"There are few people with such a lovely presence as hers… As an import to Nashville from Ohio, she grew up in the beautiful surroundings of her family and living life outside. Her classical training, forced piano lessons, and inspiration from her favorites like Patty Griffin and Joni Mitchell, have made her an incredibly talented, well-rounded musician and songwriter.”
-The Maker’s Post
"My music palette is tie-dyed with wonderful splats of color from different genre influences," she says. "As a kid, when my senses were a sponge, I lapped it all up."
Raised in the woods of Ohio, Lindsay Latimer grew up in a household well-versed in the performing arts. With her mom an art teacher/freelance oil painter and her dad a past musical theater buff, creativity and ingenuity came freely at home. "My first time really performing was for ballet. I did that first and then fell into voice lessons," she says. "I loved the momentum behind each ballet. The ingredients of emotion. The music." From ages five-fourteen, she attended an assemblage of weekly dance and voice performance classes, with summer enrollments in theater camps at the nationally ranked and internationally acclaimed College-Conservatory of Music at the University of Cincinnati. Throughout her high school years, she continued to sharpen her skills, focusing more specifically on musical theater and voice performance.
As a teenager, she trained privately for seven years with Cincinnati Music Academy's voice instructor, Paul McCready, who helped her land coveted roles in musical productions, such as Peggy Saywer in 42nd Street, Millie in Thoroughly Modern Millie, and Baker's Wife in Into The Woods, two of which she received nominations for 'Best Female Vocalist In A Musical' through Cincinnati Cappies Awards. In 2009, she was awarded 'Best Female Actress In A Musical' for her role in Sondheim's Into The Woods. Her high school summers she filled with multi-week vocal intensives through The Boston Conservatory and DePauw University, songwriting classes through Berklee College of Music, and band tours as the female vocalist for her high school's Electric Jazz Orchestra. Receiving scholarships from several different conservatories and music programs across the country, she chose to continue her music aspirations in Nashville at Belmont and Lipscomb Universities, studying voice performance by day and chasing a music career by night.
Her debut EP in 2015, Grow Wild, was overseen by Grammy award winning engineer Chris Latham (Guy Clark, Brad Paisley) and in the past year, her original songs, "I Blame You" and "Good as Weeds" have been listed as "Ones To Watch" by Nashville Songwriters Association International song evaluators. Her recent record, Teenage Lullaby, was released on October 20th and has quickly drawn attention from Huffington Post, PopMatters, VENTS Magazine, La Femme Collective, Nashville Lifestyles, and more. Produced by Jeremy Lutito (Ingrid Michaelson, Ben Rector, LEAGUES), Teenage Lullaby is a 5-track EP that rotates between dreamy and nostalgic to palpable and raw, and features a wide range of instruments from piano, electric bass, violin, viola, to cello. "I think creating this record added years to my life. I left the studio feeling exhaustion only from being honest," she says. "As I sang vocals on 'Prom Queens,' I was looking at photos of myself back in high school. As I played piano on 'Weekend Stories,' I was floating in the celestial rafters of my past." The single "Prom Queens" has been added to No Country For New Nashville's Spotify playlist, while the record has reached over twenty college and independent radio stations in USA/Canada (charting placements on three stations), including a Public Radio International debut on the program, Echoes, with her original, "I Blame You.". With her buttery vocals and captivating hooks, Lindsay tells stories of nostalgia, growing up, and relationships, while she gracefully skims the surfaces of pop, electronic, jazz, and rock music – landing in a fresh sound of her own.
"I sat on my roof a lot at night growing up, thinking and dreaming," Lindsay, commenting on the record's context. "Strangely enough, that’s where my mind goes when I share these songs. On the roof in the dark, I could be honest. It felt mysterious, yet accessible—right outside my window. I hope this record can provide that for listeners, sparking moments of wonder and mystery, while infusing perseverance. I would love for it to be a big blanket they can wrap themselves in."