Nya]

Guaranteed human.