VIP 6:45 pm | Doors 7 pm | Show 7:30 pm
Tickets: $20 advance | $25 day of show | $75 VIP*
* VIP includes early admission and 15-minute Q&A with artists before the show
Singer/songwriter Garrison Starr is an individualist with a streak of passion. Having spent her life growing up in the South, her work mixes up Nashville country twang with a hearty rock appeal.
Matthew Mayfield is an American singer-songwriter from Birmingham, Alabama. Originally the lead singer in the group Moses Mayfield, which disbanded in 2008, Matthew has moved on to a solo career.
Garrison Starr thought she was done playing music. A lifetime of trauma, from her upbringing in a fundamentalist Christian household to more than two decades navigating the music industry, left her spirit broken. With her days as a major-label artist behind her, the Grammy-nominated singer, songwriter, and producer was ready to pack it in.
“I could never get free from the feeling that what I had to say didn’t matter to anybody. And that I was a failure,” says Starr. “I was like, ‘You know, I’m just gonna stop trying.’ So I stopped trying and just started working on myself.”
That an artist of Starr’s caliber should feel this way seems unfathomable. She scored her first hit with 1997’s acclaimed “Superhero,” then went on to release 15 solo albums and tour with Melissa Etheridge, Mary Chapin Carpenter, and Lilith Fair. Starr’s songs appeared on countless TV shows like Grey’s Anatomy and Pretty Little Liars. She even collaborated with close friend Margaret Cho on a comedy album and podcast.
But from a young age growing up in Mississippi, Starr had a sense of self-doubt ingrained deep within her from growing up in Evangelicalism. “I can remember being a little kid and struggling with my sexuality and all these feelings that were coming up for me,” she says. “I was struggling inside. Like, this is wrong. I don’t feel supported. It doesn’t feel loving. All this talk of redemption? I don’t feel any of that shit.”
As Starr made a name for herself as a musician in Los Angeles in the 1990s, she still found herself trying to meet others’ expectations. Pigeonholed by the narrow expectations of female singer-songwriters and never one who was afraid to speak her mind, she grew consumed by her anger. She even abandoned her first love, the acoustic guitar. “I kind of lost myself trying to work from the outside in, you know? Like, trying to figure out what people wanted from me, instead of figuring out what it is that I wanted to say,” Starr says. By the time she self-released Amateur in 2012, she was convinced her time as a performer was over.
Starr always prided herself on writing her own material — a fact driven in part, she admits, by her own insecurities. Looking to open a new chapter in her life, she decided it was time to work behind the scenes. She threw herself into songwriting collaborations and a new role penning songs for other artists.
Or so she thought. Having learned to exercise her creative muscles once more, she discovered a voice that was distinct, powerful: Garrison Starr’s. “I started realizing, wow, you know, I am the artist in the room. I’m the one. I do still have a lot to say,” Starr recalls. “That was a great gift for me, because I thought that part of my life was over. I just thought, well, I’m too old to be an artist, I’m too outspoken. I’m too this, or too whatever it is. I’m not cut out for this industry.”
Girl I Used to Be is the fruit of those labors, a nine-track album of self discovery due to be shared with the world by Soundly Music on March 5, 2021. Starr’s first new music since her 2017 EP What if There is No Destination and first full-length in nearly a decade, it was produced by longtime friend Neilson Hubbard, engineered by Danny Aldredge, and features cowrites with talented young songwriters like Carly Paige, Katie Pruitt, and Dominique Arciero.
Songs like “Just a Little Rain,” “Don’t Believe in Me,” and “Nobody’s Breaking Your Heart” not only find Starr confronting her own demons but, perhaps more importantly, holding herself accountable for her own happiness. Her performances — often recorded solo, in one or two takes — sound loose, free, and unburdened by her past, no matter how heavy the subject matter. That, she says, is all down to the women she wrote with. “When I’m writing for myself, all that baggage is always there. I always have to navigate that regardless. But when I write with other people, they’re not bringing that baggage to the situation,” Starr says. “I was able to access some pain, some sadness, some joy. I wouldn’t have been brave enough to walk into that dark corner by myself. I had to go there with somebody else.”
