Judith Hill

Judith Hill’s album "Letters from a Black Widow" is a powerful reflection on her tumultuous journey. The term “Black Widow” was coined by tabloids after the overdose deaths of her collaborators, Michael Jackson and Prince. This label subjected Hill to online abuse and conspiracy theories, nearly derailing her career despite her Grammy win for “20 Feet from Stardom.”

“For years, the ‘Black Widow’ was an intimidating presence in my life,” Hill says. The pandemic gave her the space to confront this trauma. “It allowed me to dive into my core and transform darkness into expressive fire.”

While her previous album, "Baby, I’m Hollywood," was a coming-of-age story, "Letters from a Black Widow" is a soul/funk/gospel passion play, a formidable battle cry. A key moment in her writing came during a psychedelic experience at a hot spring, revealing the trauma she had buried. This vision inspired the album opener “One of the Bad Ones,” exploring the complexity of human nature.

Her raw vocal power shines in “Flame,” where she channels the strength found in facing her fears. “Making songs about my experiences is a kindness to myself,” Hill explains.

Hill’s collaboration with theater director Alexander Gedeon brought theatrical elements to the album, with the titular track “Black Widow” confronting her haunting past. The album blends discovery, resistance, and redemption, grounded in soul and funk. Hill’s newfound guitar skills add a wailing, screeching voice to her music.

In creating "Letters from a Black Widow," Hill varied her writing approach, blending story, tone, and voice with musical exploration. Songs like “My Whole Life Is in the Wrong Key” and “Downtown Boogie” showcase her playful yet complex style. Hill sees funk’s irony and defiance, particularly in “We Are the Power,” echoing Meshell Ndegeocello’s neo-soul.

Despite the album’s playful moments, it’s deeply anchored in Hill’s reality as a 39-year-old artist, grateful for her journey and aware of the force she’s becoming.