The Highwomen

While it’s absolutely and unapologetically meant as an addition to the discourse on inequality and lack of diversity that’s been ruling Nashville and country music (country radio in particular) for decades now, it’s also a country classic, no matter which way you spin it. The genre’s best talents, both men and women, have gathered, and they succeeded in creating a multi-generational, monumental music event.

Each voice is allowed to shine here, and through them, the voices of so many women who continually find themselves stifled in the country music format.

The Highwaymen have often been called country’s best supergroup, but the Highwomen are better. They do here what the men never could—stretch the notions of what country can and must become.

The voices and the hooks can’t easily be denied, and Shires injects some playful sassiness on “Don’t Call Me.” But the potential for what could’ve been a harder-hitting roadhouse-style album largely goes unrealized.

They're having a lot of fun, but the specifically feminist bent of the group's outlook helps focus the album as well. The Highwomen is worth a listen for any fans of these artists individually or as a sampler for all of them.