My name is Nina Lüders, and I was born and raised in New York as a first-gen American to immigrant parents: a German father and a Cameroonian mother. I look at my bicultural upbringing as a blessing since both of my parents emphasized a love of a variety of music in our house — from growing up playing classical piano with my dad (Germans have a lot of pride in their famous old composers) to dancing to Cameroonian makossa with my mom and aunties during family gatherings. However, growing up, my main love was (and still is) alternative rock music, mainly records from the early 2000s garage rock revival and subsequent indie sleaze scene.
After receiving my first electric guitar as a gift on Christmas 2020, I started playing guitar seriously. Shortly after, I bought my first bass and became self-taught through YouTube tutorials, training myself to learn by ear. On a whim, I began making TikToks to chart my progress. I’d cover my favorite bands such as The Strokes, Arctic Monkeys, the Garden, etc. Through the platform, I connected with other local musicians who began showing me the ropes around production, writing, recording, and playing live. After amassing a decent following (and to this day, I’m still surprised people tune in to hear me play) and receiving such fantastic guidance from my newfound friends, I leaped to cultivate a childhood dream: releasing my own music.
My current project is called Speedrun, a name which both pays homage to my love of video games and highlights the ephemerality of human life on Earth. It functions as a subtle reminder not to fear putting myself out there since life is ultimately short. My songs evoke classic indie rock sounds — from scratchy, melodic guitars to thrashy, surfy drums — while infusing it with the fresh and unique perspective of a 24-year-old biracial woman observing the world in 2023. In essence, Speedrun is a cinematic rock experience — both nostalgic and new — and, most of all, a love letter to every other Black indie girl out there who, despite loving alternative rock growing up, never saw themselves represented in it.
What is your definition of tone, and how has it changed over the years?
Initially, as just a guitarist and bassist, my tone definition was by the textbook. However, now that I’m growing into the artist I am becoming, my definition of tone has changed. I now think tone is the physical influence of how an instrument touches your brain; does it scratch it? Does it poke it? Does it make it feel like jelly? For example, a smooth, buttery tone can relax you instantly, while a rougher, fuzzier tone can get you amped up. I believe tone is the most powerful aspect of a song.
Which guitars, amps, and pedals are you currently using and why?
I own a Nashville Telecaster from the Fender Player Plus Series in Aged Candy Apple Red, a G&L Legacy Stratocaster in Olympic White (my first electric guitar, affectionately named Joanie), and the newest addition to the group — a 40th Anniversary Squier Jazzmaster in Satin Desert Sand. Of these, my favorite is the Tele, simply because it’s visually gorgeous and tonally versatile.
As for amps, I only have one: a Positive Grid Spark Combo Amp. It’s the only amp I’ve ever owned and is small enough to transport conveniently, but it also packs a big sound. Since I have this amp, I don’t own any pedals besides a looper, mainly because it has these neat built-in custom tone presets you can alter and switch by connecting it to your phone via Bluetooth. Thankfully it has saved me having to buy pedals thus far, but it’s time for me to start collecting for Speedrun live performances. I recommend it for a beginner, though.
What about strings?
I use either Ernie Ball or D’Addario strings. Depending on the guitar I am playing, I’ll use different gauges, but usually, I go for 9s.
Are there specific recording techniques you prefer in the studio?
I’m still more self-conscious when it comes to recording, but I prefer the company of good friends and supporters while in the studio. It makes everything feel much more fun and, more importantly, low-stakes. Regarding my project, I’m a fan of recording live drums over programmed ones and recording directly out of the guitar and bass amps to get that fuzzy, garage-rock feel, as opposed to doing it straight through an interface.
How do you keep your sound consistent onstage?
I haven’t performed my project yet (soon!), but in playing live for other New York bands as a bassist, thankfully, I just have to configure the amp settings once during soundcheck, and that’s it!
What does your practice consist of?
Playing anything and everything across genres, even just for five minutes daily. I don’t have a rigid structure or plan I follow — which many people ask me to share on TikTok based on seeing my progress over the past two years. But I can honestly say I don’t go in with a specific goal; I just listen to a song I find interesting or exciting and begin learning it by ear (and occasionally watch someone else perform it on YouTube when I hit a roadblock). I think that’s the best way to make progress quickly: to challenge yourself. Making TikTok covers also inadvertently works as great practice because there’s always an incentive to learn a new song and post it for others to see!
What is your advice for young artists who hope to work in the music industry?
Do it for yourself. Make music that you would listen to. It takes guts to express yourself, especially at a time when it’s easier than ever for people to share their opinions on social media. The only noise is the one you create, not the one people fill in your ears. Be unabashedly and authentically believe in your project.
