After years of recovery from a traumatic brain injury, songwriter Daphne Culver is back—and she’s got unfinished business. She’s actively booking solo performances as she works to revitalize music that never got its moment in the spotlight. Performing under the names Daphne and the Mystery Machines and Daphne Culver LIVE, the Park Hills, Missouri artist is determined to give her previous release the promotion it deserves while showcasing new material that emerged from her remarkable journey back to music.
It’s hard to imagine now, but Culver’s 2018 release contains standout tracks that demonstrate her exceptional songwriting abilities—particularly “Easier” and “Killin’ Me Smalls”—yet the album never received proper promotion after a traumatic brain injury in 2019 left her hospitalized and unable to speak. Now, five years later, she’s ready to bring these powerful songs to audiences who missed them the first time around.
“Killin’ Me Smalls,” clocking in at 3:27, showcases Culver’s knack for songwriting and distinctive vocal cadence, revealing a completely unique and engaging artist who is clearly seasoned in her craft. “Easier,” at 3:47, demonstrates her ability to compose songs with momentum, build, and raw vulnerability that resonates deeply with listeners seeking authentic storytelling.
The latter track tackles themes of addiction and deception with unflinching honesty that exemplifies Culver’s fearless approach to songwriting:
“All those nights / You thought I was sleeping / In a bed full of secrets / I’d been keeping / and / The bottle in the kitchen / Kept you from bitchin’ / N I just Pumped you full of lies / because it was / EASIER / EASIER / EASIER / than making you cry”
The song builds to a devastating confession: “’til you found me lying on the bathroom floor / you flushed it all down / I still needed more / I NEEDED MORE / because it was / EASIER / THAN MAKING ME FEEL LIKE I’M GOING TO DIE.”
This level of authentic storytelling has earned critical acclaim throughout her career. “This girl has that thing, this authenticity you didn’t even know you were craving, and this grit that shines through in every note she sings,” noted Americana Underground. “Her lyrics are captivating, dark, deep, provocative.” Actor and director Eric Close praised her as “the best band I’ve seen come out of the Nashville area in a really long time.”
Culver’s songwriting credentials include a mention in Rolling Stone magazine for her contributions to a tribute album featuring artists like Dolly Parton and Willie Nelson, establishing her as a respected voice in the Americana and folk music scene before her career was interrupted.
Here’s what’s remarkable — she never stopped writing, even when her traumatic brain injury left her nearly non-verbal. The numbers alone tell a story: she has just finished tracking enough material for three albums in Nashville, with some songs being verbatim journal entries that she describes as “gut wrenching beautiful and some haunting.” The healing process has been gradual, inching “every day towards a sense of what normalcy might be, even though everything is different.”
Her musical foundation runs deep. Family members recall a young Culver sitting at an old upright piano in their basement, playing naturally without formal instruction. By age three, she was reportedly doing “a pretty mean Elvis Presley impression,” demonstrating an innate musical ability that would define her life.
Her artistic perspective evolved following her brain injury. Where she once gravitated toward punk rock bands like Rancid and NOFX, and harder acts like System of a Down, Culver now finds herself drawn to the gentler sounds of Watchhouse, John R. Miller, First Aid Kit, and Brandi Carlile. This evolution reflects both personal growth and practical adaptations to post-injury light sensitivity, but hasn’t diminished her powerful songwriting edge.
Currently working with a new producer, Culver is methodically reviewing her extensive catalog of new material. Songs like “I Hope You Don’t Get High,” “The Worst Is Over,” and “Paranoid” await final mixing decisions. Her perfectionist approach, developed through years of recovery, ensures that only her strongest work reaches audiences.
“I try hard to make my music 0 percent cringy, and I’m a tough critic of myself,” she explained. “If it passes my litmus, I think it will at least be enjoyable for any listener.”
Culver is now booking solo performances again, returning to the stage with a newfound appreciation for intimate venues. Fans can follow her journey through Instagram, Facebook, while her music is available on streaming platforms including Spotify, Apple Music, Youtube, and Reverb Nation.
For Culver, this phase represents both revival and revelation—bringing overlooked songs to new audiences while sharing the powerful new material born from her journey through recovery. Her story stands as a testament to the persistence of creativity, proving that authentic songwriting can emerge from the darkest moments and that sometimes the most meaningful art comes from simply refusing to give up.
