“No, I really don’t like roses. More of a wildflower gal myself,” Natascha responds, whenever people ask, true to one of her trademark songs, if she really ‘Never Liked Roses’.

Sure, this line paints her as more of a wildflower gal. But it’s also lines like these that characterize Natascha’s writing style of finding new ways to say old things in a way that makes people stop and wonder, “Why hasn’t it been said just like that before?”

“In the case of ‘Never Liked Roses,’ I was fascinated by how when someone hurts, they settle for saying something as simple as, ‘He broke my heart.’ If it hurts like we all know it does, there are a million and one thoughts running through your mind that are much more raw than just a little ‘ouch.’ I was intent on weeding through those million and one thoughts for the one that hit home most.”

But it doesn’t stop with flowers and heartbreak. It’s the way the elderly couple in the coffee shop communicates with each other without saying a word. It’s the deep tree shade of your youth near the swing set that still stands in the backyard of your childhood home. It’s the way he looks at her over the newspaper while she’s sipping her coffee, and you know he just loves her to pieces. It’s finding the extraordinary in the ordinary, everyday things that make Natascha Myers songs stand out. 

With a vocal quality akin to Allison Krauss, a Lori McKenna-esque sense for lyrics, and a raw organic sound influenced by Miranda Lambert and Ryan Beaver, Natascha brings a fusion of styles to the Nashville scene. 

A style she calls; ‘Where country music meets folk Americana, with a dash of old soul and Iowa upbringing.”

Natascha grew up in Waterloo, Iowa, where the sweet corn tastes like candy and the growing up is just as sweet. “People always look at me sympathetically when I tell them where I’m from,” Natascha jokes, “but I have Iowa (and family) to thank for being passionate about strangers’ stories, the value of a hard day’s work, and how to keep both feet on the ground when you need to.” 

Her first performance at the age of three? ‘Take Me Home, Country Roads.’ By nine, cantoring at Sunday morning mass allowed music to became more prevalent in her life. 

Taking guitar lessons from her fourth-grade teacher and playing in the church band every week (“We called ourselves G5. Five girls. We thought we were so cool, playing hymns for the entire school in our Catholic school uniforms,” Natascha laughs). Being cast as a female adaptation of Charlie in Charlie and the Chocolate Factory in eighth grade. Writing her first song at 13 (“It was called ‘Blue Eyes,’ and it was flat out awful. I can still sing it to this day, with a cringe or two”). Before long, she was cast as the lead in the high school musical Footloose. You can often find those same bright red cowboy boots when you see her onstage today. 

Music has always held a place in Natascha’s life, but it was never meant to be a career path. October 24, 2012 changed all of that. “I’ll never forget it. The world wouldn’t stop spinning. I had never wished it would. This was the start of a 423 day headache. I missed most of my senior year of high school while they tried to figure out what could be wrong. Spinal taps, MRIs, hospital stays, and so on.”

“Music is the reason I’m still here. It may sound melodramatic, but it’s far from it. I had a playlist on my iPod called 'Lifeline,' and I had filled it with all of the songs that kept me from letting go. Literally, my lifeline. In every waiting room, during every test, that playlist was playing.”

It was during this trying time in Natascha’s life that she penned the first song she truly believed in — ‘Labyrinth.’ “My mom walked into my room, handed me the guitar that I hadn’t played in God knows how long, and said, ‘Write something. Please.’ From that moment on, I swore that if I came out of this thing, I would start to live life right. It’s already too short, so why not spend it doing what you love?”

Natascha went on to study music at Clarke University in Dubuque, IA. While a senior there, Natascha released her debut project, Do Not Go Gentle, comprised of four tracks, including the aforementioned ‘Labyrinth.’ She toured regionally on the weekends, all the while balancing a rigorous class schedule, her role as student body president, a position on the Residence Life Staff, and so on. 

Musically speaking, “Do Not Go Gentle wasn’t quite ‘me’ yet. That was yet to come. But it was proof of what I am capable of. I poured my heart and soul into that project; composing every cello and violin note, rehearsing for hours on end, and working extra shifts at the grocery store so I could fund it on my own.”

In August 2017, Natascha packed up her trusty Takamine guitar, along with everything she owned and hit Interstate 380 south bound for Nashville. Just five days after her move, she hit the ground running and played her very first writers' round.

Two or three gigs a week. Daily writing sessions. Shaking hands. Learning from anyone and everyone. Being featured in popular artist showcases around town. All while working full-time as Director of Operations for Blue Night Soundscapes, picking up odd jobs to save for a record, and “trying to remember how to be human every now and again.” 

“I guess you could say I’m a little short on sleep,” Natascha laughs. “But while some are running on fumes, I’m running on pure bliss that I get to wake up every single day and do what a little three year old singing “Take Me Home, Country Roads” could only dream about.”