Brandi Carlile, Maren Morris, Amanda Shires, and Natalie Hemby empower women, challenge Nashville’s gender barriers on debut album
LP; and Hemby writing hit after hit while launching a career as an artist, one could make the case that the timing couldn’t be worse for such a left-field group project. But for this quartet, the collective mission took precedent over any individual pursuits.
Women are practically ghosts on country radio too, so it’s not hard to understand why female artists like Morris, who had massive crossover success with the Zedd collaboration “The Middle,” might pull away from the genre and gravitate to more welcoming formats like pop and Americana. “The country purists online, they’re the worst,” Isbell says shortly after rolling up a pant leg to show off his “Highwomen” tattoo, as well as some swell printed socks.
“I love that we have songs on this album about shattering female stereotypes to a gay country love song, and songs about losing loved ones,” says Morris. “It’s all real and it’s all country.” For each member, playing music so distinctly country has been part of the Highwomen’s allure. “I love my lane of crazy weird music, but in my heart, I’m always going to be a person who loves country music,” says Shires, “and I have missed playing country music.”‘, produced by Carlile and Shooter Jennings. Back in the day of the Highwaymen, this collaboration and creative exchange between men felt commonplace and encouraged.
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