B-Side Guys

Nashville’s East Room will host a pivotal moment on January 30th when Eliza Harrison Smith debuts “The Way I’m Wired,” a fifteen-minute collection that transforms her growing streaming success into a fully realized artistic vision. Working with producer Christian Harger, Smith has crafted five songs that elevate her beyond promising singles artist status, establishing a distinct voice in contemporary indie-pop.

“Backslide” opens the EP with pristine production choices that immediately showcase the project’s ambitions. Harger’s approach creates space for Smith’s naturally emotive vocals while building layers of shimmering guitars and precise percussion. The song’s bridge section particularly impresses, employing subtle electronic elements that enhance rather than distract from the organic performance.

The momentum carries into “Bring You Down,” where Smith’s gift for memorable hooks meets sophisticated arrangement choices. The track demonstrates remarkable restraint, allowing quiet moments to breathe before expanding into choruses that feel earned rather than formulaic. Here, mastering engineer Ruairi O’Flaherty’s expertise becomes evident – every element sits perfectly in the mix while maintaining the music’s natural warmth.

“Contradiction” emerges as the EP’s centerpiece, marking the moment where Smith’s songwriting ambitions fully align with the production approach. The track builds with purpose, each new element introduced thoughtfully until reaching a chorus that showcases Smith’s melodic instincts. The arrangement maintains energy through subtle shifts in instrumentation rather than relying on obvious dynamic changes.

On “Hypocrite,” Smith strips back the production to create the EP’s most intimate moment. Starting with simple acoustic guitar and vocal, the song gradually incorporates additional elements that support rather than overwhelm its emotional core. The choice to place this track late in the sequence demonstrates smart sequencing instincts, providing necessary contrast before the EP’s finale.

“Supposed To Be Happy” closes the collection with its most ambitious arrangement, featuring Patrick Droney’s notable electric guitar work. The track serves as both satisfying conclusion and artistic statement, suggesting new directions while maintaining connection to the EP’s overall sound. Here, Smith and Harger’s production choices fully integrate, creating a finale that feels both carefully crafted and emotionally authentic.

Throughout these five tracks, Smith demonstrates remarkable growth as a songwriter. Each composition develops its ideas fully while avoiding unnecessary repetition, resulting in songs that reward repeated listens while maintaining immediate appeal. The production maintains consistency while allowing each track its own sonic identity, creating an EP that flows naturally while avoiding predictability.

Harger’s production deserves particular attention for its role in elevating these songs. His approach creates a contemporary indie-pop sound that references current trends without feeling derivative. The careful balance of electronic and organic elements provides a sophisticated backdrop for Smith’s vocals while never overwhelming the songs’ emotional content.

O’Flaherty’s mastering work proves especially valuable during the EP’s quieter moments, where subtle production choices help maintain energy while preserving the performances’ intimate nature. The mix achieves remarkable clarity even in its most densely layered sections, allowing Smith’s vocals to cut through while never sacrificing the warmth of the instrumental tracks.

“The Way I’m Wired” succeeds in transforming Smith’s growing streaming numbers and playlist placements into a coherent artistic statement. These five songs demonstrate an artist who has found her voice while leaving room for future evolution, balancing commercial accessibility with genuine artistic growth. In just fifteen minutes, Smith establishes herself as a compelling new voice in indie-pop, suggesting even greater potential ahead.