Nadler started writing music as a painting student at Rhode Island School of Design and has lived in Arizona, New York, and LA. ("I kind of decided Brooklyn wasn't for me. . . . LA also.") But the past couple of years have brought her back to Boston, despite finding greater success elsewhere. "For some reason, this just isn't a good town for me," she says of Boston, stirring honey into a mug of black tea. "I don't play a lot locally. I don't like playing in front of my friends and my family because I'm so shy. I'd rather play in front of strangers."
In eight years, Nadler's toured nationally and in Europe, and released music via Eclipse (US) and Peacefrog (UK). But the songstress seems generally jaded by her experiences with the labels, vowing never to release anyone else's work, and to avoid becoming business-minded. "Commercial viability and good music are not one and the same."
Luckily, with Box of Cedar, Nadler can retain these sentiments and still flourish. She's adopted the "fuck labels" DIY democratization that the Internet and micro-funding sites allow, maintaining creative control over her work and a sense of professionalism. She can retreat from the city but stay connected directly with her fans — even in an anonymous suburb outside Boston.
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