Holljes: As a young woman looking up to them, I always thought that they were beautiful and cool, but it never really overflowed into this line where they were overly sexualized. I felt like they were so friendly to young women in terms of creating an image and an idol to look up to who had the best kind of female power.
Just listening to those women join together, and seeing how badass they were playing instruments, dancing -- I feel like they were ahead of their time, in a way. So empowered and showed a sisterhood, which Liz and I really strive to emulate. We're up on stage holding hands, singing songs about our friendship. That's entirely because we got to see examples of it working and we knew we could do it too.
I think that because we started a band, it's just cool to see a band fronted by women. It's pretty rare. And not just one woman, you know? We love sharing the stage. We love sharing the songs. I think just being able to see that tangibly play out and they've been through hell. Their career has had so many highs and lows and they're still together. That's huge.
Hopkins: In "The Long Way Around," I was always so touched when Natalie sings "Six strong hands on the steering wheel." It's all of them writing songs together and it's all of them together on that stage.
These women are strong and independent and such amazing role models for women, but on top of their immaculate three-part harmony, those two sisters [Martie Maguire and Emily Robison] are virtuosic players. What they do with the dobro, with the violin, the guitar, the banjo -- they're incredible.
Holljes: And then on top of that, the lyrical content of those songs? When you listen to that as a young girl, when you hear "Ready to Run," just those sort of -- you don't have to get married, you don't have to settle down; the way they talked about heartbreak, it didn't feel so much about the man who broke their heart. It was more about the feeling; it felt so progressive as opposed to being wrapped up in the men. It was sort of about, "I need a boy like you like I need a hole in my head."
Hopkins: The women were always the center of the narrative.
Holljes: And the men were kind of, take ‘em or leave ‘em -- it didn't feel too hung up. Especially like "[Goodbye] Earl," I love singing that song. In Delta Rae, we sing a lot of murder ballads and that's such a tongue-in-cheek, funny one. But it was also badass! Like, damn right. And again, a song about friendship; a friendship so deep. So those type of things really were influential, especially for kids who wanted to be singers, who paid attention to lyrics, who wanted to learn how to harmonize; the Dixie Chicks were like a bootcamp.