A truly singular creative force, Grammy Award-winning singer/songwriter/multi-instrumentalist Amanda Shires has made an extraordinary career out of restlessly pursuing her deepest instincts and passions. Since getting her start playing fiddle with the legendary Texas Playboys at the young age of 15, the West Texas native has brought her nuanced songwriting and boundless originality to a series of critically acclaimed solo albums, collaborated with the likes of John Prine and Justin Townes Earle, and earned the 2017 Emerging Artist of the Year prize from the Americana Music Association (AMA).

Amanda is also the founder of The Highwomen – a supergroup she performs in alongside Natalie Hemby, Maren Morris and Brandi Carlile.  She received unanimous praise for her album Take It Like A Man. Written and recorded during lockdown, Take It Like A Man is a fearless song cycle of ruthlessly candid tunes documenting Amanda’s life as a woman during a tumultuous time and features guest vocals by Maren Morris and Brittney Spencer. Her latest album, Nobody’s Girl, was released in the fall of 2025.

Amanda Shires on Nobody’s Girl 

‘I’ve never been afraid to blur genre lines, but Nobody’s Girl isn’t about sonic boundaries, it’s about emotional ones. This album doesn’t just explore heartbreak; it interrogates it, breaking down every moment of loss and rebuilding something stronger in its place.

Produced by Lawrence Rothman, Nobody’s Girl was recorded at Sound Emporium Studios in Nashville, TN, with Fred Eltringham and Julian Dorio on drums, Dominic Davis on bass, Peter Levin on keys, Zach Setchfield on guitar, and Rothman on guitar as well. I also tracked at Rothman Recorders in Los Angeles, CA, with Jay Bellerose (drums), Pino Palladino (bass), Jimbo Hart (bass), Joe Kennedy (piano, guitar), and Rothman again on guitar. And of course, I played my fiddle/violin/fiddle, tenor guitar, and ukulele.

I had to make this record. I didn’t know any other way to work through it. Some days I felt strong. Some days I felt wrecked. Writing and playing were the only ways to keep moving. Every song holds a piece of what I lost and what I had to find again.

From the opening chords of “A Way It Goes”, I make it clear: this isn’t a breakup record. It’s a survival record. “Maybe I” walks the tightrope between longing and acceptance, while “Piece of Mind” refuses to let revisionist history erase the truth. “The Details” might be the album’s most devastating moment, not because it lingers in sorrow, but because it won’t let the past be rewritten.

By the end, something shifts. I’m still here. That’s enough, for now.

So what am I now? I’m nobody’s girl: not a possession, not a role to perform, not a version of myself edited for someone else’s comfort. I’m mine.’