American Singer-Songwriter Matthew Steven Whitaker Reflects on a Broken Past with “HOW IT USED TO BE”
Matthew Steven Whitaker’s “HOW IT USED TO BE” lives in that ugly middle ground where a relationship has already broken, but memory keeps pretending it hasn’t. The American artist builds the track from fingerstyle acoustic and baritone rubber-bridge guitars, cello, upright bass, subtle synth, and layered vocals, then lets drums widen the frame as the emotion gets heavier. There is a lo-fi grain across the production that keeps everything from feeling too polished, which suits the song. Whitaker’s airy vocal delivery sounds worn rather than theatrical, and that restraint makes the details hit harder. Keys on the kitchen floor, a ceiling fan, clothes shoved under a rug—small things become evidence. The strings add ache without turning sentimental, while the bass gives the song a low, steady pull beneath the softness.
Lyrically, “HOW IT USED TO BE” is not really about wanting someone back; it is about being trapped inside the version of the relationship that existed before everything curdled. Whitaker keeps returning to the same question—what went wrong—while the other person drifts further out of reach. The repeated image of staring into a TV screen is especially sharp because it captures emotional distance without overexplaining it. There is drinking, silence, medication, missed communication, and the slow realization that remembering the good part does not repair the damage. The chorus lands because it does not chase closure. Whitaker sounds like someone trying to reconstruct a past that is already slipping out of focus. As the lead single from WHAT DID I EXPECT?, the song makes a strong first impression: bruised indie folk, detailed songwriting, and production that understands when not to clean the mess up.
Enjoyed the read? Consider showing your support by leaving a tip for the writer
TRENDING NOW
CONNECT WITH US
FEATURED
Matthew Steven Whitaker’s “HOW IT USED TO BE” lives in that ugly middle ground where a relationship has already broken, but memory keeps pretending it hasn’t. The American artist builds the track from fingerstyle acoustic and baritone rubber-bridge guitars, cello, upright…