Whoa Dakota has me floating.
— NPR Tiny Desk
Self-reflective pop bliss.
— No Country for New Nashville

On her first full length album, Patterns, Whoa Dakota (Jesse Ott) spins a web of lush indie pop, graceful melodies and ardent lyrics. Building on 2015’s debut EP, I’m a Liar, the Nashville-based artist expands the sonic landscape on her new LP to an amalgam of electropop and R&B. Rife with raw lyrical honesty and enchanting textures, Whoa Dakota’s sophomore effort, due out Summer 2018, is destined to captivate listeners everywhere.

The first glimpse into her new sound, “Patterns” (September 15), is dripping in bright bells and glittery guitar, evokes early Madonna and 90s Mariah Carey.  While the jaunty pace of the track will make you want to dance around your room, the lyrics and those of it's album counterparts, are destined to make you mourn for the people that you used to be, as well as the one’s you’re holding yourself back from becoming.

Patterns as a body of work is ruthless in its examination of "self" in terms of emotional accountability. This isn't your typical "self reflection-light," this is a brazen commitment to integrity on a never-ending journey of self-discovery and, most importantly, creation of self.

Patterns bounces from 80s-influenced-pop reminiscent of HAIM to indie folk ala Jenny Lewis while artfully maintaining consistency. To achieve the matured style on Patterns, Ott employed the help of local Nashville producers Gavin Shea and Chris Gill of HandMade Productions (Luthi, Okey Dokey, Darius Rucker). CLICK HERE FOR FULL BIO.

Whoa Dakota Nathan Zucker.jpg
On a cloud of contagious rhythms, jazzy bass lines, pop-esque keys, and gritty guitar, Whoa Dakota gives a soulful, engaging performance worthy of a standing ovation and a CD purchase.
— The Deli