Ingrid Andress, a Nashville Outsider Who Paved Her Own Path In

NASHVILLE — When Ingrid Andress answered the door at her home in her hilly Nashville suburb one afternoon in July, feet bare and hair wet as she gamely played host before hurrying off to a tour date, a shiny Yamaha grand piano was visible behind her.

There was a moment in 2017, shortly before she signed a label deal, when she fantasized about decamping to Laurel Canyon in Los Angeles and walking the path laid out by Joni Mitchell. Adding the oversized instrument to her living room makes it official: Andress, the 30-year-old pop-versant singer-songwriter, is sticking around to make her home in country music. That doesn’t mean that she’s conformed to genre orthodoxy. What she does, as her manager Blythe Scokin put it, is “pleasantly disrupt the status quo.”

“More Hearts Than Mine,” a ballad off Andress’s 2020 debut, “Lady Like,” that showcased the rich detailing of her ruminations, broke through at radio after she fought to release it as her first official single. She excluded her most recent Top 20 hit, the Sam Hunt duet “Wishful Drinking,” from physical versions of her new album, “Good Person,” lest it be a digression. The immersive arrangements on the new LP, out Friday, are meant to set moods, and its narrative arc — gradually grasping that a partner hasn’t been a partner at all and opening herself to something new — is meticulous‌.

It’s common for contemporary country artists to emphasize where they come from, and shape their entire personas around it. The Denver suburb where Andress spent part of her youth is more of a footnote in her story. Her father was a coach for the Colorado Rockies, and since the family decamped to Arizona each year for spring training, Andress and her siblings were home-schooled by their mother, who made piano part of the curriculum.

“You lived with your piano teacher, so she would know if you practiced or not,” Andress noted, nursing a glass of rosé.

Her parents restricted the kids’ access to secular pop culture, but Andress had ways of broadening her horizons — neighbors burned her CDs, and left their labels blank so she could scribble the names of contemporary Christian acts as camouflage. Still, she was aware of missing out.

“I think that’s where my outsider syndrome comes from,” she said, “because when you start that young thinking that you’re different from everybody and don’t fit in, it just kind of stays with you.”

These feelings fueled her early songwriting, but athletics was the path that held promise. She enrolled in school in eighth grade in hopes that playing soccer and volleyball would land her a college scholarship. A few years later, she was in Boston to see a World Series game when she heard rehearsal sounds emanating from a Berklee College of Music building and ventured inside to investigate: “My whole world just got flipped, to where I was like, ‘I’m going to go here,’” she said. “Luckily, I didn’t know how prestigious it was, because I’d never heard of it.”

Andress auditioned to study jazz voice, and found herself among students who seemed to have professional paths on lock. Searching for hers, she joined first one, then another a cappella group, and competed on consecutive seasons of the NBC competition show “The Sing-Off.” After that, a songwriting course taught by the hitmaker Kara DioGuardi steered Andress toward songcraft. Scouting Nashville on a student trip, she seized on its reputation as the “songwriting capital of the world.”

Andress lugged her keyboard to writers’ rounds for two years before landing her first publishing deal in 2015 and embarking on a crash course in country songwriting culture, beginning with its primary instrument: guitar. No workrooms at her publisher’s office were set up for keyboards; it was suggested that she learn to strum an acoustic, “like everyone else.”

Writing appointments paired Andress with Music Row pros who embodied a combination of clever, commercial craft and rugged, tradition-conscious masculinity that she’d never encountered. Thrown by experiences like being told that cursing didn’t become a woman, she nevertheless resolved to proceed with respect.

“‘I have to learn the rules so that I can break them,’” she recalled of her ethos then. “‘I can’t just skip to breaking them.’ Which was a big reality check for me.”

There was still tremendous demand for bro country-style songs, with their dirt-road revelry and programmed beats, and thanks to the ongoing inequalities baked into country radio programming, limited room for women. She struggled and began making trips to write and create tracks in Los Angeles. She was developing a personalized way of straddling country and pop, but beyond the occasional Charli XCX single (“Boys”) and country album cut, she was cautioned that her specialties didn’t fit either lane.

To prove her songs were worthy of recording, Andress self-released “The Stranger,” a pensive portrait of disintegrating intimacy, in 2017, intending it as her last effort as a Nashville striver. She’d already secured a California apartment, eager to commence her Laurel Canyon phase. Then satellite radio started spinning her ballad, and labels wanted to meet. “It was like the second I gave up on Nashville is when everybody was interested,” she said.

But Andress was determined to be a country-pop artist who wrote and co-produced her material, roles that had traditionally been separate in Nashville: “I almost went out of my way to let people know, ‘This is what you’re dealing with.’”

Ultimately, she signed with Warner Music Nashville, with reassurance that she could remain the architect of her sound, and found a manager, Scokin, who had helped steer pop careers and was also working her way into the country music industry’s good graces.

Andress recorded much of “Lady Like” in the home studio of Sam Ellis (Hunter Hayes, Kane Brown), who’d become an important collaborator. “There’s no doubt that she has chops, that she knows what she’s talking about,” Ellis said in a video interview. “She’ll bang out an idea on the piano or the synth or guitar or whatever. She has that vocabulary.”

What she couldn’t do when her debut album came out in March 2020 was make the promotional rounds. But even without opportunities to win over peers and gatekeepers, she was nominated for her genre’s marquee awards shows and picked up a nod in the Grammys’ best new artist category. “I went from literally nobody knowing who I was to just being plopped front row of the Grammys,” she said though the socially distanced pandemic ceremony she attended felt more like “your dry cousin’s wedding.”

During lockdown, Andress ‌grew intensely introspective about relationships in general, and hers in particular. “I realized that I wasn’t happy,” she said, “and that was wild to me, because I’d been with this person for six years. I just couldn’t stop writing about it.” She scrutinized the dynamics and emotions until she had the makings of a song cycle about the realizations, reckonings and the conscious risks of new love.

Even with a slightly bigger budget for her second LP, Andress gravitated to the studio in Ellis’s house, no bigger than a spacious bedroom. They farmed out more drum parts to remote recording, but Andress removed some of them, making rhythm a rippling, implied presence; synthesizers mingle with that most molten of traditional country instruments, steel guitar.

“No Choice” is her anguished account of why leaving was necessary for self-preservation, while “Blue,” her take on a torch song, exults in the sensuality of romance with the melancholy awareness that it could fade. And late in the title track, an inquiry into religious authority, she implores, “The right hand of God, tell me, what is it like?”‌ It’s her subtle, searching way of engaging with a core country concern: what it means to live uprightly.

“Anybody who says country is dumb, that makes me so mad,” Andress said with casual conviction, after close to a decade of studying it. “When done well, it’s smarter than any pop song ever.”