Acclaimed Kiwi singer-songwriter Nadia Reid is wary about being pigeon-holed as a folkie.

Her sophomore album Preservation – the follow-up to her internationally acclaimed debut Listen To Formation Look For The Signs – finds the New Zealander in a somewhat rockier mode. However, Reid insists that is not a case of trying to distance her self from the ‘folk’ tag she is usually associated with.

“I don’t think about ‘genre’ at all when I am writing or recording,” Reid told STACK. “I think when people reference me as a folk artist, it’s because these songs have story-telling qualities, and they are truthful. I don’t mind being called a folk singer, I like it. But I want to be able to push the boundaries as time goes on: I don’t want to be confined by being just a folk artist.”

Nevertheless, she admits she has enjoyed experimenting with electric guitar on Preservation, which was recorded once again with Ben Edwards at his Sitting Room Studio in Lyttleton (Marlon Williams, Julia Jacklin, Tami Neilson, etc).

“I write mostly on acoustic guitar but I play electric for some of the album, which is an exciting progression,” Reid says. “I’m about to buy an electric guitar and I feel excited. It opens up new sounds.”

Reid is looking forward to taking the album on the road, with a New Zealand tour kicking off at the end of the month; she will also play a one-off show in Melbourne on April 22 and hopes to return for a more extensive tour later in the year.

So what does she prefer when playing live: a full band or solo? “I think both offer a different feel,” she replies. “For the tour in New Zealand, I am playing with a full band; it’s nice to honour the record like this, and play it the way it sounds on record. However, solo –or just with [regular collaborator] Sam Taylor – offers a more intimate setting.”