This is part of our ongoing series on musicians who perform in the Berkshires.
Kendra McKinley is a multi-instrumentalist and singer-songwriter, originally from Santa Cruz but now living in the Hudson Valley of New York. Beyond her solo work, Kendra was the music director, bandleader, and performer in Ragnar Kjartansson’s piece Romantic Songs of the Patriarchy, presented at the Guggenheim Museum in New York (2021) and The Women’s Building in San Francisco (2018).
Kendra has a February residency at Race Brook Lodge in Sheffield with three performances: Kendra McKinley: A Tribute to Joni Mitchell on the 13th, DCSC: Kendra McKinley on the 20th, and DCSC: Kendra McKinley Soul Trio on the 27th. I had the opportunity to catch up over Zoom with Kendra to learn more about her upcoming shows, music career, and other projects. I hope you enjoy our conversation, which has been edited for clarity.
Where are you today, and what are you working on?
I live in the Hudson Valley, in the town of Catskill, where I write music. This month, I challenged myself to write a song every day in January. I haven’t written today’s song yet—it’s only 11 a.m.—but so far, I’ve written 28 songs.
I’m doing this with a friend and fellow musician, Ben Seretan. My goal was to re-establish a songwriting routine since so much of being a musician involves non-musical tasks. I wanted to recentralize the writing process in my daily life. It’s been a wonderful experience. I’ve kept it simple—just an acoustic guitar and vocals—pushing through moments of self-doubt and embracing imperfection. This challenge has made songwriting fun again, which feels refreshing.
Do you think you’ll continue after Friday (the end of the month)?
Writing a song every day is a lot, but I do plan to keep a regular schedule—maybe a song a week—to maintain the rhythm of creativity.
Let’s talk about your residency. You have a February residency at Race Brook Lodge, with three unique performances on the 13th, 20th, and 27th. What can people expect from these shows?
On February 13th, I’ll perform a night of Joni Mitchell’s music. She’s one of my greatest inspirations—her music shaped my guitar playing. I hope covering her songs will introduce people to my own music, since audiences are often drawn to familiar material.
On February 20th, I’ll perform solo, playing my original songs on guitar and possibly keyboard. Then, on February 27th, I’ll perform with a trio—Dan Schwartz on drums and David Lizmi on bass—presenting my original music in a fuller, more dynamic way.
The idea is that the Joni Mitchell night will draw in listeners, the solo set will offer a more intimate experience, and the trio show will be more energetic. If people attend multiple nights, they’ll get to hear my songs interpreted in different ways.
I love that, and as a huge Joni fan, you’ll probably get me out for night one, if not all three!
That’s the plan!
How did this residency come about?
I first visited Race Brook Lodge last spring and was enchanted by the place. When I performed there, it was one of the most enjoyable shows I’d played in a long time. The venue’s energy transported me—I felt like I was in Europe. Alex [Harvey], who booked me, has a deep reverence for art, creating an atmosphere that fosters intimacy and deep listening. That allowed me to connect more emotionally with my music and the audience.
Touring can be exhausting and expensive, so the idea of returning to this special place and establishing a deeper connection through a residency felt much more sustainable and artistically fulfilling. Thankfully, Alex was on board.
You’ve done other residencies, like the one at the Henry Miller Memorial Library in Big Sur. What do you enjoy about residencies?
Each residency has been vastly different. At Race Brook Lodge, I’ll perform three unique shows but won’t be living there. In Big Sur, I camped on-site and used the time solely for writing. That residency was particularly unique because Highway 1 was closed due to landslides, making the area feel completely cut off from the world—almost like traveling back in time.
I love creating structured spaces for creativity, whether for writing or performing. A residency allows me to focus deeply on one thing rather than trying to do everything at once. It’s a more relaxed and immersive way to create.
You live in the Hudson Valley. Have you spent much time in the Berkshires?
Not much—it’s mostly uncharted territory for me. Every time I drive out there, I think, “I need to explore more.” I plan to set aside time to do that around my performances. If you have recommendations, I’m all ears.
