Amy Correia brings Carnival Love to Culver

(©2022 Chris Strother)

Singer, songwriter, rocker, folkie – Amy Correia is all of those things and more. Her latest release is the As We Are EP which came out last year, and she’ll be playing songs from that, and more besides, at the Cinema Bar this weekend. She told the News what she has in store for Culver City… 

When did you start playing and performing? 

I’ve been playing and performing since the ‘90s. I got my start in Boston, then played out in New York City for about five years, before moving to L.A., when I had some label interest. Eventually, my first album Carnival Love came out on Capitol.

This group came together in 2019. Kimon Kirk on electric bass, who I’ve played with for over a decade. Kimon introduced me to the drummer Sebastian Aymanns when I moved back to L.A. a few years ago. They’re both wonderful songwriters, musicians and producers, who bring a high level of musicality and heart to the songs.

Describe your sound/style?

“Bob Dylan in skirts” is probably my favorite description (by a Portuguese reviewer). I’m not sure if it’s true, but it’s both a flattering and a very funny image. Melody and lyrics are important to me. Influences include everything from Lucinda Williams to Rickie Lee Jones to Chuck Berry, Keith Richards and Queen. Growing up in the 1970s exposed me to a lot of varieties of music via the radio, and I think that freedom of style comes out in my music and performance.

What are your career highlights so far?

Early years in New York on the lower east side and opening for Jeff Buckley one New Year’s Eve. Riding in the elevator at the iconic Capitol Records building and hearing the single from my first album Life is Beautiful being piped in – surreal elevator music. Renting one of those red, English doubledecker buses and making a video for the song “Angels Collide” in downtown L.A. with my dear friend director/photographer Chris Strother. Chrissie Hynde inviting me on tour with her after she saw me play live and opening for her side project across the U.S. Meeting the songwriter Anais Mitchell and being part of her early iterations of the Broadway hit Hadestown. Hearing a crowd of 1300 or so singing “Happy Birthday” to my mom at the Keswick Theater in Pennsylvania. Crowdfunding an album that allowed me to make my last full length (You Go Your Way) with the amazing bassist/producer Paul Bryan (Aimee Mann) and drummer Jay Bellerose. Making music videos for my last EP with my friend Jessie Clavin for “The Beggar” and “Bow to the Fire

What recorded music is available — particularly the most recent?

As We Are came out last year, a 5-song EP produced by Kimon Kirk. Other releases: Carnival Love, Lakeville, and You Go Your Way.

Have you performed at the Cinema Bar before?
Yes, I have played at the Cinema Bar a few times, when the owner was just starting to have live music there. Ramsay Midwood introduced me to the place. Other Americana-type songwriters like Randy Weeks and Mike Stinson were playing there at the time, too. I went back a few years ago to see the late great Don Heffington’s band play and was happy to see it had hardly changed. I’m looking forward to going back.

What can the audience expect from the set this time?

I’ll be playing a mix of songs from my albums. The trio is a stripped down and driving interpretation of my music. It will rock, but there will be moments of quiet, probably some humor and pathos, too. I hope it’s a bit of a roller coaster ride – in a good way – for people.

What else do you have coming up?

This is it for now! 

Amy Correia performs with Kimon Kirk at 9 p.m. on Friday, April 28 at the Cinema Bar. Go to for more information about the show, and for more info about the artist.

Elsewhere this week

The Culver Hotel will be hosting the likes of Sylvia & the Rhythm Boys, and Scotty Bramer. Go to for more info.

Celtic trio Banshee in the Kitchen perform at Boulevard Music, on Saturday, April 29. The News interviewed them in 2017, and they said of their sound: “We’ve seen the pendulum really swing from one extreme to the other in Celtic music. When BitK started, we had a hard time getting into festivals—we weren’t considered traditional enough, because we messed with the tunes too much, changing keys, reversing sections, adding interludes, improvising little bits and pieces… And now that festival music has become more rock-based, we’re considered too traditional… Our sound depends on what instruments we are playing.” Go to for more info.