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An Evening with Garrison Starr and Chris Pierce

August 26 8:00 pm PDT

Main Stage

Doors Open: 7:30 pm

$20

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.”

find out more about Garrison Starr here

CHRIS PIERCE recently gained national prominence in 2021 with his acoustic version of “No One” from the hit ABC primetime series “A Million Little Things”. Also, his hit co-write “We Can Always Come Back to This” which aired on multiple episodes of the NBC primetime series ‘This is Us’, then went on to peak at #1 on the Billboard Blues Chart, #12 on iTunes Top 100, and garner nominations for “Best Song/Recording Created for Television” from The Guild of Music Supervisors and The Jerry Goldsmith Awards. Pierce’s collaboration with artist Sunny War in Americana duo War & Pierce yielded the hit single “Amen”. “ Amen” was featured on NPR’s WORLD CAFE, aired on 250 AAA / NonComm stations and has racked up over 2 million spins on Spotify. Chris Pierce has now impacted many of the same strong influencers with his new album AMERICAN SILENCE in 2021 with glowing reviews from NPR Music, No Depression, Rolling Stone, Acoustic Guitar, Sirius XM and many more.

Chris has done multiple headlining tours and has also performed on stage with or opened worldwide tours for: Seal, Cold War Kids, B.B. King, Al Green, Rodrigo y Gabriella, Jill Scott, Toots and the Maytals, Colbie Caillat, Buddy Guy, Keb’Mo’, Blind Boys of Alabama, Aaron Neville, Jamie Cullum and others. His voice and music have been heard in film and television shows including: A Million Little Things, This is Us, True Blood, Soundtrack, Crash, Rosewood, Soul Men, Brothers & Sisters, Single Ladies, Eli Stone, In Plain Sight, Dawson’s Creek, Army Wives, as well as in national ad campaigns. He also guest appears on a wide range of album recordings as a vocalist, harmonicist and guitarist.

find out more about Chris Pierce here

UPDATED COVID-19 POLICY: As of October 7th: Due to the Los Angeles County Vaccine Mandate, it is now required that our guests show Proof of Vaccination to enter the venue. Proof of vaccination includes a vaccine card, photo of your vaccine card or the CA QR code. Before November 4th, only one shot is required. After November 4th, proof of both shots will be required.  We also ask that all patrons, staff and band members wear masks inside the venue. Thank you. In purchasing tickets and attending the event, you certify and attest that you and all individuals in your party attending the event will abide by the aforementioned regulations.

Please Note: Tickets purchased on this site are for the mentioned artist only. If an artists name is not listed in the details, then tickets for that artists show are being sold separately, or at the door.

Please purchase tickets accordingly for the artist you would like to support.

One ticket is usually good to stay the entire evening, unless otherwise noted.

Thank you.

Ages: 21 and up
Items Not Allowed: NO VIDEO OR FLASH PHOTOGRAPHY

Details

Date:
August 26
Time:
8:00 pm PDT
Cost:
$20

Venue

Hotel Cafe
1623 N Cahuenga Blvd
Los Angeles, 90028 United States

Other

Door Time
7:30 pm