Starr’s singing is both warm and bold throughout, her words softened by the perspective gained from her cohorts without losing the fire of her convictions. She mixes compassion with a sense of purpose that hearkens back to the message-forward spirit of the 1960s folk movement. It’s a matter, she says, of being pointed without being angry. “One of the things I’ve learned is that, if you want to communicate something to somebody, you have to do it in a way that they can hear you,” Starr says.
That clarity is never sharper than on opening track “The Devil in Me,” written with the help of a then-19-year-old Carly Paige. Starr was stunned, invigorated even, to find herself learning from an old soul more than 20 years her junior. The result signals the upward trajectory of this album, starting with Starr and her acoustic guitar and ending with a triumphant clamber of handclaps and percussion. “Honestly, it’s one of my favorite songs I’ve ever been a part of writing. It feels so much like me. It feels like a bigger version of me,” she says.
“The Devil in Me” shows how fully Starr has come back around on herself, and on learning to love who she is. That required lots of hard work outside music as well, from attending Alanon to doing yoga to finding a happy, healthy relationship. “How can you look at me and make up your mind about who I am because of one facet of my essence?” she asks, looking back on those who came so close to snuffing out her light. On “The Devil in Me,” Starr embraces those very facets she was taught to deny in the hopes of encouraging others to find the same strength for themselves.
Two of the tracks on Girl I Used to Be were written by Starr alone. “The Train That’s Bound for Glory,” inspired by a favorite saying of her grandfather’s, is a rerecording of a song that first appeared on 2013’s Amateur. It’s an opportunity to revisit the gospel music she grew up with and still loves, without the dogma that scarred her so. “It made me feel like I was bridging the gap for myself like, you know, I don’t have to throw the baby out with the bathwater,” she says.
The other is “Dam That’s Breaking,” a haunting parable with a very different spiritual message — one about the truth to power, and the power of being true to one’s self. Though it deals with ancient themes, it draws its strength from the hard-earned wisdom of Starr’s own journey. Coming at the end of the album, “Dam That’s Breaking” isn’t just the final word, but the inspiration for Girl I Used to Be’s title.
“I used to be that girl who was trying so hard to please everybody, who was trying so hard to do the right thing in everybody else’s eyes,” Starr says. “But I can’t be that anymore. I know what you want me to be, but I’m not that person. I can’t do it. I’m dying inside. I can’t hold back.”
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From haunting acoustic ballads to gritty rock-and-roll songs filled with swagger and attitude, Matthew Mayfield has spent the past decade releasing music that has changed the hearts and lives of his listeners. His latest LP, Gun Shy, is a collection of songs as varied as the emotions each of us feels. If his previous release, RECOIL, was the fruit of an intense effort by Mayfield to depict the good, the bad, and the ugly in the world he inhabited, Gun Shy is a look into all worlds – those full of darkness and hope.
To connect with listeners and draw them into these worlds, Matthew created Inside the Song with Matthew Mayfield, a podcast dedicated to telling the stories behind the songs of Gun Shy – Mayfield’s most introspective and personal record to date. “Our Winds” speaks of true love and hope in the midst of pressure from external forces while “Broken Clocks” finds him accepting a relationship that is doomed to fall apart. The riffs and hooks found in “Gun Shy” and “Best of Me” show Mayfield as the rock-and-roller he is.
While Mayfield is known for crafting both gripping ballads and eclectic rock songs, Gun Shy’s greatest triumph lies somewhere in between. “S.H.A.M.E.,” the album’s third track, touches on what is currently Mayfield’s deepest concern – a world full of people that feel as if they are alone. “Shame is something that no one wants to talk about, but we’re all ashamed of something. We all have demons and things that prevent us from seeing our self-worth. The song is about connecting with people and letting them know they are not alone,” says Mayfield. “Connection is everything, and music has a unique way of helping people connect to others and to parts of themselves that they might otherwise be unable to access.”
Gun Shy is now available on all digital platforms worldwide. Physical copies are available on matthewmayfield.com.
