The new track is reflective of Murray’s Southern roots and country-folk influences. With sincere, angelic vocals over a soft and expressive guitar, she takes us back to the roots of country music. Inspired by the legendary songwriting of Joni Mitchell and even The Allman Brothers, her musical storytelling ability is at the forefront of her songs. The track, written alongside Anne in 2017, has a retrospective attitude to it, soothing listeners to roll with the punches that come with the ups and downs of life.
“The themes and ideas lyrically presented here are perhaps now as applicable as ever, given the last year and a half, and maybe the kind of tune we all need to hear right now,” Murray told Glide. “Shit’s going to happen, and there’s really not a whole hell of a lot we can do about it except get up and try to live and enjoy the time we have.”
Murray’s journey can be reflected through the single’s lyrics.
Born and raised in blue-collar Atlanta, Georgia, her work ethic was shaped by the financial experiences of her youth. After completing her degree, Murray moved west to Colorado in 2008 and stayed there for six years, gigging around the area and singing country music. It was then that she learned the ropes of an endearing stage presence and nuanced harmony singing. Her debut album, Unravelin’, was released in 2013 and received widespread praise.
In 2014, Murray moved to Nashville seeking more musical variety and industry connections than Colorado had to offer, getting her start playing Honky Tonk Tuesdays at the beloved American Legion Post 82. Although the Nashville scene is consistently competitive, especially for a woman, her never-say-die work ethic and talent have allowed her to share the stage with acts such as The SteelDrivers, Colter Wall, Chuck Mead, JD McPherson, and Tyler Childers, as well as playing on stages at the Grand Ole Opry, AMERICANAFEST, and the iconic Bluebird Cafe.
Eliciting sounds similar to Fleetwood Mac and Emmylou Harris, Murray’s honeyed alto voice and sincere songwriting cement her as a force to be reckoned with in Nashville and beyond, and that is most evident on “The Wrong Hand.”