Singer-songwriter Annie Wells, based in Rochester, New York, has built a distinctive musical voice by weaving together the intimacy of folk storytelling with the improvisational spirit of jazz.
Her songs often feel like short stories set to music—personal, vivid, and sometimes laced with a sly sense of humor. With the release of her new single “The Devil’s Gonna Get You,” Wells continues a series of songs exploring love, life, and the strange contradictions of human behavior.
Inspired by a painful personal moment involving an ill family member and the unexpectedly hurtful advice of a close friend, the track turns emotional tension into something surprisingly playful and sardonic.
We spoke with Annie Wells about her latest release and her creative work. Listen to her music and scroll down to discover our conversation:
For readers discovering you for the first time, how would you introduce Annie Wells the artist—and what path led you to become a singer-songwriter?
Who the heck is Annie Wells?
I’m an introvert with an irrepressible desire to share my life with people through song. This allows me to express loud feelings softly. It’s been said, “She doesn’t speak, but she sings beautifully”. When I wrote my first song at age 17, there was no going back; my beloved music teacher got me my first gig at a cafe in Rochester, NY. Since then, I’ve led a double professional life, caring for others as a social worker and caring for myself as a writer and singer of songs that I hope give you, the listener, balm for the soul.
You’re based in Rochester, New York. How has living and creating there shaped your artistic identity and career?
Rochester is a diverse music town, rich with talent from all genres. The Eastman School of Music brings a wealth of jazz musicians, both students and faculty, to Rochester. I have been fortunate to connect with some of the most gifted players and songwriters here that help make my musical visions come true. There is a strong community of venues and listeners who love and support original music. With so many opportunities to perform locally, I’ve become a better songwriter and musician.
Your music blends folk storytelling with jazz influences in a very natural way. Where did those two musical languages first enter your life?
Music was prominent in my parents’ home. One day we would listen to Simon and Garfunkel or Gordon Lightfoot and the next, Frank Sinatra or Chuck Mangione’s “Hill Where the Lord Hides”. My father is a jazz fan; he especially loves Big Band and Dixieland. This mix led me to the Great American Songbook, Gershwin, Billie Holiday, Miles Davis, Ella Fitzgerald, Rickie Lee Jones, Tom Waits, etc. I love to add an unexpected jazz chord progression under a pop melody. The combination of both creates an emotional depth that I feel, and I want the listener to feel.
My family’s stories often inspire my songs such as the time my Great Aunt Mary gave me her old Rambler station wagon in Ohio, and I drove it back to New York and wrote “Mary”. When my 4-year-old niece, Emma chased fireflies on a summer night, the experience brought me back to my own childhood memories in the song, “Fireflies”. My last single released in November, “Time Escaped” was written about the grief of family separation during the pandemic.
Looking back at your journey so far, was there a particular moment when you realized songwriting wasn’t just a passion, but something central to who you are ?
I remember a time when I was 19 years old, sitting by myself on a dock by a lake thinking, “music is my future.” It has been my great joy and refuge from life’s heartbreaks. Music saves me, always.
Your songs often feel very personal yet universally relatable. When you write, do you think of yourself more as a storyteller, a confessional writer, or an observer of human behavior?
I think it’s possible that all three are true, though even as an observer of humans, my feelings tend to get involved. Like the time a homeless woman camped behind a tree outside my apartment window, I wrote “Wide Circle”. With heartache, I wrote, “She is afraid of me, and I am afraid of her.” The stories drawn from my journals are inspired by art, news events, movies, and life experiences. Crafting fictional characters isn’t my strong suit, but now and then, someone in the story ends up being a patchwork of real-life personalities, as in the new single, “Devil’s Gonna Get You”.
Your new single “The Devil’s Gonna Get You” is inspired by a painful personal experience. At what point did you realize that this story needed to become a song?
When I was going through some old letters, I found one from a dearly loved friend who said my family member suffering from illness would be healed if she rejected the Devil. It brought up all the feelings of dismay from long ago. So, I spun this tale to make fun of the notion that misfortunes, illness and life’s difficulties are caused by bad behavior. The lyrics aim to convey the absurdity of this kind of magical thinking.
Did you know straight away that humor and irony was the right emotional lens?
At the start, I knew I would sing the refrain with a wink to the seriousness of the small-town boy’s assertion that the “Devil’s Gonna Get You”. The way the band’s arrangement came together underscores the humor in the satirical pious character that makes a hypocritical display of virtue.
The track also features longtime collaborator Phil Marshall and a strong ensemble. What makes this musical partnership work so well over the years?
He is my long-time mentor and friend. Phil is a music therapist. Often his songs draw on the experience of caring for others (https://philmarshall.bandcamp.com/). We are simpatico in that way. I’ve recorded several of his songs, some of which he wrote with me in mind. Phil comes from the same school of genre blending and storytelling in his own unique style of writing. I’ve learned so much from him. He gives me honest feedback that helps shape the lyrics and arrangements. His guitar contributions bring the songs up a level and are carefully crafted to support their feeling and meaning.
In an era where music is increasingly shaped by algorithms, machines, and even AI, do you ever feel that something essential—the soul or authenticity of music—is at risk of being lost? And how do you personally preserve that sense of honesty and spontaneity in your own creative process?
I am distraught to hear that singers’ voices and images are being stolen without consent for use in AI generated music. It is an understatement to say it is difficult to make a living as a musician. This thievery makes it even harder. Clearly, guardrails need to be put in place (lawmakers)! I have to believe those who love music at the center of their lives, rather than in the background, can tell the difference. Live performance is more important than ever. There is nothing like it: a human on stage emoting beautiful feelings that move through us. Ultimately, music must touch the heart to endure.
I have faith that old school songwriting will survive. When writing, I only use my piano and 2 gadgets: my iPhone voice memo and GarageBand to make demos. The song must be able to stand on its own without any fancy stuff to resonate. I “test” new songs with my band in live performance to see how they are received. When recording my soon to be released record, “Pictures of a Heart”, we used live, acoustic instruments along with electric guitar and bass played by actual musicians. The synergy of a band is magic.
Is there a message or feeling you hope people take away from your music? More broadly, what is the deeper impulse or driving force behind your songwriting and artistic expression?
Resilience and staying true to your vision are recurrent themes. I wrote “Little Sparrow,” about Edith Piaf and “The Faraway” about artist Georgia O’Keeffe’s fascination with the Southwest. What really struck me about Piaf was her devotion to singing — no matter what was going on, the most important thing was singing. Georgia O’Keeffe left her New York City home and her husband, Alfred Stieglitz for six months each year to live and paint in the Southwest.
In times of frustration when I felt no one was listening, I kept on creating. In my song, “Beautiful Voice”, I wrote, “It doesn’t matter if nobody hears you, I hear you with my heart”. Even if you write, paint, or sing only for yourself, you give and receive the gift of the most treasured human expression.
Finally, if you have any upcoming live performances or events planned, please feel free to share the dates and locations !
Annie Wells Quartet
Saturday, April 11, 2026
8:00 PM to 9:30 PM
The Lyon Mansion
1441 East Avenue
Rochester, NY, 14610
This is a special opportunity to hear Annie, and her band perform in the beautiful Living Room at the Lyon Mansion. Annie is excited to play her original jazzy songs on the grand piano in a lovely listening room, ideal for live music.
Contact Ryan Johnson for Tickets at ryan.johnson@raom.org!
