“I don’t really listen to Prince’s guitar playing – it’s very triggering. But I always feel his spirit”: How Purple protege Judith Hill pushed past her ‘black widow’ trolls to discover a new relationship between her voice and her SG
The vocalist, who also worked with Michael Jackson near the end of his life, has fed the negativity into her new album, which she describes as “the unleashing of a beast”
(Image credit: GInger Sole)
With her latest record, Letters from a Black Widow, Judith Hill clearly means business. “This album is the removal of a muzzle,” she says emphatically. “It’s the embrace of a hurricane. It’s the unleashing of a beast.”
Given all Hill has been through over the last few years, that’s understandable. Many will recall her participation in 2013 documentary 20 Feet from Stardom, which debuted at the Sundance Film Festival to rave reviews and garnered a Black Reel Award for its outstanding depiction of the life of backup singers.
There was also The Voice and Michael Jackson’s This Is It, which featured Hill dueting with Jackson during I Just Can’t Stop Loving You. These sightings showed Hill’s immense promise boiling up beneath the surface. Then she dropped her Prince-produced debut record, Back in Time (2015), putting her on the map.
Prince even invited Minnesota media outlets to preview Back in Time at Paisley Park. The good vibes flowed until he passed in April 2016, leading some on the internet to begin calling refer to Hill as a ‘black widow’ as she’d been connected to both Prince and Michael Jackson toward the end of their lives.
Three more outstanding records, Golden Child (2018), Studio Live Session (2019) and Baby, I’m Hollywood! (2021) followed, but the negative moniker stuck. And so, with Letters from a Black Widow, she’s grabbing the bull by the horns and embracing the brunt of its impact with an equally horny-edged guitar in hand.
“My family has played a great role in making me who I am today,” Hill says. “I soaked up all the sounds as a kid, and I was blessed to be surrounded by gospel singers, wailing organs, funk basslines, Bach fugues, salsa clave and blues guitar.
“Funk music is a very integral part of my sound. I had a very rich community of musicians who were always at the house making music. I’m grateful for that experience.”
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It couldn’t have been easy to lose two iconic mentors in a short span, or be hung out to dry by the internet. But that’s the best part of Judith Hill circa 2024.
“Every person and every experience I went through is present in my songwriting,” she explains. “That’s the beauty of being an artist... we put words and melodies to the emotional material of pain, trauma, joy, love, and so on.
“The crater is wider and deeper; therefore there’s more room. Every day, I have a decision on how I want to fill that crater – with empathy and power or depression and resentment.”
I can find tones and expressions in the strings that I can’t find in the piano and other instruments, so I really value the guitar
A lot has happened since Back in Time. What brought you to Letters from a Black Widow?
“I’m at a point where I’m able to make music as a way of achieving community. I grew up with the understanding that music transcends metrics and the system of rewards and punishments. It’s something that outlives us and carries on even as our bodies are gone.
“Sometimes you have to live long enough to reach the other side, where you become a wild stallion running freely in the canyons. I believe I’m closer to reaching that point, and I’m excited to help others get there as well.”
What led you to guitar, seeing as most people often think of you as a vocal-first artist?
“I think I got started in 2020. The guitar is a voice that allows me to express myself differently from my voice. It’s a friend and source of power and freedom for me.”
Prince was a great mentor, and we had an incredible time making that music
Back in Time was produced by Prince and released by Prince without label consent. How did that go down?
“Well, it depends on who you ask. That label contract had its issues, which is why there was a dispute. Regardless, my artistic growth during that period was powerful because I was able to celebrate and replenish my roots. Prince was a great mentor, and we had an incredible time making that music.”
Has the ‘black widow’ moniker been a motivator or hindrance for you – did you ever feel like giving up?
“It was a hindrance. I couldn’t get past it for a while, personally. Eventually I found the courage to write about it. That was a very liberating day for me.
“Performing is not something you give up. Do you give up breathing? No, because it’s essential to survival. I sing because I’m alive and express myself because it’s the right thing to do.”
Those events seem to have fueled your self-expression via six strings, especially since you’re self-taught.
“I can find tones and expressions in the strings that I can’t find in the piano and other instruments, so I really value the guitar. it gives me a more angsty and visceral expression. It was like therapy. She [the guitar] came into my life when I needed her and serves as an ally and a fresh perspective on life.”
I don't limit my expression unless it serves the message. I’m here to bring all of me to the table
What guitars are you using on the new record?
“I have a Gibson SG and a Taylor K24ce acoustic guitar. I love playing the Gibson because it gives me a warm tone but still has the edge and wail that I’m looking for.
“I purchased the SG online; I think it was during the pandemic. I really wanted a black one because most are red. I got the Taylor at a guitar shop one day as I was testing out different acoustics.”
Do you feel more comfortable on acoustic or electric?
“I like playing the electric because you can get more blues and funk tones out of it, and it’s fun to play. My voice really enjoys the conversation with an electric. But the acoustic is beautiful, especially when creating unique chord patterns.”
Is Prince’s style present in yours at all?
“I don’t really listen to his guitar playing. It’s very triggering. He has so much power, soul, and transcendence in his playing that I can’t really listen. But I always feel his spirit, and that will never go away.”
Which of these songs represents the artist you are today, and why?
“All of them represent who I am today. I don't limit my expression unless it serves the message. I’m here to bring all of me to the table. If I chose one part of me over the other for the sake of likes and views, that would be a disservice to myself and the world.”
Andrew Daly is an iced-coffee-addicted, oddball Telecaster-playing, alfredo pasta-loving journalist from Long Island, NY, who, in addition to being a contributing writer for Guitar World, scribes for Rock Candy, Bass Player, Total Guitar, and Classic Rock History. Andrew has interviewed favorites like Ace Frehley, Johnny Marr, Vito Bratta, Bruce Kulick, Joe Perry, Brad Whitford, Rich Robinson, and Paul Stanley, while his all-time favorite (rhythm player), Keith Richards, continues to elude him.
