Nashville Songwriters Association International Awards JSTOR ( July 2019) ( Learn how and when to remove this template message).Contentious material about living people that is unsourced or poorly sourced must be removed immediately. This section of a biography of a living person does not include any references or sources. The Music of Nashville: Season 1 Volume 1
Hemby is married to record producer Mike Wrucke. "Redesigning Women" was released on July 19, 2019, as the first single from their self-titled debut album set for release on September 6, 2019. Hemby was revealed as the final member of The Highwomen, a country music group that already featured Brandi Carlile, Maren Morris and Amanda Shires, on April 1, 2019, when the group performed live for the first time at the Bridgestone Arena as part of an 87th birthday tribute concert for Loretta Lynn. In February 2021, Hemby signed with Fantasy Records, and will release a solo album through the label. On January 13, 2017, Hemby released her first studio album, Puxico, named after the Missouri town where her grandfather lived, via the label GetWrucke Productions which she runs with her husband, music producer Mike Wrucke. She is currently a writer at Universal Music Group Nashville (UMPG), and has formerly been affiliated with EMI Publishing and Carnival Music. Hemby's cuts include " White Liar" and " Only Prettier" by Miranda Lambert, " Pontoon" and " Tornado" by Little Big Town, " Drinks After Work" by Toby Keith and " Automatic" by Miranda Lambert. She is the daughter of Nashville studio guitarist Tom Hemby and Deanna Hemby. “But I’ve got wheels I’m rolling on.Hemby was born in Bloomington, Illinois. “Sometimes, these wheels get a little heavy,” she admits, as the album comes to a close. Her future will be as imperfect as her past, regardless of which open road she chooses-and she acknowledges it with resolve and the occasional touch of self-deprecating humor (e.g., We Should Be Friends).
Instead, the album embodies a maturity borne of experience. It’s the closest The Weight Of These Wings comes to playing the victim not once does Lambert lash out at Shelton or rage against the situation in which she’s found herself. Album highlight Tin Man falls into the latter category, with Lambert trying to swap her broken heart (“it’s in pieces now”) for the isolationism of the Tin Man’s cold, metallic exterior. This allows the thirty-something Texas native to focus in on her songwriting chops, digging into engaging narratives and emotional tableaux in turn. The breadth of the album is broken up by refreshing timbral shifts: a banjo solo here, an atmospheric synth pad there, never sitting still too long on one sound.Ībove this, Lambert sings with a relatively homogenous voice, one that lends the album an overall feeling of calm-acceptance, perhaps-that is only occasionally punctuated by upbeat tempos and full-throated vocals. The liquor-infused tale of Ugly Lights is told with reverberating instrumentation and a sing-along chorus readymade for the arena, while the finger-picked guitars of Pushin’ Time emphasize a bittersweet love story to be sung among a few close friends at the end of the day.
The music that follows is diverse, encompassing a large swath of what we think of as “country” music. It is a song whose tone is both at ease and unfulfilled, yearning for something beyond copacetic. It’s a beautiful and desolate inception when Lambert’s voice finally enters (“There’s trouble where I’m going, but I’m gonna go there anyway”), we can see that this is a singer whose emotions are less black-and-white than most of her Nashville colleagues’. It’s the sound of the open road, but it’s grittier than the roads travelled by most country superstars.
Album opener Runnin’ Just In Case unfolds with an insistent bass guitar and a heartbeat of a drum groove. The classic Miranda Lambert is still to be found here of course. “I’m out of your reach geographically,” she sings “But you still find a way to get a hold on me.” In Six Degrees Of Separation, everything from a quarter to a cabbie may remind the singer of a lost love. Indeed, this substantial double LP is not strictly a “heartbreak” album-it’s ninety-minute scope is not so simply defined-but Shelton’s presence (or absence) is still found in Lambert’s songwriting. “I’m never gonna have an album that’s quote-unquote a ‘heartbreak’ album,” Miranda Lambert told Billboard in August as a response to fans’ expectations for her then-unreleased album, The Weight Of These Wings-written primarily in the wake of Lambert and Blake Shelton announcing the end of their four-year marriage. Tim O'Grady / Published November 18, 2016
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