Aussie indie pop singer/songwriter Phebe Starr first emerged onto the Australian scene with her breakthrough 2013 single “Alone With You,” a track that grabbed the attention of the national music industry and received heavy rotation on Triple J. Since then, Starr has been extremely busy: her work has appeared on Spotify editorial playlists globally including New Music Friday, Fresh Finds, Young and Free, Indie Arrivals, Indie Pop, Women of Pop and thousands of fan generated playlists, which has resulted in millions of streams. Her work has appeared in ad campaigns for Sony, Samsung Galaxy — and in HBO’s Ballers.
She has written tracks for some of the world’s biggest and beloved artists and bands. And adding to a growing profile both nationally and internationally, Starr has shared stages with Of Monsters + Men, Cub Sport, and The Paper Kites among a list of others.
Starr’s long-awaited full-length debut Heavy Metal Flower Petal is slated for a March 11, 2022 release. The album reportedly reveals an artist, who is more in touch with herself than ever before. Arguably, some of her most liberating and honest work to date, the album’s material was written in the wake of divorcing a man she married as a 21-year-old. Featuring guest spots from Cloud Control‘s and VLOSSOM‘s Alister Wright, Xavier Dunn, and Japanese Wallpaper, the album sees Starr peeling back the layers and exploring new territory and depths within her, showing a contrast between the toughness (the “heavy metal”) and the softness (the flower petal) that exists within her life.
“The whole album is about my process of letting myself feel things that I was afraid to,” she says. “It’s about letting myself be tender and vulnerable, learning how to incorporate the feminine into my narrative,” Starr explains.
Heavy Metal Flower Petal‘s latest single “Everything” is a slinky bop centered around a a sinuous bass line, Starr’s sultry and plaintive vocals, finger snaps, strummed acoustic guitar and a soaring hook. Seemingly indebted to Stevie Nicks and Still Corners, “Everything” sees Starr examining the ways in which the quest and desire for love can often lead us to strange and unfamiliar terrain.
“A lot of my songs start from a visual place in my head,” says Starr, “with ‘Everything,’ I imagined myself walking through the dark matter of the universe as if getting lost in the gravitational pull of a black hole. That feeling was foreign and exhilarating to me, like the way you feel when falling in love.”