Jessica Lea Mayfield with T. Hardy Morris and Patrick Damphier @ Songbyrd Music House & Record Cafe, Washington [10 March]

Jessica Lea Mayfield with T. Hardy Morris and Patrick Damphier


70
10
March
19:00 - 23:00

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Songbyrd Music House & Record Cafe
2477-2475 18th St NW, Washington, District of Columbia 20009
ON SALE FRIDAY 11/17
— Songbyrd Presents
Jessica Lea Mayfield with T. Hardy Morris and Patrick Damphier
Saturday March 10, 2018
D: 7:00 // S: 8:00 PM
— «The whole record is about me taking my life back, without really realizing it,» she says. «I realized I'm the only person that is going to look out for me. I have to be my main person. No one else.»

Jessica Lea Mayfield might make some people uncomfortable with the level of honesty she projects on her forthcoming LP, Sorry Is Gone, but she's not going to apologize – for that, or for anything else on her complex, confessional fourth album. Recorded with producer John Agnello (Sonic Youth, Kurt Vile, Phosphorescent and Dinosaur Jr.), Sorry Is Gone is a raw document of a woman in progress; one weathering cruel storms but finally able to blame the rain itself for the flood. Written as the truth of her own poisonous marriage unfolded before her eyes, Sorry Is Gone is a record of permission. Permission to create freely, to escape what is no longer safe and to stop bearing responsibility for things done to her, not by her. As Mayfield sings on the title track, «the sorry is gone.» Indeed, it is; kicked to the curb with every strum of her guitar.

Written in the years since her last solo LP, Make My Head Sing, in 2014, and her 2015 collaboration with Seth Avett, Seth Avett and Jessica Lea Mayfield Sing Elliott Smith, Sorry Is Gone became the soundtrack to a highly personal and traumatic story. The Ohio-born Mayfield was quietly enduring years of domestic abuse, smiling and touring while she hid a brewing tempest – and the bruises, too. But lyrics don't lie even as bruises fade, and they started to tell the tale of her marriage before she was even able to; songs often dark and dangerous and ready to confront and claim her life. Written primarily on an acoustic baritone guitar – out of necessity at first, in her thin-walled apartment — Mayfield started to process the years of hurt and uncertainly through words and melodies that helped her see the light in the darkness.
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