Dar Williams’ Hummingbird Highway: The Joyous Return of the Singer Songwriter

The history of the singer/songwriter genre in America is an interesting one. Born out of the late 60s and 70s, with a heavy influence from old English/Irish folk songs, it became a safe haven for activists and women. Feminist and social themes were par for the course and women like Odetta, Joni Mitchell, Carol King and country icon Dolly Parton put out some amazing music. This then gave way to the 80s with cocaine, misogyny and women musicians firmly within pop. Have no fear, the 90s came and Lilith Fair ushered in a new style of women singer/songwriters with Sinead O’Connor, Indigo Girls, Ani DiFranco, India Arie, Erykah Badu, Paula Cole, Sheryl Crow, Sarah McLachlan, Tori Amos, Jewel and many others. Women singer/songwriters were a diverse group ranging from 70s style acoustic activists, R&B queens and LGBTQIA+ focussed groups. Don’t worry men, bands like Kid Rock, Limp Bizkit and Korn put a stop to that. Once again the singer/songwriter made way for pop and metal…but we find ourselves in another renaissance of women singer/songwriters.

Mega artists like Taylor Swift, Florence + the Machine, Lana Del Rey and Olivia Rodrigo have put a new spin on the genre, while Soccer Mommy and Snail Mail come at the genre with an indie rock twist…not to mention Arlo Parks or SZA who are redefining the genre. But the OGs are still here with Erykah Badu, Sarah McLachlan, Sheryl Crow, Dolly Parton and Suzanne Vega all putting out meaningful music. Now, Lilith Fair original Dar Williams can add her name to the rebirth of the singer/songwriter.

Williams came on the scene in the 90s with a combination of a 70s Joni Mitchell musical style with contemporary feminist themes. Her second record Mortal City being a showcase of excellent folk arrangements paired with religious, feminist and social themes. Since then Dar has put out a steady flow of music, but has not really hit the raw energy of Mortal City. Records like The Beauty of the Rain did well, but missed that early acoustic folk energy. Now she has Hummingbird Highway, her first record in 4-5 years…what do we think…

Let’s look at the title track. First off, the track is musically different from the previous 2 records in that it is grounded in folk and traditional country. There is a stray slide guitar and banjo to give it a bit of twang, but this is firmly a 90s style folk song. Moreover, the track builds well to an act three with strings, keyboard and an epic wall of sound. It is a fairly traditional arrangement in a lot of ways and..if the production was a bit cheaper…something you would expect off of Mortal City. Instead of the raw folk/punk vibe you get on As Cool As I Am (a song that deserves a future Retro Review) there is a warmth and comfort in Hummingbird Highway.

Lyrically, this is classic Dar Williams. Much like on The Christians and the Pagans Williams has fun lyrically and brings the audience along for the ride. Hummingbird Highway has fun with some vivid and kinetic hummingbird imagery, but the real brilliance of the track is how Williams is able to bring this whimsy into an exploration of a relationship in decline, “And I don’t think you’re happy, no, I know that you’re not / We can’t blame it on the hummingbird highway.” I love this juxtaposition between the relationship falling to this beautiful and energetic natural phenomenon. However, there is some hope…because no matter what, you can always find your way back home.

I love how Williams can reach such emotional depth, whimsy and honesty all within a track with hummingbirds. The title track to Hummingbird Highway is a bit of a return to her 90s twist on classic folk, which I fell in love with. I love the entire record and it shows how Williams is able to evolve and adapt to the times in order to keep that singer/songwriter flag flying. After you listen to this track…be sure to listen to Mortal City….man I love that record.

Listen to Hummingbird Highway