I don’t know many musicians who grew up surrounded by music like McKinney did. Her mother Melissa McKinney ran a music school in rural West Virginia, which made being immersed in the craft as accessible as the mountain air she breathed. Of course she started playing at six, joined her first band shortly after, and never really stopped to ask why.
Her debut album Bones came out of a similar unselfconsciousness. The songs weren’t assembled around a concept; they were written because she had to write them. It was only after putting the record into the world that people started pointing out what connected them, and McKinney found herself saying “for sure” to meanings she’d arrived at by accident.
Lately, she’s been out on the road, playing in new towns and venues (like Stanczyks in Durham, where we chatted) and still defining how she measures success. The night of her Durham show was just one day after her band joined the tour and included guest vocals from her mother Melissa, which may be one of the greatest live harmonies I’ve witnessed in my time doing this work.
What’s something you’ve been listening to lately?
McKinney (vocals/bass): I have had this album PERFECT BE THE ENEMY by Sari Jordan literally on repeat. I am finishing it and then starting it over. I think it’s going to be the album of the year for me. It’s beautiful.
How did you come across them?
McKinney: We played a house show together. They’re living in New Orleans right now but are originally from Philly, I believe. They were doing a drive from New Orleans back home, and they stop in Asheville every once in a while. They just messaged me on Instagram like, “Do you want to play this house show with me?” And I was like, yes, absolutely.
It was lovely. I loved their music the first time I heard it. I was listening to their first album at that point, but then this new one came out, and it’s just one of my favorite things I’ve heard in a while.
What was the first artist you remember really discovering and obsessing over?
McKinney: My first real big concert was Paramore. And the first bassist I remember being really obsessed with is Esperanza Spalding. I just did my senior recital, and it was a nice full-circle moment to play some of her songs. The first time I really saw a woman playing bass at that level was just phenomenal and so inspiring.
Having a parent in music can create a different dynamic for different artists. How did that influence your journey to finding your musical voice?
McKinney: I have just always done it. My mom owned a music school when I was young, and I’ve always done it for as long as I can remember. I started playing when I was six and joined my first band, so it’s really just all I’ve ever known. I can’t really imagine doing anything else.
We joke all the time that it’s lucky that I wasn’t a sports lover — which I am now, but not when I was a kid. I don’t even know how to think about it as a journey, because it’s just a thing. It’s inseparable from existence.
How much has your environment influenced your songwriting?
McKinney: I’ve been rediscovering my love for Appalachia. Growing up in a really small town was hard, especially because I wanted to play music all the time, and the only option was really what my mom was doing. There weren’t many places for me to step outside of my family, which can be challenging when you’re young, and you’re like, “I want to do this without my mom.” And there’s the Bible Belt, which is just tough.
So I had a lot of resentment toward my hometown for a really long time, and specifically toward country music and anything I perceived as country. But I’ve been really reconnecting with folk and country and the music of Appalachia, and I’m like, how did I miss out on this?
I’ve been deep-diving on West Virginia artists. I’m really into Hazel Dickens right now; I think she’s one of the best songwriters. I feel more inspired by my town and by Appalachia than I ever have, which is interesting. It’s hard to appreciate something when you’re in it.
Now that some time has passed since the album came out, have you started to recontextualize that work at all?
McKinney: It still feels brand new to me. I think I’ve learned a lot in putting it out. I keep going back and wishing I could do things differently, and then I get stuck in that — because I can’t change it, I just have to let it go and do the next one. It’s teaching me to just live in it.
I get really sucked into things that don’t matter, like numbers, streams, sales, and how many people are coming to the show. But it’s making me focus in. The one person who texted me and said, “I love this album, I listen to this song all the time.” That’s teaching me that small connections matter so much more. This is the most that anyone else has come to me and felt really connected to something I made, so it’s exciting.
When you’re balancing everything outside of music, especially when so much of it is music-adjacent, do you see it crossing over into your creative work?
McKinney: I have always worked in the music industry, which I feel really lucky about. Almost every job I’ve ever had has been directly related to music. Right now, I work at a music venue doing security, box office, and artist hospitality. I really enjoy putting on shows for other people just as much as I enjoy playing shows; it’s exhausting but exciting.
I’m also at a nonprofit as a teacher and event coordinator, working in arts, music, and cultural education. I’ve done the gigging full-time before, and I started to hate playing when I did that. So I love my day jobs because they give me the financial freedom to support my music, and I feel as excited about them as I do about music. But then I also still get to play my songs and love them. It’s like a different outlet.
The cool part about being on the other side of things is that when I go out and meet people through shows, I feel like I have a better understanding of the people I’m working with. When I get really frustrated with talent buyers, I’m like, “Wait, I actually understand how much your job sucks too.”
You’re performing with a band tonight. How do you approach live performance differently when you’re solo versus playing with a band?
McKinney: I love playing with a band so much. It feels like how it’s supposed to be. When I’m playing solo, I’m just freaking out the whole time. If you see me solo, it’s because I’m between band situations or I literally can’t afford to bring the band. That’s the only time. [laughs]
A really important part of the music to me is the connection, and it’s just so much more enjoyable to do with my friends. I did a few solo shows on this tour and just picked up my band last night, and I’m so much happier. I kind of just let them do what they want. I’m like, “Here’s the album, play what feels right, don’t really learn it note for note.” I hire really good musicians and they always do a great job. I trust them.
How has the run been overall, and how are you feeling going into tonight?
McKinney: It’s been good. I honestly went in with really low expectations because I had to prepare myself to lose a lot of money. Touring in 2026, I had to be ready to go into debt. And on that standard, it’s blown me away. I thought I was going to be out like $500 every single night, but I’ve actually been making a little money at each show and selling merch.
Last night, there were probably only 12 or 15 people in the room, but I’ve never played there before, and they don’t know who I am, and they showed up. That feels big to me. I’m like, “I’m going to come back, and hopefully you do too and bring a friend.”
It’s probably not what your most ideal tour looks like, but on the scale I expected, it’s been a dream. And people are here tonight, which is crazy. Every time I play a show, I’m convinced nobody is coming.
To wrap up, who are some of your favorite local Asheville or North Carolina musicians you’d want to shout out?
McKinney: There are so many that this is the hard question. An Asheville artist who just put out an album I’m really loving is Nawal. It’s her first release. I was at UNCA with her. It’s phenomenal. I was listening to it earlier today.
And then the musicians I’m playing with tonight. My keyboard player also plays with Nawal, and my drummer has a band called Bill’s Garage. He just put out a song called “Burnout” that I’m loving. I feel really lucky to play with these guys.
This interview has been edited for length and clarity.
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