The debut album from the newest country supergroup begins with the power of storytelling: “We are The Highwomen / Singing stories still untold.” The song follows the often-forgotten tales of four women – a refugee from Honduras, a healer killed during the Salem witch-hunt, a freedom rider and a preacher. Their stories lead into an album highlighting community, collaboration, and complexity.
In Old Soul, Maren Morris shares the pressure of the “weight of the world on these small shoulders” and growing up feeling responsible for fixing her parents’ problems. On My Only Child Natalie Hemby shares the perspective of a mother relating to her child in their longing for a larger family. Redesigning Women explores the tension of motherhood and trying to balance expectations from work and home. Not only is the album an emotional and vulnerable escapade of modern country music, the group leaves space to have a lot of fun too. Songs like My Name Can’t Be Mama Today and Don’t Call Me pick up the speed, sarcasm, and strength of the singers, who alongside Hemby and Morris include Amanda Shires and Brandi Carlile.
One of the gems of the album, Crowded Table, highlights “I want a house with a crowded table / And a place by the fire for everyone.” As Christ followers and Kingdom builders this song is an anthem for hospitality that we can cling to. What if our churches sang in harmony: “The door is always open / Everyone’s a little broken / And everyone belongs.” Who should we be intentionally making room for at our crowded table and for whom should we hold the doors?
While we might not agree that heaven is a honky-tonk, The Highwomen explores many relatable tensions and pressures while giving a voice to resilient women in history and in our world today.
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