© Nicky Click
Nicky Click is the epitome of a DIY artist. She does everything from programming her own beats, making her own eccentric costumes, to making her own music videos. She’s got a lot to say, and isn’t afraid to say it. Her expressiveness is both through visual mediums, and through the catchy songs that she writes. Nicky Click is a one woman, feminist, queer band.
Sound familiar? She has been in the underground electronic and indie scene for decades. Her photo has also remained on The Midway Cafe’s wall for years. Hailing from Olympia, Washington and now residing in the greater Boston area, Nicky Click is self-made by constant national and international touring. She has just released her sixth album Reductive Nostalgia this month.
HASSLE: HOW OLD WERE YOU WHEN YOU STARTED NICKY CLICK?
NICKY CLICK: I was 22 years old.
HASSLE: WHAT INSPIRED YOU TO START MAKING MUSIC?
NICKY CLICK: I was inspired by the culture of where I was living which was so free and a band called Screamclub. They were my mentors and showed me everything about audio production, recording and making beats.
HASSLE: WHAT WAS YOUR FIRST INSTRUMENT/PROGRAMS THAT YOU USED?
NICKY CLICK: I used a small drum machine called a doctor, a doctor rhythm. I mostly use digital programs and make beats online. In the early 2000’s when I was first making beats and loops to my poetry in Olympia, Washington I was using the programs Acid and Fruit Loops.
HASSLE: WHO ARE YOUR INFLUENCES?
NICKY CLICK: Grace Jones, -Screamclub, Rina Sawayama, Tracy and The Plastics, Kinfactory, Meliza Banales, Yayoi Kusama, Barbara Kruger, Mary Daly, Brontez Purnell, just to name a few!
HASSLE: NOW, THE CLASSIC INTERVIEW QUESTION, WHERE DO YOU WANT TO BE IN FIVE YEARS?
NICKY CLICK: In five years I’d like to have the same creative drive, as in songs and lyrics that keep coming to me. I hope to still be touring, and to be able to support a team to work with and perhaps even a live band. Most importantly I don’t want to lose that authenticity that I have inside myself.
© Nicky Click