For those unfamiliar with your music, how would you describe it?
The tagline I’ve been using is “music for smoking weed with your bra off.” I started saying that initially as a joke because I found that when I tried to describe my influences—neo-soul, pop, etc.—people’s eyes would glaze over. So instead of using genres, I went with a phrase that captures the mood: sensual, introspective, shareable, and danceable.
My music is colorful and shape-shifting. I draw inspiration from pop musicians like Joni Mitchell, D’Angelo, Stevie Wonder, and Fiona Apple. I enjoy playing with different influences and instrumentation. That’s part of why I structured my residency this way—to showcase different facets of my musicality.
In addition to your vocals, you play guitar and keyboard, and I heard you once played the ukulele before it fell off your car. You also use looping technology. Do you play any other instruments?
I play bass, and lately, it’s become my favorite instrument. Writing basslines has been the most exciting part of creating new music.
Do you play bass live, or do you leave that to someone else?
I’ve only played bass in other people’s bands or in recording sessions. In my live shows, I stick to guitar and vocals while someone else plays bass.
You’ve cited Joni Mitchell and D’Angelo as influences. Any others who shaped your artistry?
The Beatles were everything to me. They showed me that pop music could be colorful and elastic, crossing genres without limits. Brian Wilson was also a huge influence. When I started using a looping pedal, what I loved about it was that it allowed me to realize these harmony textures that I could hear in my head but couldn’t immediately translate to other people or other instruments, so it became a really essential writing tool for me, and so much of that came from Brian Wilson’s ability to create an entire sonic landscape with voices alone.
What have you been listening to recently?
Doechii’s album Alligator Bites Don’t Heal has been on repeat. [A week after we spoke, Doecchii won the Grammy for Best Rap Album.] I love her live performance energy and theatricality. I’ve also been listening to FKA Twigs, Kimbra (since I’m playing a show with her in March), and Adrianne Lenker’s Bright Future—I still play CDs in my car!
Your creativity spans music, theater, dance, and fashion. Where does that drive come from?
I grew up in a very creative household and I feel really grateful that my family was ever encouraging of my incessant desire to create. My dad is a visual artist, my mom works in theater tech, and my brother, AJ, is a musician. Creativity was always encouraged. I loved playing dress-up, making dance routines, acting in plays, and drawing outfits—it’s just who I am. Despite the challenges of an artistic lifestyle, I still find joy in creating.
You’ve released three albums, the most recent being Where Does the Body Begin in 2023. You’ve also dropped several singles recently and plan to release your next single, “Dizzy” on Friday. Your website says you’re working on an EP called Music for Smoking Weed with Your Bra Off. Can you tell us a bit about the new music and the upcoming EP?
After the exhausting process of making Where Does the Body Begin, I wanted to make something fun and loose. I experimented with Ableton Live, starting with drum beats and bass, and accidentally ended up with an EP. I recruited my friend Mark Buccelli, who produced my song “Make Up,” to mix it (see the song’s official music video below). And he was very supportive and really vocal about how much he wanted to maintain that raw quality to it. It felt raw and playful, so I decided to release it as-is. The final single comes out in March, marking the official release.
What other projects are you working on?
After January’s songwriting challenge, I hope to return to painting. I mean, it all feels like crop rotation with these different creative outlets.
I love that analogy!
I also practice herbalism—recently making reishi mushroom and St. John’s Wort tinctures. I love foraging and natural medicine. If I weren’t a musician, I might have pursued traditional Chinese medicine.
Is there anything else I did not ask you that you’d like to share with our readers before the February residency at Race Brook Lodge?
I’m enthused to continue tapping into the North East music scene. So far, just in my experience of the Hudson Valley and Western Mass, I’ve found so many wonderful musicians and people, and I’m really looking forward to continuing to explore more of these places, share music, and meet other musicians.
Learn more about Kendra at https://kendramckinley.com/. Follow her on Instagram, and listen to her music on major streaming platforms, including YouTube, Spotify, Apple Music, and Amazon Music.
— Mark @ Music in the Berkshires