If music could capture the fine flexibility between sorrow and acceptance, it would sound like Ann Marie Nacchio & Shay Moulder’s ‘Almost Okay’ EP. A thoughtful and raw project, this EP transports us to a space of vulnerability, where loss, regret, and emotional confusion are translated into a beautiful tapestry of sound. It’s an exploration of the deep and complex nature of human connection, dissecting the often painful, sometimes numb, but always truthful journey of self-discovery and emotional resilience. Nacchio, a Staten Island native with a rich musical background as a singer, songwriter, and multi-instrumentalist, brings palpable vulnerability to each track. Paired with Shay Moulder, a collaborator whose understated yet deeply impactful performance style complements Nacchio’s, the duo has crafted an intimate and universal EP. Their ability to blend moving lyrics with experienced arrangements results in a collection of songs that linger long after the final note fades.
The journey begins with “The Letter,” a song that opens with a soft, melancholy piano arrangement, which invites us into a space of reflective solitude. It’s the kind of song that feels like a conversation between two people caught in a moment of emotional chaos, asking questions without clear answers. Nacchio’s voice is tender and vulnerable, the kind that breathes life into every lyric as if it’s a letter from the heart. The emotional conflict captured in lines like “I wonder, Baby, are you happy now?” is rendered in the rawness of her performance, with every word dripping with the weight of unresolved emotions. Moulder’s subtle yet powerful contribution is the perfect counterbalance to Nacchio’s rawness. The cello adds a haunting layer, pulling at the heartstrings, while the guitar creates a nostalgic atmosphere that echoes past regrets. The bass and drums provide a steady foundation, grounding the song’s deeply emotional tone. What stands out here is the clarity of the production; it’s clean, sparse, and direct—allowing the lyrical content to command our attention. To me, this song is an intimate confession.
“Almost Okay” is the EP’s title track, and it could not be a more perfect representation of its themes. The lyrics speak of resignation and the toll life takes, with lines like “The days they take their toll (but I don’t mind).” It’s a song that feels like a surrender and an acceptance of emotional weariness. Nacchio’s vocals are tender but resolute, carrying a sense of fragile strength that resonates deeply. The gentle yet unyielding performance captures the essence of the track’s theme—accepting that sometimes we are not “okay,” but we are learning to live with it. The production is stellar—an exquisite blend of piano and cello, both played by Nacchio and Ward Williams, sets an intimate tone, while the addition of flute and oboe (played by Jen Lawson and Deirdre Armitage, respectively) infuses the track with an ethereal quality. The steady drumming by Daniel Bradley provides a grounded pulse, allowing the composition to breathe while maintaining its emotional core. Adam Tilzer’s guitar work here is hauntingly beautiful, offering a delicate backdrop that enhances the track’s melancholic mood. This is a song about emotional exhaustion, yet there’s a sense of quiet strength beneath the surface, a theme that is conveyed perfectly through the arrangement and performance.
The third and final track, “Funny How It Goes,” is a captivating exploration of the tension between knowing what should be done and feeling completely incapable of acting. The song’s core message—“Funny how it goes when you can see the path, but you can’t move your feet”—strikes at the heart of emotional paralysis. It’s a relatable sentiment for those of us who’ve ever found ourselves stuck in the fog of our thoughts, aware of the way forward but unable to take that first step. Nacchio’s vocals are rich with emotion, delivering the lyrics with an introspective yet urgent quality. The vulnerability in her voice is matched perfectly by Moulder’s complementary performance, which adds a layer of emotional depth. The instrumentation is lush, blending cello with a delicate piano melody and atmospheric synths. The rhythm section, anchored by Daniel Bradley’s steady drumming, helps convey a sense of anxious contemplation.
As I listened, what made ‘Almost Okay’ truly special was the way Nacchio and Moulder effortlessly blended remote recording techniques with collaborative songwriting. These elements easily could have disrupted the natural flow of the music, but instead, they served to deepen the emotional connection between the artists and the listeners. The production was crisp, allowing each instrument to shine while never overpowering the emotional weight of the lyrics.
The EP as a whole is a deeply emotional and beautifully crafted collection that transcends geographical boundaries and speaks to universal experiences. From the intimate, heartbreaking confessionals in “The Letter” to the delicate exploration of emotional exhaustion in ‘Almost Okay’ to the relatable struggle for movement in “Funny How It Goes,” every track offers something profound, something worth reflecting on. ‘Almost Okay’ isn’t just a collection of songs; it’s a beautifully crafted emotional journey, told through masterful performances, evocative lyrics, and exquisite production. So for anyone who’s ever felt lost in the maze of their own emotions, ‘Almost Okay’ will speak to you. It’s a reminder that it’s okay to not be okay, but there is beauty in the process of becoming.
Listen to the ‘Almost Okay’ EP on Spotify
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