One of the most anticipated albums of 2019 finally arrived on Friday (9/6) when Brandi Carlile, Natalie Hemby, Maren Morris, and Amanda Shires released their self-titled, Dave Cobb produced debut album The Highwomen via Elektra Records. Idealized by Shires, the group formed to pay homage to Johnny Cash, Waylon Jennings, Kris Kristofferson, and Willie Nelson’s legendary supergroup The Highwaymen and is a concept based on the realization that country music lacks a large representation of women artists on country radio; a concept that also coincides with the “Me Too Movement”.
The Highwomen is a cleverly written storybook of tunes from the first song to the last, each one telling tales of oppression, unhealthy relationships, parental bonds, and past adventures. While the entire album is a must-listen, we selected the following tracks to highlight.
The title track sets the theme of the album with its haunting narrative of women standing up and dying for their beliefs. The story features a fleeing refugee, a freedom rider, a healer mistakenly labeled a witch, and a preacher at a time when it was unthinkable for female preachers. While each woman didn’t survive her struggle, each of their souls did to guarantee that each fight continues for future women. The verses have a personal feel as each are sung by a different vocalist: Carlile, Shires, Hemby and British country soul singer Yola Carter detail their character’s plights with intense passion (and if that’s not enough vocal power, Sheryl Crow sings backup vocals and plays bass). The four women come together on the final verse to sing in solidarity. Carlile and Shires co-wrote the track with the blessing from the legendary Jimmy Webb (songwriter of the original “Highwayman” made famous by Cash, Jennings, Nelson and Kristofferson), adapting Webb’s original track for the four female pioneers; their lyrics creating a moving mental motion picture that pulls the listener in with soothing harmonies. Top notch storytelling at its best.
“Redesigning Women,” the album’s lead single co-written by Carlile, Shires and Rodney Clawson, is an ode to women and their ability to hold a multitude of jobs while still finding the time to make a household work. The single’s music video was released on July 19, and featured a montage of female artists from Tanya Tucker, Lauren Alaina, Cam, Cassadee Pope, and Wynonna.
After writing “If She Ever Leaves Me,” co-writer Jason Isbell pitched the song to Carlile for her thoughts on the track as sung from the point of view of a lesbian couple. Carlile, with the vocal chops to akin to Patsy Cline, sings this quirky, albeit comedic take on a woman telling a lurking male that even if her woman leaves, she knows it won’t be for him, but for another woman, pushing the traditional envelope of country music.
She loves Wild Horses and Tumbling Dice
She don’t have a single tattoo
She’ll drink all the liquor and leave you the ice
That’s too much cologne, she likes perfume
I’ve loved her in secret
I loved her out loud
The Sky hasn’t always been blue
And it might last forever
Or it might not work work out
If she ever leaves me, it won’t be for you
“My Only Child” is a tender ballad that Hemby co-wrote for her daughter and candidly shares a poignant moment about not being able to give her daughter a sibling. What’s more interesting is Hemby takes her personal story and turns it to an ode to parents all over, covering events all parents go through from the birth of their children to the day they become parents of their own. The tune tears at the heartstrings and is perfection from beginning to end, vocally, lyrically, and musically.
The middle of the album includes a variety tempos and subject matters. “Don’t Call Me” tells the story of a jilted lover’s ex who expresses that no matter what trouble you get in, do not call me while “My Name Can’t Be Mama” is a satirical tale of a mom having to face her role as “mom” the morning after a night of partying with lines like “Things are gettin’ better/ But right now, it’s not looking great/ my ceiling still is spinning/ From a night that went to late” and “It’s not that I dont want to/ I just don’t want to today/ I’m not a fan of mornings/ and I love my chardonnay/ No, I’m not saying never/ I don’t wish it all away/ but my name can’t be mama today. Towards the end of the album there’s the anthem-esque “Heaven is a Honky Tonk” (featuring Sheryl Crow), “Loose Change” which addresses a woman’s demand for respect, the tenderhearted “Cocktail and a Song” and the ballad “Wheels of Laredo” rounds out the album.
The Highwomen not only emphasizes empowerment, suffrage, and the disheartened, but harmonies of all involved are impeccable as is the storytelling, making this album a standout not only for its empowering message, but for its perfect production.
With women’s rights and untold and forgotten stories front and center, the group created pre-order bundles of merchandise that donated $4 to “She is The Music,” a nonprofit organization committed driving inclusiveness and equality for women in music with the goal of transforming the industry’s landscape. For more info visit: www.sheisthemusic.org
For information on The Highwomen, including merchandise and tour dates, visit www.thehighwomen.com
The Highwomen Track Listing
- Highwomen (Carlile, Shires, Jimmy Webb)
- Redesigning Women (Hemby, Rodney Clawson)
- Loose Change (Morris, Maggie Chapman, Daniel Layus)
- Crowded Table (Hemby, Lori McKenna, Carlile)
- My Name Can’t Be Mama (Carlile, Morris, Shires)
- If She Ever Leaves Me (Shires, Isbell, Chris Thompkins)
- Old Soul (Morris, Luke Dick, Laura Veltz)
- Don’t Call Me (Shires, Peter Levin)
- My Only Child (Hemby, Shires, Lambert)
- Heaven Is a Honky Tonk (Carlile, Hemby, Ray LaMontagne)
- Cocktail and a Song (Shires)
- Wheels of Laredo (Tim Hanseroth, Carlile, Pete Hanseroth)