A subtle, folksy duo that specializes in lovely harmonies, Renshaw Davies packs a more powerful punch—more than a cursory description would imply.

Consisting of John Renshaw (vocals and guitar) and Emily Davies (vocals and light percussion), the couple met at the Neutral Ground Coffeehouse when they each moved to town three years ago and began performing together shortly thereafter.

Between writing, practicing, working day jobs—and picking up as many gigs as possible—they’ve been scrambling hard to produce quality music ever since, and all their work is starting to pay off.

They’ve just finished producing a two-track 45 EP (with a digital download included) that contains their compelling original numbers “Auctioneer” and “Goin’ Down the Road.”

OffBeat sat down with them to discuss the EP, their sound and influences, and the struggle to make it as young musicians in New Orleans.

Can you tell me about the recording process?

Emily Davies: We recorded at Bear America Records. It’s run by the Kid Carsons. We’ve enjoyed everything we’ve done with them; they’re just really delightful people.

John Renshaw: We recorded a 45 because we really only had enough resources and time to do two songs. We really didn’t know the amount of effort that producing it would entail, though!

ED: At the time we were a five-piece band, and so that’s what you’ll hear on there. Plus the Kid Carsons. With some sweet little tidbits that you won’t hear in the live show.

JR: [The band] broke up a little bit, suddenly, and we’re like, ‘How are we gonna do this? Who’s gonna play bass? Who’s gonna play bass?’ So we asked the band Quintessential Octopus to play for us.

ED: They’re a duo. They play bass and drums.

How would you guys describe your sound? You had some great quotes about a sort of “desert sound” the last time we got together.

ED: We’ve been tossing different things around. New roots, folk. The dusty desert sound… that’s definitely something we draw from.

JR: Someone else actually said that outside the Hi Ho after we played, that it sounded like I was out in the desert.

ED: I always feel like Stevie Nicks gets described that kind of way. I feel like it keeps coming back to Stevie Nicks, Fleetwood Mac, Buckingham-Nicks.  Our name, Renshaw Davies, kind of goes along with that.

JR: We live in the opposite of a desert, though. I think the next album, it will have that desert sound, but it’ll have a little bit more moisture on it.

ED: We always want to push ourselves into new territory. We saw Bob Dylan last night…

How was it?

ED: …which was mind-blowing. My mind was reeling.

JR: His band… he had a stand-up bass half the time, he had a pedal steel player, a banjo… so subtle.

ED: I was tellin’ John today, I felt like I saw myself more clearly, I felt like I saw what we do musically more clearly, after watching Dylan.

JR: He had a big white hat on… like that look. Big white hat.

ED: It’s always hard to put a mirror to yourself and see what you sound like, but I could see some of the sounds he’s going for… similar to what we do.

In which ways?

ED: Some of the instrumentation, I guess, and what he did with it. Like, it has this overlying country feel, with definitely kind of like a folk vibe. But there’s a rock edge to it too. Definitely bluesy. Some jazz in there.

That classic Americana sound…

JR: It is classic Americana. Bob Dylan was like a cabaret singer. And the other night, he’s telling people, by just pointing, “You do this, you do this, you slow down…” Didn’t do nothin’ emphatic, you know? But every little thing he did, people were watching and commenting on it, saying, “What is he gonna do next?”

ED: The only words he said were when he took an intermission. He said something like…

JR: “We’ll be back!”

Any songs in particular that he really killed?

ED: “Autumn Leaves”. “Autumn Leaves” and “Duquesne Whistle”.

JR: He played “Autumn Leaves” right before the encore. Like, right before they left the stage. I mean, you could hear a pin drop. In the Saenger Theatre. It was one of those moments.

So, how many of the songs that you guys perform are originals?

JR: In another month, it’ll be about eight. Right now it’s five.

And which covers do you really like to do?

ED: Right now one we really enjoy doing is “Mexico.” It’s off Shovels & Rope’s first album. It was written by Jay Clifford. It’s just this really sweet little low-key song.

JR: “Dreams”.

ED: “Dreams” is one we’ve been doing a lot. Fleetwood Mac seems to be goin’ up like wildfire in this city. We wanted to do “Rumours.” And we still do. I don’t know if it’s gonna happen any time soon…

JR: It may be a project for the summer.

What else is on for the summer?

JR: We plan on doing a lot of writing and recording in the summer. Going to see shows in outlying areas of town. Keeping our income up a little bit. We plan on touring, going up to Maryland, and to New York. But we plan on recording a lot this summer. Hopefully we’ll release our next album this time next year. I don’t see why not.

A full-length one, right? Also vinyl?

ED: Yeah, we’ve had two meetings with Bear America Records to release a full-length album, again vinyl. And we’re trying to make this a real intention. For us, it’s go big and elaborate or go home.

JR: It won’t even be that much more expensive.

ED: Yeah, you’re just paying for the fact that it’s vinyl. We wanna keep putting out beautiful pieces of art…

JR: But the novelty has worn off, as far as “We’re making a vinyl record!” Now it’s just….

ED: …make a really sweet record.

You sound like you’re really hustlin’.

JR: We’ve gotta hustle, or these other people will. And in New Orleans, there’s always the option of being like, ‘Hmm, do I wanna go get drunk and listen to music?’ Which is still important, but you can do that every night of the week. You can kind of get away with it, but trying to write songs when you’re coming home at 3 a.m…. And then waking up the next day is a totally different battle!

What brought you each here, originally?

JR: I was born in New Orleans and I moved away when I was three-years-old. But my family’s been here for generations. I’d always had roots here. I’d really wanted to move to New York. I was already going to LSU; I dropped out of school, and I was like, alright, I’ll go to New Orleans for a little while. And it just sank those claws in…

ED: I moved from Annapolis, Maryland. I was kind of the third generation to get drawn here separately. My great-grandparents came down here, settled down, and then my aunt and uncle came down, so I’d been to visit, and I came down here and studied music.

JR: The Neutral Ground Coffeehouse… is probably our mainstay. We play there a few times a month. It’s kind of like our home base: first place either of us went to play when we moved here.

ED: That was about three years ago.

Any plans to spend some time elsewhere?

ED: We’ve talked about doing a sublet in Nashville. Eventually.

JR: We’re always between leases, it seems, so we can’t ever figure out at the same point when we’d want to go. Which is how I think it gets you in a way, you’re always living six months at a time. And… you just get twisted in your mind, thinking [New Orleans] is the only place there’s music. Every little corner of this city tells a story. And, all these changes that New Orleans goes through? Like everyone moving to town? New Orleans will win.

Despite the people trying to change it?

JR: If people try to change it, they will be changed. It’s a mecca. It draws people. No matter if you live here or not, you spend some time in New Orleans.

What would be a dream moment for you guys, as musicians?

JR: Selling out a tour all around the country. Going day to day, night to night, and playing for packed crowds. Doing it on your own and just being able to sustain your life by playing music and not having to compromise anything. That’s why I like Alabama Shakes. That’s uncompromising music. It’s pop, but it’s not being sucked into the pop machine.

Check out Renshaw Davies for yourselves. They have several shows booked for the coming months, including a headlining show at Gasa Gasa this Friday, May 8th. They’ll also be playing happy hours at Chickie Wah Wah on the 12th and the 26th. The official EP release is still to be decided, but you can pick it up now through the band or at Euclid.