The Rock Ballerina: Kimberly Nichole on Seattle Roots, New York Grit, and Finding Her Sound
Photos provided by Kimberly Nichole
By Emma Schwichtenberg
Kimberly Nichole’s journey into rock music was a natural evolution. Early on, while collaborating with a producer who had a strong passion for rock, Nichole was introduced to iconic bands like The Doors, Green Day, and Foo Fighters. Although she had always enjoyed rock, especially being from Seattle, it was during this creative period that her love for the genre truly deepened. The producer also introduced her to blues records, broadening her musical palette.
Upon moving to New York, Nichole became involved with the Black Rock Coalition, co-founded by Vernon Reid of Living Colour and the iconic journalist Greg Tate. This collective, which focuses on amplifying Black rock artists, gave her a deeper understanding of rock’s roots in the Black American experience. Through tribute shows, she learned about trailblazing figures like Sister Rosetta Tharpe, Betty Davis and Big Mama Thornton , further fueling her passion for rock.
The title “Rock Ballerina” was coined by her mentor, Valerie Simpson, of the legendary songwriting duo Ashford & Simpson. During a feature for Vogue, Simpson described Nichole as a “rock ballerina, wild and wonderful”,” a moniker she embraced and made her own, encapsulating her dynamic, genre-blending style.
Although Nichole was quite young during the peak of Seattle’s grunge movement, the impact of bands like Nirvana and Pearl Jam was undeniable. It was an exciting time, as Seattle hadn’t had a widely recognized music scene before grunge exploded. The innovation, honesty, and audacity of these bands left a lasting impression on her. She found inspiration in their bold, fearless approach to music.
On the other hand, her upbringing was steeped in the sounds of her parents’ roots. Originally from northern Louisiana, her parents brought with them a deep love of gospel, soul, and blues—the foundational genres of rock and roll. These influences, combined with the risk-taking spirit of grunge, have shaped Nichole’s unique sound, blending the spiritual depth of blues and gospel with the raw, unapologetic edge of rock.
Converge Music spoke with Nichole about her musical influences, the evolution of her sound, and how she’s channeling the raw spirit of rock and roll while paying homage to her gospel and blues roots.
Growing up in Seattle, how did the city's grunge scene and your parents' Southern blues and gospel roots influence your sound?
Well, I was quite young when grunge was at its peak, but Seattle’s scene was hugely inspiring. It was a time when the city didn’t really have a music scene that was considered major in the industry, but artists like Krist, Dave, and Kurt—what Nirvana and Pearl Jam were doing—were groundbreaking. Their boldness, the honesty, the "not giving a fuck" attitude, that was inspiring. At home, my parents are from northern Louisiana, and they brought with them a deep love for gospel, soul, and blues, genres that really laid the foundation for rock and roll. So, this mix of Seattle’s bold, grungy attitude and the spiritual, rooted sounds of soul and gospel is what shaped me. It’s like the audacity of grunge merged with the grounded spirituality of my parents’ music, which is a big part of who I am as an artist.
Now, what initially drew you to rock music, and how did you develop your signature style as the "rock ballerina"?
It was a natural transition for me. When I started making original music, I worked with a producer who was into rock. He introduced me to bands like The Doors and Green Day. As a kid, I liked rock music, but it wasn’t until working with him that I really connected with it. I started learning about the deep roots of rock through artists like Rosetta Tharpe and Little Richard, and that really made me fall in love with the genre. It felt important to continue the tradition of Black rock artists, especially when you consider how rock has been appropriated over time.
As for the "rock ballerina" title, one of my mentors, Valerie Simpson, who’s an incredible songwriter, coined it. She described me as "a rock ballerina, wild and wonderful" when I was featured in Vogue. It just felt like a perfect fit, so I ran with it. It's one of those things where someone else sees something in you that you might not even be able to put into words yourself.
That's the best when someone names something for you. It really adds to the meaning, right? Now, your career has taken you from Seattle to New York, London, and now Istanbul. How have these cities shaped your music and your performances?
Seattle planted the seeds for who I would become, but New York was where I really evolved. The city's diversity, its history with jazz and the Harlem Renaissance, and places like the Apollo Theater all influenced me. Living there helped me find my sound, being around some of the greatest musicians and singers. Then, London really opened my eyes to a deeper appreciation for American music, especially Black American music. They have a unique way of honoring and understanding soul and R&B, and that pushed me to dig deeper into the roots of the music I come from. Each city added layers to who I am as a musician, helping me adapt and grow in different scenes, whether it's nightlife,or gigs with live bands.
I’m curious—many musicians from Seattle either go to LA or New York. What made New York the place for you?
Even as a kid, my best friend and I always dreamed of living in New York. I just knew that’s where I had to be. When I visited in college, I fell in love with it. Once I moved, everything started happening for my career—performing in underground scenes, getting into the nightlife, making a name for myself. After New York, I thought about where to go next, and it was either LA or London. London ended up winning, and I just preferred it over LA. But, afterI finished The Voice USA, I was about to move to LA. Then I got an opportunity to go to London, and I was like, "Forget LA, I'm going to London." It just felt right.
Looking back at your self-released debut album Yellow Book Road in 2010, how has your music evolved since then? Which aspects have you been purposeful about in that evolution?
I don't think I'm consciously evolving. A lot of musicians I look up to talk about how just living helps with your evolution as an artist. For me, I’ve continued to live in different, riskier ways than I did when I first released ‘The Yellow Brick Journey’ . I was young, still finding my voice, and it was a project that I still really love. It’s been great to have music from that project placed in film and TV, and I get royalties from that. But as you grow older, you gain wisdom and your voice matures. I sing better now. My perspective on life has shifted too. That album was reflective of love and life, but this new music I'm working on isn’t about love at all—it’s more rebellious, about life and bullshit. I started that album in my early 20s, and now I’m older. Life has changed, and so has my sound. It’s heavier in the rock aspect, with a bit of Americana. What I’m saying is more audacious, bolder, and I sound like a clear, realized, grown woman. Back then, I was still figuring things out, but now I’m clearer, even if I’m still growing.
Speaking of your upcoming album, West Coast, Seattle Girl—how does it reflect your current life and career?
The new music is actually still a work in progress. We’re still figuring it out.. But yes, as I mentioned earlier, the music reflects my evolution. It’s an honest reflection of where I am in my life now.
Transitioning from concert stages to Broadway, what was that experience like?
People don’t talk about how tough Broadway is. Eight shows a week is a lot. At the time, I was still doing performances with my band and traveling for my music, but Broadway was a whole different level. I was performing four or five songs, four nights a week, at midnight in a London club, and then suddenly jumping into eight shows a week on Broadway. It required a lot of adjusting, especially to that kind of discipline. But it was a dream come true. Every performer dreams of being on Broadway—it’s the pinnacle. I had always been into musical theater as a kid in Seattle, so being a part of that world was amazing. Plus, having a great review in the New York Times was a big highlight. It was an epic opportunity, but it definitely challenged me.
Do you think your Broadway experience has influenced your approach to music and stage presence now?
Oh, absolutely. Every single performance, every experience has influenced me—yes, all of it. I think, with every new experience, you start figuring out how to adjust accordingly for each moment. It teaches you new ways of being disciplined, and you realize that certain opportunities require certain commitments. For example, you might not be able to drink for a week or go out with your friends because you have a 10 a.m. call time or two shows in one day. It taught me how to adjust to each opportunity accordingly, and also that these same adjustments can apply to my regular habits. Sometimes, these new opportunities create better habits for your journey as an artist across the board.
You've spoken about the experiences of Black female musicians and pioneers in the industry. What are some of the most significant challenges they face today, especially considering your perspective from both the U.S. and London?
The industry is becoming so digital and social media-driven. Things like sexism still apply, but now there's the added obstacle of numbers. It's a numbers game—how many followers do you have? Have you gone viral? Do you have enough views for anyone to pay attention to you? This can sometimes blur the lines between whether you're facing sexism or racism, because the focus is on numbers. I think this shift is taking away the authenticity of musicianship from previous generations, who started by playing gigs and building a fanbase organically. Now, you're expected to sell yourself to an algorithm and attract millions of people to make yourself sellable to labels. Even though these barriers still exist—patriarchy and misogyny remain—what I’ve found is that when I perform live, people connect with me. It’s more about getting past the social media aspect and numbers game. Once you build your following, does that mean sales? Does a million followers translate to a million album sales? That's the biggest challenge I’ve noticed, whether in New York or London.
It's interesting how younger artists are raised in a world where social media is the norm. What’s your perspective on the role of social media for younger musicians?
I find it fascinating, especially since the younger generation has only ever known social media as a part of their career. They don't know a time without it. When I was younger, I didn’t have a phone until I was 16 or 17, so I grew up in a different world. But once you get a phone and social media, you're hooked. Young artists now have these meticulously curated feeds and high-quality videos that even veteran musicians don’t have. It’s almost like it's necessary to have that polished digital presence to even get started. And it’s a bit sad because they’ve never known anything else. It’s just part of their culture now.
What advice would you give to young people trying to break into rock music, especially those who don’t fit the traditional mold in Seattle?
I always tell musicians to perform, perform, and stick to their guns. Believe in yourself beyond what others expect of you as an artist. As for rock music, I think it’s kind of a niche right now. People say there aren't any good rock bands, but I disagree. They're just not looking for them. Pop, R&B, and hip-hop are dominating the conversation now. So, my advice to younger artists is to perform everywhere you can, connect with people, and put your music out there. Upload it, post it, and stick to your vision. I might have had a different career path if I didn’t focus so heavily on rock music, but I see my journey unfolding as it should. Success is subjective—being famous or a celebrity is a small percentage of it. If you’re doing what you love and can sustain yourself from it, you're successful.
What is your creative process like, especially when balancing songwriting and performing?
I don’t really have a structured process. I just move based on feeling. If something comes to me, I act on it. For example, I had an idea for a concept while walking in London last week, and I wrote it down to try it out in rehearsal. I go with the flow, and if I’m not feeling inspired, I just live my regular life.
Would you say that your albums reflect what you’re going through at the time of creation?
Yes, absolutely. My albums are a reflection of my mood at the time, almost like a time capsule. You can listen to them and transport back into the mindset I had when I created them.
Can you share any details about the music you're creating with Grammy-winning producers?
Hopefully I’ll be back in Nashville in December to record more music. My next single, "Small Circles," which was recorded in London, will be released soon. It’s one of my favorite songs, and I've been performing it lately. The response has been great, and I think it’s one of my best tracks. And my latest release is ‘This Ole Land’.
Can you tell me a bit about the meaning behind "Small Circles"?
It’s about life and the journey of figuring out who people are, which leads to keeping small circles. It touches on betrayal, hurt, and the need to protect yourself from the negative things people do to you.
Do you ever feel like people over-analyze your songs?
Oh, for sure! Sometimes it’s just what it is. Like, the song “SOS” by Rihanna—did you know the second verse was just titles of rock songs from the ‘80s? Sometimes, people just take random things and make them deep, but it’s not always that intentional.
Nichole is heading back to Nashville in December to record more music. . The next single, titled "Small Circles," is already generating excitement. The song, recorded in London, is described by the artist as one of her best works yet. She’s been performing it recently, and audiences have responded with immediate enthusiasm. "Small Circles" explores the themes of trust, betrayal, and the importance of keeping a close-knit circle of friends—an honest reflection on navigating relationships and life’s challenges.
Find Nichole on Instagram @kimnicky.
